Posts Tagged ‘inlaid wood round table tilt’
Saturday, June 13th, 2009
Antiques: Furniture, Porcelain, Silver, Clocks Recently Featured at Antcollectors (1)
South African Furniture
SOUTH AFRICA
THE DISTINCTIVE FURNITURE of the
Cape of Good Hope reflected the styles of the two major colonial powers in the area: Britain and the Netherlands. The various struggles in Europe had also been played out in the colonies, but by 1800 British dominance was assured. In 1820, more British settlers established themselves further up the East coast. The Cape’s position at the mid-point of the trading routes between Europe and the Far East also gave rise to influences from such places as Batavia.
A wide range of furniture was made in the Cape both for the metropolitan homes of Cape Town and the famous white-painted and gabled homesteads of the vineyards. Their forms and motifs were often simplified versions of those in Europe. A slight delay is generally considered when dating colonial furniture. The Empire style, omnipresent in Europe, appears to have had little influence in the Cape, except maybe in an increased linearity of design. Its preference for highly polished timber and expensive gilt-bronze mounts did not suit the local traditions, life styles, or materials.
The most recognizable aspect of South African furniture is the use of local timbers, which unlike mahogany, do not tend to take a glass-like polish to their surfaces. Most characteristic is the combined and contrasting use of stinkwood and yellowwood.
COLONIAL CHAIRS
A wide variety of different chairs were made in the early 19th century. Some so-called “Adam” chairs from the early
Painting in oil on wood This shows typical wall decoration, curtains, and furniture styles of the early 19th century. All the furniture, with the exception of the writing bureau, was made according to the prevalent Neoclassical style. 1815. PRA
years of the century survive at Groot Constantin. With their upholstered, oval back-panels, this type is luxurious and rare. Far more common are
Sheraton and Neoclassical chairs —the latter with pierced vertical splats, caned or thonged (animal hide strips) seats, and tapering, square-section legs that were sometimes fluted. The Sheraton variety, introduced around 1810, had a wide top rail, generally above a second horizontal bar splat and square seat. Later the front leg was either turned or ring-turned. More provincial chairs, the tulbagh, of simplified box-like form, survived into this period. These shapes are also evident on the rusbank, a Cape type of settee-cum-settle with a chair-back.
TABLES AND CUPBOARDS
D-end dining tables and gateleg tables were also produced during these years. Different timbers were sometimes used for the top, frieze, and legs, which were often tapered and fluted like other chairs of the period. Chests of drawers in the Sheraton style, which were popular in Britain, seem to have been relatively rare in the Cape; South African cabinets tended to favour earlier serpentine lines. However, the monumental armoires, corner-cupboards, and wardrobes, so typical of high-production Cape furniture in the 18th century, seem to have been produced into the early years of the next century.
This round, stinkwood table has a moulded edge above a plain apron with a beaded edge. The table top is supported on four ring-turned, tapering legs terminating in turned feet. 1830-40.
Thonged seat
NORTH EASTERN CAPE CHAIR
The top rail of this stinkwood chair is inlaid in yellowwood with simple geometric motifs, which are repeated in the two additional back rails. The chair has simple, carved uprights and similarly carved legs joined by an H-stretcher. One of a pair. 1830-40.
CAPE OF GOOD HOPE CABINET
This low cabinet is made from amboyna, stinkwood, and satinwood. It has a rectangular top, shaped at the front above two bowed
doors, divided by a fluted pilaster. The canted corners of the cabinet are also fluted and are raised on claw-and-ball feet. Early 19th century.
SOUTH WESTERN CAPE HALF-MOON TABLES
These two half-moon tables, which can be placed together to make one round table, have table tops and aprons made from yellowwood, and square-section, tapering legs made from the darker stinkwood with yellowwood inlay. The aprons have a simple moulded edge with stinkwood beading. Сupboard is of simple rectilinear form and has a moulded rectangular top above two panelled doors. The panels have chamfered edges and are set within an additional, rectangular frame. The case has a shaped apron and stands on shaped, bracket feet. I820 30.
The two panelled doors
have chamfered edges set in a rectangular frame.
A shaped apron
rests above shaped bracket feel.
EASTERN CAPE CUPBOARD
CAPE TOWN TEA TABLE
The rectangular top of this satinwood and stinkwood tea table sits above a plain apron. The table is supported on square-section, tapering legs.
SOUTH AFRICA 227
WESTERN CAPE SETTEE
This stinkwood settee has a carved top rail above a seat back comprising a series of evenly spaced pierced panels – ten in total - and gently outswept arms with simple scroll terminals. The settee is supported on tapering, square-section legs joined by H-stretchers. c.1800.
