Posts Tagged ‘augsburg marquetry table cabinet’

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.

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 .

Early 19th Century Desks: CANADIAN DROP-FRONT DESK, GERMAN PEDESTAL DESK, FRENCH CLERK’S DESK, BIEDERMEIER CYLINDER BUREAU, FRENCH DIRECTOIRE CYLINDER DESK, AMERICAN FEDERAL DESK

DESKS GENERALLY TENDED TO BE Of two
forms: flat- or slant-topped. Neither of these types were new in the early 19th century. Of the former, which were generally intended for a library, several outstanding examples survive. The Jacob brothers of France provided Napoleon with a flat-topped desk for his study at the Tuileries, which is now at Malmaison. A type of mechanical bureau plat, the box-like top slides back to expose the working surface. It is supported on side pylons formed from paired lion monopodia painted and gilded to simulate bronze.
A late Empire “Ferdinandino” style desk in mahogany survives in the Spanish Royal Palace in Madrid. With a leather top, which is typical of flat-topped desks of the period, it is supported on gilt swans linked by a platform stretcher. Chippendale the Younger’s desk for Sir Richard Colt Hoare at Stourhead demonstrates a British variation of this type. Unusually,
the top of the desk is rounded and has Egyptian mask pilasters running around all sides.
Slant-fronted bureaux were still produced, particularly in provincial centres in Britain and the United States. The cylinder bureau, which had a rounded fall that pushed upwards into the carcase of the piece remained popular on the Continent, particularly in the north. The cliatol in Denmark was a variation with a cabinet above it. Similar bureau-cabinets were produced in Britain, as was a much smaller desk called the Davenport. In some instances the slant provided the actual writing surface rather than covering it, while others were made with a piano-top style. They are thought to be named after a version made by Gillows for a Captain Davenport. Other small desks, , were in vogue on both sides of the channel. The secretaire a abottant continued to be popular, especially in France.

The ebony inlay takes the form of leaf sprays and geometric motifs.
Each side panel hasa lion’s head brass ring pull.
The frieze has three drawers.
Arched bracket lion’s paw foot.
ENGLISH REGENCY DESK
This shaped rectangular pedestal desk has a black gilt-tooled leather writing surface and is decorated around the edges with ebony inlay depicting sprays of leaves and geometric motifs. The frieze has three drawers to the front above
a kneehole, flanked on either side by a door enclosing three drawers. The reverse of the desk has three conforming frieze drawers and cupboard doors enclosing a shelf. The case stands on eight arched bracket lion’s-paw feet.
c.1820.

AMERICAN SLANT-FRONT DESK
This Federal maple and tiger-maple slant-front desk from New England has a moulded slope front with a fitted interior and four long graduated drawers. There is a moulded base and the case sits on French feet. The secondary wood is white pine. c.1800.

FRENCH DIRECTOIRE CYLINDER DESK
This roll-top desk has a white marbled galleried top above three frieze drawers. The panelled fall opens to reveal a fitted interior with small drawers and a leather-inset brushing slide. The desk is raised on turned, tapered legs, ending in toupie feet. c.1800.
ITALIAN LIFT-TOP DESK
This desk has a lift-top with iron strap hinges and lock that folds back to reveal a fitted interior. The desk is supported on canted, scrolled ends with carved supports. Early 19th century.

AMERICAN FEDERAL DESK
The slant front of this Federal cherry-wood clerk’s desk encloses a fitted interior of four drawers and valanced compartments on both sides of a central, shell-carved, prospect door flanked by two document drawers. Below is a single long drawer. Early 19th century.
SWEDISH PAINTED DESK
This is a late Gustavian painted desk, with a wide overhanging rectangular writing surface above three reeded frieze drawers. Each pedestal has three graduated short drawers, again reeded, and is raised on a narrow
plinth with block feet. 1800-20.
BIEDERMEIER CYLINDER BUREAU
FRENCH CLERK’S DESK
This German walnut-veneered cylinder desk has a frieze drawer above the roll-top and two long drawers below. The front opens to reveal a fitted interior with six small drawers and compartments. The case is supported on square-section tapering legs. c.1820.
This mahogany desk has a three-quarter gilt-metal gallery and a leather inset slope. There is a gilt-metal mounted frieze with a drawer above a grille door and sides with folio divisions, flanked by turned columns. The desk is raised above a platform with square supports on bun feet.

