Posts Tagged ‘dinner table in 18th century’

The late 1920s saw the emergence of a Modern movement” of innovative American furniture designers. Inspired by European immigrants, including several key members of the Bauhaus, they explored new materials such as tubular metal. American Modernism was relatively small-scale, but it set the stage for a generation of industrial designers who from the mid-1930s reshaped interiors with enormous flair.
American Art Deco furniture falls into three broad categories: commercial copies of formal French pieces in exotic wood veneers and inlay; innovative and avant-garde work, which was never produced in large quantities and is scarce today; and industrially produced, mostly metallic and laminated wood furniture, based loosely on Bauhaus concepts. Produced from the 1930s until after World War II, this third category is much collected today.
PAUL T. FRANKL
Frankl (1886-1958), an Austrian architect and engineer, emigrated to the USA at the outbreak of World War I. He began designing and manufacturing furniture in New York City c.1920, working in a traditional European formal style. By the mid-1920s he was designing economical, compact, practical, modular furniture, inspired in part by the architect–designers Walter Gropius (1883-1969) and Le Corbusier (1887-1965). The best Frankl furniture (1925–c.1930), produced Linder the tradename “Skyscraper”, was inspired by the evolving New York skyline. Bookcases and tall cabinetry of stepped, rectilinear form are typical, often with a black, red, or pale-green lacquer finish with silver-leaf edging. Natural woods, including California redwood and oak, were also used, with a red, black, or silver trim.

Dressing tables, desks, and mirrors arc also found, often with mirrored-glass tops or shelving and Bakelite drawer-pulls, which suggest a slightly later date. Bookcase cabinets usually have simple wooden pulls. Skyscraper furniture was designed to be economical, and standards of cabinetry are basic.
During the inter-war years Oriental interiors were extremely fashionable in the USA, and Frankl produced lacquered furniture such as dining-chairs, cocktail bars, dressing-tables, and small tables, usually in black, pale green, or red with gold- or silver-leaf details, sometimes with brass fittings. This furniture is less popular than the Skyscraper range, because collectors prefer pure, Modernist lines, particularly if they evoke the works of the Dutch
painter Piet Mondrian, who was
also inspired by mid-1920s New
York architecture.
DONALD DESKEY
The designer Donald Deskey
(1894-1989) collaborated with Frankl during the late 1920s,
designing screens and large
cabinetry in lacquered and metallic-leaf finish with vivid, jazzy
decoration featuring zigzags. He also produced more mainstream designs for numerous other American manufacturers, working mostly in hardwood veneers. He is best known as the principal interior designer for New York’s Radio City Music Hall,
which preserves many of his pieces in situ. Pieces with Radio City provenance occasionally appear on the market and are eagerly sought.
Between 1927 and 1931 Deskey worked in partnership with Phillip Vollmer, designing furniture in Bauhaus taste, made of metal and glass, sometimes together with Bakelite and cork. Most of Deskey’s work is unsigned, but his designs are well recorded in contemporary catalogues, and many specialist dealers in the USA recognize them.
FRANK LLOYD WRIGHT
Frank Lloyd Wright (1867-1959) is one of the best-known and most influential American architects and designers. Any designs attributed to him command a premium, particularly the Modernist oak creations from the first decade of the 20th century. However, his later post-war commercial furniture, mostly oak and maple tables and low, horizontal seating, is currently of little more than decorative value.
Most of Wright’s work cannot be considered Art Deco, but some of his furniture of the inter-war years appeals to Art Deco enthusiasts. The best examples were designed for Wright’s residential buildings, and are therefore extremely scarce. Pieces for commercial interiors were made in larger numbers and are more common today. Enamelled metal furniture, such as that made for Wright’s S.C. Johnson Administration Building (Wisconsin) in 1937, and several types of wooden chair are relatively common on the market.

