Posts Tagged ‘antique serving tables’

LONG AND LIGHT EARRINGS
Right: A pair of gold repousse and turquoise pendent earrings, circa 1840. Turquoise and carbuncles in association with gold repousse work were particularly favoured at the time.
Below: A portrait miniature of a lady, by Leopold Grosz (or Gross), circa 183o. Note the fashionable coiffure with hair arranged in three clusters of curls expanding sideways, counterbalanced by cannetille earrings en girandole.
Bottom: Two pairs of repousse gold earrings, circa 1840, one with carbuncle the other with polychrome enamel.
Left and below: Four pairs of pendent earrings, set with citrines and pink topazes, circa 1835, characterized by the combination of cannetille and repousse work which marks the transition between the two goldsmith techniques used in this type of earring.
Typically all the earrings illustrated on these pages are long, light, set with semiprecious gemstones or decorated with polychrome enamels and of moderate intrinsic value.
Left: Three pairs of pendent earrings circa
I 870-8o, English, set with diamonds or pearl and diamonds. The designs, though more rigid and stiff, are close to the contemporary French examples illustrated above, but their fluttering ribbons and garland motifs are replaced by plain lines of diamonds.
THE 1860s AND 1870s: BIZARRE VARIETY
In the i86os and 187os earrings became extremely popular, and the fashionable lady would suspend virtually anything from her ears providing it was decorative. Objects of common use such as baskets of flowers or hammers, animals and archaeologically
A parure of emerald, pearl and diamond earrings and matching necklace, with the relevant design, commissioned by Napoleon III and Eugenie from the Parisian jeweller Mellerio in 1863 as a wedding gift to Mar6chal Canrobert. The impact of these earrings relies on the use of important gemstones such as the large cabochon emerald drops rather than the explicit archaeological motifs, though the Greek key pattern and the extensive use of yellow gold even for the setting of the diamonds betrays an archaeological interest. Emeralds were the favourite coloured gemstones of the Empress Eugenie and because of this became one of the most popular gemstones of the time.
WAFER-THIN: EARRINGS OF THE EARLY 19TH CENTURY
Right: A portrait of Maria de la Conception Rodriguez of Granada, painted by Jose Gil in 1816. Her earrings, typical of the early i 9th century, are two circular gold plaques set with corals connected by fine chains. Their linearity and two-dimensional quality is well suited to the low d6collet6 and contemporary hairstyle of Classical inspiration.
Above left: A diamond pendent earring, early
i 9th century, showing how the structure of the contemporary gold earrings made of articulated plaques was rendered, almost unaltered, in lavish gemstones such as diamonds.
Above right: Pair of gold earrings, early i 9th century, made of several paper-thin gold plaques of different shapes connected by lateral chains.
Above left: Pair of gold earrings, early i 9th century. Although quite long, these earrings are comfortable to wear because they are cut out of very thin and light gold sheet and not set with gemstones.
Above right: A pair of gold and enamel pendent earrings, probably French, early T 9th century, decorated with portrait miniatures of a man and his wife. Though the design is typical of the
time, this pair presents unusual sentimental imagery: a dove, a pair of flaming hearts, the inscription ‘Fidel’ and forget-me-nots.
TORPEDO-SHAPED DROPS OF THE
1830s AND 1840s
Opposite and below: Three pairs of gold, chalcedony and gem-set pendent earrings, each accompanied by a typical Maltese cross pendant en suite, circa 1830. Contemporary fashion encouraged the use of such elongated drops decorated with applied gold floral motifs, often set with turquoises or other coloured gemstones. They were carved in white or stained chalcedony, usually blue or green.
Right and far right: Two examples of repouss~ gold earrings of elongated drop design, circa 1840, the first applied with turquoise florets, the second decorated with quatrefoil motifs suspended from a shell-shaped surmount. Earrings of this type were usually made of thin foils of metal decorated en repousse and extremely long (i0-12 ems). Their size and lightness were dictated by fashion and economic factors. The exaggerated horizontal lines of dress and hairstyle needed to be offset by long pendants, while at the same time the scarcity of precious metal encouraged the use of wafer-thin foil of embossed gold.
