Posts Tagged ‘holophane verlys’

EARLY 19TH CENTURY REGENCY BRITAIN FURNITURE

THE REGENCY WAS a clearly defined
period in British history From 1811 to 1820, the Prince of Wales, who later became George IV, ruled instead of his father, who was suffering from porphyria – a form of madness. However, as a furniture style, Regency has come to embrace a wider time frame, from the 1790s to the third decade of the 19th century.
Reflecting the exuberant tastes of the Regent himself, the period begins with his commission of the Neoclassical architect Henry Holland for his London home, Carlton House, in the 1780s, and concludes with the exotic, Oriental confection that is John Nash’s
Brighton Pavilion, remodelled for the Prince of Wales between 1815 and 1823. George, the Prince Regent, came to dominate taste in the early 19th century. He and his circle drew on a diverse group of talented architects and artisans, often trained in France, many of whom had worked on Carlton House. These included the architect, Charles Heathcote Tatham, the decorators and cabinet-makers, Morel and Hughes, and the clock-maker, Benjamin Vulliamy.
FURNITURE STYLE
Regency furniture is often symmetrical with clean, rectilinear lines. As such, it was inspired by French Empire furniture and the simple late 18th-century furniture designs of Thomas Sheraton. Large surfaces were often veneered in highly figured rosewood and then decorated with gilt-brass mounts of ancient motifs, such as rosettes, paterae, laurels, and anthemia. The Liverpool cabinet-
maker George Bullock is best known for his use of patterned surfaces; he frequently balanced English timbers, especially oak, with a riot of border patterns featuring stylized flower-heads, lotus leaves, and dot motifs.
The strict Neoclassical taste found its most archaeological expression in the designs of Thomas Hope, which he published in 1807. Not only had he plundered ancient Egypt, Greece, and Rome for decorative ideas, but he also attempted to recreate ancient furniture and interiors. Probably the most
typical furniture of this type is the rounded klismos chair – first known to have been produced in ancient Greece
– which has back stiles that rise from outswept sabre legs to support an almost semi-circular back.
During this period, a wide variety of side cabinets of diverse outlines came to dominate the wall space in drawing rooms, replacing the use of commodes. In the dining room, a similar role was performed by the popular sideboard and chiffonier.
ECLECTICISM
It would be a mistake, however, to see the Regency as simply a curvaceous and light Neoclassical style. It was characterized by endless variety, a freedom of forms, and an eclectic
ornamental vocabulary. George Smith, who published a pattern book the year after Hope, reinterpreted his cold, academic designs by applying Neoclassical motifs to French Empire models that also included Gothic-and Chinese-inspired furniture. Indeed, exotic forms and materials became the hallmark of Regency taste. Smith popularized Hope’s designs in his pattern book, introducing them to a wider public.
Smith inspired impressive-looking furniture, with boldly carved leopard’s masks or large lion’s-paw feet, which anticipated the slightly heavier furniture of the 1820s and 30s.

The front rail and highly scrolled ends are inlaid with trailing foliage and flowers, terminating in floral paterae.
The seat rail is inlaid with a trailing brass foliate motif.
The design of the chaise longue is influenced by the contemporary French form, the meridjenne - a type of sofa with scrolled ends, one higher than the other.
Brass inlay detail
CHAISE LONGUE
This elegant Regency chaise longue is made of rosewood and is profusely inlaid throughout with brass inlay in a foliate design. The frame has a sweeping back rail which is centred with a scrolled hand grip, and has highly decorative
scrolled end supports. The generously padded seat and arms are supported on a rectilinear front rail decorated with a foliate motif. The piece stands on outswept sabre legs which terminate in lion’s-paw feet on casters.
Sabre legs terminate in lion’s paw feet and casters.
SMALL CENTRE TABLE
The surface of this tilt-top table has a painted scene within a laburnum veneer border. It is supported on a rosewood-veneered stem, on a base with scrolled, ribbed feet on brass casters. Early 19th century
MAHOGANY STOOL
This Regency mahogany stool has a gently shaped rectangular seat with scrolled ends and light carving on the surface. It is supported on an X-frame base with simple, carved decoration and stretchers. c.1810.