THE CRANBROOK ACADEMY OF ART
In 1925 the Finnish architect Eliel Saarinen (18731950) began work on the Cranbrook Academy of Art in Bloomfield Hills, near Detroit, Michigan. In 1932 he became president and art director of the academy, serving there until his death. The building retains many of the original furnishings that he designed.
In most of Saarinen’s designs a formal, Scandinavian influence is evident in the elegant lines and relatively small scale, although some are comparable to the more organic style of the Wiener WerkstRte designer Dagobert Peche (1887-1923). Saarinen preferred rich wood veneers and natural materials, which he sometimes Used in combination with steel or polished metal.
The Cranbrook Academy, like the German Bauhaus school, is best known for its influential alumni. The most celebrated Cranbrook graduates from the 1930s are Florence Knoll (b.1917), whose name appears on much American Modernist furniture made under her direction; Charles Eames (1907-78), who designed laminated wood, leather, and fibreglass furniture for the Herman Miller Co. and others from the late 1930s; and Eero Saarinen (1910-61), Eliel Saarinen’s son, who collaborated with Eames as well as pursuing an independent career as both an architect and a furniture designer. Popular designs were produced over several decades (some are still made); earlier pieces can be identified by tags and generally higher-quality craftsmanship, as well as by wear and tear. Followers of Eames whose work is of interest to collectors include Gilbert Rohde (1894-1944), who designed Bauhaus-influenced tubular steel furniture produced by the Herman Miller Co., and George Nelson (1907-86).
OTHER AMERICAN ART DECO FURNITURE During the 1930s, American Modernism took root throughout the USA, partly because so economical a style of design was appropriate to a country in the grip of the Depression. Leading designers include Russel Wright (1904-76), Walter Dorwin Teague (1883-1960), and Raymond Loewy (1893-1986), who all specialized in industrial-style commercial products and lighting, using new materials such as aluminium, chrome, and plastic. Karl Emmanuel Martin (”Ke”) Weber ,1889-1963) studied under Bruno
Paul in Berlin before moving to California in 1914. He designed both individually commissioned and mass-produced furniture, typically in laminated wood, chromed metal, and sprung steel.
The architect Eugene Schoen 1880-1957) designed elegant furniture in Modernist materials including glass and nickel. Examples of tubular steel furniture influenced by the
Bauhaus include -pieces designed by Wolfgang Hoffman (1900-69), son of the famous Austrian designer Josef Hoffman (1870-1956), during the 1930s. Prestigious firms included John Widdicomb, Johnson Furniture, and Barker Brothers Furniture Co., all in Los Angeles, and S. Karpen of Chicago, all of which employed leading designers.

Paul T. Frankl
•    COLLECTING rarely found outside New York City; Oriental style is less popular than Skyscraper; collectors prefer signed pieces in unrestored condition; surface restoration is common as decoration is easily worn
Marks
Authentic Skyscraper pieces are stamped “SKYSCRAPER FURNITURE, Frank) Galleries, 4 East 48th Street, New York”
Donald Deskey
•    VALUE interesting provenance, such as Radio City Music Hall, adds greatly to value
•    COLLECTING Deskey-Vollmer signed pieces are more desirable than Deskey’s later, traditional designs; vivid, jazzy designs are very collectable – beware of fakes
Marks
Some pieces of Deskey-Vollmer have a metal tag
Frank Lloyd Wright
•    COLLECTING Art Deco style is less valuable than pieces from c.1900 to 1910, but more valuable than post-1945 pieces; original condition is all-important; provenance from notable interior schemes adds greatly to value
Marks
Wright furniture is rarely marked, but is well documented and easily identifiable through style
Saarinen and The Cranbrook Academy of Art
•    COLLECTING Saarinen: designs are scarce but well documented; Eames: very collectable, particularly early work
Other designers
•    COLLECTING identifiable pieces by lesser-known American designers are rare but still not greatly sought after; provenance is important in determining value; commercial furniture is less valuable than domestic
Marks
Pieces are rarely signed by the designer but may bear a maker’s or retailer’s mark; Weber pieces may bear a tag from Lloyd Manufacturing Co.

