Posts Tagged ‘drawing book’

Antique Sheraton Period Furniture: Armchairs, Cabinets, Tables, Sideboards, Chests of Drawers, Beds.

Sunday, July 19th, 2009

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 English Furniture: OCCASIONAL TABLE, TWO-TIER ETAGERE, DISPLAY CABINET, REVIVAL FURNITURE

Tuesday, June 16th, 2009

Art Nouveau English Furniture: OCCASIONAL TABLE, TWO-TIER ETAGERE, DISPLAY CABINET, REVIVAL FURNITURE

WHILE SOME EDWARDIAN households
embraced the latest Art Nouveau forms, many returned to the furniture styles of the past and the latest Classical revivals. Designs from various historical periods were dusted off and reworked by companies throughout Britain. Inspiration ranged from the distant past – Renaissance, Elizabethan, Jacobean, and even Gothic – to the more recent Neoclassical work of Sheraton, Hepplewhite, and Robert Adam. The result was comfortable rather than cutting-edge, and less cluttered than the Victorian ideal.
Art Nouveau and Revival furniture were made in parallel to satisfy the needs of the less adventurous Edwardians as well as those who subscribed to
the latest fashions.
REVIVAL FURNITURE
The Revival trend had started in the late 19th century after a new series of interior design books, aimed at the middle classes, reignited the fashion for the three great names of British Neoclassical furniture. Then, in 1897, Sheraton’s The Cabinet-Maker and
Upholsterer’s Drawing Book and Hepplewhite’s The Cabinet-Maher and
Upholsterer’s Guide were reprinted and the Revival was confirmed. The result was a fusion of the work of these three designers, adapted to suit smaller
Edwardian rooms and a desire for comfort. It was also a rejection of the heavy, sombre furniture popular in Victorian times.
Revival furniture was often made from light mahogany, satinwood, or satin-birch, and decorated with stringing, crossbanding, and wooden inlays of fans or shells, set with bone, or painted with flowers and foliate scrolls. Decoration was often elaborate. Sometimes pieces were made from less exotic and expensive wood and
painted to resemble satinwood. Some designers slimmed down Sheraton’s designs to make them more delicate. This occasionally went too far and resulted in pieces that were spindly and out of proportion.
Others took the path of true imitation
and aimed to recreate Sheraton and
other Neoclassical designers exactly
Some of these pieces are so faithful to
the original that it takes an expert to tell them apart. Gillow of Lancaster and Edwards and Roberts of London are among the best of these furniture-makers, but many other firms made inexpensive copies for the mass-market. Many pieces were not marked by the makers, so attributing them can be difficult.
A STEADY DEMAND
Despite the volume of furniture made, much Edwardian furniture was of
good quality However, veneers were sometimes used to disguise poor construction. There was a great demand for desks; bookcases; chests-of-drawers; display cabinets; commodes; side, dining, and other chairs; tables including dining, occasional, and dressing; marble-topped washstands; bedside cupboards; and wardrobes that were frequently part of a bedroom suite.
Sofas were often based on Sheraton and Hepplewhite styles, but were less overblown than Victorian examples. Manufacturers made suites of chairs with matching sofas, usually from
mahogany, but sometimes walnut or satinwood. Seats were often upholstered in silk or damask, while the backs and sides were caned.
PRINCIPAL MAKERS
Important names in Edwardian furniture included Waring and Gillow and Maple and Co. Maples was based in Tottenham Court Road, London, and was the largest furniture store in the world. It made its own furniture
for sale at home and abroad, and drew its customers from both the middle and upper classes and even royalty – Tsar Nicholas of Russia furnished his Winter Palace with furniture from its workrooms. Maples also furnished British Embassies, even going so far as to arrange for a grand piano to be carried up the Khyber Pass on packhorses.
For those whose taste did not fit in with either the Revival or Art Nouveau movements, there was an opportunity to furnish their homes in an exotic
manner using the new bamboo and wicker furniture, or pieces with a Moorish or Japanese influence.

SIDE CHAIR
This is one of a pair of Sheraton Revival satinwood side chairs. The pierced, oval back is centred by a portrait of a young girl, and the seat is covered with caning. The front legs are turned. Early 20th century.
SATINWOOD VITRINE
The elegant proportions of this cabinet are characteristic of the Edwardian era, when furniture became more slender and delicate. Influences were diverse, but the painted swag decoration, medallions, and motifs typical of
Glass panels allow treasured objects to be displayed.
Painted swags and medallions are Classically inspired.
The casing and legs are slender and delicate.
the period, are Classical in style. The cornice and pediment are decorated with portrait-style paintings. Vitrines did not become common until the second half of the 19th century. This one bears a label from Maple & Co.
OCCASIONAL TABLE
This circular table is made from mahogany and has satinwood banding and floral marquetry. The square tapered supports are united by stretchers. Early 20th century.

LADY’S WRITING DESK
Probably made by Maple & Co, this rosewood and marquetry compact lady’s writing desk, or bonheur, du jour, has a raised, galleried back with lidded interior compartments. The inset-leather writing surface sits above three frieze drawers and the piece is raised on slender legs. c. 1905.
Elaborate drop handle
Classical inlay motif
ROLLTOP DESK
TWO-TIER ETAGERE
The lid of this satinwood marquetry-decorated piece opens to reveal a mechanical interior. Initially introduced in the 18th century, the rolltop desk was reinterpreted during the Art Nouveau period to meet changing tastes. Early 20th century.
This etagere is made of inlaid mahogany and satinwood banding. The top is formed from a later glass-based tray, and the piece stands on square, swept supports. Etageres were used for displaying objects or serving food.
Early 20th century.
This impressive mahogany cabinet has fine crossbanded decoration and an astragal-glazed door and panels. The cornice is centred with an architectural pediment and the base is decorated with fiddleback mahogany and satinwood lozenges on the central door and canted sides. The cabinet is supported on slender legs. Early 20th century.
DISPLAY CABINET