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Antique Belter Rococo Revival Furniture.

Monday, May 25th, 2009

BELTERAND THE ROCOCO REVIVAL
BELTER WAS THE STAR OF THE AMERICAN ROCOCO REVIVAL - HIS FURNITURE COMBINED TECHNICAL WIZARDRY WITH TRADITIONAL SKILL AND WON HIM THE ADORATION OF NEW YORK’S GLITTERATI.

JOHN HENRY BELTER ( 1804-63), as he came to be
known, was born Johann Heinrich Belter, near Osnabruck in present-day Germany. He was trained in the art of wood-carving in Wurttemberg, a town steeped in the traditional Black Forest traditions of hewing complex designs from the native hard woods. Befter left his homeland for America, arriving in New York in 1833. Within six years he had become a naturalized citizen of the United States, and was in business as a cabinet-maker in his newly adopted city as early as 1844. It was not long before his name, like that of Thomas Chippendale, became synonymous with the type of furniture he produced.
A SINGULAR TALENT
Unlike many of his contemporaries in the furniture business, Belter only ever worked within one idiom. Somewhat fortuitously, but also due in no small part to Belter’s own great skill, the Rococo-revival style in which he excelled remained in vogue throughout his career and long after his death. His great triumph, and the exclusive feature of his work that kept him in the vanguard of the competition, was the series of breakthroughs he made in the lamination process.
BELTER PATENTS
AT THE TIME BELTER WAS WORKING, THE US PATENT OFFICE WAS PROCESSING THOUSANDS OF APPLICATIONS A YEAR TO HELP FOSTER A CLIMATE OF INNOVATION. The distinctive style in which John Henry Belter worked would not have been possible
without his innovative technical and methodical achievements. A patent effectively acted as a limited monopoly sanctioned by the State, and could prove extremely
lucrative if used wisely. Although Belter was successful in securing a number of patents during his career, he apparently failed to exploit them to their full potential as he never became very wealthy.
Better fashioned strong laminate panels by affixing thin strips of wood together, the grain in each layer lying perpendicular to that of the layer below. This practice enhanced the natural strength of the wood, rendering it extremely resistant to cracking or Splitting. Rosewood was especially fashionable at the time – Better sourced his from Brazil and India – but he also worked in oak, mahogany and other hard oods, sometimes ebonizing them.
DRAMATIC CURVES
A typical Better piece might be constructed from a series of eight-ply laminate boards, although he sometimes used up to 16 layers of wood. Additional panels carrying carved decoration were often glued on to the frame of a piece of furniture. These panels had been bent under extreme pressure with the application of steam to produce the dramatic curves that are a hallmark of Belter’s oeuvre, along with tight C” and “S” scrolls. The hardiness leant to wood by Belter’s lamination process enabled him to produce elaborate open crestings and aprons.
High-backed chairs provided him with an ideal canvas for his carving skills. Naturalistic depictions of flowers and fruits – vines were a favourite –feature alongside more Classical motifs such as scrolls. It is often only the quality of the carving and the audacity of the openwork that show that a piece came from his workshops. Better’s furniture was of a
consistently high quality and he was patronized
by some very wealthy New York clients. He
also designed a table in ebony and ivory for
display at the 1853 “Exhibition of the
Industry of All Nations”.
EXCLUSIVE TO A FAULT
Better’s refusal to cater to the mass market left him open to rivals who had no such qualms and made small fortunes selling a diluted version of Better’s pieces to aspiring, less wealthy consumers. Despite this, however, Better was not unsuccessful. In 1854, he had his own five-storey factory erected on Third Avenue, on the Upper West Side of
Manhattan. Two years later, he was joined in business by his brother-in-law, John H. Springmeyer. In 1861, William and Frederick Springmeyer also came aboard. When Better succumbed to tuberculosis in 1863, the Springmeyers continued in business. It is a testament to the singular skill of John Better that they were unable to survive for more than four years, despite the
unabated popularity of the Rococo-revival style that the firm had made its own. Better’s absence was felt keenly, and in 1867 the company was forced into closure.

