Posts Tagged ‘female masks’

Antique 18th-19th Century Commodes

THE COMMODE EVOLVED slowly during
the late 18th century, only gradually incorporating Neoclassical elements into its design. In its early transitional stage, in the 1760s, its shape retained many Rococo features, such as rounded corners and cabriole legs, but, the
case became more rectangular and the decoration Neoclassical. However, by the 1770s, the shape of commodes had also been refined, as commodes became plainer and more linear in design, with straight legs. Their angular shape was sometimes augmented by the adoption of a breakfront — the result of inset drawers being placed on either side of protruding drawers — a feature that was particularly popular.
By the 1790s, the French commode generally had two or three short frieze drawers with long parallel drawers below them. Columns of term figures, headed by female masks in Classical or Egyptian garb, flanked the drawers. The columns were also often headed by engine-turned, plain, Tuscan, gilt-bronze capitals. Commodes with three
deep drawers on short feet turned like tops were also common.
In the 1770s and 80s, commodes with sumptuous ormolu mounts and pictorial marquetry were still made for royal households, but decoration became more sparing after 1790.
Mounts were rare and plain ring handles and escutcheons, inspired by simple Grecian design, were used. Transitional commodes used satinwood veneer or mahogany but, as designs became more refined, plain, well-figured wood such as mahogany, or fruitwood for provincial pieces, was used with marble tops. Decoration was provided by moulded wood, ebonized columns, and grisaille panels.
In Britain the side cabinet became plainer but was still of good quality. No particular shape was favoured, but some designers were influenced by Egyptian campaigns. Italian designers used walnut, olive, and tulipwood, combining a pictorial frieze drawer with two plain drawers. Geometric marquetry was used to emphasize the commode’s rectangular shape.
The rounded corners of the case Crossbanded veneers and light
are inlaid with three rectangular boxwood string inlays emphasize
panels corresponding to the the edges of the drawers. depths of the drawers.
Lion’s head brass pulls like these became popular towards the end of the 18th century.
hepplewhite COMMODE
This commode has three walnut-veneered drawers. Its skirt is slightly shaped and it has short, cabriole legs with carved toes.
ITALIAN COMMODE
This rectangular walnut commode has three drawers, the top one narrower than the two below. Its drawers have floral marquetry and a central oval inlaid with an architectural scene. Its handles are lion’s head masks with a circular pull held in each lion’s mouth. c.1780.
ENGLISH CHEST OF DRAWERS
This mahogany william and mary chest of drawers is serpentine in shape. It has a moulded edge, four graduated drawers, a moulded plinth, and the piece terminates in four ogee bracket feet. The top drawer of the chest is fitted as a dressing chest. c.1770.
GERMAN COMMODE
This rosewood commode’s rounded, breakfront shape is echoed in the conforming top, which slightly overhangs the case. It has three drawers of equal size with Rococo-style drawer pulls. Its base moulding is shaped and the case stands on small bracket feet. c.1770.
PARISIAN A LA GRECQUE COMMODE
This commode has three drawers, the upper one hidden by an applied ormolu entrelac frieze. Its two lower drawers are covered with a veneer pattern. The four cabriole legs end in feet ornamented with sabots. c.1775.
SWEDISH COMMODE
This breakfront commode, with three small drawers flanking three larger central drawers, is closely related to French styles. This one is slightly heavier, particularly in the canted corners and the marginally tapering legs.
PARISIAN MARBLE-TOPPED COMMODE
This rectangular commode has three drawers, and doors in the central section, flanked by a single door on each side. It has rounded pilasters on the sides that connect with its turned and tapering legs. It has circular escutcheons with swags, and circular pulls.
MILANESE VENEERED COMMODE
This kingwood-veneered commode has three long drawers, a straight apron, and square, almost bracket-shaped legs. Its light, distinctive colour is a result of the inner sapwood of the kingwood being used for the veneer. Its pulls are Neoclassical in design. c.1790.
ITALIAN COMMODE
This rectangular fruitwood commode has three drawers, the upper one narrower than the others, and stands on short, tapering feet. It has a floral inlay, and its central cartouche, outlined in a darker veneer, is inlaid with birds and flowers. c.1780.
SWEDISH COMMODE
This three-drawer commode has a marble top. Its case has canted corners, as do the feet, which taper slightly towards the base. Its side panels and drawers are veneered, and the central drawer has an inlay of musical instruments c.1790.
FRENCH COMMODE
This three-drawer walnut commode has a moulded top over three graduated panelled drawers and a shaped and moulded apron.
Short, scroll feet, each with a block terminus, support the case. It is decorated with pierced, foliate C-scroll escutcheons and handles. The style of this commode is provincial and rather old-fashioned. c.1765. W.139cm (54 ‘ 7). 4
FRENCH VENEERED COMMODE
This commode has a breakfront shape, created by three short drawers inset either side of three protruding long drawers. It has a moulded
white marble top and geometric parquetry veneer, which includes kingwood, tulipwood, and rosewood. The cabriole legs are squared and veneered, and terminate in gilt-metal sabots. c.1770.
FRENCH DEMI-LUNE COMMODE
This mahogany commode has a semicircular, or demi-lune shape. It contains three central drawers, and curved side doors, which open to
reveal shelves. It has a marble top, gilded bronze escutcheons that are Neoclassical in design, and pulls with swags surrounding them. c.1795.

