Posts Tagged ‘gate leg table oak antique round’
Monday, May 25th, 2009
THONET’S BENTWOOD
THONET’S DEVELOPMENT OF THE BENTWOOD CHAIR- ONE OF THE MOST SUCCESSFUL PRODUCTS EVER CONCEIVED - HAD AN ENORMOUS INFLUENCE ON THE COURSE OF FURNITURE DESIGN.
MICHAEL THONET (1796-1871) WAS BORN in Boppard-
am-Rhein, a picturesque town that was then part of Prussia, now part of Germany. He trained as a cabinet-maker and set up a workshop in his home town as soon as he finished his apprenticeship. However, it was not until he was in his thirties that he began to experiment with steaming laminated wood veneers in order to create bentwood furniture. At first, lie was only able to use this process to produce component parts, such as chair backs, which he incorporated into pieces constructed from
more orthodox, straight, wooden elements. Still, his
work was innovative, and Thonet’s exhibit at an 1841 Koblenz trade show attracted the attention of Chancellor Metternich, who invited him to Austria to make some furniture for the Palais Liechtenstein.
ROCKING CHAIR
The frame of this beech
Thonet rocking chair exemplifies the Thonet technique of using single pieces of wood to create elaborate, elegant, curved structures. The seat and back of the chair arc each made from a simple green fabric sling. c.1880.
TORTUOUS CURVES
To prevent the beech from splitting when it was bent violently into shape, a metal strip was attached to each end of the piece of wood before it was steamed.
BENTWOOD CHAISE LONGUE
Inspired by Arts and Crafts styling, the sinuous lines of the frame and co ms of Thonet’s chaise longue are created from long pieces of bent, solid, laminated beech. The seat is made of woven canc. Suitablefor the conservatory or the garden, this recliner appealed to the taste for more rustic styles of furniture in the late 19th century, although it was, in fact, industrially produced. It is the precursor of Le Corbusiers chaise longue, designed in 1928, which used tubular steel instead of bent wood for the frame. 1883-84.
VERSATILITY AND SIMPLICITY
By 1842, Thonet had perfected his steam-bending process, and in July of that year he was granted an international patent that protected his “chemical mechanical methods” from imitation. The extravagant curlicues of the Kentwood furniture he produced for the interiors of the grand Rococo staterooms at the Palais Liechtenstein are testament to the versatility of his invention.
Once softened through immersion in steam or boiling water, the wood (beech was particularly suitable) could be moulded into almost any shape with the aid of a press. A single piece of timber could be manipulated to form the back legs, uprights, and top rail of a chair. Thonct’s process meant that furniture could be constructed from far fewer members and did away with the need for dovetails, tenons, or any kind of joint; simple screws and nuts would suffice to hold the parts together.
In 1853, Thonet set up his own furniture company — Gebruder Thonet — with his five sons (Franz, Michael, August, Josef, and Jacob) , and designed a factory in Vienna to produce furniture that could be packed flat for shipping and assembled at its destination. Before long, Thonet’s bentwood furniture was being exported all over the world.
WORLD-BEATING DESIGN
Mid-19th-century Vienna was famous for the lively political and cultural debate that found its focus in the city’s cafes, and these establishments proved the ideal testing ground for Thonet’s new bentwood
chairs. Light yet durable, their distinctive but understated style and modest cost made them a hit with the hospitality industry. Thonet’s first large-scale commission was to supply chairs to Vienna’s Daum coffeehouse in the late 1850s, and the world-beating “No.14″ chair was developed for this purpose. It was so successful that before the turn of the century more than 15 million No.14 chairs had been made and sold throughout Europe. This was functional furniture for the masses rather than furniture as a signifier of wealth, and the industrial production lines in Thonet’s factories across central Europe were turning it out in huge quantities.