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Thursday, May 28th, 2009
EARLY 19TH CENTURY
BRITISH EXOTICISM
A RICH MIX OF BOTH FOREIGN AND HOME-GROWN INFLUENCES AFFECTED THE DESIGN OF BRITISH FURNITURE DURING THE REGENCY PERIOD.
FROM MOGUL DOMES to Islamic arches, Regency designers drew on a wide variety of exotic sources. When Napoleon invaded Egypt in July 1798, his invasion force included not only soldiers, but artists and poets, botanists, zoologists, and cartographers. The ensuing publication of Descriptions de I’Egypt established a vogue in France for all things Egyptian.
ANCIENT EGYPT
The Egyptian craze surfaced in Britain following Nelson’s subsequent defeat of Napoleon in 1798 at the Battle of the Nile. Sphinx heads appeared on the pilasters of bookcases and side cabinets and lotus leaves were carved on chair splats and printed on textiles and wallpaper designs.
Thomas Hope designed furniture based on the engravings of the French Egyptologist, Baron Denon, and Thomas Chippendale the Younger, who had inherited his father’s famous workshop, created a suite of furniture for Stourhead in 1805, resplendent with sphinx masks. These pieces were made in mahogany, but the foreign motifs of the period were often complemented by the use of highly polished, unusual, imported timbers: streaky salamander, dark ebony, or flecked amboyna.
CHINOISERIE REVIVAL
An integral part of the Rococo repertoire in Britain during the mid 18th century, Chinoiserie enjoyed a revival in the early 19th century. The Royal architect,
A DWARF GOTHIC CABINET
This lacquered cabinet has a crenellated
Lipper section with octagonal corner
towers. A deeper base with a pierced
quatrefoil gallery sits above a pair of
tracery panelled doors flanked by
clasping buttresses. The cabinet
stands on a plinth base. Early 19th
century.
REGENCY TORCHERE STAND This stand is made, of bronzed and gilded wood. Below the top is a guilloche moulded frieze and three gilt supports, with lion masks, joined by Cross supports with applied rosettes. The concave base rests on gilt paw feet.
A CHINESE EXPORT BUREAU This bureau has u fall front above three drawers, a shaped apron, and is raised on cabriole legs. All the surfaces are black and gilt lacquered with lake scenery and flowers.
19th century.
Henry Holland. was profoundly influenced by Sir
George Stauntons An Authentic Account of an Embassy
“M the King of Great Britain to the Emperor of China n 1797: and interest in the Far East increased after Napoleon’s defeat in 1815, when further British envoys ere sent to the new emperor of China, Chia-Ch’ing.
Furniture was japanned black with gilt to simulate lacquer – as in the late 17th century – while lacquer cabinets (or lacquer panels reused from early screens) were incorporated into British cabinet work. Oriental bamboo was also echoed in the ring turnings on late Regency chairs. Many pieces of furniture were made out of genuine bamboo, while others were turned
and painted to simulate it.
The Prince Regent gave the royal seal of approval to this trend when he furnished several rooms at the Brighton Pavilion with bamboo furniture imported from China. Indeed, this architectural folly became the most famous mixing pot of all the exotic styles of the Regency period.
Western styles of lacquer and bamboo furniture were also imported from Canton. The trade in goods from China to Britain had been established since the early 17th century, but the scale of Chinese imports in the 19th century was unprecedented. As well as imported, Chinoiserie-style furniture, Oriental motifs such as dragons appeared on the crestings of convex mirrors, while latticework and Chinese panelling were applied to chair backs, commode friezes, or brass grills on side cabinets or chiffoniers.
STYLES FROM THE SUBCONTINENT
India, as well as China, influenced the decoration of the Brighton Pavilion. Nash was inspired by William and Thomas Daniell’s book, Oriental Scenery, and included pierced screens, copied from Indian jails (perforated stone screens from Madhya Pradesh), in his designs. The interest in India manifested itself more in the importation of Western-style furniture, than in the application of Indian motifs to British furniture. Exotic ivory-inlaid rosewood furniture and boxes came from Vizagapatam, and ebony chairs of Regency form were shipped from Ceylon.
HISTORICISM
Towards the end of the Regency period, designers and furniture-makers turned away from exoticism and towards their own traditions for inspiration. The Napoleonic wars and their subsequent victories spawned a surge in nationalist feeling. This, along with the historic novels of Walter Scott, inspired designers such as George Bullock and Richard Bridgens to include Elizabethan and Jacobean motifs in furniture for Abbotsford and Aston Hall in the late 1810s and early 1820s. Gothic motifs were always prevalent, particularly as tracery in glazing bars and in panels for cabinet doors. Pointed arches appeared as early as 1807 in the backs of hall chairs published by George Smith. This furniture, often commissioned by a new breed of antiquarian collectors such as William Beckford, was usually made in oak or other native timbers.
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Friday, May 1st, 2009
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