Below centre: A gold and gem-set torpedo-shaped earring, circa 1835, combining embossed and cannetille decoration.
FROM CANNETILLE TO REPOUSSE
Left: Two gold cannetille, diamond and gem-set parures, English, circa T 830. In both cases the parures include a pair of earrings set with rubies and emeralds respectively. Though the design is that of the traditional girandole, the setting in cannetille is typical of the time, the design of the earrings matching those of the necklace
pendants. On the Continent canetille earrings were mainly set with semiprecious stones such as foiled topazes, amethysts and citrines. In England more expensive gemstones such as emeralds, diamonds and rubies were often used.
Right: An exceptional pair of pendent earrings set with aquamarines within repouss~ gold borders, circa 1835. These earrings are typical of the time for their length (12 CMS approximately), for their lightness (15 grams) and for the choice of the stones, two large kite-shaped aquamarines. The lightness of the mount makes them comfortable to wear in spite of their size. Gold repouss~ work replaced cannetille because it was cheaper to manufacture and used small quantities of precious metal.
EGYPTIAN AND CLASSICAL STYLE
Above: An impressive pair of gold earrings and matching necklace, circa I 870. The dominating element of these jewels is the pharaoh mask, so the Egyptian inspiration is sufficiently obvious. Nonetheless the surmount is Classical Greek, a rosette; I 9th-century revivalism was often the result of such combination of elements deriving from different cultures and periods.
Opposite:
A group of Classical revival earrings, circa 1865. Top left: laurel leaf suspended from an Athenian owl surmount. Top right: A pair of gold rams’ head earrings, deriving its design from Greek examples of the late Classical period, the antique counterparts usually consist of a tapered hoop to be inserted into the earlobe terminating with a rams’ head motif, in this case the rams’ head is suspended from a rosette surmount. Below left: A pair of gold and cornelian intaglio earrings, by Castellani, incorporating original Roman intaglios that depict a trophy of arms and a hunting scene. Below right: A pair of gold pendent earrings, by Ernesto Pierret, each designed as a triangular panel decorated with beaded work and corded wire typical of Greek and Etruscan goldsmithwork, flanked by baton motifs with spherical drop terminals.
Opposite: Two pairs of Roman earrings, circa 1870- The first by Civilotti of Rome, combines elements from various sources. The amphora motifs in matt gold find precise counterparts in Greek and Etruscan examples, the gold mosaic plaque with its Christian symbolism is reminiscent of Byzantine mosaics, while the lilies of the circular surmounts belong unmistakably to the i 9th century. The second pair, of gold and Roman mosaic, carry lozenge-shaped plaques with portraits of Sabina and Maximus Caesar. Note in this case the contrast between the sober, classical lines of the pendant and the frivolous design of the floral surmount.
Above: A pair of gold and enamel pendent earrings, circa 1870, in the shape of stylized amphorae. The design has no specific counterpart in Antiquity but is a pastiche of various elements. The amphora motif derives from a popular type of Hellenistic earring; the granulation and corded wire decoration from Greek and Etruscan tradition; and the stylized papyri and palmettos in bright contrasting colours are Egyptian.
Left: A pair of gold and Roman mosaic earrings, circa 1870, in the shape of ewers. The gold chains with pearl terminals are meant to simulate water being poured out — an amusing i 9th-century touch not to be found in Antiquity.
A RANGE OF REVIVALS: THE 1870s
Many Classical designs took the amphora as their model, in, for instance,
tortoiseshell (right) or lapis lazuli (below right). Rams’ heads feature as a pair of gold earrings (below).