This mahogany writing table has a three-quarter brass gallery and a central, pull-out insert. There are six drawers behind a lift-up flap, two drawers on either side, and two in the frieze, supported on slender, turned legs. c.1800.
LIBRARY TABLE
The rectangular top of this rosewood library table is inlaid with a Greek-key border in satinwood and ebony. The frieze has a central pierced ormolu palmette and two drawers. The bowed legs are headed by gilt lion’s heads and
terminate in lion’s-paw feet, joined by a shaped stretcher. c.1810.

Art Nouveau: Furniture
Furniture
The French, the main exponents of Art Nouveau, adapted Arts and Crafts designs to create inventive, sculptural furniture, embellished with fine organic decoration. Elsewhere in Europe interpretations of the style varied, although nature was always the main source of inspiration. In Belgium designers such as Victor Horta and Gustave Serrurier-Bovy combined originality
with traditional influences; in Austria the firm of Gebruder Thonet developed the bentwood technique, and the Wiener Werks6tte created rectilinear pieces. In Spain the designs of Antoni Gaudi were exotic, asymmetrical, and idiosyncratic, while in Italy those of Carlo Bugatti were highly inventive and inspired by North African motifs.
The two main centres of Art Nouveau furniture production in France were Nancy, in north-eastern France, and Paris. The Nancy School (est. 1901) drew heavily on nature for inspiration – a theme that was central to all Art Nouveau design. Furniture by members of the school typically features superb, Intricate marquetry panels, used to decorate organic-, naturalistic-, even zoomorphic-shaped supports and mouldings. The furniture made by the Paris School also took inspiration from nature but in a much more THE NANCY SCHOOL
Although perhaps more strongly associated with glassware, Emile Galle (1846-1904), one of the most prominent members of the Nancy School, also produced some of the most exquisite Art Nouveau furniture. He often ignored the conventions of traditional furniture construction and created sinuous, curving forms such as tables supported by huge dragonflies’ wings, bronze mounts in the form of insects, and handles in the shape of snails, grapes, corn, and barley. Much of his furniture. is embellished with fine marquetry decoration. In 1885 a cabinetmaking and marquetry workshop was added to Galle’s glassworks in Nancy: tea-tables, screens, nests of tables, and gueridons were produced until 1890, after Which larger, more sophisticated and exclusive furniture Was made. Furniture was produced in Galle’s workshop after his death, but these pieces are more traditional and have less inventive decoration than items produced during his lifetime.
Another celebrated member of the Nancy School was Louis Majorelle (1859-1926). An accomplished cabinetmaker with a sound knowledge of wood and veneers, Majorelle stayed within the established limits of furniture design, applying superb floral decoration to largely conventional carcasses. He combined dark, exotic, strongly grained hardwoods with mother-of-pearl and metal inlays. Majorelle worked mainly to commission, so his work is rare and highly sought after. Distinctive characteristics such as superb marquetry, often incorporating a chicory-leaf motif, pleated silk back panels, inlaid decoration, and symmetrical forms are found on his individual, elegant pieces. His finest pieces were produced between c.1898 and 1906 and were decorated with beautiful ormolu mounts of waterlilies and orchids. From 1906 to 1908 Majorelle’s workshop was industrialized and produced a wide range of lightly sculptured furniture, which was aimed at a more general market than his earlier, one-off pieces.
THE PARIS SCHOOL
Samuel Bing’s gallery, La Maison de I’Art Nouveau, provided a focus for the Paris School, with members including Hector Guimard (1867-1942), Eugene Gaillard (1862-1933), and Georges de Feure (1868-1928). Pieces were more restrained and sculptural than those of the Nancy School, but decoration was still based on nature. Guimard, heavily influenced by Victor Horta, whom he met in Brussels in 1895, is best known for the wrought-iron entrances he designed for the Paris Metro, which are the epitome of Parisian Art Nouveau. His finely made furniture, crafted mostly from fruitwoods, was equally stylized and sculptural. The same balance between naturalistic forms and elegant design is evident in the work of Gaillard and De Feure, whose symmetrical, graceful forms with bold outlines often feature organic marquetry designs and carved whiplash decoration.
