Posts Tagged ‘Art Nouveau’

Dishes
Pair of George III oval meat dishes by Frederick Kandler, London, 1765, 73 oz 2 dwt Pair of Victorian octagonal entree dishes and covers with
vegetable dividers for each and ball finials, Sheffield, 1880,
120 oz 14 dwt 450 0
George III circular vegetable dish with ivory grips, pierced sides and four scroll and foliate feet, by W.S., London, 1809, 80 oz 2 dwt 360 0
William IV shaped oblong entree dish and cover with engraved armorials and foliate ring handle, by J. C. Eddington, London, 1835, 61 oz 5 dwt 260 0
George III muffin dish and cover, the domed cover with urn
shaped finial, by Henry Chawner, London, 1791, 15 oz 1 dwt        210 0
Jugs—Cream and Milk
George III helmet-shaped cream jug with ‘bright-cut’ engraving, loop handle and square pedestal foot, by George Smith, London, 1790, 3 oz 7 dwt 80 0
George II cream jug of conch shell type with serpent handle and
three coral-like supports. Circa 1755, 3 oz 5 dwt 80 0
George III oblong milk jug engraved with crests and with gadroon lip and scroll handle, by R. and S. Hennell, London, 1808, 6 oz 2 dwt 70 0
Victorian baluster milk jug chased with flowers and scrolls and on three feet. Possibly by William Brawn, London, 1845, 5 oz 7 dwt 52 0
Jugs—Water
George III pear-shaped hot-water jug, stand and lamp, the jug with rams’ masks and laurel festoons, the stand on three claw feet with female bust terminals, by Andrew Fogelberg. The jug 1776, the stand 1775, 40 oz

780 0
George III vase-shaped hot-water jug, plain with wood handle and on circular foot, by William Fountain, London, 1801, 25 oz 11 dwt 460 0
George II baluster hot-water jug chased with scrolls, leaves and flowers, raffia-covered handle and rim foot, by Gurney and Cook, London, 1755, 19 oz 15 dwt 270 0
Jugs—Wine and Ale
Queen Anne ale jug, die ground embossed with foliage and flowers and a satyr spout, by John Wisdom, London, 1712, 35 oz 280 0
Victorian wine ewer with baluster body and engraved with Grecian figures and leaves, entwined snake handle and butterfly finial, by E. and J. Barnard, London, 1862, 27 oz 11 dwt        170 0
Marrow Scoops
Queen Anne scoop of typical form by Charles Jackson, 1713,
1 oz 10 dwt 68 0
Early George III scoop, the larger bowl engraved with initials,
probably by William Tuite, London, 1767, 1 oz 12 dwt 20 0
Mustard Pots
George III drum mustard with moulded borders, flat hinged lid and simple scroll handle, with spoon of earlier date. Pot by Ernes and Barnard, London, 1813, 5 oz 10 dwt 165 0
some auction room prices : 1968-69
William IV mustard with ribbed baluster body and hinged domed lid with floral finial, scroll handle and shell thumbpiece and spoon of same date but different maker. Pot by C.G., London, 1830, 6 oz 17 dwt
George III oblong mustard with domed cover, urn finial and angular handle on four bun feet, London, 1813, 3 oz 11 dwt
Salts
Four George I plain oval trencher salts with incurved sides, by
Mary Rood, 1723, 6 oz 15 dwt Pair of George III boat-shaped salts, reeded at the lips and
pedestal feet, gilt interiors, by Peter and Ann Bateman, 1792,
4 oz 6 dwt
Pair of George II compressed circular salts, with plain engraved bodies below gadroon lips each on three shell-headed hoof supports, possibly by Isaac Cookson, Newcastle, 1747, 8 oz 1 dwt
Salvers
George II large circular salver on four lions’ mask and shell bracket feet, the shaped border pierced and chased, by George Wickes, 1744, 137 oz
George I plain circular salver on central foot with moulded border, by W.P., 1720, 13 oz 12 dwt
George III circular salver, engraved with initials, chased wave border and gadroon rim, on three claw and ball feet, by Robert Rcw or Rugg, 1766, 24 oz 3 dwt
Victorian salver engraved in the centre with an initial and also with scrolls and foliage, moulded border, by J. and J. Angell, London, 1845, 25 oz 14 dwt
Sauceboats
Pair of George II plain sauceboats each on three shell and scroll feet with gadrooned rims and double scroll handles, by Peter Archambo and Peter Meure, 1754, 29 oz
George II two-handled plain double-lipped sauceboat on collet foot, with double scroll handles and waved rim, with a moulded drop beneath the spout, by Peter Archambo, 1732, 17 oz 5 dwt
Pair of George III sauceboats, each on fluted shaped lozenge foot, with gadrooned borders and double scroll handles, by William Sampcl, 1766, 25 oz
Snuff Boxes—See Small Decorative Antiques Sugar Basins—See Baskets—Sugar Tapersticks—See Candlesticks Tankards
William and Mary tankard on three lion couchant feet, scroll handle, cylindrical body and moulded base, by Robert Cooper, 1692, 31 oz
George II baluster tankard with domed cover, openwork thumb-piece and double-scroll handle, on moulded spreading foot, by William Grundy, 1755, 34 oz 5 dwt 650 0
George III baluster tankard, with domed moulded cover and heart-shaped lower terminal to the scrolling handle, by William Caldecott or Gripps, 1765, 27 oz 15 dwt 570 0
Tea Caddies
George III oval caddy, the body with two bands of bright-cut engraving in beaded borders and the plain hinged lid with urn finial, by Hester Bateman, 1781, 14 oz 10 dwt 900 0
George III shaped oval caddy, the body fluted at intervals, decorated with bright-cut engraving, hinged domed cover with wood finial, by Robert Hennell, 1787, 14 oz 17 dwt 480 0
Teapots and Stands
George II bullet teapot with engraved shoulder decoration of satyr masks, leaves and flowers, straight spout, loose lid, ivory handle and finial, by Isaac Liger, 1729, 15 oz 1 dwt 2,100 0
George III teapot stand on four fluted panel supports, by Hester
Bateman, 1789, 4 oz 15 dwt 280 0
George III oval teapot with moulded girdles and a matching stand, supported on four feet, by Crespin Fuller, London, 1800, 16 oz 15 dwt 270 0
George III oval, semi-lobed teapot, with swan-neck spout, ivory handle and finial, by P. A. and W. Bateman, 1799, 17 oz 3 dwt 170 0
George IV teapot, compressed circular body, ivory handle and
finial, curved spout, by Eley and Fearn, 1823, 25 oz 16 dwt        150 0
William IV compressed circular teapot with moulded girdle, wood finial and similar wood handle, by E. E. J. and W. Barnard, 1830, 14 oz 2 dwt 135 0
Early Victorian bullet-shaped teapot with engraved body, Edinburgh, 1840, 24 oz 82 0
George III oval teapot stand, gadroon border on four panel
supports, but George Fenwick, Edinburgh, 1806, 5 oz 14 dwt 80 0
William IV small melon-shaped teapot, with slightly domed cover and ivory finial, scroll handle and curved spout, London, 1833, 13 oz 18 dwt 60 0
Tea and Coffee Services
Victorian tea and coffee service of compressed circular form, decorated with embossed flowers and foliate handles and on scrolled feet with shell motifs, by Rawlins and Sumner, London, 1838, 72 oz 600 0
George IV three-piece melon-shaped tea service with scroll handles and shell decorated panel supports, by E. E. J. and W. Barnard, London, 1829, 44 oz 7 dwt 500 0
George III circular three-piece tea service with curved lobes, gadroon rims and leaf decorated handles, on paw supports, the pot with rose finial, by John Angell, 1819, 41 oz 6 dwt 380 0
Victorian three-piece tea service of compressed circular form,
the plain ground richly chased, by I. J. Keith, London, 1840, 48 oz
Vinaigrettes—See Small Decorative Antiques Waiters
Pair of George III plain oval waiters each on four shell and beaded bracket feet, beaded rims, by John Scofield, London, 1777, 27 oz
George II plain shaped square waiter on four hoof feet, moulded border, by Thomas Farren, London, 1734, 6 oz 17 dwt
Early George II square waiter with raised border incurved at the angles, 1727, 3 oz 18 dwt
SHEFFIELD PLATE Candelabra and Candlesticks
Pair of candelabra, each for three lights, with reeded scrolling arms, gadroon bordered knops, detachable nozzles and circular bases, 17i in high to centres
Pair of three-light candelabra, the tapering vase stems, circular bases and campana-shaped sconces decorated with chased borders, each fitted with two detachable scrolling branches, one converting to form a

five-light and bearing flame finial, 20 in high
Pair of table candlesticks with V-shaped stems, gadroon shoulders, circular bases and detachable nozzles, llj in high
Pair of table candlesticks with circular bases, vase-shaped stems and gadroon borders, detachable nozzles, 11 in high
Coffee Pots
Vase-shaped coffee pot on pedestal foot with reeded borders, ball finial and wood handle, 13 in high
An oval coffee pot on pedestal base, with reeded shoulder, gadroon borders and angular wood handle, 9] in high
Urn-shaped coffee pot, body semi-lobed between ribbed panels, on pedestal base, ball finial and wood handle, 27 in high
Coasters—Wine
Four circular wine coasters with lobed sides below gadroon lips, the wood bases centred by crested bosses, 5J in diameter
Pair of circular coasters with beaded and ovolo rims, wood bases, 6 in diameter
Caddies—Tea
Two caddies of bombd form embossed with shell motifs Serpentined caddy with hinged lid and beaded borders
Dishes
Set of four entree dishes and covers on heater bases, oblong with scrolling foliate borders, 14 in wide over handles
Pair of entree dishes and covers with gadroon borders and
detachable foliate handles, 11 in wide 22 0
A rectangular entree dish and cover complete with liner, gadroon and leaf borders, wood end handles, on four supports, 141 in wide 20 0
Teapots
An oblong teapot, body semi-Iobed between gadrooned borders, short spout, ivory finial and angular wooden handles, 5J in high 25 0
A compressed circular teapot engraved with swirling leafage,
fruit finial and scroll handle, 5J in high 18 0
Tea and Coffee Services
Oval three-piece coffee service with vase-shaped pot, oval jug and basin decorated with bands of sprays and foliage, 10 in high the pot 160 0
Three-piece tea set with compressed circular bodies, fluted,
foliate collars, scroll handles and foliate panel supports 38 0
Tea Trays
Oblong two-handled tray, engraved with armorials within a chased surround of scrolls and floral sprays, gadroon border, 30 in wide 220 0
An oblong tray, gadroon bordered and reeded end handles
springing from chased foliage, 28 in wide 95 0
Tea Urns
An inverted compressed pear-shaped urn, the body engraved
with a crest, foliate handles and flower finial, 16 in high 75 0
An oviform urn with an applied plain shield, the cover with vase finial, reeded loop handles, on square base with ball feet, 221 in high 45 0
Tureens
Large shaped oval sauce tureen on four feet below heavily
chased floral motifs, detachable liner, 16J in wide 230 0
Pair of oval sauce tureens and domed covers with gadrooned rims, decorated with acorns and oak leaves at the handles, 8Ј in wide (end handles missing from one tureen) 120 0
Wine Coolers
Set of four coolers, the campana-shaped bodies engraved with contemporary armorials above lobing reeded handles and gadroon borders, on pedestal bases, 9i in high 520 0
Pair of coolers with campana-shaped bodies, reeded handles and
on pedestal bases, 9J in high 200 0
NON-PRECIOUS METALS
Brass
Pair of eighteenth-century andirons, with spherical finials, and
masks, 29 in high 100 0
SOME AUCTION ROOM PRICES ! 1968-69
A club fender
A Corinthian column floor standard
An embossed fire kerb
A two-handled log tub on paw feet
An alms dish with lobed centre and inscription border, the rim
with punched rosettes, 15} in diameter Pair of spirally-turned candlesticks on domed feet, 20J in high A hanging oil lamp Pair of chambersticks, with snuffers A heavy log tub with lion mask handles on paw feet Brass