Above: Gold and enamel a baule earrings in the Etruscan tradition, seen in front, back and side views. Right top left to bottom right: Hardstonc maenad heads set in elaborate gold and enamel mounts; gold rosette; Wedgwood jasper-ware drops decorated with a white figurative frieze on a blue ground; two earrings based on amphorae in matt gold; and finally a pair of Japanese-influenced gold and polychrome enamel earrings designed as fans on screens.
LIGHTHEARTED EARRINGS OF THE 1860s AND 1870s
Common features of these earrings are a playful naturalistic inspiration, the use of relatively inexpensive material such as gold, enamel, ivory and turquoises, and the combination of bright colours. They are in line with the concept of novelty jewellery, more a fashion accessory —hence the low value of the materials — than precious heirlooms to be treasured.
Left-hand column
Above: A pair of gold and turquoise pendent earrings in the shape of bulrush sprays, the heads pave-set with turquoises. English, circa i 86o.
Below: A pair of gold and enamel earrings, French, circa 18 70, designed as birds nesting in bulrushes.
Centre column
Above: A pair of gold and tinted intaglio earrings, English, circa 1870, depicting goldfish in round bowls.
Middle: A pair of three-coloured gold and enamel earrings, probably French, circa 1860, designed as coiled snakes supporting bunches of grapes.
Below: A pair of gold and enamel earrings, English, circa 1870, in the form of frogs amongst bulrushes in a triangular frame of twigs.
Right-hand column
Above: A pair of gold and tinted ivory earrings, English, circa 1860, designed as cascades of fuchsia blossom carved in tinted pink ivory.
Below: A pair of silver-gilt and turquoise earrings in the form of nesting birds pave-set with turquoises, the wire-work nests containing pearl eggs, French, 18.50-60.
FASHIONS OF THE 1870s
Above: Five designs for earrings from the archives of Mellerio, Paris. Their variety is a reflection of the eclecticism of contemporary jewellery design.
Noticeable, however, is the persistence of motifs of archaeological inspiration such
as the amphora-shaped drops, the cameo supporting a trophy of love and stylized papyri.
Opposite: Among the earrings of naturalistic inspiration fashionable in the I 870s, those designed as acorns found great favour throughout Europe. In Mellerio’s archive are two variations of the same design (below), while similar earrings with a matching pendant are advertised in a contemporary issue of the magazine La Femme et la Famille.
Right: Stylized papyri also form the surmount of this English gold and turquoise earring.
RETURN TO NATURE
During the i 86os women suspended all sorts of ornaments from their ears, from delicate and appealing bouquets of flowers to rather repulsive Brazilian beetles.
Far left: Two pairs of Italian gold earrings, i 86os. The upper pair, set with pearls, has rather disturbing hands supporting a basket of fruits. The lower pair consists of acorns on a two-oak-leaves surmount.
Left: A pair of gold and stained ivory earrings designed as cascading fuchsia blossoms, English, 18 6os.
Above: A pair of Brazilian beetle earrings, English, i 86os. The improved communication with South America prompted the introduction of unusual materials such as Brazilian beetles, whose hard, brilliant and iridescent green shell could be mounted as a gemstone.
EROS, AMPHORAE AND OIL LAMPS
Variations of amphora- and lamp-shaped earrings, circa 1870. Left: A mask of a Maenad supports an amphora carved in lava from Vesuvius, and a pair of gold, enamel and pearl earrings in the shape of oil lamps, by Carlo Giuliano, circa ‘865, modelled on lamps used for votive offerings. Below: a pair of gold earrings designed as amphorae suspended from fine chains; a gold ewer-shaped earring decorated with corded wire and granulation; and a seed pearl, gold and banded agate earring designed as an amphora on a disc surmount, by Carlo Giuliano, bearing the maker’s mark C.G. and the retailer’s mark HR for Hunt and Roskell of London
Eros, or Cupid, a recurrent figure in Hellenistic earrings, appeared frequently, involved in various activities, in earrings of the 18 6os and 18 70s. In two examples (above right) he is riding a gold dove decorated with corded wire and granulation simulating the plumage; the lower pair retains the original fitting, very close in design to the Antique prototype, while the upper is a later alteration.