The Nancy School
• STYLE most designs are highly imaginative in form, typically inspired by nature, and extremely decorative
• DECORATION this is important: designers used exotic-wood veneers, mother-of-pearl and metal inlay, ormolu Mounts, and superb marquetry, often with chicory-leaf or whiplash motifs
• COLLECTING all pieces are rare and valuable
The Paris School
• STYLE this is more stylized than that of the Nancy School, with nature often used symbolically
• DECORATION whiplash motifs are typical
Belgium Art Nouveau first took a clearly defined form in Brussels with the building of the Hotel Tassel, designed in 1892-3 by Victor Horta (1861-1947), but the style was short-lived and was quickly moderated after the International Exhibition of 1905 in Liege. However, Horta’s influence was longer-lasting, with his ideas and motifs – in particular his whiplash design –reinterpreted by many European designers. Elsewhere in Europe, although nature’s curves were a source of inspiration for all designers, interpretations of Art Nouveau were varied. Austrian designers preferred rectilinear, often severe forms, and Spanish and Italian designers created highly idiosyncratic furniture.
The painter, architect, and graphic designer Van de Velde gained renown after he created three rooms for
La Maison de I’Art Nouveau, the Parisian gallery owned by Samuel Bing (1838-1905) that acted as a centre of artistic inspiration for the Paris School. Van de Velde’s designs – similar to those of the Paris School – are characterized by an overall restrained sculptural form with little applied decoration. Chairs typically have slender splats, out-curving legs, and upholstery held in place by studwork. Van dc Velde designed whole interiors, including that of his own
house, Bloemenwerf, at Uccle, near Brussels, which he completed in 1896. He produced furniture mainly to commission, so his designs are rare, and correspondingly keenly sought after.
AUSTRIA
One of the major factors in the development of Art Nouveau furniture in Austria was the pioneering of the bentwood technique by the innovative furniture designer Michael Thonet (1796-1871). The process involved steaming
solid or laminated wood so that it could be bent into shape, allowing angular corner joints to be replaced by gentle curves. The sinuous curves associated with Art Nouveau featured heavily in the first catalogue of bentwood furniture, produced by the Viennese firm of Gebruder Thonet (est. 1819) in 1859; the first bentwood rocker was created the following year.
One of Thonet’s major designers was the architect Josef Hoffmann (1870-1956), a leading member of the Vienna Secession, an independent group of architects and designers who aspired to introduce a purer, more abstract style of design. Hoffmann was one of the founders of the Wiener Werkstatte (1903-32), an association formed with the aim of producing
V Recliner by Gebruder Thonet
The elegant, curving shapes typical of bentwood furniture were a precursor of the Art Nouveau style and have remained popular. Larger examples, such as bentwood rocking-chairs, are highly sought after and valuable. This Austrian bentwood and cane recliner (no. 7500), with an adjustable back hinged in the centre, is a rare and collectable model.
aesthetically pleasing objects, including furniture,
for everyday use. Hoffman’s furniture designs for the Wiener Werkstatte were strongly influenced by the work of the Scottish architect and designer Charles Rennie Mackintosh (1868-1928), and included tables and chairs made from beechwood, mahogany, limed oak, and other ebonized woods. The forms were characteristically linear and geometric, although his bentwood designs have gently rounded corners. Decoration consists largely of open-centred rectangles or squares, with a ball motif at intersections. From 1903 these rectangular and rectilinear shapes replaced the more French-influenced floral and curving style of the earlier Austrian Art Nouveau style.