and steel semi-circular fender
An oval fire insurance plate with a crest of a stag, dated 1774 Pair of carriage lamps A helmet coal-scuttle
A warming-pan with turned wood handle Pair of baluster candlesticks, 9 in high
Bronze
Figure of a racehorse and jockey after Isadore Bonhcur, I0j in
high
The Capture of Alexander by G. Halse. Two warriors hold a
struggling youth. Signed and dated 1860, 24 in high Eighteenth-century Italian figure The Dying Gladiator signed
Canova
Figure of a dancing fawn, holding up a bunch of grapes and
balanced on his left foot, 14 in high Figure of an infant satyr playing a set of pipes, 9j in high Pair of busts of Henry IV and Sully, three-quarter length, both
wearing ruffs and decorations, on rouge marble socles, 20} in
high
Pair of Art Nouveau winged figures stamped A. Moreau, 9J in
high
Pair of five-light candelabra on bulbous stems Italian figure of Venus, 7 in high
Copper
Early nineteenth-century tea urn on a square base
A street lamp
Three large saucepans (one with lid) Two coal scuttles A large kettle
Coal helmet with swing handle
Large two-handled urn and cover
A copper and brass tea urn with tap
A long turned wooden-handled warming-pan
Iron and Steel
Steel and brass basket grate with pierced frieze and baluster
uprights, 20 in wide Seventeenth-century Sussex wrought-iron fireback, 2 ft 10 in
by 1 ft 8 in and a log fork Wrought-iron shaped fire-back Regency iron and brass stick stand on paw feet
Victorian cast-iron corner stick stand 5 10
Victorian cast-iron oil heater 3 10
Pewter
A charger with secondary touch of Thomas Lanyon, circa 1730,
20 in diameter 36 0
Five quart tankards 35 0
A four-branch candelabrum, 24 in high 22 0
Eighteenth-century circular charger, 20 in diameter 22 0 Pair of altar candlesticks, baluster-shaped stems on triangular
bases, 20 in high 16 0
Pair of baluster and cup candlesticks, 18 in high 15 0
A hot-water meat dish with two handles and a grill, 22 in wide 15 0
A travelling chamber-pot, stamped Jas. Dixon 14 0
Two tankards and a mug 6 0

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.

FASHIONS IN THE ANCIENT WORLD
Right: Part of a wall-painting from Thebes, New Kingdom, circa 14-00 BC, depicting a scene from a banquet. Three Egyptian beauties are wearing the large earrings or earplugs fashionable at the time. Designed as faience or gold discs, they had a groove round the edge which fitted into a hole in the earlobe.
Below from left to right:
A pair of gold, enamel and glass paste earrings designed as a bunch of grapes suspended from a vine leaf, Canosa, late 3rd/early 2nd century BC. The fragments of green enamel on the leaves and the purple-red glass paste beads display naturalistic interest. Although the type is not very common in the Hellenistic world the design is typical of its age.
A gold disc earring with cone pendant, from Tarentum, late 4th/early 3rd century BC. Note the elaborate decoration of the disc surmount rendered with filigree rosettes and acanthus leaves. Disc earrings with inverted pyramid or cone pendant were used in certain areas of the Greek world as early as the 6th century BC, but it was in the 4th century that they reached the peak of their popularity. The type remained in favour throughout the Hellenistic period.
A pair of gold and garnet earrings, from Altamura (Bari), late 2nd century BC. Eros, god of love and death with his double funerary and erotic symbolism, is a popular motif in Hellenistic goldsmithwork. He is represented here standing with a vine garland across his shoulders and with a patera in his hands. The surmount is set with a garnet.
A gold earring from Crispiano (Tarentum), circa 375-350 BC, of disc-and-pendant type. The disc supports three pendants, the central one in the shape of a female head, a motif not as common as inverted pyramids and cones. The head presents an interesting peculiarity: a small hole at the base for the insertion of a piece of sponge soaked in perfumed oils. There are almost invisible traces of polychrome enamels, a technique that was to be much used in the Hellenistic period.
GEMS OF THE BAROQUE
Front and back views of a pair of gold, enamel, emerald, ruby and pearl pendent earrings, first half of the I 7th century. The front is set with faceted gemstones; the
back is painted with red and black enamel depicting three tulips on a light blue ground.
A pair of gold, polychrome enamel, ruby, turquoise and diamond pendent earrings, circa 1640. Each is designed as an openwork garland of floral motifs carrying a fringe of pearls, the centre decorated with a red and white tulip, and suspended on a flowerhead cluster surmount.
What is noticeable in both these examples, besides the intricacy of design, is the interest in floral patterns, especially the tulip, which had become one of the favourite flower motifs of the time following the ‘tulipomania’of the years around 163 4.
THE RETURN OF ELABORATE EARRINGS
Portrait of Anne of Denmark, consort of James I of England, by De Critz (born Antwerp circa 1552-3 — died London 1642). The fashion for open wing-shaped collars and hair swept up on the head prompted the use of long pendent earrings such as those worn by the Queen, each set with a large pear-shaped pearl, connected by a faceted diamond to a red ribbon bow on the surmount. Although long pendent earrings were not worn in Northern Europe until the beginning of the 17th century, in Italy similar earrings, characterized by satin ribbon bows and pearl drops, are already depicted in mid-16th century portraits.
The three designs in pencil, pen and ink, wash body-colour and gold on vellum circa 161o, are by Arnold Lullus, a Netherlands-born jeweller (active circa 1585—circa 1621) greatly favoured by James I of England, the husband of Anne of Denmark. The second consists of a pendent earring designed as a green enamelled snake from which hangs a ruby within a white enamel crescent supporting three green drops. The first is similar, presenting a green enamel snake suspending a single diamond, a crescent in white enamel set with faceted diamonds and a single green drop. The third is set with eleven table-cut diamonds in a polychrome enamel openwork border supporting two pearl drops and a green gemstone. All three are characteristic of the early 17th century for their size, elaboration of design, interest in enamel-work and faceted gemstones, a consequence of the improved gem-cutting techniques of the time.
THE I 7TH CENTURY: EARRINGS REVIVED
Although the Renaissance is a particularly rich century for jewellery, earrings were not worn. Elaborate head ornaments or coiffures concealed the ears, especially in Northern Europe, and the fashion for very high ruff collars prevented the use of long and elaborate pendent earrings. It was only in the 17th century that change in both hair and dress fashions determined the
reintroduction of large pendent earrings. This is exemplified by the portraits illustrated here.
From left to right
Battista Sforza, Duchess of Urbino, circa 1465, by Piero della Francesca. The Duchess is wearing typically elaborate Italian Renaissance head ornaments: a jewel on the crown of the head and three gem-set brooches fastened to the hair coiled over the ear. (Uffizi, Florence)
Elisabeth Stafford, Lady Drury, English, late 16th century, by Sir William Segar. She is wearing the fashionable high lace ruff collar and hair dressed over paddings to form two puffs concealing the ears.
Barbara Kilingerin, German, 1530, by Hans Maler zu Schwaz. She has her long braids coiled over her ears: a fashionable hairstyle since the late 14th century.
Portrait of a Lady, circa 1660, attributed to the Scottish artist David Scougall. The sitter is shown wearing large and important pendent earrings, each set with a pear-shaped drop on an elaborate diamond and gem-set surmount.
Ann Carr, Countess of Bedford, English, circa 163o, by Sir Anthony van Dyck. The countess wears long earrings, each set with two pear-shaped pearls. This fashionable type of earring was known as the union d’excellence and is always characterized by exceptional size and match of the pearls.
Above: A gold earring of boat-shaped design, from Tarentum, second half of the 4th century BC. The boat motif is enriched with rosettes, nikai and palmette surmounts and is suspended with an elaborate arrangement of chain and pendants. A dramatic chiaroscuro effect is obtained here by the exploitation of gold leaf applications, corded wire, chain and beaded work, replaced in later examples by the use of polychrome enamels.
GREEKS AND ETRUSCANS
Heads on Greek and Roman coins bear witness to the popularity of certain types of earrings, for instance those with vase-shaped pendants. Such earrings appear on Greek vase paintings as early as the 6th century BC.
Above right: A silver dekadrachm of Syracuse by Euainetos, circa 400 BC, depicting the head of the water nymph Arethusa surrounded by four dolphins. She wears an earring with vase pendant. And an electrum tridrachm of Carthage, 3rd century BC, depicting the head of Tanit wearing an earring with vase pendant, copied from the Euainetos prototype.
Right: Front and side views of an Etruscan gold earring of a baule type from Cerveteri, second half of the 6th century BC. The a baule type, so called because of its similarity to a travelling case, is typical of Etruria. It consists of a strip of gold leaf bent round to form a cylinder and is often decorated with very fine corded wire and granulation forming geometrical or stylized floral motifs. In this case the decoration is repeated on the side plaque and the elegant palmette surmount. The type was popular throughout Etruria from about 550 BC to about 470 Bc and was revived in the i 9th century.
Far right: A gold earring, from Volterra, circa 330 BC. Another typically Etruscan form of earring consisting of a horseshoe-shaped surmount supporting a cluster of beads, decorated with corded wire and minute beaded work.
THE RANGE OF ETRUSCAN JEWELLERY
Right: A terracotta statue from Lavinium, first half of the 4th century BC, testifies to the popularity of the Etruscan earring in the form of a horseshoe plaque supporting a cluster of beads, like that shown below centre.
Far right: A gold earring, of uncertain provenance, late 6th century BC, designed as a disc decorated with concentric bands of corded wire and granulation and with rosette motifs at the centre. The origin of this type of earring, or better earstud, is probably to be found in Lydia, from where it spread to Greece proper and Etruria. In Etruria it was particularly fashionable in the second half of the 6th century Be as is confirmed by many tomb paintings at Tarquinia where dancers and ladies banqueting are depicted with disc ear ornaments.
Below: A pair of gold earrings from Spina decorated with heads of the river god Achelous, end of the 5th century sc. Tubular earrings terminating with the heads of men, animals or gods were the most popular form of jewellery in Etruria at the end of the 5th
century BC, and were exported to the Adriatic area and to central Europe. With slight variations the type remained popular throughout the 4th and 3rd centuries BC.
Below centre: A gold earring designed as a cluster of beads on a horseshoe surmount, from Vulci, circa 3 50 BC, stamped out from a single sheet of gold. This is an entirely Etruscan creation popular throughout the region during the 4th and 3rd centuries BC. The globules are hollow inside and act as perfumed oil containers.
Below right: Gold and glass paste earrings from Tarentum, second half of the 2nd century BC. Earrings with a pendant in the shape of a glass paste or enamel bird were particularly popular in Southern Russia and in Italy in the 2nd and i st centuries BC. Etruscan examples very close to this, dating from 3rd century BC, have been found in Vulci and Chiusi.
A THOUSAND YEARS OF EARRINGS
Top row, left to right:
A pair of gold earrings of hemispherical design. The S-shaped hooks concealed by smaller bosses. Roman, 2nd century AD, from Cyprus.
A pair of gold earrings, each set with an onyx cameo of a Cupid’s head within a reeded gold border. Roman, 2nd century AD. Unknown provenance. The Roman idea of setting
hardstone cameos in simple gold earring mounts became a feature of Neoclassicism.
A pair of gold earrings designed as pear-shaped drops set with an amethyst bead within a border of pearls and beaded wire. Early Byzantine, 6th-7th century AD. From Kyrenia, Cyprus.
A pair of gold earrings, each designed as a plain hoop supporting four chains with pearl drops. Early Byzantine, 6th-7th century AD. From Cyprus.
Centre row, left to right:
A pair of crescent-shaped gold earrings, decorated with scrolls of gold wire. Early Byzantine, 7th century AD, from Polis, Cyprus.
A pair of gold earrings of crescent shape, filled with an openwork design of a vase of flowers between two confronted peacocks. The edges are decorated with gold globules. Early Byzantine, 7th century AD, provenance unknown.
A pair of gold earrings of crescent design, decorated with wire motifs of crosses within medallions and scrolls. Early Byzantine period, 7th century AD, from Polis, Cyprus.
Bottom row:
A pair of gold Greek earrings, 4th century BC, with twisted wire hoops and terminals in the form of Maenads’ heads.
Two Graeco-Roman gold earrings, probably from Egypt, i st century BC/I St century AD, with twisted hoops and terminals in the form of the heads of wild goats, decorated with garnet and green glass beads.
A pair of Roman gold earrings, 1st-2nd century a variation of the popular boss earring, with blue enamel inlays at the centre.
A pair of Roman gold and amethyst earrings, 2nd-3rd century AD, the gold and amethyst circular surmount supporting a gold bead and amethyst drop.
A pair of Merovingian earrings, 6th century AD, designed as a large gold hoop decorated with a polyhedral bead inset with garnets. This type is widely spread through Merovingian, Ostrogothic and Southern Russian areas between the 5th and 9th centuries AD, and seems to be the only original form of earring produced in Europe after the fall of the western Roman empire.
THE GREEK LEGACY TO THE ETRUSCANS
Far left: A pair of gold and amber earrings, from Riparbella, 3rd century BC, designed as negro heads carved in amber, the helmet or headgear decorated with granulation. Hoop earrings decorated at the front with negro heads were very popular in Greek and Etruscan areas in the 3rd century BC. The hook fitting of this Etruscan example is rather uncommon for the type.
Left: A gold earring from Todi, last quarter of the 4th century BC. Designed as an oval boss decorated with filigree and beaded work supporting a female head pendant between chains ending in spindle-shaped drops. An interesting detail is that the female head itself is provided with earrings. The type as a whole derives from Greek prototypes, and shows clear similarities with examples from Tarentum. But this is more than a copy; it is a provincial and overdecorated interpretation, probably created in central Etruria, of more sober and refined Greek or South Italian prototypes. It is very long — over
10 - 5 cms — but such lengths were not uncommon. Such earrings are made out of thin gold leaf and therefore, although large, are light and reasonably comfortable to wear.
Right above: A pair of gold earrings of disc-and-pendant type from Vulci, 3rd/early 2nd century BC. Disc surmounts decorated with fine granulation support miniature amphorae between pairs of chains terminating with tassels and clusters of beads. Earrings of this type were very fashionable in Etruria at the time and widely diffused throughout the Hellenized world.
Right below: A gold and glass paste earring of disc-and-bird pendant from Tarentum, 2nd century BC. The disc surmount is decorated with white and blue glass paste, the hen pendant rendered in white glass paste. Swans, doves, peacocks and cockerels were favourite shapes for pendent earrings throughout the Hellenistic world, from Southern Russia to Greece, from Etruria to Tarentum.