THE CONTRIBUTION LIVES ON
When compared to the convoluted decoration of so much mid-19th-century furniture, the bentwood designs of Thonet and his sons are positively Spartan. Le Corbusier commemorated this refreshing aspect of Thonet’s oeuvre in 1925 when he used the No.14 chair as part of his hugely influential I’Espirit Nouveau exhibit, espousing his rejection of decoration in favour of function. It is unlikely that John Henry Belter (1804-63) would have had so much success with his carved laminate furniture in New York had Thonet not laid the foundations before him. Thonet’s legacy has endured well into the modern age — he precipitated Charles and Ray Eames’s mass-produced office chairs (see pp.456-57), and, of course, the modern Hat-pack domestic furniture industry.
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Friday, May 8th, 2009
Middle East Pottery
The countries and regions that embraced early Islam were ideally located to absorb the cultural, commercial, and technical cross-currents of the early medieval world. Chinese commodities were one of the major influences in Islamic lands – an area that stretched from India to the Atlantic Ocean. Trade with China was well established by the Tang Dynasty (AD 618-906), since many Arabs were resident in Guangzhou (Canton), and in addition to spices, perfumes, and silks the Chinese sent ceramics to the Middle East.
EARLY WARES
From the 9th century, potters in Mesopotamia (now Iraq) were so inspired by Chinese wares that they strove to imitate them. The first types of ware made were buff or red earthenwares covered with a tin glaze. In an effort to simulate metals potters also developed the lustre technique, and during the next 300 years this method of decoration spread through Islamic countries, reaching Spain in the 13th or 14th century. Tin-glazed earthen-wares and lustre wares were two of the most important types of pottery bequeathed to Europe by the brilliant Islamic ceramic tradition. In eastern Persia (now Iran) the crisply contoured 10th- and 11th-century slipwares of Nishapur and Samarkand were subtly decorated with abstract leaf or geometric motifs and Kufic script.
PERSIAN WARES
Unique to the Islamic world is fritware, a glassy composition perhaps developed to copy imported Chinese porcelains produced during the Song Dynasty (960-1279). This grainy, white-bodied ware is often covered in a viscous, deep turquoise-blue glaze. Between c.1215 and 1334 plain and lustred wares were made in the town of Kashan, south of Tehran; the technique was probably introduced to Persia in the 12th century by Egyptian potters.
The sophisticated polychrome Mina’i (enamel)
wares of late-12th- or 13th-century Persia may often
seem crowded and confused, but they are nonetheless
outstanding examples of the Islamic decorator’s art.
Mina’i pottery was made in Rayy (now Rhages) near
Tehran, and is decorated with figures and painted in a wide range of colours. Many examples of early Mina’i ware are painted with large-scale figures in the manner of contemporary lustreware, but later the emphasis was
on small-scale, narrative subjects.
Later Persian wares, made during the
Safavid (1501-1732) and subsequent periods, include those from Meshed (eastern Persia), Kirman (western Persia), and Kubachi (northern Persia), most of which were painted in the style of late Ming and Transitional Chinese porcelains. The bodies, glazes, and decorations of these Persian wares Lire very similar and it is difficult to tell them apart.
IZNIK AND KOTAHYA
In the 16th century, extremely fine copies of blue-andwhite Chinese wares were made by the potters in Iznik (east of Istanbul) and Kutahya in central Anatolia. The potters in these towns created superb, crisply painted
wares with swirling and scrolling foliage, painted either in blue or in a combination of turquoise, green, and, later, a thick red (Armenian bole). In addition to conventional decorative pottery vessels and dishes, Iznik and Damascus potters produced some of the finest tileworks for mosques and secular buildings. These latter wares were highly influential in late 19th-century Europe, as seen in, for example, the work of the English designer William De Morgan (1839-1917).