SPAIN
In Spain the Art Nouveau style was dominated by a small group of Catalan architects, most notably Antoni Gaudi (1852-1926). Gaudi’s highly idiosyncratic furniture was generally designed for the interiors of his extraordinary, sculptural buildings: for example, he designed a kidney-shaped chaise-longue and dressing-table for the Guiell Palace (1885-9) in Barcelona, the home of the textile-manufacturer Count Eusebi Guell, who was one of Gaudi’s major patrons. Especially striking in the designer’s work is his bold rejection of symmetry and his use of twisting, strangely contorted forms. The employment of the central Art Nouveau theme of nature is evident in Gaudi’s preference for extremely sculptural, curving, organic
structures over straight lines, and his frequent use of floral decoration. In common with other Spanish Art Nouveau
furniture, Gauch’s pieces often serve multiple roles: sofas sometimes incorporate
small tables, while display-cabinets house mirrors and cupboards. Gaudi’s preferred wood was oak, but other Spanish designers used pale woods including ash, birch,
Lind sycamore, which were characteristically combined with burnished metal and fine marquetry decoration.
ITALY
The major designer of Italian Stile Liberty (Art
Nouveau) furniture was Carlo Bugatti (1855-1940), who, like Gaudi, designed furniture for specific locations, notably the Moorish interior he created for the Italian Pavilion at the Turin International Exhibition of Modern Decorative Arts in 1902. The influence of North Africa is evident in his use of subdued colours (largely browns and blacks), circular seat-backs, strips of beaten and pierced metal, tassels, and vellum upholstery. Bugatti’s lavish use of ivory, brass, and pewter inlay is also a predominant feature, but such intricate decoration is very vulnerable and often slightly damaged. However, the rarity and desirability of Bugatti’s work means that even less than perfect examples are still highly collectable. His range of designs included larger pieces
such as sectional bench seats, elements of which were produced as cabinets, tables, and chairs. As with Gaudi, Bugatti’s designs were highly inventive and often involved a combination of different elements – scats had integral lamps, and tables sometimes included cabinets. Another Italian designer of this period was Carlo Zen (1851-1918), whose furniture is typified by inlaid mother-of-pearl, silver, and brass and restrained forms similar to those of the Paris School.
Belgium
• STYLE Serrurier-Bovy: designs are more restrained than French pieces; Van de Velde: pieces have a restrained, sculptural form with no applied decoration; most chairs have slender splats and out-curving legs, with upholstery (often leather) held in place by studs
• COLLECTING commissioned furniture is rare and sought after; Serrurier-Bovy: Silex furniture is more accessibly priced; fakes are virtually unknown
Marks
Serrurier-Bovy: the Silex range is all clearly stamped “SILEX”; Van de Velde: work is rarely marked; pieces can often be identified from contemporary photographs
Austria
• STYLE Thonet; bentwood furniture is strongly characterized by sinuous curves; Wiener Werkstatte: their work is typified by geometric, angular designs
• COLLECTING Thonet: bentwood chairs with cane seats were mass-produced in various designs and in large quantities so arc readily available; more desirable are the rarer large rocking-chairs and recliners
Marks
Wiener Werkstatte: pieces are rarely signed but the quantities of original designs and contemporary photographs that survive make identification easier
A Dressing table designed by Antoni Gaudi
The keynote to this dressing-table, designed for the Guell Palace in Barcelona, is asymmetry The piece rests on five inlaid and carved legs, each of which is a different shape, with a curved iron stretcher. The mirror is placed at an angle, and the cylindrical cupboards at the sides are placed at different levels. Such a rejection of traditional forms is absolutely typical of Gaudi – both in his fantastic architectural work and in his furniture design.

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Vincennes and early Sevres
The Meissen factory went into decline following the Seven Years War ( 1756-63) and was supplanted in terms of importance by the factory of Vincennes, later moved to Sevres near Paris. This factory was taken under royal control, and its commercial interests were protected by royal edicts. Employing the finest artists of the day, the factory became the leading producer of porcelain in the Rococo style and, from the 1770s the more severe Neoclassical style.