MODERNISM TABLES
AS WITH MOST FORMS of furniture
during the interwar period, tables were subjected to a radical process of reduction. All details deemed superfluous were stripped away to leave what designers considered to be a pure, practical form.
Marcel Breuer, the Hungarian-born student-turned-teacher at the Bauhaus, was the designer who most successfully achieved the desired, pared-down look. Utilizing tubular steel, a material that he is said to have borrowed from the bicycle-making industry, he produced tables that expressed little beyond their own function.
Eileen Gray’s tubular-steel and glass side tables, now known as the E1027 tables in reference to the house for which she designed them, may not be as rudimentary as Breuer’s tables, but they display more invention. The tops of the tables can be adjusted to sit at differing heights, and the table’s stem
is placed at the side to allow the table top to come over air item of furniture (which, in Gray’s case, was her own bed). Such versatility was to become a key feature in table design of the Modern era.
Since many designers in the interwar years were reacting to the excesses of the Art Nouveau style, most table tops were either a simple, unadorned circle or square. It wasn’t until after World War 11, with the advent of a more organic style, that this strict design principle was relaxed and irregular shapes came into use.
Glass, plywood, and tubular steel were always considered the most cutting-edge materials from which to make tables (due to their close association with industry), although some designers did use solid wood. If this was used it was considered important to avoid all efforts to carve or decorate it, thereby keeping its surface as clean to the eye as possible.
The tables “nest” so as to save space in small apartments.
The black-painted tops hide the wood grain and give the tables
an industrial look.
Chrome plating g) ves the tubular steel an alluring gleam.
NESTING TABLES
This series of four nesting tables fits neatly, one above the next, in a stack. They all have the same depth, but increase in width and height as they grow in size. Each table has a simple, rectilinear, chrome-plated tubular-steel
frame and a black-painted wooden top. The top sits flush with the table frame. Designed by Marcel Breuer at Bauhaus Dessau in 1925-26, it is thought that they were initially designed as stools. This example was re-issued by Toots in 2004. Largest table: H:60cm (231-,in);
W.66cin (26in); 0:38cm (151n). TEC 2

GLASS DINING TABLE
Made of tubular steel, the frame of this table consists of a rectilinear base. At the top, at each end of the table, is a semi-circular support for the glass table top that interlocks the base. There are rubber pads on the
supports, where they come into contact with the table top, to cushion the glass and prevent slippage. The glass top has been ground at the corners to produce smooth curves. Attributed to Emile Guillot and produced by Thonet, Paris. 1930. H:79cm (311m): W:120.5cm (471in); D:725cm (281in). WKA 4
BLACK-ENAMELLED TABLE
The chrome-plated tubular-steel frame of this dining table offers a support for the black-enamelled rectangular table top, before dropping to the floor in each corner to form the legs. Each leg is made from two parallel
lengths of steel. As the legs reach the floor, they join in the centre to form one single length of tubular steel below the table top. Designed by Wolfgang Hoffmann for Howell. W.147.5cm (581n). SDR 1
EXTENSION DINING TABLE
This extension dining table was made in America. The simple, straightforward design consists of a plain, rectangular wooden top with two pullout leaves. The leaves, which are concealed
underneath the table top, increase the table’s
width by 45cm (18m) on each side when extended. The top rests on a trestle base that ends in tubular-steel stretchers and bracket feet. Designed by Gilbert Rohde. Closed: W.152.5cm (60n7). SDR 2
SUNSHADE TABLE
This two-tiered end table is one of a pair. Each black laminate table top has a chrome trim. The smaller, top table sits flush with the tubular-steel frame, and the larger, bottom table is supported by the table base and legs. Designed by Gilbert Rohde for Troy. W.45.5cm (17Yin). SDR I
PALADAO DINING TABLE
This flip-top, wooden dining table has a simple rectangular top with rounded corners. It has two additional leaves for extending the table size and a fifth leg for extra support. The legs taper sharply as they reach the floor. Designed by Gilbert Rohde for Herman Miller. H:91.5cm (3617). SDR 1
TABLES 447
MODEL 91 TABLE
The rectangular top of this table is made from unlimed oak and has a black-linoleum surface. The corners have been slightly rounded. The table top rests on four rigid, chrome-plated tubular-steel legs. Designed by Marcel Breuer for Embru. c.1933. W.120cln (48io). DOR 4
SIDE TABLES
These side tables are made from chrome-plated tubular steel, where the table’s stand is placed to one side can be adjusted to raise or lower the height of the circular glass table lop to still a range of purposes. Designed by Eileen Gray. c. /9`/. 1) !z/( m (20in). DOR I
CAFE TABLE
The square top of this table has a black-linoleum surface with a riveted, plate-steel surround. It rests on four chrome-plated tubular-steel legs, which bend to meet each other in the centre above an X-shaped, tubular-steel base. The linoleum top is new. Produced by Thonet Mundus. (-.1930. H:75cm (291m). DOR 3
GAMES TABLE
The square, orange-laminate table top rests on a chrome-plated brass base. The base hinges in the centre, making the table collapsible. At each corner is a swivel plate for holding a glass. Designed by Boris Lacroix. c.1930. H:70cm (271in). DOR 3
BEECH SIDE TABLE
Designed and manufactured in Sweden, this small side, or occasional table has a circular, white laminate top above three bent-beech legs. The legs taper slightly as they reach the floor. Designed by Bruno Mathsson. 1936. D:44.5cm (17Yin). SDR 3
ROSEWOOD TROLLEY
The circular, rosewood top of this trolley table has hinged sides and rests on a chromium tripod base. The front wheels are also made from rosewood. The caster at the rear of the table is used to stabilize the trolley. H:56.5cm (221in); D:80ca) (311in). L&T
BAUHAUS SOFA TABLE
The table’s frame consists of a rectilinear, nickel-plated tubular-steel base, with a rectangle of tubular steel suspended below the circular, plate-glass table top. Designed by Marcel Breuer in 1929 and produced by Thonet. This example is a Tecta re-issue from 2004. H:60cn7 (231,in): D:80cro (311in).

