Posts Tagged ‘large rectangle dropleaf table’
Monday, May 25th, 2009
Mid 19th Century Furniture: Styles.
FURNITURE THAT DEBUTED during the
mid 19th century was imbued with the innovative spirit, social mores, and the whimsy of its age. Metamorphic furniture allowed cabinet-makers to show off their technical expertise.
The German-born American cabinetmaker, George Hunzinger, pioneered the design of functional, mechanical pieces in the United States, and many manufacturers soon followed suit.
Stephen Hedges patented a desk in 1854 that converted from an elegant side table to an ecritoire combined with a seat. It became known as the Aaron Burr desk after an article appeared in the New York Herald in 1911, stating that Burr had challenged the presidential candidate Alexander Hamilton to a duel in a letter written at one of them. In fact, Hedges had patented the ingenious desk 50 years after the duel and 18 years after Burr’s death, but the desk became forever known as the Aaron Burr desk.
Various collapsible and extendible forms, including dining tables and buffets, proliferated as people became enamoured with their ingenuity and space-saving qualities.
SOCIAL MORES
The fashion for lavish entertaining gave rise to the cocktail cabinet, which contained crystal decanters and perhaps a cigarette case or humidor. The wealthy displayed their valuables in a glass-topped bijouterie — the name is derived from the French word for “jewellery”. The Sutherland table, named for Queen Victoria’s Mistress of the Robes, was used for taking tea and playing cards. A precursor of the coffee table, it was never very popular.
The repressive morality of the period conspired to create the dos-a-dos and the conversation suite. Both these seat forms enabled courting couples to become acquainted in what was regarded as a seemly manner.
The exterior surface of the desk has a simple panel with beading.
The hinged top opens to reveal a seat and a drawer.
The seat is upholstered In leather, fixed to the wood with rivets.
The underside of the desk
bears the patent label, “by
Stephen Hedges”.
Lockable drawer
The scroll feet terminate in brass casters.
AMERICAN AARON BURR DESK
This ingenious, space-saving design was patented by Stephen Hedges. The long, oval top of an unassuming mahogany side table is hinged so that it can fold back on itself, and the case of the desk is also hinged to open at
the front. When both are opened, the table is transformed into a writing desk with a drawer to one side and a leather upholstered seat to the other. The piece is supported on cabriole legs and scroll feet on casters for portability.
CONVERSATION SUITE
this upholstered suite in Louis XV manner comprises four independent buttoned sections - two long sides and two short ends – arranged Dock-to-back with each other. The angled ends of each section make it easy for a person
seated with another in one of the long sections to turn towards a person seated in the adjacent smaller section and converse. The sections are supported on rosewood scrolling feet and casters: a 19th-century innovation allowing ease of movement around the room. Late 19th century.
s early Victorian show-frame sofa is made
rosewood. it has two high-backed,
ends and a lower back section with
2 l fluted supports. The seat, back, and
arms are upholstered in green raised
fabric. The seat is supported on carved legs with ceramic casters. The sofa is a combination of styles: the twist decoration is Jacobean, while the cabriole legs are inspired by Louis XV style. c.1850.
METAMORPHIC OAK CHAIR
This chair converts into a set of library steps. The chair seat is hinged near the front so the chair back swings up and over the seat to become the rear support for the steps, which double as the back legs of the chair. Late 19th century.
GOTHIC-STYLE CHAIR
This walnut chair features Gothic-style, needlework upholstery and Jacobean twist carving. The tall back is framed by barley-twist columns above a spreading seat. The high back and low legs make this a new form.
SCOTTISH DINING TABLE
The top of this extending dining table has demi-lone ends and boldly moulded edges above a plain frieze. The table top is raised on turned and tapering legs with fluted decoration, ending in brass caps and casters. The table is extended by using a winding mechanism operated by a key. The mechanism was
invented in 1835 but became popular later in the century. It can use up to six extra leaves. Late 19th century.
ENGLISH MAHOGANY BUFFET
The top of this buffet has moulded angles and a counterbalanced undershelf. Beneath that lies a third shelf. On opening the buffet, the bottom shelf slides down the supports at each end of the table, the middle shelf remains in place, and the top opens out to form the upper tier. It is raised on panelled trestle supports and scrolled console brackets. c.1860.