Antique Early Chairs

Thursday, May 14th, 2009

Early chairs
Before the 16th century rooms were sparsely furnished, and the range of furniture was limited. Chairs were scarce and, like stools, were viewed as symbols of authority. It was not until the 16th century that more comfortable chairs were made. At this time the major artistic impetus spread northward from Italy, and chairs were made in quantity only in southern Europe. By the I7th century, as lifestyles became more settled, there was a greater demand for comfort in seat furniture.

A Turner’s or “thrown” chair
s of this type were produced in Britain from the 16th century, and
still made in provincial areas into the 19th century. “Throwing” was early term for turning. These chairs were often made from ash, which strong and ideal for turning, although susceptible to woodworm. late 17th century; ht Iml3ft3in; value H)
SOUTHERN EUROPE
The earliest prototype was the 16th-century Italian X-frame folding chair, usually in walnut, Inch was adopted in northern Europe from the end of the century. Spanish examples exist that are inlaid with ivory and metals in stellar and geometric designs in the Moorish fashion.
Armchairs of the 16th and 17th centuries were refined versions of the carved chaise caquetoire (gossiping chair) which, with its solid, carved back and trapezoidal seat, was not very comfortable. As revealed by the engravings of the Flemish designer Hans Vredeman de Vries (1526-(.1604) in his Differents Pourtraicts de Menuiserie ((.1585), the earliest-surviving traditional easy chairs were executed principally in Tuscany, Spain, Portugal, and The Netherlands in the late 16th and early 17th centuries. Known as the sillon De fraileros (”monk’s chair”) in Spain, this type of chair was usually of walnut, with scrolled and acanthus-carved stiles. The upper section Was supported by plain legs joined by waved stretchers, and the chair was upholstered with
intricately tooled and embossed leather stretched by ornamental heavy brass nails. Examples from The Netherlands often have lion finials surmounting the stiles.
NORTHERN EUROPE
Turning on a foot-operated lathe (which revolved the legs while the wood was cut to the required shape) became an increasingly popular decorative technique in northern Europe, and by the early 17th century most legs were turned. This form of decoration remained fashionable until the end of the century. Designs became increasingly intricate at this time, culminating in the “barley-sugar” (spiral) twist.
Peculiar to the 17th century is the oak joined chair with arms, often called a wainscot chair in Britain. Similar designs were made in many countries throughout northern Europe, and examples are still found in some numbers. This type of chair commonly has a scroll-carved toprail, sometimes inscribed with initials or a date. Its characteristic feature is a panel back, often symmetrically carved with stylized
leaves, lozenges, roundels, and lunettes. The seat
is solid, but would originally have had a squab cushion, and the front supports are ring-turned, with the legs joined by stretchers. Chairs of this type were made until the end of the 17th century and represent the final stage of the age of the joiner, as this period is often called. Designs and techniques changed considerably after this time, but in many provincial areas the traditional methods of construction continued to be used.

•    woods invariably indigenous – walnut in southern Europe and oak in northern Europe; rosewood was used to a limited extent during the 17th century in Portugal
•    DAMAGE examples that pre-date 1600 are extremely rare, and 17th-century examples should be examined closely for repairs; age, wear, and tear will have taken their toll – the legs and the lower part of the back are particularly vulnerable
•    DECORATION painted decoration, upholstery, leather, and caning have often been changed; if the originals remain, they increase the value
•    COPIES AND FAKES most 17th-century chairs are stylistically of a very simple form, the same designs being produced over a long period, making them difficult to date; turners’ chairs arc popular with collectors and are often faked – copies are difficult to detect as they may be quite old themselves, and tend to be in the same woods as the originals (ash or oak, not walnut), with good-quality carving; the colour of the wood on all unpolished surfaces should be closely examined, as should the overall patina

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Friday, May 1st, 2009