During the last years of the reign of Louis XIV and the first years of the reign of his great-grandson Louis XV, France was governed by a regent, Philip of Orleans. The furniture made in this period (from about 1710 to 1735) was Baroque in character, but somewhat different from Louis XIV furniture; this division of the Baroque is called the Regency style. The principal cabinetmaker of the Regency period was Charles Cressent (1685-1768). In Regency furniture the tendency towards informality was further developed: it was a style of transition between the Louis XIV style and the Louis XV style that was to follow. The slightly curved outlines of the later Louis XIV furniture were replaced by freer, more graceful curves—the S-shaped legs were not so stiffly upright. But the strict symmetry of the Louis XIV style was retained. Martial motifs were no longer used. Sometimes little monkeys were introduced, suggested perhaps by the paintings of Gillot and Watteau. Not only were the outlines more curved, but the surfaces as well became bombe, or slightly bulging. The typical Regency commode has a slightly bulging front.
It was at this time that the cabinet-makers learned the technique of veneering curved surfaces. Mahogany and rosewood drove out ebony, though gilt was kept for the carved furniture. These woods, imported from the tropics, were found excellent for veneering. Much of the carved and gilded furniture was made, as it had been to some extent under Louis XIV, in beech. This is a wood very suitable for such treatment. It is hard and close-grained enough for delicate carving, and tough enough for a strong joint; and since its grain is uninteresting nothing is lost by gilding it. Moreover it is easily obtainable in Europe, and consequently cheap. For the construction of chairs there are few better woods than beech. It is not often used for carving where strength is not required—for picture frames, for example, a softer wood such as lime is used.
The style known as Louis XV was fashionable from about 1735 till 1750. Louis XV went on reigning till 1774, but there was a complete change of style at about 1750. In Louis XV furniture the symmetry characteristic of the Louis XIV style at last disappears. A general balance was kept in the design of carved decorations, but the parts were not strictly symmetrical. The motifs of the carving included shells, garlands of flowers, musical instruments and gay figures from Greek mythology. Furniture was still partly gilded, but white paint was used with gilt for a lighter effect. Ormolu mounts were placed wherever possible: on the ends of table legs as doe’s feet, on the corners of table-tops and round the edges of commodes. In the search for gaiety of style lacquering was adopted; cabinets were lacquered in the Chinese manner, but there was no general `Chinese style’ as there was at about the same time in England.
The furniture of this period shows the unnatural curves into which ingenious cabinet-makers and joiners can shape wood, a fairly straight-grained material. Everything that could be curved was curved—not only the legs of tables and chairs, but drawer-fronts, the sides and fronts of cupboards, the edges of table-tops. The style was nicknamed Rocaille, or Rococo, from a type of fancy pebble-work fashionable in garden decoration at the time. In the end, the curves became so exaggerated that inventiveness could go no further, and designers began to seek for a new style.
The authority for the change of style did not come from the king, who was a person of weak character, but from Mme de Pompadour, who had great influence at the Court. In 1748 the ruins of buried Pompeii were dug up, and in the same year Mme de Pompadour sent a mission to Italy to study ‘the true beauty of ancient art’. The mission consisted of her brother, the Marquis of Marigny, the architect Soufflot and the engraver Cochin; these envoys were expected to find ideas for a new furniture style.
Louis XVI Carved Details
Acanthus leaf (cf. Renaissance) and Louis XIV acanthus leaves)
Rose of laurel leaves
Egg and dart moulding
CLASSICAL REVIVAL (1750-1815)
The new style which resulted from the researches of this mission came later to be known as the style of Louis XVI, although it began some years before his accession. All the Louis XV curves were now abolished, and chair legs and table legs became straight, and were usually turned and fluted. Gilt was used in smaller quantities, and much of the furniture was painted in pale colours. The decorative detail—the profiles of Carved roses
Arm-chair
with
fluted leg
Ribbon decorating a moulding
also used as decoration, for the chief cabinet-maker of the time, Jean Henri Riesener (1734-1806) worked for Marie Antoinette, and she was very fond of roses. The early Louis XVI furniture, as compared with the grossly elaborate furniture of the end of the Louis XV period, was graceful and light in appearance; yet it was soberly made and gave an effect of dignity and strength.
In the time of Louis XIV the people of the Court had thought of themselves as conquering heroes; and in the time of Louis XV as dallying nymphs and shepherds. They now played the parts of Greek gods, and looked down upon ordinary human affairs with haughty indifference. They indulged themselves in simple tastes and manners, and pretended to be preoccupied with virtue. Superficially they had purer customs than their predecessors; and their furniture was superficially simple. In spite of their affectations, they made their rooms very comfortable indeed. The furniture, smaller than that of any preceding style, was more home-like and gentle.
Towards the end of the reign of Louis XVI more Greco-Roman remains were dug up. Classicism now dominated furniture-making to such an extent that all the natural French graces were suppressed. Ancient designs were exactly copied rather than used as ideas on which to base a native style.
Although the French Revolution was accompanied by many social changes in French life, it had little effect on furniture style: furniture continued to be made in the unnatural late Louis XVI style, except that for a short time revolutionary emblems (clasped hands, workmen’s tools) were used in the decoration. The new rulers, who called themselves friends of `the people’, were as arrogant in their airs as the Court had been, and took over all the trappings of monarchical pomp. There were a few affectations of lower-class simplicity, but there was not sufficient interest in general welfare for the daily habits of life to be much affected. There was no modernization of furniture: it remained ‘antique’. The furniture style of the last years of the reign of Louis XVI and of the First Republic is called Directoire—after the Directorate by which France was governed for the four years preceding the Napoleonic period. Directoire style can be regarded as a version of Louis XVI style.
Napoleon’s Egyptian campaign produced a new kind of antiquity to imitate. The expedition was accompanied by archaeologists, who made drawings of everything they could find. There was immediately an Egyptian fashion in furniture. The Empire style, which lasted from about 1800 till 1820, was perhaps even more pompous than the Louis XIV style. Most of the furniture was of dark red mahogany, decorated with ormolu mounts. Designers sought an Egyptian effect in everything—stern and impressive simplicity. Gilded sphinxes held up the arms of chairs : Egyptian motifs were symbols of Empire. With the imperial manner went the martial manner. France was an armed camp, and the Parisians played at being world conquerors. Stools were made in the form of drums, beds in the form of tents, and ormolu spearheads were stuck on to mahogany panels. So much energy was spent in making furniture express national glories that comfort was neglected. Empire furniture was more uncomfortable to use than any furniture made since the Renaissance, when comfort began to be an important consideration.
NINETEENTH CENTURY
With the fall of Napoleon and the end of the Empire, France relaxed from the efforts and responsibilities of greatness. There was a strong back-to-the-good-old-times movement, but some difficulty in deciding which good old times were best. In the eighty years from 1820 till 1900, France revived all her old styles one by one. There was a Gothic revival, a Renaissance revival, a Louis XV revival, a Louis XVI revival, and then an Empire revival—all in quick succession. Towards the end of the century nearly all French houses contained pieces of imitation period furniture from all the periods. Most of the imitations were rather bad copies of old pieces; many of them were machine-made, and delicacy of detail was therefore lost. Much of the furniture was not even copied from models, but designed ‘in the spirit of the style’ by designers who were too busy to have a very accurate knowledge of any one style. There was no uniformity of fashion; a designer might be working on Renaissance one day and Louis XVI the next.
At this time the production of fake antiques was a flourishing business. The fakes were very well made, often exactly copied from museum pieces—experts are sometimes deceived by nine-Empire Carved Details
Rose from the cradle of the
King of Rome
Arm-chair
Arm-chair
Bed
teenth-century fakes. One enterprising manufacturer pretended
to have discovered a hitherto unknown Louis XV cabinet-maker
and supported the story with faked documents giving the details
of his life. When people became interested in the discovery, the
manufacturer had pieces of Louis XV furniture made in his workshops and offered them for sale one by one as genuine examples of the work of this imaginary cabinet-maker.
Towards the end of the century, French pride reasserted itself. Designers at last grew disgusted with copying and decided to create a new style, one that would take nothing from the past. Nature was to provide the inspiration. The teachings of William Morris were partly responsible for this break with tradition: he attacked the bad taste of machine-production and made designs, for furniture and house furnishings, suitable to hand-production. The French designers, however, were more eccentric than Morris and his English followers, but equally sincere in their resolution to develop a natural beauty of design. They studied the forms and pattern of nature, making careful drawings of roots and twigs to guide them in their work. The furniture they designed is known as Art Nouveau, or ‘Style 1900′. In the furniture made from their designs natural wood was used, without paint or gilt, and it was all hand-made. Forms undreamed of even in the period of Louis XV were imposed on wood; not being furniture-makers themselves, the designers took little thought for the appropriateness of their designs to construction in wood. The style flourished from 1900 to 1905, and then went completely out of fashion. Although this furniture was too eccentric looking for domestic use, it represents the first attempt to abolish the nineteenth-century custom of copying, and, more important, the first realization in France of the bad effects of machine production on style. The Art Nouveau designers tried to solve the machine problem by ignoring machines and designing furniture that could only be made by hand. A better solution still remains to be found.
We have followed, briefly, the history of French furniture styles from the twelfth to the twentieth century. We have studied the way in which the various styles have developed one from another, and we have seen how the impact of new materials and technical advances has influenced furniture-makers in their creation of new styles. But such influences are common to furniture-makers in all countries—they do not explain why particular styles have been evolved in France different from the styles of other countries. The French quality of the styles is due, not to the furniture-makers, but to the people for whom the furniture was made. To complete our picture of the succession of French styles, it is necessary to show why each style in turn became inadequate from the point of view of the users of furniture, and what each new style offered them to satisfy their changing needs.
The first furniture was made in the Romanesque style, which was derived from the remnants of Roman architecture. It was the only possible style at the beginning; in seeking a respectable appearance for their furniture, the first carpenters naturally chose the conventional forms popular at the time.
This style could not long satisfy a people that was gradually coming to be conscious of itself as a distinct nation. A style based on what was to them a dead past, a past during which their country was occupied by foreign conquerors, was not one in which they could take pride. They therefore found a new, French, style : the Gothic style. The principles of Gothic architecture were first worked out in France; the Gothic style is truly French.
The Gothic style became identified with the Church. The desire for freedom from Church authority expressed itself in the Renaissance. Renaissance furniture, in superseding the Gothic, corresponded with a change in domestic life to freer, livelier habits.
Renaissance furniture, though much more elaborate than Gothic furniture, was not gorgeous enough for the Court of Louis XIV. In his attempts to make France the centre of the world, and himself the most conspicuous world figure, he insisted that everything around him should be dazzlingly magnificent. Baroque furniture was designed to flatter the vanity of Louis and his Court.
But the enthusiasm for Baroque furniture declined when people grew weary of the strain of keeping up a constant show of grandeur. In the two later Baroque periods, Regency and Rococo, there was a general relaxation from grandeur. Rococo was not merely informal, but vulgar; there was no discipline of design—the decorations were piled on in a deliberately untidy way.
Rococo became so chaotic in design that it had to be abandoned. The French are fundamentally a very sane people; and in the styles of the Classical Revival they reaffirmed their sanity. Louis XVI and Directoire furniture expressed restraint and self-possession. It avoided the ridiculous errors of taste of Rococo furniture, and had a delicacy that was altogether lacking in the furniture of those periods in which France was striving for national glory.
But Classical Revival was greatly modified during the Empire; all its gentleness was suppressed. Empire furniture was pompous, like Baroque furniture, and designed to dramatize impressive public and martial achievements. There was a new sternness—the pride of a nation of campaigners could not be expressed in Baroque magnificence.
The strong public emphasis of Empire furniture made it impossible for ordinary private use. A domestic version of the Empire style followed. Furniture became heavier, its lines rounder. The period of public glories was over and people turned to domestic pleasures. But private happiness throughout the whole nineteenth century meant chiefly physical comfort, and the furniture showed it. The public dignity characteristic of the Empire style was lost; and the mixed styles that succeeded it did not have private dignity, only a look of prosperity.
Art Nouveau furniture was an attempt to escape from the deadening hold of the traditional styles. People were feeling that in the new century all the stale customs of the past must at last be got rid of, and completely new ways found of doing things—ways so right that they would never need to be changed. The Art Nouveau designers hoped to create an original and perfect style, safe from corruption by outside influences. The style was supposed to be so natural that, like nature itself, it would not degenerate, no matter what changes took place in life. But these designers only succeeded in isolating furniture from the normal activities of life. The style was a failure—because any solution of furniture problems must relate furniture to the world in which it is being used.
Traditional French furniture was closely related to Court life, which was, however, itself isolated from the daily affairs of the world. Much French furniture is beautiful, and the standard of craftsmanship has always been high, but it is like stage furniture. Its chief purpose was to provide a dramatic setting for the Court. French Provincial furniture, although much better than the Court furniture, was too homely in character to be accepted by the French as a standard of good style.