MAHOGANY COCKTAIL CABINET
This cabinet has a divided, hinged top, which encloses a rising interior with crystal decanters, glasses, and a cigarette box. It is supported on square-section, tapering legs with brass caps and casters. c.1900.
MAHOGANY BIJOUTERIE CABINET
The circular hinged top of this cabinet is inset with bevelled glass. The capriole legs have gilt mounts, terminate in hoof feet, and are joined by a shaped stretcher. Late 19th century.
BIJOUTERIE CABINET
This mahogany and gilt-metal mounted cabinet has a serpentine top with floral marquetry, inset with glass. The case is supported on slender cabriole legs, which are united by an undertier.
ENGLISH ROSEWOOD CARD TABLE
The serpentine top of this Victorian table opens out and swivels to provide a playing surface. It has a moulded edge, enclosing a round baize lining, and rests on four scroll supports with a central finial and scroll legs with recessed casters. Mid 19th century.
SUTHERLAND TABLE
This burr walnut, oval, drop-leaf table has a veneered top over twin, carved, baluster uprights with carved cabriole supports on casters, joined by a turned stretcher. It has a swinging action to each side.
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Posted in Antique Furniture | No Comments »
Friday, May 8th, 2009
Yuan and early Ming
During the Mongol occupation and the early reigns of the Ming Dynasty, momentous changes occurred at Jingdezhen in Jiangxi Province. The kilns came under imperial patronage, and fine porcelain with underglaze decoration supplanted the glazed stonewares of the Song period as the most desirable form of ceramic. Exported Longquan celadons remained a vital source of revenue for the government.
PORCELAIN
Although porcellaneous wares had been made from the late 6th century, it was at Jingdezhen that porcelain developed to its full potential. The addition of kaolin (china clay) to the batch made it possible to make much larger pieces than before. Shu fu wares, which take their name from the two moulded Chinese characters shit and fu (”Privy Council”) found on their interiors, arc of thickly potted white porcelain with an opaque, greyish-white glaze; these were made during the Yuan period for the Ministry of Military and Civil Affairs.
UNDERGLAZE BLUE-AND-RED DECORATION
The use of underglaze decoration probably dates
from c.1330. Cobalt imported from Persia was applied directly onto the unfired body, which was then glazed and fired. Copper oxide, which fires red, was often used in combination with underglaze blue in the earliest painted wares of Jingdezhen, and by the late 14th century it was used on its own. Copper is much more volatile than cobalt and many of these pieces are flawed, the red being greyish and dull.
In 1368, after the Mongols were finally expelled from China, the Ming Emperor Hongwu (1368-98) imposed a strict trade embargo, and foreign cobalt became very rare. The use of copper oxide therefore became more widespread, and copper monochromes were introduced, reaching their peak in the reign of Xuande (1426-35). The Yongle (1403-24) and Xuande reign periods are also regarded as belonging to the classical era of blue and white, when foreign cobalt was once again in plentiful supply. The blue tended to filter through the glaze, creating an effect known as “heaped and piled”, much imitated during the Qing period.
Longquan
• FORMS abandonment of archaic forms in favour of large platters and forms dictated by the export market
• GLAZE thinner and more olive than on Song wares
• DECORATION very little space left undecorated
Qinghai
• FORMS large pieces made possible by the addition of kaolin to the paste
• DECORATION increasingly ornate, with little space left undecorated; beading and Buddhist figures common
Shu fu
• BODY thickly potted porcelain
• GLAZE opaque, greyish-white and waxy
• DECORATION may have moulded Chinese characters
shu and it scarcely visible under the glaze; moulded floral decoration on the inside and incised decoration on the outside
Blue-and-white wares
• FORMS bottles, bulbous wine jars, and large platters
(many with bracketed rims) for the export market
• GLAZE viscous in the Yuan period and inclined to
the pitted “orange-peel” effect in the early Ming
• BLUE dark speckled blue, known as “heaped and piled”, on some Xuande and Yongle pieces
• DECORATION themes include fish among aquatic plants, flower motifs, grapes, and vine tendrils (specifically for the export market)
• STYLE crowded arrangements in the Yuan, but elegant, harmonious spacing in the Yongle and Xuande periods
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Posted in Oriental Antiques | No Comments »
Friday, May 1st, 2009
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