In a pair of gold and enamel pendent earrings by Eugene Fontenay, circa 1870 (above), Eros is depicted carrying wine jugs on painted enamel plaques imitating Roman wall paintings, while in a pair of gold, seed pearl and enamel earrings by Carlo Giuliano, last quarter of the i 9th century (bottom right) he is playing the lyre and holding a mirror, on circular enamelled plaques.
Left andfar left: Two pairs of earrings set with cameos carved respectively in lava and banded agate, circa 1870.
RENAISSANCE REVIVAL
A pair of gold and polychrome earrings, by Carlo Giuliano, circa 1865, designed as a stork devouring a snake. The subject derives from a Renaissance emblem — the soul overcoming carnal pleasures — and the interest in the sculptural effect from Renaissance jewellery.
Above: A pair of gold and Roman mosaic earrings and matching brooch/pendant, the surmounts of the earrings depicting red, green and white scarabs supporting three elongated drops.
Left: A gold and Roman mosaic pendent earring, the circular surmount decorated with a dolphin and supporting an elaborate drop decorated with the figure of Cupid.
ROMAN AND FLORENTINE MOSAICS OF THE 1870s
Roman and Florentine mosaics, widely exploited in jewellery at the beginning of the i 9th century, came back in great favour in the late i 86os. Roman micromosaic technique was especially favoured, not only because it was suited to render motifs of archaeological
inspiration but also because its technique derived from Antiquity. This consisted in arranging minute coloured glass paste tessarae within hardstone, glass or gold borders.
Left: Gold earrings of archaeological design decorated with Roman mosaic plaques of winged putti, and a brooch/pendant showing a Raphael tondo.
Below left: A pair of Florentine mosaic earrings set with onyx and coloured stones. Florentine mosaic consisted of an inlay of differently coloured hard and semiprecious stones arranged in naturalistic patterns.
Below centre: A pair of gold and Roman mosaic half-hoop earrings in Egyptian revival style. Note the scarab, similar to the example illustrated on the opposite page.
Below right: A Roman mosaic earring of floral design.
SOUVENIR EARRINGS
Since the beginning of the century earrings and other jewels set with Roman mosaic plaques depicting architectural views of Rome or scenes from the Campagna had been popular souvenirs to take back home. Early i 9th-century earrings are characterized by a very simple and linear design. They usually consist of an oval surmount supporting a pear-shaped drop or an oval plaque connected by fine chains. The mosaics are of a high quality, consisting of very small tessarae where the colours are graduated in a very subtle manner giving the illusion of a miniature painting. A good example of this is the pair of earrings (left) set with four mosaic plaques of famous views of Rome including the Pyramid of Cestius and the Columns of Trajan and Antoninus.
Later examples of the 18 6os and 18 70S tend to be more elaborate in design, adapting shapes and decorations to contemporary trends. The quality of the mosaics though, is coarser, a consequence of the increased demand. The earrings and matching pendant (right) with mosaic plaques depicting peasant women of the Campagna in the typical ciociara costume are good examples of the time; their Roman origin is confirmed by the city’s gold hallmark. Note the ubiquitous Egyptian scarab motif on the surmount and the coarse tessarae.
Star motifs first appeared in the late i 86os as an inlaid central decorative motif of earrings set with large cabochon gemstones such as amethysts and carbuncles or enamel bosses as the example illustrated here in black enamel and half pearls (far left). Later six-, eight-, twelve-pointed stars, or more, became extremely popular, often accompanied by a matching pendant and set for instance, with pearls (left).
The popularity of knife-wire setting and the fashion for light and less symmetrical shapes prompted, in the late 18 8os and i 89os, the development of shooting stars and comets.