GERMAN PEDESTAL DESK
This pedestal writing table is covered with cherry wood veneer. The rectangular top has a higher, moulded edge to the back and sits above one long and two short frieze drawers with locks. Either side of the kneehole, the
deep, rectilinear pedestals have unusual tapered doors with applied moulding above, which give the piece an architectural feel. The interiors of the pedestals are fitted with shelving. The whole piece is supported on a plinth base. c.1825.
CANADIAN DROP-FRONT DESK
This rare Quebec pine desk has a fall front, which opens to reveal a fitted interior. On either side of a central cubbyhole are three wide, graduated drawers, and above it is a series of pigeonholes. The case has three long
drawers and is supported on a moulded plinth. The exterior of the desk has been stripped, but still bears traces of its original paint finish. c.1820

MID 19TH CENTURY LATE VICTORIAN BRITAIN ANTIQUE FURNITURE

THE LATER VICTORIAN PERIOD saw agrowing distinction between general “trade” furniture and what came to be known as “Art Furniture” – that is, furniture made by firms that retained architects and specialist designers.
PARALLEL. INDUSTRIES Cabinet-makers in London’s West End, and their downmarket counterparts in the East End, continued to employ the cabriole legs and rounded backs that had already been made for many years. Newer developments in furniture included a proliferation of corner and mantelshelves for displaying decorative objects, and the adoption of a gallery of turned spindles, from the French style. Art Furniture, in whatever guise it took, tended to adhere to certain structural or philosophical principles, leaving the manufacturers who ploughed the trade furrow to concentrate on such lesser concerns as comfort, practicality; and –most of all – affordability.
That British furnishers were operating on a two-tier basis can be demonstrated by the way they reacted to overseas influences. The gradual emergence of Japan from its isolationist shell led in a great deal of interest in Japanese culture and aesthetic traditions in all spheres of the arts, including the furniture industry. Trade furnishers responded by churning out “AngloJapanese” pieces, adding fake Japanese decoration to existing Victorian forms. Exponents of Art Furniture, meanwhile, took a more studious and disciplined approach. The influential designer Christopher Dresser visited Japan in 1876 and became a champion of authentic Japanese style. Similarly, the designer Edward Godwin made close studies of Japanese art and carefully incorporated what he learned into his furniture designs, as evident in his striking juxtapositions of horizontal and vertical pieces. Bamboo became very popular because it was very sturdy
yet cheaper than exotic hardwoods.
NEW STYLE FROM THE PAST
A perennial favourite of historically minded furniture-designers, the Gothic style was as widespread as ever during the late Victorian period. Among its principal exponents was Bruce Talbert, a practitioner of the “Early English” predilection was for honestly constructed furniture of the Gothic school. He celebrated mortise-and-tenon joining and despised the use of glue for, as he stated: “Glue leads

to veneering and veneering to polish.” Rather than commit the sin of veneering, he offset the dark wood bodies of his work with decorative panels of contrasting colours.
REGIONAL FURNITURE-MAKERS A number of provincial furniture centres flourished. Gillows of Lancaster built on an established reputation for quality furniture and continued to expand during the mid-19th century. Lancaster port provided Gillows with steady supplies of Caribbean mahogany.
Wylie and Lochhead of Glasgow employed craftsmen to make furniture for their department store as well as for the grand liners that were built on the Clyde. Established in 1829, by 1870 Wylie and Lochhead made, upholstered, and sold Furniture for the middle classes of Glasgow and beyond.
High Wycombe in Buckinghamshire was one of many centres of Windsor chair production.
LATE VICTORIAN WRITING TABLE
This top of this writing table is lined with green leather and framed by a brass edge moulding. The serpentine frieze, containing two narrow drawers, is faced with panels of floral marquetry, crossbanded in tulipwood and set into a zebrawood ground.
CHAMBER CUPBOARD SIDE CABINET
This inlaid Adam-style side cabinet is made of mahogany with satinwood banding, and was designed by Gillows. The upper section of the cabinet has a consoled reverse-breakfront cornice with a central bevelled mirror below. The mirror is flanked by
cupboards on either side, each with a grotesque-inlaid door in the Renaissance style. The deeper, lower section of the cabinet has three drawers in the frieze, above a central glazed door; on either side of the glazed door is an open shelf. The whole stands on bracket feet. Late 19th century.
This Gothic-revival pedestal cupboard has a galleried top and stands on a chamfered plinth. The door has a central harewood panel with stylized flowers and circular rosettes. 1865.
DINING CHAIR
One of a set of 21, this walnut chair has a curved back rail, solid splat, and upholstered bow-fronted seat. The Greek-revival chair is supported on turned, tapering legs. c.1880.
A glazed cupboard door allows ornaments to be seen.
Adam-style gilt wall mirror The bevelled rectangular plate is flanked by panels with ribbon-tied husk pendants, and surmounted by an urn, anthemion, and floral swag design.
Chippendale mahongany open armchair This chair has a splat with pierced, interlaced strapwork headed by acanthus sprays. It stands on cabriole front legs with carved acanthus knees and clawand-ball feet.
Many Victorians turned their backs On contemporary furniture design and imitated the 18th-century Neoclassical style instead. Many of the great cabinetmakers of that period had bequeathed the industry detailed pattern books, making it easy to recreate their products. In 1867, Wright and Mansfield made a cabinet designed by Crosse, which is credited with sparking the interest in Neoclassical decoration and style. It has a satinwood carcase, and incorporates marquetry in various woods, with giltwood mounts and Wedgwood plaques. The cabinet is now at the Victoria and Albert Museum in London.
Reproductions of 18th-century pieces by Chippendale, Sheraton, Hepplewhite, and Adam were pervasi during the
second half of the 19th century. Many of them were of very high quality and, now that they have aged, can be difficult to distinguish from the originals.
The look was characterized by profuse use of inlay and banding. Satinwood was highly prized for its pleasing Colour, useful for contrasting banding, and gilt lacquer provided an alternative to the dark colours of the Gothic style. Cameo carving
featured Classical motifs, such as urns, shell, and acanthus. The style was such a success, that unscrupulous salerooms would apply fake Neoclassical ornaments to plain 18th-century furniture. Popular at various times throughout the 19th century, the Neoclassical revival-style was especially fashionable during the 1870s.
George III-style partner’s desk The rectangular desktop has rounded corners and is inset with a leather writing surface. Below are four opposing frieze drawers. The whole stands on acanthus-carved cabriole legs, which terminate in claw-and-ball feet. Late 19th century.
Sheraton-revival satinwood, semi-elliptical commode This commode is painted with swags of flowers and female figures within ovals in Neoclassical style. The commode has a frieze drawer above a central panelled door and stands on square-section feet. Late 19th century.