FRENCH FURNITURE
Louis XIV, 1643-1715
T is desirable for the man interested in English furniture
to have at least a working knowledge of the French styles,
if for no other reason than that of appreciating their influence on English work seventeenth century english stoneware . To understand them thoroughly is a study equally as wide and intricate as that of English furniture (if not more so) and to do justice to the subject would call for a separate volume as large as the present one antique porcelain tea pot made in france . In these few pages one can hope to do little more than point out the salient features 19th century floral paintings .
Historically speaking the subject goes back farther than our own, for the continental craftsmen were far more advanced than the English, and have left more and better examples of their work to posterity antique table 8 legs with brass feet . For the present purpose, however, the reigns of the three Louis, XIV, XV, and XVI are all that we are concerned with, for when speaking of French furniture it is the work produced during the period of these monarchs that one invariably calls to mind antique blue and white earthenware jug with zigzag pattern .
Louis XIV came to the throne in 1643, a time when the French Renaissance had lost much of its Italian origin and had developed a strong individual character lenci wall masks . Whatever his merits or demerits as a king may have been, the world of art certainly owes much to him for the encouragement he gave to all arts and crafts antique french tier table . He was a man of most extravagant tastes, and, living in a time when France was one of the strongest and wealthiest of European Powers, he was able to give full play to his fancies antique drop-leaf end tables . His court was probably the most magnificent that Europe has ever known, and the daily extravagant ceremonial called for a setting for which nothing but the costliest and richest would do napoleonic campaign chairs . Fortunately, this great impetus to fine work came at a time when men of considerable talent were seeking expression, and it required only this talent on the one hand and the wealth and encouragement on the other to produce a style which (in its own particular way) has never been excelled theodore haviland 1958 pattern .
Period of Louis XIV
Of the capable craftsmen whose names are outstanding probably the greatest was Andr6 Charles Boulle who was born in 1642 and died in 1732 dresser accessories . He had experimented with a form of marquetry which had originated in Italy, and when the great tide of building and furnishing came he took it at its flood, and developed this marquetry into a distinctive kind which for sheer exquisite workmanship, coupled with fine design, stands unique antique card table with one flap . It is often termed ” Buhl,” and was carried out in brass or copper, and tortoiseshell, ebony, and horn drop leaf table wall semi circle .
A brief explanation of how marquetry was produced was given in Chapter V chamber pot in cabinet . Two sheets of dissimilar materials were fixed together temporarily and the design cut through both with a fine saw gillows three hinge . The two sheets were then separated and the parts interchanged so that in the one there would be a design of, say, brass on a background of tortoiseshell, and in the other the exact reverse antique “la granja” glass . Thus it was possible to produce two cabinets of precisely the same outline and design, but the one the reverse of the other in the material of the design and background designer extending round dining tables in kent . The one was the (4 counter ” of the other, hence the terms ” Buhl ” and if counter black lacquer dining chairs .”
A typical Boulle cabinet is shown in Fig silver fish slice . 165, in which this rich marquetry work is an outstanding feature figural silver antique candlesticks . In addition to the scrolling design of the inlay itself the whole of the brasswork is richly engraved, producing an effect which almost approaches the work of the jeweller rather than that of the cabinet maker antique english dressing table . A point to note is that wood carving is almost entirely absent, the decorative effect, apart from the marquetry, being obtained entirely with rich brass mounts antique mirror back sideboard 1920’s . Some of the leading artist-craftsmen of the time were engaged in the production of these mounts wooden arm chair pedestal castor antique oak .
It was for the decoration and furnishing of the Palace of Versailles that the finest and richest work was produced, and the Palace, even as it stands to-day after the ravages of the Revolution, leaves one gasping at its sheer extravagant splendour origins and development of arts . One has to remember that the furniture maker then was regarded as an artist, and certainly the results seem to justify such a status edgard brandt . It is with something like a shock that one realises that the cabinet in Fig antique table round drop leaf claw foot . 165 was produced at the same time as the simple early walnut furniture in England art nouveau . It is true that a colossal amount of money was spent on the production of such pieces, but it has to be admitted that the French cabinet makers were far in advance of our own staffordshire figures of royalty . It is points like this that help one to realise why it was that a revolution of ideas took place when Charles II came to reign in England after years of exile spent in France georgian telescopic silver candlestick .
The famous Gobelins factory for the production of tapestry was purchased by Louis XIV, and cabinet-making workshops were established in it art deco upholstery . Charles Le Brun became the director, and the world of art owes a great deal to his energetic leadership perpetual calendar 18th century . :Much of the finest work at Versailles was produced at the factory carlo bugatti furniture antiques .
In general form the surfaces of cabinets were flat—at any rate early in the period west indies antique paintings . This is mentioned in particular because we shall see that in the next phase curved surfaces were introduced everywhere art nouveau origins . The general decoration took the form of Boulle marquetry of brass or copper on a background of ebony or tortoiseshell, the design consisting of elaborate scroll work richly chased, allegorical figures, fruit and floral motifs, swags of husks, and acanthus leafage, the whole in a somewhat free interpretation of the Renaissance daniel quare 1674 tortoiseshell case pocket watches . Bold ormolu mounts heavily gilded were fitted, these taking the form of lion masks, scrolled consoles, acanthus scrolls, human masks, and deep nullings royal sheffield silver . Both straight and curved legs were used, the last named becoming more popular towards the end of the period in harmony with the tendency towards shaped work generally william kent console table .
COMMODE IN KINGWOOD WITH INLAYS queen ann gate leg table .
Laois XV antique prohibition table example .
This cabinet, made for the King’s chamber at Versailles, is a design of SIodtz and was made by Antoine Robert
Gaudreau In 1738 antique fluted gateleg table legs . The gilt bronze mounts were by Jacques Caffiere booths pearlware marks .
FRENCH FURNITURE
Louis XV, 1715-1774
T0 appreciate the underlying causes of the changes in the type of furniture produced in Louis XV’s reign
it is necessary to know something of the historical events of the period 18th century forks . Louis XIV had died in 1715 when his heir «as but five years old, and it became necessary to appoint a regent antique decorative motif . The Duke of Orleans took the office, and he was virtually monarch until his death in 1723 directoire consulat empire . There was thus a break in the extravagant court grandeur which was so essentially a feature of the reign of the late king art deco antique furniture makers . The wild expenditure of the seventy odd years of le Grand i1lonarque, too, had left its mark on the finances of the court and aristocracy antique pouch table . No country, no matter how powerful and prosperous, could continue for an unlimited time to spend money on pure aggrandisement to such an extent, and as a result there were but two alternatives : to live in a quieter way, or to find fresh sources of income mid 17th century foods france . In the event a sort of compromise was effected 17th century french fashion . The aristocracy began to contract marriages with humbler but wealthy classes, bankers, merchants, and so on ; and in place of the grandeur of the great salon so beloved by Louis XIV came the rise of the smaller boudoir photos of antique chambersticks . In fact the two periods are often referred to respectively as the periods of the salon and the boudoir jupe table mechanism .
Its effect on the furniture was that it was in its way equally rich, but was on a smaller scale how much is a claw foot table worth . Then, too, the masculine grandeur gave way to an effeminate prettiness, a change quite in keeping with the general conduct of life emile galle furniture . People began to look for elegance rather than grandeur, and to use ornament purely for its own sake boulle console table with marble tops with elaborate friezes .
We have had occasion to note in earlier chapters in this book that an idea, once it takes root, frequently is carried to extremes, and it thus happened that the tendency to introduce shaped work towards the end of Louis XIV’s reign reached such a height in the succeeding reign that many cabinets were made with scarcely a straight line or a flat surface in them regency antique mahogany dining table styles . This extraordinary use of curves is the keynote of Louis XV furniture when was art deco furniture stated in france . The skill shown in overcoming the difficulties that such work presented is amazing octagonal brass & silver table . One may’ or may not admire this flamboyant phase of French furniture, but no one can but admire the excellence of the workmanship augsburg marquetry table cabinet . The fronts and sides of cabinets, bureaux, and so on were curved in both plan and elevation, and some idea of the difficulty of veneering over such a surface can be obtained by trying to lay a flat sheet of paper around a ball barrel leg oak dining table . Added to this was the fact that the whole was usually elaborately inlaid or given a decorative effect by the use of designs in which the varying, direction of the grain of the wood was made to play a part round rosewood breakfast table .
So far as furniture was concerned the preference for gilded mounts in place of wood carving continued, and the workmanship of these was of an extremely high order table octagon marquetry drawer . One may not care for the effect as a whole—it frequently appears restless and overdone, but regarded individually the work was extremely fine i.i.e. exclusive capodimonte . The love of curves developed to an extraordinary extent, resulting in its fulness in what is known as the Rococo decoration thonet rocking chair . The term comes from two French words meaning rocks and shells, to which the ornament bears a certain resemblance antique porcelain czechoslovakia wall face . It is exemplified in Fig austrian mirrored tables . 166—in which the elaborate scrolls and acanthus leafage can be seen antique collector’s cabinet . The chief exponents of the rococo were Meissonier and Slodtz palissy patterns .
The French version of the cabriole leg reached its zenith during this period side table black hand painted birds and flowers made in italy . It was essentially suited to the general and wide use of shapes antique metal tables with drop leaves . In a limited sense it bore a resemblance to the English version, but it had an entirely different spirit telescopic glass tables . The English leg at its best had a high, well-pronounced knee running abruptly into a square at the top, and terminating at the bottom with one or other varieties of the club or claw and ball foot can antique dressers pair with modern furniture . An example was given in Fig flemish refectory table . 116 at E meissen figures . The French variety was of a more flowing shape steuben stemware deco . There was no square at the top, the shape either flowing naturally into shaped rails at the sides, or continuing with a concave curve upwards antique english dressing table . At the bottom the foot was usually scrolled italian buffet decorations . The cabinet in Fig antique english rhenish ware . 166 shows the typical French shape black lacquer china cabinet .
A great many varieties of woods were used ; mahogany,amboyna, tulipwood, boxwood, rosewood, sycamore, ebony, and amaranth are amongst the commonest antique cabinets coat of arms . Satinwood too was used towards the end of the reign, though this is more usually associated with the following reign of Louis XVI antique console table carved wood . Gilding and lacquering were popular meisen hand painted plates 1920 allegorical . At first the lacquer work was imported from the East, or panels were prepared and sent to China to be lacquered, but later it was imitated in the French factories, though the detail in it was often faulty, western motifs being introduced in a somewhat incongruous manner brislington delftware . A firm of the name of Martin paid special attention to this lacquer work and produced a preparation known as Vernis-Martin towards the middle of the century 1945 mahogany desk . In its final stage this originally Oriental decoration became almost wholly westernised, the decorative artists painting allegorical subjects in natural settings on a lacquered background patent imperial dining table gillows .
Towards the end of the reign a reaction against the elaborate Rococo work set in, and there came a revival of the classical spirit which was the keynote of the work in the Following reign canterbury music stand .
FRENCH FURNITURE
Louts XVI, 1774–1793
THE financial difficulties of the reign of Louis XV have already been noted reproduction 18th century tea bowl . They still existed, in fact
were increased, when the ill-starred Louis XVI came to the throne in 1774 hand blown romer glass . The clouds were already gathering for the storm which was to break close on twenty years later antique empire and biedermeier periods 1800 to 1848 . This, combined with the reaction against the Rococo work of the middle of the 18th century, produced a type of furniture in which the shaped work was largely, if not wholly, eliminated daniel quare 1674 tortoiseshell case pocket watches . Design became altogether more refined and returned again to the classical spirit, prompted largely by the excavations of Herculaneum which had been begun seriously in the middle of the century table paw feet antique .
Then again the Queen of Louis XVI, Marie Antoinette, favoured simple country life ; the elaboration of the preceding reign made no appeal to her, and although the movement towards simpler lines began before she was Queen, her influence undoubtedly encouraged the new feeling mirrors antique british chevron . It should be realised, however, that the term ” simple ” is used relatively antique neoclassical . Compared with the English, French cabinet work of Louis XVI was vastly more ornate hunt roskell silver auction . French furniture always was, It was just the natural national expression, but when it is compared with the full shaped work of the preceding reign the simpler and more refined feeling is apparent small dressing table cupboard .
The chief characteristics of Louis XVI are the use of straight lines and flat surfaces with a delicate and refined treatment of the detail floral ornaments art nouveau . Mouldings are small and the carving light and delicate old cantagalli pottery . Gilded mounts are widely used (they were still largely preferred to wood carving) and the quality is of a very high order reverse serpentine sideboard . The subjects take the form of rural, natural, and conventional objects ; scythes, spades, lutes, pipes, birds, cupids, torches, ribbons, swags of husks, flowers, medallions, and acanthus scrolls ormolou decoration . The last named are altogether less flamboyant than the ornament of Louis XV
time antique card table flaps . The woods used were the same as those of the previous reign with an increasing popularity for satinwood 18th century wine cooler brass feet . Lacquer work was also still widely used, and was often bounded by gilded mouldings antique mahogany drop leaf work table .
With the disappearance of the shaped work the cabriole leg lost much of its popularity, especially for cabinets and commodes, though it still was used for small bureaux and console tables in a lighter form cantagalli pottery . The light turned and square tapered leg was used largely, the last named often being recessed on its faces and decorated with gilded mounts fixed in the recessed panels 1930s antique square table . The chief designers were Riesener, Gouthiere, and Roentgen slant front desk antique .
All design is largely a matter of personal taste, but it is usually conceded that the work of Louis XVI shows French design and workmanship at its best 17th century oak side table . The furniture of Louis XIV had a certain grandeur tending to heaviness at its worst, this developing into an overdone elaboration in the following reign antique bombe commodes for sale . In the last of the three reigns there was a reaction against the worst features, and the result shows a welcome restraint scotish chest of drawers .
Readers wishing to study French furniture at first hand should examine the fine specimens at the Wallace collection, and the Jones bequest at the Victoria and Albert Museum, South Kensington oak art deco scandinavian furniture . Those who are able to visit France should see the magnificent collection at the Palace of Versailles cheverton machine .
UPHOLSTERED CHAIR WITH BRASS MOUNTS josef maria olbrich furniture . French Empire gustavian chairs pierced splats,fluted legs .
The chair was made in about 1810 column empire style bedside tables . The wings of the beasts are in brass
and are screwed beneath the seat rails provincial furniture number drawers . The feet too are brass, being
socketed to fit over the stub legs antique french saxon china flowers with gold .
FRENCH FURNITURE
EMPIRE
THE period of the French Revolution during which Louis XVI and large numbers of the French aristo-
cracy were executed was scarcely a time in which cabinet making could be expected to flourish antique bedside toilet . Wealthy people went into hiding or fled the country, and there was nobody left to order the fine quality and expensive furniture one usually associates with France of the second half of the eighteenth century gateleg table antique . In fact, some of the famous ebenistes themselves were prosecuted for their close connection with the royalty and aristocracy george serving table fluted . It was not until conditions had settled down under the forceful government of Napoleon that any revival of the making of fine furniture was possible makers of silver table ware in late 1800’s .
It was then that was evolved the style which has become known as Empire chair 18th queen rococo revival . If Louis XIV furniture be characterised as solid magnificent grandeur, Louis XV as flamboyant elegance, all shapes and curves, Louis XVI as delicate refinement, sometimes verging on the effeminate, then the Empire can be reckoned as stately and dignified with a strong influence of the Greek, Roman, and Egyptian dutch silver octagon trinket box . Compared with the elegant style preceding it, Empire furniture is considerably more restrained, mostly with straight lines, usually in mahogany, and invariably mounted with brass or gilt ornaments meissen/cabinet plate/19th century . These ornaments took the form of the Greek honeysuckle and vases, laurel wreaths, caryatid figures, martial helmets, torches, winged animals, and so on english furniture toilet chest .
Presumably the style was a tribute to the leadership of Napoleon, the Emperor who had marched through Europe and beyond antique tray table white . It scarcely outlasted his final downfall in 184, though its influence continued to be felt in this country during the Regency period antique enamel top table .
UPHOLSTERED CHAIR WITH BRASS MOUNTS new england antique dining tables .
‘The chair was made in about 1810 1920s draw leaf dining set turned legs . The wings of the beasts are in brass
and are screwed beneath the seat rails 3 leaf antique extending dining table . The feet too are brass, being
socketed to fit over the stub legs scandinavian octagon dining table .