VINCENNES
The Vincennes factory was established c.1740 at the chateau of Vincennes, with the help of runaway Workers from Chantilly. The first director was Claude-Humbert Gerin ( 1705-50), who discovered the secret of producing a soft paste that was much whiter and finer than that used by earlier French factories.
In 1745 Louis XV granted the factory a 20-year exclusive privilege to produce porcelain. The earliest wares, primarily influenced by Meissen, are heavy in form and painted with small flower sprays, often combined with gilt trellis and scrollwork borders, or landscape and figure scenes.
The painting can be distinguished from that of Meissen by its freer brushwork and a softer palette.
Among the more distinctive early products were porcelain flower-heads, which were bought by marchands-merciers (dealers in luxury products) and mounted on metal stems. These flower arrangements were placed in vases or used to embellish such items as lamps, clocks, and chandeliers. Figures were made on a limited scale in the 1740s and were usually simply glazed. Popular subjects included birds, animals, nymphs, hunters, and children or putti.In
1748 the goldsmith Jean Claude Chambellan Duplessis ( 1690-1774) was hired to create new forms in the Rococo taste. He designed lighter and more elegant shapes that show the influence of contemporary silver. In 1752 the painter Jean-Jacques Bachelier (1724-1806) was hired as artistic director; he introduced lighthearted, designs of children in the style of the Rococo painter Francois Boucher, and fanciful birds. In 1753
the King granted a new privilege to Vincennes and issued an edict restricting rival factories in their use of subjects, colours, and gilding. In 1751-2 the factory pioneered the fashion for biscuit, or unglazed, porcelain in Europe. Bachelier abandoned the production of small, freely modelled figures in favour of three-dimensional, sculptural pieces designed by such artists as Boucher.
EARLY SEVRESIn
1756 the factory moved to the chateau of Sevres, near Paris. The quality of the paste and gilding was strictly controlled, and the King issued sumptuary laws banning the use of gilding by any other French porcelain factory in order to protect the commercial interests of Sevres. In 1768 deposits of kaolin were discovered in the Limoges region, enabling the factory to produce hard-paste porcelain.
A Cuvette a fleurs by Sevres
This basin was intended for holding flowers. It is possible that it was designed by Duplessis, who is credited as being responsible for many of the forms made at Sevres at this time.
(c.1757, ht 32.5crr/12Yin; value H)
During the late 1750s and the 1760s
Sculptors, goldsmiths, and designers created
larger and more ambitious pieces, such as the purely decorative vases a teted`elephants
(vases modelled with elephant
heads supporting candlesticks), and other
decorative items, such as pear-shaped ewers
with flat covers. In addition to coloured
grounds, the factory introduced several
patterned grounds in the late 1760s: oeil de
perdrix (”partridge eye”), cailloute (”pebbled”), and verinicule (”worm-cast”). The reserve panels are often filled in, with little of the white porcelain left showing, contrasting with the more spare decoration employed at Vincennes. However, large, functional services, tend to have less elaborate painting – typically, small scattered flowers, which are more stylized than those used at Vincennes. Biscuit was the most popular medium for figures and the sculptor Etienne-Maurice Falconer (1716-91), chief modeller between 1757 and 1766, continued the tradition of charming, if sometimes rather sentimental groups of children, lovers, and allegorical subjects.
Vincennes
• BODY Soft-paste porcelain
• STYLE copies of Meissen; later, Rococo wares
• unglazed with tree stump, rockwork, or vase supports in the 1740s; after 17-51 three-dimensional, crisply modelled biscuit figures
Early Sevres
• BODY soft-paste porcelain
• STYLE delicate and elegant Rococo
• DECORATION patterned as well as plain, coloured grounds reserved with typically Rococo themes within fine gilt frames
• FIGURES sentimental biscuit figures and groups of . lovers and children, inspired by Boucher’s paintings Marks
Vincennes: interlaced “L”s without a date
letter were used from c.1740
1740 to 1752
Sevres: the first date letter was introduced in
17-53 the letter “H” is for 1760