Posts Tagged ‘enclosed sauces plated dessert designs’
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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Posted in Antique Furniture | No Comments »
Friday, May 8th, 2009
Kakiemon
A type of Arita ware, Kakiemon is a delicate porcelain with a distinctive palette. The name is derived from a family of potters and enamellers working in Arita, who are traditionally believed to have introduced overglaze enamelling on porcelain to Japan in the 1640s. The extremely fine, milky-white body (nigoshide) was believed to have been exclusive to the Kakiemon kiln, although this is now disputed. Wares include small dishes, bottles, bowls, and vases, many of which are of geometric form.
DECORATION AND FORMS
Although the Kakiemon kilns produced blue-andwhite porcelain, they are generally associated with wares expertly painted in a palette of iron-red, cerulean-blue, turquoise-green, yellow, aubergine, and gold. These delicate porcelains form a counterpoint to the heavier Imari wares.
Often asymmetrical, the designs enhance
the milky-white body of the best Arita porcelain. Kakiemon wares are usually painted with natural themes: birds in branches, flying squirrels, the “quail and millet” design, the “Three
Friends of Winter” (pine, prunus, and bamboo), trailing flowers, and banded hedges. Human subjects are rare; some have been given titles such as the “Woman and the Nightingale” and the “Hob in the Well”, the latter a design based on the story of a Chinese sage who saved his friend who had fallen into a large fishbowl.
The chrysanthemum, the national flower of Japan, is a very common form for
Kakiemon wares, as is the pointed bracket-shape. Many Arita wares, especially the Kakiemon type, are hexagonal or octagonal in form. An iron-brown dressing (fuchi-beni) was applied to the edges of many Kakiemon porcelains to embellish them and to protect the rims from being chipped; this was probably introduced around the mid-17th century, following the example set by Chinese potters. Kakiemon porcelain was arguably the most influential Japanese porcelain in Europe; after it was exported to Europe at the end of the 17th century, the forms and decoration were copied by many major factories including Meissen, Saint Cloud,Chantilly, Chelsea, and Bow.
• BODY a pure milky-white (nigoshide)
• GLAZE almost colourless
• PALETTE iron red, cerulean blue, turquoise, brown, yellow, and gold; black is used for detailing; iron-
brown edges (fuchi-beni) are typical
• FORMS geometric; dishes are hexagonal, octagonal, or decagonal
• DECORATION mainly flower motifs and only rarely figures; asymmetrical and sparse; popular patterns include the “quail and millet”, the “Three Friends of Winter” (pine, bamboo, and prunus), banded hedges, flying squirrels, and the ho-ho bird (phoenix)
• COPIES made in many European factories from the end of the 18th century, including Meissen, Chantilly, Saint Cloud, Chelsea, and Bow
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Posted in Oriental Antiques | No Comments »
Friday, May 1st, 2009
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