SHERATON PERIOD
THE last of the eighteenth century designers, Thomas Sheraton, came to London from his native town of
Stockton-on-Tees about 1790 rare antique marble . Although he had undoubtedly been a practical cabinet maker, there is no evidence that he ever made any furniture in London myott son & co from the 1920s . Certainly he never had a prosperous business such as Chippendale and Hepplewhite had had antique gilt wood mirror frame . His fame in the furniture world rests upon his book, The Cabinet Maker and Upholsterer’s Drawing Book, published in 1791-1794, and appearing in further editions in later years antique mahogany tea table with glass tray .
It was essentially different from Chippendale’s book, the purpose of which was mainly that of a catalogue to appeal to wealthy patrons 1700’s trestle table . Sheraton’s drawing book was primarily a trade book intended to help the practical man, not only in providing designs but also in supplying a treatise in geometry, perspective, and drawing eighteenth century tripod table . In the long run it brought him posthumous fame, but as a commercial proposition it was a failure 17th/18th century style, open-rack oak dresser . Probably few practical men were interested in learning to draw in perspective or to know of the problems in geometry (except in the limited way it affected the setting out of their work), and in looking back the whole thing certainly seems an ambitious undertaking wellinton chest of drawers .
So far as the designs were concerned, Sheraton certainly showed originality in many of the mechanical movements he introduced, and in the design of his chairs, but it must be confessed that the general run of furniture was little more than a representation of the general style prevailing at the time antique oak drawleaf trestle table . It was noted in Chapter VIII that Hepplewhite and Sheraton furniture (excepting chairs) had a great deal in common ; so much so that it is often impossible to say to which it belongs for sale louis 16th walnut sideboard cabinet . It will be realised then that in speaking of Sheraton furniture it represents for the most part the work of a school of craftsmen working in a certain style sheraton 18th century dresser .
antiquegames writing table . BEECHWOOD
ARMCHAIR antique tripod tilt table .
About 180 mahogany bow fronted chest of drawers scottish .
The chair is painted In
black and gilt, and the
rails of the back have
small decorative panels
painted with floral and
musical Instrument sub-
jects masons patent ironstone chinese peony .
FIG english antique reproduction dining table round with add on leaves . 142a carved seating . MAHOGANY
ARMCHAIR where can i buy a rennie mackintosh table with brass lion paws .
Late 18th century thonet bentwood rocker .
The backs of Sheraton chairs were usually lower than those of other contemporary work cutlery boxes . The sweep of the arms into the back is a characteristic Sheraton touch central part of the library has a display cabinet .
Details found in Sheraton Chairs
In his chairs, however, he undoubtedly did strike an original note georgian kneehole cabinet . They are lighter than the majority of other late eighteenth century examples, the backs are lower, and instead of the top rail forming a more or less continuous sweep with the uprights (see Fig french console table 1830 . 131) it was frankly a separate item tenoned between the uprights dining tables art deco . The legs were either turned or square tapered (see Fig antique 2-tier pedestal table . 151), and the arms, instead of bowing out sideways, were usually shaped in
FIG antique maple desks . 143 arts and crafts +jupe table . MAHOGANY CHAIR art deco kneeling dancer lamp .
Late 18th century georgian peat bucket .
Sheraton used both square tapered and turned legs horses as allegorical figures in art . The cabriole
type was never used old english pattern forks with four tines .
side elevation only, generally springing from the back in a continuous sweep fine porcelain arc .
A good example is given in Fig smith furniture gateleg drop leaf table . 142 empire hall bench . Note the obvious way in which the back rails fit between the uprights (compare with Fig fake brass antiques . 131), and the sweep of the arms into the uprights spanish lacquered cabinet inlaid . The whole thing is different from anything else being made at the period art deco console and germany . The curve of the arms into the turned uprights, the curved turned legs, and the graceful design of the pierced back are typically Sheraton 19th century american rosewood rococo console table . It is painted all over (something else that no other designers SIDEBOARD DECORATED WITH SATINWOOD INLAY BANDINGS catherine the great of russia plates . Late i8th century charles neo classism boulle .
The bow front sideboard became extremely popular at this time antique trestle refectory table . Sometimes the space between the centre
legs was title in with a cupboard having a tambour front made to slide sideways pottery german weimar art deco .
Tapered Legs in Sheraton Chairs
attempted), and some extremely fine art work is put into the small panels of the back florence lamps giuseppe antique .
Another Sheraton chair, this time with tapered legs, is given in Fig who sells maggiolini furniture . 142a decoration metal bureau table desing . In this case the arms meet the turned uprights more or less at right angles, but they sweep into the back as in the previous example extending glass table with wrought iron legs . The back is practically square, and the uprights which continue down to form
II how drop leaf table evolved .C; antique serving cabinet . 1 a & s smee finsbury .15 round “dining table” “six legs” . WHEEL BACK CHAIR irish cabinet makers antique wine coolers .
About i800 antique porclean handled sheffeld flatware .
The finest chairs of this kind came from Norfolk and Suffolk value of primitive antique work bench . They became popular towards the end of the 18th century, and into the 19th century lowenfink . Earlier models had curved arm supports at the front instead of turnings antique drum shaped table .
the legs are shaped only in side elevation wood furniture legs clawfoot . They are straight when looked at from from the front art glass vases antique . This is another feature invariably found in Sheraton chairs, and never in contemporary work of other designers scriptoire . All these features also appear in the chair in Fig oak table 5 legs built in leaves rectangular antique . 143•
Sheraton died in i8o6, and it is unfortunate that towards the end his designs suffered severely decorative spindle legs from antique card table . Probably no man, no matter how individual, is quite free from extraneous circumstances bread/cake baskets 17th century . Prevailing fashions exert their sway, and designers
146 varguenos . TWO WRITING DESKS IN MAHOGANY WITH SATINWOOD BANDINGS antique pedestal mahogany table .
Late i8th century bauhaus style furniture +scale .
The Importation of Ykirious foreir4n fancy woods, satinwood, am boyna, rosewood, ebony, and so on led to the free use of
these for use in inlay bandint!s art nouveau antique drinking cabinet . Satinwood, too, was freely used in the solid, entire pieces being made up in it antique 17th century dresser .
Deterioration of Late Sheraton Work
are often faced with the choice of either following them or retiring from the scene antique mahogany card table, imperial . Many things were happening in Europe at the close of the eighteenth and beginning of the nineteenth century which were to affect design gilt metal mounted pier table . The French revolution, culminating in the establishment of the First Empire, produced a style in France which rapidly found its counterpart this side of the Channel, and the naval victories of this country had an extraordinary effect on furniture 1800 hundred french mantel and candle clock .
FIG antique art deco furniture black lacquer . 147 maurice adams art deco . MAHOGANY SIDE TABLE WITH BANDED DRAWERS anglo indian cabinets .
Late i8th century vintage buttterfly dropleaf tables .
A prominent feature of the Sheraton school was the very limited use of
carving antique 17th century dresser . Probably it was a reaction from its free use in the Chippendale
period dutch cabinet marquetry 18 .
Just as topical events of thirty or forty years ago were commemorated in fretwork designs, so the furniture of the early nineteenth century showed its reaction to the events then happening gillows bow front mahogany chest drawers .
Sheraton fell into the general line and published his E’?IcYc10P,Tdia of 1804-1807, in which was one of the most extraordinary collections of furniture designs ever put together regency occasional table . Naval emblems of all kinds—anchors, lifebelts, pulley blocks, ropes, and so on—abound, and it is a mercy that more of them were not made up,
To revert to his earlier and happier period, Sheraton’s chief form of decoration was inlay 19th century parian busts . Cross-bandings of fine
MAHOGANY WARDROBE WITH BUILT-UP VENEERED
DOORS
Late i8ti century antique chinese circular revolving bookcase .
The fine mahogany imported at this time led to the revival of the built-up
patterns in veneer as the grain had splendid decorative value 17 century elm gateleg table .
foreign woods, such as satinwood, rosewood, tulip wood, ebony, amboyna, and so on, were inlaid around the edges of drawer fronts and panels, and various built-up patterns in veneer were made use of with great effect period style display cabinets . The bow front sideboard in Fig antique ceramic tambour german mantle clocks . 144 shows the use of this cross-banding italy spoons that might be antiques . Painting also he used considerably, naturalesque floral subjects and panels in the style of Angelica Kauffman being the chief forms it took nicholas sprimont solid silver . Carving he used
E; <
FIG value of an antique pembroke table . 152 antique mahogany french bedside commode . MOULDINGS OF THE SHERATON PERIOD dutch 18th century walnut chest on chest .
Mouldings were invariably small and delicate islamic influence furniture . Occasionally carving and inlay
were introduced, though they were usually plain dining tables with wood inlay work .
sparingly and never in the full scrolling form favoured by Chippendale french console table 1830 .
A small Sheraton side table is given in Fig arts and crafts furniture, antique collectors . 147 flemish refectory table . Here again the drawers have an inlaid cross-banding around the edges antique german breakfast table . The turned legs are reeded down their length dresser accessories . Two other Sheraton pieces are given in Fig russian chippendale trays . 146 silver candleabras made in england . Note the inlay again decorative writing styles . Desks of this kind were often fitted with elaborate secret contrivances in which stationery boxes, drawers, and cupboards rose up at the touch of a spring how common is walnut drop leaf table .
The Sheraton Wardrobe
Fig antique chinese chamber pot . 148 shows a fine inlaid wardrobe in which built-up patterns in veneer are used effectively myott son&co hanley 1880 . The dentils in the cornice and the flutes in the frieze are carried out entirely in inlay american crafts armchair upholstered . The curved bracket feet are a typical feature of the late 18th century 17th century oak side table .
CHAIR WITH SABRE LEGS AND
CANED SEAT rococo style flower arranging .
About i8io pembroke style end tables .
This is an extremely fine example of the chairmaker’s craft 18th century marquetry . Despite the somewhat complicated curvature of the back the construction follows conventional methods, the tops of the back legs being tenoned into the cresting rail and the moulded shaping worked across the joints mark vezzi porcelain . The curved rails fit together with a form of halved joint cylindrical crock eared handles cobalt blue .