Berlin
The Royal Porcelain Factory in Berlin (est. 1752) is best known for its superb porcelain made during the late 18th and early 19th centuries, when Neo-classicism was at its height. At this time Prussia was one of the most powerful states in Europe, and it became even stronger after the defeat of Napoleon in 1815. Its prosperity -was reflected in the great building schemes undertaken in Berlin and Potsdam, and some of the finest Neo-classical architecture of the age was designed by German architects such as Karl Friedrich Schinkel (1781-1841). Schinkel and the leading sculptor Johann Gottfried Schadow ( 1764-18-50) were among prominent Contemporary artists commissioned to design porcelain in the rich Empire style associated with Napoleon, and in the Biedermeier style, a simpler, heavier, Classical sty le popular with the German middle classes. In contrast to many other European factories, which concentrated on reviving 18th-century styles, the Berlin factory continued to manufacture innovative and stylish wares and figures throughout the century.
BEFORE 1840
In the early 19th century Berlin’s particular speciality was wares with finely tooled gilt borders and gilt-ground sections framing sumptuous paintings, creating an opulent effect. In contrast to the vignettes popular in the 18th century, these paintings were highly finished so as to imitate works in oil, and none of the white porcelain was left showing. The most popular painted subjects included profile portraits (sometimes silhouettes) within oval medallions, and Classical themes, but the factory is most renowned for its fine topographical views depicting such celebrated buildings in Berlin as the Royal Palace and the Opera, or the scenery around Potsdam. Topographical views generally feature on cups and saucers, plates, and vases (where they are sometimes titled) intended for display.
Frederick the Great, King of Prussia, was an enthusiastic patron of the factory, commissioning and even designing table services for his palaces in Berlin and Potsdam. This tradition continued under Frederick William III; after the defeat of Napoleon, the King ordered elaborate Neo-classical services for both Prussian and foreign generals in celebration of their victory. The most famous of these is the “Prussian” service made between 1817 and 1819 for the Duke of Wellington, which is now displayed at Apsley House in London, his former residence.
One of the most significant developments in Europe during the first half of the 19th century was the increasing power and patronage of the middle classes,
a result of the economic boom brought by the Industrial Revolution. Instead of the elaborate table services made for royalty and aristocracy, there was much greater demand for single decorative pieces or small services. The factory adapted to the new market by producing large numbers of “cabinet” cups for display, generally cylindrical and often with covers, and similar to those made in Vienna. From c.1815 an elongated, slightly flared version, painted with portrait panels or Classical motifs, was introduced. Also typical of Berlin were octagonal tea services with fine paintings of ancient ruins, birds, or butterflies, surrounded with gilding and elaborate enamels imitating Roman mosaics and pietre dare (hardstone) panels.
Vases in a variety of sizes were popular for display and were a major part of the output of Berlin from c.1830. Based on antique forms such as urns and kraters, they were usually embellished with topographical paintings or elaborate Classical motifs in panels, surrounded by tooled gilt borders with Neo-classical motifs. The supreme technical and artistic quality of these vases was unmatched.
Like tablewares, figures were inspired by Classical models; they were usually left unpainted or unglazed, in imitation of antique statues, and set on simple cylindrical pedestals moulded with regular geometric borders. Although most of the subjects were allegorical or taken from Classical antiquity, the factory also made portraits of the Prussian royal family, and of Prussian generals who had defeated Napoleon. From the 1830s a figure of
the Princesses Louise and Frederike was mass-produced with a stepped base or plinth rather than a simple slab.
Portrait medallions in biscuit porcelain, mostly depicting the royal family, were also made on a large scale.
Porcelain Easter eggs were a distinctive product of the
Berlin factory from c.1820 to the end of the century. They were decorated all over with paintings reserved on coloured grounds.
LATER CLASSICAL AND OTHER STYLES
The Berlin factor y continued to make high-quality decorated porcelain until the end of the 19th century, even though there was a general decline in European porcelain manufacture because of competition from mass-produced goods. Most mid- and late 19th-century Berlin porcelain displays mainly Classical influences, while other factories such as Meissen concentrated on the revival of 18th-century Rococo models. However, such forms as vases became larger and heavier, and decoration often more ornate: the simple, angular shape for handles, for example, was replaced by animal heads.
Berlin’s tradition of treating porcelain primarily as a medium for painting reached its apogee c.1840 with the development of porcelain plaques. Like paintings, these were usually rectangular and enclosed in richly modelled gilt frames. They were sold as blanks to outside workshops and painted by independent decorators (Hausmaler). The very finely executed subjects were initially copies or details of Old Master works; however, during the last third of the 19th century the themes were less profound: exotic maidens in traditional costume, scantily clad nymphs among flowers, or rather sentimental religious subjects.
From c.18,50 Rococo Revival elements, such as curling scrollwork, flowers, and shells, appeared in the decoration of tablewares and vases. This decoration, combined with the gilded and coloured grounds and topographical views, resulted in an overdecorated effect. This would never have occurred in the 18th century, when restrained decoration was used to create balance. The factory also experimented in mid-century with the Renaissance Revival style by manufacturing copies of Italian Renaissance maiolica and 17th-century German stoneware. These pieces have much heavier forms than the originals. The production of figures at this time was confined mainly to busts and figures of the royal family, ladies in contemporary dress on pedestals, and a limited revival of 18th-century models of such subjects as pastoral figures and tradesmen.
During the 1870s the factory suffered severe financial setbacks, but Hermann Seger, appointed technical director in 18787
, revived its fortunes and ensured its future by developing a series of new glazes. The subtle glaze effects on Oriental porcelain were particularly fashionable in the late 19th century, especially after Japanese and Chinese ceramics were displayed at the numerous European international exhibitions. Seger was the first manufacturer in Europe to reproduce rich flambe and sang-de-boeuf glazes by developing the “Seger cones”, which allowed accurate control of firing temperatures. This type of Oriental-inspired porcelain was known as “Seger-Porzellan”, and the new technology was taken up in porcelain factories throughout Europe. The Berlin factory continues to produce fine porcelain today.
• BODY high-quality, white, hard-paste porcelain with a glassy glaze and a slightly cold, bluish tinge
Before c.1840
• STYLE restrained Neo-classical
• FORMS cabinet cups and saucers; Easter eggs
• DECORATION gilt borders finely tooled with Classical motifs; highly finished topographical paintings imitating oils; coloured and gilt grounds
After c.1840
• STYLE eclectic, combining both Rococo and Classical elements
• FORMS painted plaques with elaborate gilt frames
• DECORATION very ornate, with applied gilt motifs such as shells and curling scrollwork combined with coloured grounds and paintings; paintings of sentimental religious subjects or exotic maidens on plaques
Marks