Opposite centre and far left below:
Numerous points alternate with weightless knife-wires set with diamonds. Left: A pear-shaped drop terminating with a graduated fringe. Above: Set of twelve-pointed star earrings and matching pendant set with pale opals.
Top right: Designs by Mellerio for two variations of star-shaped pendent earrings, part of a parure commissioned by Queen Isabella II of Spain.
INNOVATION AND TRADITION:
FRENCH EARRINGS OF THE 1870s AND 1880s
Two pages of earring designs in pencil and gouache of the late 1870s and early i 88os from the archives of Mellerio, Paris. They range from naturalistic floral creations to pendeloques and girandoles in the i Sth-century tradition, mainly set with pearls and diamonds, together with amusing arrows which appear to pierce the ear, in the style of novelty jewellery. The eclecticism of the sources of inspiration is especially evident on the right-hand page, where Classical archaeology with a typical Greek key pattern, naturalism with floral motifs, Persian and Northern African art with botch and crescent hoops co-exist.
Above: A collection of gold and gem-set earrings spanning the years from 1850 to the 1870s. Noticeable are the small compact earrings of the I 850s designed as clusters of foliate motifs or coiled ribbons; the long pointed drops of the 18 6os in archaeological revival style; the oval panels star-set with half pearls of the early I 87os, and the tiger’s claw earrings fringed by gold drops of the I 870s, brought back from India as souvenirs to commemorate hunting expeditions.
Left: A page of earring drawings from Cartier’s archive in Paris, dated from March 1874 to May 1874, illustrating some of the great number of shapes, both long and short, fashionable at the time.
FRINGED EARRINGS OF THE 1870s
One of the most distinctive forms of earring in the
18 70s consisted of a circular, oval or otherwise shaped panel variously decorated with enamel, gemstones or chased gold, supporting a graduated fringe of articulated pointed drops. The type was particularly fashionable in England where the favourite surmounts for the tagged drops were oval carbuncles (below), or enamel plaques star-set at the centre with various gemstones (opposite). Fringe or tassel earrings with matching pendants were popular throughout Europe as testified by the archival records of the German jeweller Kreuter dating from 1868 to 1872 (right). More unusual surmounts were occasionally exploited, such as the trapeze-shaped Wedgwood jasper-ware plaque (opposite lower right).
CASCADES OF FLOWERS
Among the plethora of 1870s earrings those designed as cascades of flowers, flowerhead clusters with pampille decorations or sprays of leaves and flowers were particularly favoured by a more conservative public.
Far left, top: A pencil and gouache drawing by Mellerio depicting a flower spray earring. It is interesting to note how the design includes the ear to show precisely how the earring should be positioned on it. Beneath it are two ink designs by Mellerio in the form of flowers with
cascading stamens.
Left: Two ink drawings by the German jeweller Kreuter of 1873, depicting earrings in the shape of cascades of flowerheads and leaves.
Lower left: A gold and turquoise demi-parure comprising a pair of fuchsia earrings and a matching pendant. Note the naturalistic rendering of the blossoms and the use of calibr~- cut turquoises. Though turquoise had been a popular stone for many decades it is only in the
i 870s that it began to be cut en calibre in order to fit the shape of the mount.
Opposite: English diamond-set examples belonging to the same type as those by Kreuter.
BEETLES AND BACCHUS
A gold and Brazilian beetle demi-parure comprising a necklace and a pair of pendent earrings of modified girandole design, probably English, circa 18 70. In this case a ‘novelty’ material — the Brazilian beetles — is combined with an overall archaeological design in a bizarre and unconventional way. The iridescent green beetles are turned into miniature tortoises by the addition of feet, head and tail in gold; on the earrings they are clustered in groups of four.