KEY FACTS
Early wares
• BODY buff or red earthenware
• GLAZE tin oxide
• LUSTRE ruby, brown, yellow, black, red
• TYPES tin-glazed wares; lustre wares
• DECORATION fusion of Chinese and Islamic designs, usually abstract
Persian wares
• BODY Mina’i: coarse; Meshed, Kirman, and Kubachi: white frit paste
• GLAZE Mina’i: creamy; Meshed, Kirman, and Kubachi: thick and soft
• DECORATION Mina’i: underglaze colours and overglaze enamels; Meshed, Kirman, and Kubachi: resemble each other; black design outline may suggest a Meshed piece
Turkish wares
• BODY Iznik: greyish buff, grainy, and absorbent; Kutahya: buff and thinly potted
• GLAZE Iznik: translucent, but slightly bluish tone; Kutahya: irregular, gathers in bluish or greenish pools
• STYLES Iznik: “Golden Horn” (c.1530) decorated with knotted pencilled scrolls; “Damascus” (c.1550-70) very sumptuous, with large-scale floral subjects and saw-edged leaf (saz); “Rhodian” (c.1555-1700) mainly floral; Chinese-style blue-and-white wares
• PALETTE Iznik: wide range of colours dominated by turquoise and a scaling-wax red (Armenian bole)
• DECORATION Kutahya: crude, floral, and figural
Marks
Islamic pottery is rarely marked, although individual potters’ marks do occasionally appear; corruptions of late Ming seal marks are used on Persian pottery
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Thursday, May 7th, 2009
Library and writing tables.
The earliest-known tables specifically designed for writing date from 16th-century Italy, when cabinetmakers produced elaborately carved walnut tables with sloping desks fitted into the tops and small drawers below for the storage of writing materials. Similar tables, or bureaux, probably originated in France during the third quarter of the 16th century.
THE 18TH CENTURY
Tables designed specifically for writing were introduced in England after the Restoration (1660). French tables influenced English designs during this period, and both French and English examples were usually made of oak or walnut with a rectangular folding top. The flap was supported by baluster or tapered pillar legs they are often decorated with “seaweed” or floral marquetry and closely parallel the Dutch models. During the early 18th century the Louis XIV concept of a free-standing bureau plat (a flat-topped writing table) invented by Andre-Charles Boulle (1642-1732) was taken up and adapted by English cabinet-makers. Intended to occupy a central position in the library, and to act as a statement of the wealth and power of its owner, such desks reached the zenith of their popularity in England during the mid-18th century, and by the third edition of The Gentleman and Cabinet-Maker’s Director (1762) by Thomas Chippendale (1718-79), no less than 11 types of carved open pedestal desk were illustrated.
As postal systems developed, and as paper became cheaper and standards of education improved, so the need arose for less stately versions of the writing table, particularly for use by women. Some of these tables appeared in Chippendale’s Director; while others featured in The Universal System of Household Furniture (1762) by John Mayhew (1736-1811) and William Ince (c.1738-1804). A great range of new forms came into use at this time, which were notably lighter than their predecessors. Neo-classical tables were made in exotic hardwoods such as satinwood, an expensive and very fashionable wood that was particularly suited to this lighter style of table, and many examples were adorned with fine marquetry.
THE 19TH CENTURY
Several new types of writing table developed during the Regency period (c.1790-1830), including the Carlton House desk, named after the London home of the Prince of Wales (later George IV). Another fashionable form featured curved X-shaped supports at either end, with drawers in the frieze, and the flat top enclosed by a three-quarter brass gallery. At the end of the Napoleonic Wars in 1815, furniture designers were given the opportunity to create a wide range of new forms, when the technology required to marry wood
to metal – developed for military purposes – was applied to furniture. The furniture of the Regency period was therefore characterized by elegant design combined with ambitious construction techniques. New features included galleries at the top of the table, used either for decorative effect or to hold books safely; numerous small drawers, hinged flaps, and curved ramps, which could be pulled out as required, extending the available surface and facilitating activities such as drawing and painting; and screens that extended beyond the main structure in order to shield the writer’s face from the heat of the fire. In addition, revolving circular or polygonal “drum”tables were invented for the library, where they were used for storing and displaying books and paper.
• “BUHL” WORK examples tend to be inferior to those of the 17th and early 18th centuries: the gilding is generally brassier and the tops are inlaid, in contrast to the leather-lined tops of the 17th-century prototypes; the drawer-linings of original examples were usually in oak, while on the copies they are in walnut.
• ALTERATIONS leather tops can get ripped and have often been replaced – this should not affect value; heavy legs have often been replaced with lighter legs of an earlier style to make the table more commercial.
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Friday, May 1st, 2009
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