Art Deco Table Wares
Companies engaged in manufacturing products for preparing and serving food found it necessary to accommodate the new trends in modern design. Streamlined and angular shapes can be found not only in sets of china but in kitchen equipment as well. In this section, table wares are not confined to dishes but include other utilitarian and decorative pieces. Because of the great diversity of this category, it is possible to show only a sample of items, but the pieces illustrated should alert collectors to the many possibilities table wares offer. Photographs are arranged approximately in alphabetical order according to the function of the item, ranging from candle holders, centerpieces and crumbers, to pitchers and a toaster!
Table wares basically are made of pottery, glass or metal. Ceramics include earthenware or semi-china, stoneware and porcelain. Simplified decoration distinguishes Deco china from that produced during the Victorian years. Floral transfer patterns covering the entire surface of china gave way to colored line borders or abstract geometric patterns. Sometimes china was left undecorated with the shape or mold drawing attention to a modern image. Geometric shapes other than the usual circular form are seen here in the rectangular bowl and the triangular shaped cup and saucer.
Ceramic table wares can be found at all price levels. Pieces designed and handpainted by Clarice Cliff for the Royal Staffordshire Pottery during the late 1920’s and early 1930’s are highly regarded by advanced collectors. Price can reach several hundred to several thousand dollars for some examples, especially those with floral and landscape decor. “Bizarre,” “Geometric,” — and “Fantasque” were some of the pattern names. The English artist’s signature was included on most of her work. Pieces which do not have her name or signature as part of the mark are usually considerably lower in price. “The Biarritz” soup bowl shown here is one such example. Although the pattern is quite simple, it also merits consideration as a form of Deco table ware. Deco patterns by other English potters are also quite collectible. Many good examples in the moderate price ranges are surfacing. These may be found mixed in with other miscellaneous dishes by dealers who do not specialize in Art Deco.
“American Modern, ” designed by Russel Wright for the Ohio based Steubenville Pottery is also quite collec
tible and much lower in price. This line was made from about 1939 through the late 1950’s. Solid colored surfaces without other added decoration implied a modern concept. Many other European and American pottery and porcelain factories produced their own renditions of “modern” style. Japanese table ware companies used similar interpretations to reach the large American market. Deco patterned china made by the Noritake firm has been attracting many collectors during the last few years. Prices are still affordable but not inconsequential. Table china, however, is probably the largest source of Art Deco “sleepers” and possible bargains today.
Angular shapes or stylized designs cut or molded into glass table wares were made to grace the dining tables of the period. Art glass by French manufacturers is usually too expensive for moderate collectors. The large blue centerpiece bowl made by Daum and the smoke glass bowl by Verlys are two such examples. These would fall into the “investment” rather than the “fun” class of Deco collectibles. But, like ceramics, many types of inexpensive table glass were made during the 1930’s and 1940’s by American factories. Depression era glass collectors began to salvage pieces during the 1960’s. A number of the patterns have unmistakable Deco characteristics. “Manhattan,” a clear glass pattern made by Anchor Hocking is just one type finding its way into Deco collections. The ruby red, cobalt blue and deep green colored glass made by other American glass companies also qualifies as Deco. Quite a few pieces are very attractive, some are even elegant and others are just amusing.
Flatware, serving pieces and decorative table articles can be found in silver, brass, copper, chrome and plated metals. Chrome and plated metals are the least expensive. Nude or semi-nude figures were made into metal centerpieces or candle holders. Prices are competitive with other figural items and examples are just as much in demand. A number of metal Deco items were originally silverplated. Because the plating wears off, items become ugly and lose much of their value. Dealers have found it lucrative to have such objects stripped to the base metal which was usually copper or brass. The copper centerpiece with a pot metal nude is an example which was once silver plated. Do not automatically disregard badly worn plated pieces which have obvious Deco signs. It may be wise to have them stripped and polished by a commercial firm which specializes in that kind of work.