ART NOUVEAU CHAIRS: UPHOLSTERED ARMCHAIR, LAYERED WOOD CHAIR, SLAT-BACK ARMCHAIR, BENTWOOD SIDE CHAIR, UPHOLSTERED ARMCHAIR, CANED-SEAT ARMCHAIR, CURVED DESK CHAIR

ART NOUVEAU CHAIRS

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WHEN  IT CAME TO the chair, Art
Nouveau designers let their imaginations run wild. Designers from Glasgow to Nancy used the chair to illustrate and promote the Art Nouveau ideal.
Breaking free from traditional methods of design and construction, designers experimented with flowing, abstract shapes influenced by nature, and bending or elongating wood into sculptural pieces.
The Scottish architect Charles Rennie Mackintosh left an indelible mark on Art Nouveau furniture, especially with his ground-breaking chair designs. Well proportioned with attenuated backs imparting an almost ecclesiastical appearance, his cube-based chairs decorated with geometric cut-out patterns were influential, especially on designers
working in Germany    Austria, who embraced this more linear approach.
The French strand of Art Nouveau produced a contrasting style. with its sinuous, organic. fluid chair designs which were made by Louis Majorelle and Hector Guimard in exotic woods. These were often lavishly decorated with intricate inlays, marquetry. and carved botanical motifs on top rails, legs, and aprons.
A taste for the exotic also provided another decorative and extremely influential outlet in chairs – from Japanese and Moorish-inspired designs to bizarre seat furniture created by Carlo Bugatti and Antoni Gaudi using a variety of materials. Bugatti and Gaudi used imaginative combinations of wood and metals, embellished with materials such as leather, vellum, and silk.

The curves on this piece were achieved using the bentwood technique.
Aluminium nails decorate the replaced leather seat and back.
The beech frame is stained the colour of mahogany.
UPHOLSTERED ARMCHAIR
This chair is constructed from bent beechwood stained the colour of mahogany. The curved shape was achieved by steaming the wood, then applying even pressure. The prolific architect and founder of the Vienna Secession, J.M. Olbrich, designed this armchair for Thonet of Vienna. c1902.

ARMCHAIR
This mahogany armchair has an upholstered crest, a slat back and carved arms. The seat and back panel are upholstered in velvet. The slat back forms a back leg and the piece
terminates in bun feet. c. 1900.
LAYERED WOOD CHAIR
This is one of a set of four chairs made in the style of the early Vienna Secession. The chair is made of cut beechwood and layered wood which is stained in two shades. The seat is covered in black leather, but is not original. c.1900.
This stained beech and elm chair was probably made by Wylie & Lochhead of Glasgow. The curved top rail sits above three splats. The seat is inlaid with boxwood lining. The legs are joined by double stretchers that terminate in upholstered, panelled feet. L&T I
This Viennese slat-back armchair is constructed from veneered and polished nut wood massif. The design is accredited to Josef Hoffmann. A low, D-shaped stretcher unites the straight legs near to the base of the chair. c.1905.
ARMCHAIR
SLAT-BACK ARMCHAIR
BENTWOOD CHAIR
This beech chair, made and signed by Austrian manufacturer Thonet, has a flowing bentwood frame made of bent rods, which curves without the use of carving and joints. It has a shaped seat rail and a reversed, heart-shaped back that sweeps below the seat to form stretchers. The triangular seat is made of cane, although it is not original. The chair terminates in three legs. c.1900.

This is one of a pair of side chairs made of oak. The back of the chair has curvilinear rails linking tapering uprights above a drop-in seat.
Square-section, tapering legs terminate in pad feet.
This early J. & J. Kohn side chair was designed by Josef Hoffmann. It has a bentwood back and tapering legs, and there are four wooden spheres under the seat rail. The brown leather
upholstery is tacked on to the seat and back, obscuring the stamped mark.
SIDE CHAIR
BENTWOOD SIDE CHAIR
ARMCHAIR
This is one of a pair of mahogany armchairs designed by J.S. Henry. The tall, upholstered back has sinuous leaf finials, curving open arms, and an upholstered pad seat. The seat is supported on turned and tapering legs linked by an arched stretcher at the front and straight side
stretchers.

