Posts Tagged ‘english antique serving tables’
Thursday, May 14th, 2009
Many major British designers used elements of the Art Deco style in their furniture, while remaining true to their Arts and Crafts roots and making little use of lavish ornament or exotic woods. Art Deco furniture was more typically produced by minor makers, whose work included copies of popular pieces shown at the 1928 Exhibition of Modern Art in Decoration and Furnishing. Held in London, the exhibition introduced decorative, continental Art Deco furniture into Britain. The Modernist influence of the 1930s is seen in the mass-produced furniture by Isokon (1932-9).
TRADITIONALISTS
The designers of the Cotswold School concentrated on the Arts and Crafts tenets of truth to materials, form derived from function, and traditional construction techniques. Native woods such as oak and walnut were favoured, and decoration was minimal. Luxury furniture was made by, among others, Sidney Barnsley (1865-1926), Peter Waals, and Robert Thompson (d.1955), the Houseman”, who used a carved mouse as his signature. Gordon Russell (1892-1980) made the most successful transition to both traditionalist and Modernist styles of Art Deco. While using traditional construction techniques, he incorporated such exotic materials as Macassar ebony and ivory into some pieces, together with Art Deco motifs like sunbursts and chevrons. His belief in the need for good-quality, mass-produced furniture led him to develop a range of furniture that used tubular steel and other synthetic materials, with machine-made parts.
Heal & Son (est. 1800), in London, maintained its role as a major manufacturer and retailer. Oak, especially limed oak, was most commonly used for a range of traditional Arts and Crafts designs with some Art Deco features. Again, decoration was minimal, and although contemporary construction techniques such as screw-fixing were used, pieces were hand-finished.
MODERNISTS
In 1934-5 Finmar Ltd was
set up in Britain to distribute Alvar
Aalto’s moulded plywood furniture. The plain, simple pieces had clean contours, decorated with blocks of colour; solid wood was often combined with laminates. The firm of Isokon (Isometric Unit Construction), founded in London by the architect Jack Pritchard (b.1899), produced a range of simple furniture, generally more adventurous than that distributed by Finmar. Designers associated with the company include Marcel Breuer (1902-81). Typical of the period are its lightweight stacking “cutout” tables and chairs made from a single sheet of cut and moulded plywood.
More exclusive Modernist Art Deco furniture was designed by Betty Joel (1896-1984), who used curving shapes, minimal decoration – wood grain or contrasting veneers – and native woods such as sycamore; from the 1930s she also used chromed steel and plywood laminates. One of the few truly innovative British Art Deco designers was Gerald Summers (1899-1967). In the 1930s he designed side-chairs and open armchairs, cut and shaped with curved backs and seats, in laminated birchwood. The Birmingham firm of PEL (Practical Equipment Ltd, est. 1931) commissioned collectable steel-frame furniture from such designers as Oliver Bernard (1881-1939) and Wells Coates (1895-1958).
• MATERIALS light woods were popular – sycamore, limed oak, walnut, and burr-walnut
• CONDITION plywood furniture must be in good condition: check laminated pieces for chips or flaking
• COLLECTING one-off, commissioned pieces by well-known makers are very expensive; minor furniture is collectable if well designed and in good condition; pieces by members of Cotswold School most desirable; forms associated with Jazz Age most sought after
Marks
Heal & Son: work is stamped with this mark, inset in a circular ivory plaque on the insides of doors or inside drawers
Tags: alvar aalto, Art Deco, art deco furniture, art deco motifs, art deco style, Arts and Crafts, arts and crafts designs, british designers, cotswold school, design, early 18th century oak gate leg dining table, early 19th century solid silver candlesticks, early georgian style*1695-1750, early imperial ming porcelain, early meissen figures, early ming porcelain, ebony and ivory, end tables tall spindle leg antique, engliosh design consoles furniture, English, english antique consoles, english antique draw leaf table, english antique serving tables, english antique trays, english column candlesticks, english creamware column candlesticks, english curved middle sideboard, english fcbinet makers 19th century, english furniture dressing table, english george iii hepplewhite satinwood bedside cabine, english hepplewhite dressing table, english ladys writing desk spiral legs, english nickel plated silver candelabra, english refectory table, english silversmith marks 18th century, english stoneware, english stoneware with transfer, english style dressing table, english william and mary antiques, epergne, epergne antique, epergne art deco glass, epergne ceramic 19th century, Exhibition, exotic materials, exotic woods, finmar, gordon russell, houseman, Jack Pritchard, luxury furniture, macassar ebony, Marcel Breuer, ny, plywood furniture, robert thompson, sunbursts, traditional construction techniques, walnut
Posted in Antique Furniture, Art Deco | 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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