Antiques: Furniture, Tables, Cabinets, 18th Century Furniture, Art Deco Furniture Recently Featured at Antcollectors (3)

Early 19th Century Chairs

ALL “THE CHARACTERISTICS oF Regency
and Empire furniture, from the Neoclassical motifs – often on pierced backs – to the choice of timbers, are displayed on early 19th-century chairs.
One of the most typical types of chair of the period is the Trafalgar chair, which was made in Britain and used for dining. The chair had two horizontal splats – one usually of bar form, the lower one sometimes a rope-twist, set above a caned or drop-in seat. Caning, with all its exotic overtones, was revived again during this period, particularly on British or Cape furniture. During the first two decades of the century the front and back legs were usually of sabre form, but turned or ring-turned legs, which are Structurally stronger, were used later.
These chairs, and many that they inspired, were often made of solid mahogany or rosewood, with veneered
panels on the bar back. Beech was used, and was often painted; light-coloured woods were favoured outside Britain. Chairs from this period rarely had stretchers.
One type of armchair, inspired by Georges Jacob, had a rectangular, scrolled, upholstered back and open arms with straight supports, often carved with sphinx heads or female masks. It also had turned and tapered front legs. These more comfortable fauteuils might be used in the drawing room, whilst Regency bcrgeres, which had caned backs, sides, and seats, were probably made for the library. These chairs had squab cushions, often covered in leather and buttoned. Other pieces might be upholstered in silk or velvet. Needlework was rare, although a suite of furniture from the Winter Palace in Russia, was covered in tapestry, in a mixture of wool and silk.

ENGLISH TRAFALGAR CHAIR
FRENCH DIRECTOIRE CHAIR
This Regency mahogany dining chair has a plain top rail and a rope-twist back rail. The needlework-covered drop-in seat is supported on a plain seat rail and sabre legs. One of a set of four. Early 19th century.
This is one of a pair of Directoire side chairs, each with a rectilinear back rail and splat inlaid with brass musical instruments. The upholstered stuffover seat is supported on sabre legs. c.1800.
SWEDISH BIEDERMEIER ARMCHAIR
CHINA TRADE ARMCHAIR
This birch open armchair has a stepped yoke backrest with a decorative oval inlay and scrolled armrests. The drop-in seat has a plain seat rail and is raised on sabre legs. c.1825.
This Asian hardwood armchair, has a Greek-key carved top rail and a shaped, carved back rail. The cane seat rests on a reeded seat rail above slender reeded legs joined by an T-stretcher. Early 19th century.
All the surfaces of the chair are carved and decorated in shades ofgreen, blue, and red, highlighted with gold.
INDIAN THRONE CHAIR
This polychrome-painted, ivory-veneered chair is in an exaggerated Regency style. It has an arched, slightly panelled back with a reeded top rail, carved uprights, sabre legs, and paw feet. c.1830.

AMERICAN FEDERAL SIDE CHAIR
This walnut and fruitwood side chair has a gently reclining back with a rectangular top and back rail. The padded seat is supported on a plain seat rail above stylized cabriole legs. Early 1901 century.
These Biedermeier mahogany-veneered dining chairs were made in Berlin. Each chair has a bar top rail, a solid, shaped back rail with a central oval, and elegant, slightly sweeping uprights. The shaped caned seats are set
within a curved frame with a rounded seat rail and are supported on tour outswept sabre legs. 1820-30.
This mahogany side chair has a moulded and rope-carved shield back around an urn, Princeof-Wales feathers, draped swags, and leaves. The serpentine seat rests on reeded, tapering legs. Early 19th century.
FRENCH RESTAURATION CHAIR
GERMAN BIEDERMEIER CHAIRS

AMERICAN GONDOLA CHAIR
ITALIAN GONDOLA CHAIRS
GEORGE III SHIELD-BACK CHAIR
This is one of a pair of Neoclassical figured mahogany gondola chairs, each with a curved back and vasiform, solid splat, a padded slip seat, and downswept stiles continuing into shaped sabre front legs. c.1830.
These six dining chairs are made of walnut and are designed in the Neoclassical style. Each chair has an unusual fluted, rectangular backrest positioned above a pierced, stylized leaf border. The cane seats have an applied
roundel at each side and are supported on plain seat rails. The chairs are raised on sabre legs. The elegant sweeping uprights give the chairs their characteristic shape, which is reminiscent of the style of the gondola boats found in Venice.
Early 191h century.
This mahogany armchair has a shield-shaped, curved back, outlined with guilloche moulding, with five reeded splats, curved downswept arms, a bowed seat rail, and reeded, tapering front legs.
RUSSIAN OPEN ARMCHAIR
AMERICAN DINING CHAIRS
SWEDISH GUSTAVIAN SIDE CHAIR
This birch open armchair has a stepped yoke backrest, with carved fan detail, and slender, scrolled armrests. The upholstered seat is raised on sabre legs. It is one of a pair. Early 19th century.
These eight Neoclassical-style dining chairs are made of mahogany. Each chair has a flat curved top rail carved with a foliate pattern and a slender horizontal splat, also decorated with leaf carving, plus a rosette. The seats
are upholstered with black Naugahyde and are showing considerable signs of wear. The seats are supported on plain seat rails and raised on sabre legs. The armchairs have gently curving supports. The set comprises two armchairs and six side chairs, and is attributed to Anthony Quervelle. c.1820.
This white-painted side chair has a shield-shaped back with a solid, carved splat. The padded seat is supported on a moulded seat rail and is raised on stop-fluted legs joined by an H-stretcher. Early 19th century.

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