ARTISTRY OF LALIQUE
Right: A pair of opal, enamel and gold pendent earrings, by Rene Lalique, French, circa I goo, in their original case. The fluid line, the thistle motif, the choice of the opal as a gemstone and the opalescent enamel epitomizes Art Nouveau jewellery. Though earrings continued to be worn at this time, they were not a particularly prominent ornament so the large proportions of this pair of Lalique earrings are an exception rather than the rule. Even within Lalique’s unconventional and daring production of jewellery, they may be regarded as a rarity. The back view (bottom) shows the unusual clip fitting which anticipates the fashionable clips of the thirties.
Upper left: A collection of very simple and relatively small earrings typical of late i gth century and of the very beginning of the loth century. From left to right: A peridot and diamond cluster earring, the large peridot claw-set at the centre; a diamond earring simply claw set with a brilliant-cut stone; a carbuncle (cabochon almandine garnet) and rose diamond cluster earring, probably by Boucheron; a diamond earring designed as a circular cluster of table-cut stones.

Settles and sofas after 1840
The revival of interest in historical styles from the mid-19th century resulted in a multiplicity of designs for all types of furniture, including sofas, which were often made as part of the new salon or parlour suites. A major technical development during this period was use of the coil spring, patented in 1828, which resulted in sturdier, bulkier, and squatter designs that sacrificed form to comfort. These deeply upholstered seats, with their button backs, culminated in the Chesterfield, which was the first fully upholstered sofa.

Seat furniture
The period c. 1860 to (.1880 was in many ways the golden age of upholstery. Stuffing had been growing steadily thicker from the 1840s, and buttons were introduced to prevent the thread holding the stuffing
in place from pulling the covering material. Extra fabric was necessary to create the familiar diamond pattern of buttons or threads characteristic of the deep, luxurious upholstery, with its air of prosperity and comfort, so admired by the Victorian middle classes. The development of the coil spring made increased demands on buttoning. Whereas sofas had previously been stuffed with layers of wadding and horsehair, coiled metal springs were now used. The springs were supported by a layer of hessian webbing, covered with more webbing, which in turn was covered with horsehair stuffing and padding. As a result, Victorian sofas were much more comfortable than early 19th-century examples, but they were also much bulkier; many sofas had button backs to emphasize the new upholstered look. The luxurious effect was emphasized by the use of velvet and other elaborate fabrics. Sofas with their original worn upholstery arc more collectable today than those with high-quality restoration using an inappropriate fabric.
French sofas were generally lighter in design than British examples, since French craftsmen and manufacturers employed such revival styles as Rococo and Louis XVI, making use of giltwood and lighter upholstery fabrics. In the USA, parlour suites on a grand scale were produced by such leading makers as John Henry Belter (1804-63) of New York, who in the 1850s created laminated and moulded rosewood sofas with deep pierced carving. Renaissance Revival suites, with square-backed sofas, were also popular, while the fashion in Europe and the USA for “Turkish” corners gave rise to over-stuffed upholstered sofas with elaborate fringing.
Edwardian sofas of the first two decades of the 20th century borrowed heavily from Neo-classical styles –especially the designs of Thomas Sheraton (1751-1806) – and from Regency styles, but managed to avoid the excesses of Victorian interpretations. Suites of chairs with matching sofas were produced; these were generally made from mahogany, or occasionally from walnut or satinwood. Sofas and chairs often had caned backs and sides, with silk or damask upholstery.

•    CHALSES-LONGUES these are not particularly commercial as they can be large and not very comfortable to sit on; examples with good shapes are more popular, as are those that are more heavily carved
•    GILDING good-quality regilding is quite acceptable if well executed– the highlights should be burnished, and the quality of the carving evident; beware of spray gilding – this will have a flat, matt appearance, with a very even coverage
•    RE-UPHOLSTERY the condition of the upholstery should be carefully examined, as seating can be very expensive to re-upholster; furniture with taut webbing is
preferable to that with springing, which tends to give an overstuffed look
•    COLLECTING many sofas and settees were originally part of parlour or salon suites, which are now rarely found complete; three-seater examples are generally more commercial than two-seater