MARQUETRY ARMCHAIR
Designed by Louis Majorette, the back splat of this mahogany armchair is decorated in marquetry depicting branch and leaf designs. The chair has moulded “U”-shaped crinoline arms that have distinctive duck’s-head terminals. The seat is upholstered in velvet.
UPHOLSTERED ARMCHAIR
This mahogany armchair, designed by G.M. Ellwood, has a tapering back containing an oval upholstered panel and elegant vertical splats. The piece has open upholstered arms and an upholstered seat. The legs terminate in tassle carved feet.
ARMCHAIR
This stained mahogany armchair features distinctive, wavy, horizontal splats positioned above and below the rectangular panelled back. The downswept, open arms and
upholstered panel seat are raised on turned, tapered legs.
CANED-SEAT ARMCHAIR
This is one of a pair of “Model 511″ chairs by Thonet, constructed from bent beech. The splat is pierced with holes, with parallel slats below. The back continues in a curve down to the feet. The seat is made of woven caning. c.1904.
This mahogany desk chair by Louis Majorelle has open arms featuring galleries of tapered spindles. Red-leather upholstery on the back and scat is fixed to the frame with studs. The twisted form of the legs emphasizes the sinuous, feminine design.
This carved walnut armchair designed by Henri Rapin has a wing back and bold scrolling terminals. The tapering legs lead to splayed spade feet. The heavily patterned upholstery is not original. 1910.
This Louis Majorelle carved mahogany desk chair (part of a desk set) has moulded arms leading into sweeping, reverse-curved supports. The chair has a distinctive, low upholstered back. The front legs are cabriole in shape. c.1903.
This armchair was designed by Josef Maria Olbrich and made by Josef Niedermoser of Vienna. The frame is black-varnished maple, the chair is upholstered with yellow leather covers, and the feet are metal. 1898 99.
DESK CHAIR
OPEN ARMCHAIR
CURVED DESK CHAIR
ARMCHAIR

Art Nouveau Furniture: FRENCH CABINET, ENGLISH HALLROBE, SCOTTISH BOOKCASE, VIENNESE SIDEBOARD, VENEERED CUPBOARD, STAINED-GLASS CABINET, MAHOGANY CABINET, OAK BOOKCASE

ART NOUVEAU
CASE PIECES
THE CABINET CONTINUED to be one
of the most expensive and impressive pieces of useful furniture in European houses. Both decorative and functional, cabinets were used as writing chests, for locking away precious jewels, for storing important papers, and for the display of small, treasured collectables.
Art Nouveau cabinets were made in a variety of styles. The Anglo-Japanese cabinets, such as those designed by E.W Godwin, were embellished with brass mounts and painted decorations.
Charles Rennie Mackintosh, C.EA. Voysey, and E.W Gimson combined simple designs and an attention to the details of fine craftsmanship with
the use of rich timbers, such as oak, walnut, satinwood, and mahogany.
These designers influenced the design of cabinets in the Art Nouveau style in Europe, especially the austere, geometric style favoured in Germany and Austria.
In contrast, French cabinets
were more sensuous in their
design, with Rococo and Oriental elements combined to produce asymmetrically shaped pieces, decorated with curvilinear plant, flower, and vegetable motifs. Louis Majorelle created superbly crafted cabinets of extraordinary luxury, in fine-quality woods. These pieces were often embellished with finely wrought gilt-bronze or wrought-iron mounts, or included decorative inlays of mother-of-pearl or metal.
This elegant cabinet is made of walnut. It is decorated with a marquetry design depicting a clematis and a bird, executed in exotic hardwoods. The top section provides open storage, which is accessed via a rounded
opening, surrounded by relief carving. The piece was made by Louis Majorelle. His sinuous and fluid style, evident here, was inspired by 18th-century Rococo furniture. c.1900.
Carved circular supports
are decorated with
a twisting tendril and root-like design.
The cabinet body is made from walnut
with marquetry in exotic hardwoods.
The marquetry incorporates floral motifs.
FRENCH CABINET

ENGLISH HALLROBE
top of this hallrobe supports Classical carved panels. The panelled front is adorned
stylized copper hinges and handles and
interior is fitted. This piece was made by
the prominent commercial furniture manufacturer, Shapland and Pettey.
SCOTTISH BOOKCASE
This oak bookcase by leading furniture-maker, Wylie and Lochhead of Glasgow, is in the style of the Scottish school. The intricate floral panels are in stained glass and flanked by angular, stylized, copper, repousse panels, all above a long drawer and a bottom cabinet. c.1900.
VIENNESE SIDEBOARD
This impressive walnut veneer sideboard is by the school of Josef Hoffmann. The piece is decorated with intarsia. The symmetrical, clean design is typical of Hoffman and the linear style reveals the influence of Charles Rennie
Mackintosh. The upper section is enclosed behind glazed doors that form a geometric pattern. The mirrored central section is supported by rounded columns. The base has a marble top and contains cupboards and a drawer. The plinth and the handles are made of brass. c.1902.

The straight lines and gentle curves of this cabinet are typical of the Glasgow School, as is the stained-glass window depicting a pastel-coloured flower design. The piece has a broad, projecting cornice, which was a feature of many Glasgow School cabinets.
This walnut veneer and brass dining room cabinet is part of a set by Otto Wytrlik. The matching table, stool, pair of commodes, four armchairs, and two further chairs are solid, dark pieces with strongly geometric lines, and would have given the room a masculine look. c. 1901.
This small, mahogany-veneered cupboard from Austria is raised on four slender legs. The two cupboards, two drawers, and shelves all have nickel fittings. The distinctive top cupboard has three sides of panelled glass with ornamental silver decoration. c.1900.
Anglo-Japanese influences are evident in this mahogany music cabinet decorated with stylized, floral, stained-glass panels. The fine, string ebony and boxwood inlay is enriched with delicate floral carvings. The arched apron is reflected in the curved pediment. c.1895.
STAINED-GLASS CABINET
DINING ROOM
VENEERED CUPBOARD
MUSIC CABINET

INLAID CABINET
This ornate mahogany display cabinet is elaborately inlaid in copper, pewter, and specimen woods with decoration of stylized flower-heads and leafy tendrils. The central panel is mirrored and flanked by two glass doors opening onto glass shelves.
MAHOGANY CABINET
The shaped, raised back, and moulded finials of this highly decorative display cabinet have whiplash-style foliate and floral marquetry inlays. The leaded and stained-glass panel doors are decorated with a floral design, and are enclosed by marquetry panels.
FLORAL CABINET
This mahogany display cabinet, attributed to the Scottish designer Ernest Archibald Taylor, has silver plated repousse decoration on the glass. The architectural form is decorated with a butterfly centrepiece and floral designs in sycamore and tulipwood inlay. c.1903.
OAK BOOKCASE
This bookcase cabinet has a projecting dentil cornice above three open compartments, flanked by pierced decorative brackets. The twin doors, enclosing adjustable shelves, have leaded clear glass panels with stained-glass decoration on the top.

ART NOUVEAU TABLES: MARQUETRY TWO-TIER TABLE, NEST OF TABLES, MARQUETRY TABLE NEST, PINE WORKBOX, ROSEWOOD STAND, BRASS FRAMED TABLE

ART NOUVEAU TABLES
ART NOUVEAU DESIGNERS transformed
the functional table into works of art, with motifs inspired by the natural world. A table embellished with dragonflies or sculpted leaves, for example, might take on the form of a tree, with its support shaped like a trunk, and feet resembling roots.
Those working in the French and Belgian style of Art Nouveau, such as Louis Majorelle and Emile Galle, created tables with tapering, sinuous legs; serpentine-shaped tops; and carved decoration or marquetry patterns of flower blossoms, trees, or fruit. These were rendered in veneers of precious and exotic woods.
The Glasgow School led by Charles Rennie Mackintosh and other like-minded designers, including Josef Hoffmann and Koloman Moser, offered a radical contrast. They favoured tables with rectangular, geometric proportions, narrow,
elongated lines, and decorative cut-out motifs such as squares and spheres.
In England, tables mirrored historic styles, exotic Japanese or Moorish designs, or favoured simple construction and functional, aesthetic design, as seen in the work of C.F.A. Voysey and Charles Ashbee.
In Spain and Italy, tables were often incorporated into sofas or other pieces of furniture, or had practical features such as built-in cabinets.
The Japanese style was popular with its simple designs, asymmetric forms, undulating lines, use of lacquer or lacquer-look-alikes, and a love of nature, often appearing as typical Japanese motifs such as dragonflies.
Many innovative types of table appeared, such as the tripod, tier, and the nest of tables, while decorative features such as the arched stretcher showed how new techniques pushed wood to limits never seen before.
Raised edges prevent Brass handles enable
items from falling off. the table to be easily moved around the room.
Sculptural design with W-shaped table sides
MARQUETRY TWO-TIER TABLE
This two-tier nutwood and mahogany occasional table by Louis Majorelle is of double-framed construction. It has decorative carving, and each of the two tiers is embellished with floral marquetry. The top tier also has applied brass handles. 1900.
NEST OF TABLES
This nest of four Secessionist, black-lacquered tables is attributed to Josef Hoffmann. Each table has a rectangular top with rounded edges supported by turned, spindle-filled supports leading to platform stretchers. The largest of the four carries two sphere-turned carving handles. The Japanese influence is displayed in both the materials used and the form of this nest.
Floral marquetry table top
MARQUETRY TABLE NEST
This nest of four occasional tables wasdesigned
fined by Emile Galle. They are constructed from mahogany and various other hardwoodswith
high-grade veneer. The tops and side mouldings of the tables are supported by
frames with elegant scroll curves at the bases. Each of the rectangular table tops is decorated in marquetry using various fruitwoods with a different floral scene. The largest of the tables bears the signature “Galle” within the marquetry. c.1900.
BEECH TABLE NEST
This nest of four “968″ tables is made of beech. They were designed by Josef Hoffmann and produced by J. & J. Kohn of Vienna (see .c.376). The tables are raised on slender, tapering legs, joined on three sides by stretchers. The
largest of the tables has handles and trellis splats on the sides. Each of the smaller units slides into place on runners, which store the tables in a hanging position. The table nest has a mahogany stain and the remains of an original paper label underneath. 1905.
This table, designed by Louis Majorelle, is known as les Goings, meaning quinces. Constructed from walnut, the tops of the legs and the apron boards carry deep-carved decoration depicting
quince fruits on the branch. 1905.
This French tea table, from the Ecole de Nancy, is constructed from walnut, brass, and glass. It has a tray top with a raised edge to prevent items falling off. Below the tray top is an additional shelf with fold-down sides. These offer more table space but can be folded
away when not in use. c. 1900.
PINE WORKBOX
FRETWORK OCCASIONAL TABLE
ROSEWOOD STAND
This J.S. Henry occasional table has a shaped top above an elaborate fretwork frieze. It is supported on slender, tapering, cabriole legs with pad feet that are linked by a lower tier. The maker’s label is still attached.
This stained pine artist’s workbox is from the Scottish School. The rectangular top has a twin-hinged lid, which opens to reveal an interior fitted with compartments for materials. The pegs used for joining are visible at the sides.
This rare rosewood and marquetry stand was designed by Emile GaII6. The lobed top is inlaid with floral decoration and butterfly motifs. The four moulded legs are united by an elegant arched stretcher.
This small Austrian bentwood three-tier table is designed in the manner of Josef Hoffmann. It has a rounded square top supported on splayed legs. Two undertiers with wooden balls at the joints provide additional storage.
THREE-TIER TABLE
HEXAGONAL TABLE
GILT SIDE TABLE
BRASS FRAMED TABLE
TILED OCCASIONAL TABLE
Originally sold by Liberty & Co., this hexagonal table has a moulded top raised above square, tapering legs, which are linked by distinctive pierced stretchers halfway up the legs. The piece terminates in simple, pad feet.
This opulent, giltwood side table with relief-moulded decoration was designed by Louis Majorette. A mottled-orange marble top is set within a leaf-and-berry carved slip, with a wavy frieze below. Arched stretchers link the legs.
The elegant brass tripod of this Richard Muller-designed table bends towards the centre at the top. The plain, circular table top is made from mahogany. Two triangular mahogany tiers provide additional storage. 1902.
This occasional table is made of oak. The circular top features a red and green tiled insert in a geometric pattern. The three tapered supports are pierced with decoration