Furniture - World Styles From Classical To Contemporary

["FRANCE: DIRECTOIRE\/CONSULAT 199 with bold, antique-inspired gilt-bronze the Jacob brothers. It was this Desmalter, became a hallmark of the Napol\u00e9on at the Louvre) became the 1800\u20131840 mounts became fashionable. Percier commission that earned them the role furniture of the period. As in Britain, leading authority on antiquity, and and Fontaine owed much to Jean- of quasi-court designers. this was occasionally combined with had a considerable influence both in Demosth\u00e8ne Dugoure, who had Egyptian motifs inspired by Napoleon\u2019s France and Britain. designed strict Neoclassical interiors ANTIQUE MOTIFS campaigns and his victory at the for both royal and private residences The orators and pamphleteers of the Battle of the Pyramids. This was This taste for all things Egyptian during Louis XVI\u2019s reign. Percier and Revolution praised the moral values of supplemented by Baron Denon\u2019s commonly manifested itself in sphinx Fontaine had both studied architecture the ancient world, which found visual publication, Voyage dans la Basse heads, which were often used to top in France and Italy and so had first- expression in the work of the great et Haute-\u00c9gypte, in 1802. The pilasters, terminate armrests, or hand experience of the ruins of revolutionary artist, Jacques-Louis archaeologist and engraver (who support console tables, as on a fine, ancient Rome. In the very last years David. This filtered into the decorative later became director of the Mus\u00e9e mahogany example supplied to the of the 18th century, they oversaw the vocabulary of the style \u00e0 l\u2019antique. Elys\u00e9e Palace. redecoration of the Music Room and Library of the Empress\u2019s house at Consulat furniture is full of Greek Malmaison, and supervised the design and Roman devices that became the of the furniture, which was made by stock repertoire of Empire designers. Napoleon\u2019s favourite furniture-makers, The purity of Classical design, epitomized in the work of Jacob- CONSULAT BERG\u00c8RES section, tapering legs, which are surmounted by stylized Egyptian female heads and terminate Each of this pair of mahogany and mahogany- in outsplayed, square-section feet. Originally, veneered berg\u00e8res has an upholstered back, the chairs would have been covered in silk and side panels, and seat. The chair backs would have formed part of a large, similarly themselves are slightly reclining. The loose styled suite. Early 19th century. H:93cm cushioned seats are supported on square- (362\u20443in). ANB SECR\u00c9TAIRE \u00c0 ABBATANT marble top above a long drawer. The fall front BUREAU PLAT of a satyr. The table is supported on four drops down to reveal a leather-lined writing octagonal, tapering legs with ormolu collars and This Consulat secr\u00e9taire \u00e0 abbatant is made of surface. The lower section consists of three The surface of this mahogany desk is faced ball-shaped sabots. c.1800. H:76cm (30in); walnut and is designed in the Egyptian-revival long drawers with lion\u2019s mask handles. The with gilt-tooled black leather. Below is a long W:165cm (65in); D:86.5cm (34in). PAR style. The body of the piece is flanked by secr\u00e9taire still retains its original bronze kneehole frieze drawer, flanked by two deeper Egyptian female masks above tapering pilasters mounts. The piece terminates in carved claw drawers; all are edged with ebony stringing. At in bronze brasses. The upper section has a grey feet. c.1800. H:150cm (60in). CSB each corner of the frieze is a mount in the form","200 EARLY 19TH CENTURY 1800\u20131840 French Empire NAPOLEON CROWNED HIMSELF Emperor republished in 1812. The light style of workshop of Pierre Thomire. His re-open after the Revolution, seeking in 1804. From this date until his furniture that prevailed before the turn mounts appear on furniture by a wider, often middle-class, clientele, abdication in 1814, and final defeat of the century was now transformed Beneman and Weisweiler. Other who were sometimes less demanding. by Wellington at the Battle of Waterloo into a truly imperial idiom in keeping Beneman pieces are known to have Some feared that this might lead to a in 1815, he dominated the European with Napoleon\u2019s despotic tendencies. similar, high-quality appliqu\u00e9 details decline in quality French furniture. scene. Moreover, his taste, and the made by Antoine-Andr\u00e9 Ravario. However, the finest pieces, made for Empire style that he cultivated, EMPIRE MOUNTS the Emperor and his circle, reveal the became omnipresent in Europe. Neoclassical influences are evident in EMPIRE MAKERS same technical brilliance as items the ubiquitous bronze dor\u00e9 mounts on The dissolution of the Guild of Joiners produced in the previous century. Already emerging before 1804, this Empire furniture: griffons, lions, and and Cabinet-Makers in 1791 meant Many of the great \u00e9b\u00e9nistes had austere style sought to associate sphinxes abound. Martial motifs were that craftsmen could now establish previously worked for Louis XVI, Napoleon\u2019s Empire with the glories especially popular, such as trophies workshops comprising several trades including Bellanger, Beneman, Georges of ancient Egypt and ancient Rome. or crossed swords. Some of the best- in a single location. The workshops Jacob, Molitor, and Weisweiler. It was This aim manifested itself in an almost quality mounts were produced in the of the ancien r\u00e9gime were quick to also a period of great productivity: archaeological interest in Classical motifs, promoted by Percier and Fontaine, whose Recueil was The frieze is decorated with a central gilt-bronze rosette, flanked by palmettes. The protruding columns have gilt-bronze capitals and bases. Column base detail Gilt-bronze rosette MAHOGANY AND MAHOGANY- The drawers are decorated with The escutcheons have This box-like, plinth base is VENEERED COMMODE carved, gilt-bronze swing handles. Neoclassical ormolu mounts. typical of Empire commodes. Beneath the rectangular, grey-fossil marble top is a frieze with one drawer. The commode front is slightly recessed, with three drawers flanked by protruding columns ending in rounded feet. Early 19th century. H:89.5cm (35 1\u20444in); W:127cm (50in); D:59cm (23 1\u20444in). ANB MAHOGANY SETTEE FAUTEUIL DE BUREAU This ormolu-mounted settee is made of mahogany and has a The mahogany chair has rectangular, padded back applied a concave top rail above a with gilt-bronze mounts of pierced, trellis-pattern figures, hounds, urns, rosettes, back. The curved arms are and palmettes, above a padded supported on ebonized seat. The scrolled arms have winged lions. The carved, gilt leaf-tips. The settee upholstered seat is is raised on short, scroll feet supported on a plain seat carved with leaves. Early 19th rail on ring-turned front century. W:180cm (72in). S&K legs and sabre back legs. c.1800. H:94cm (37in); W:67cm (261\u20442in); D:60cm (23in). PAR","FRENCH EMPIRE 201 between 1810 and 1811, as much as greens, and yellows) to echo tented bedrooms were furnished with a arms were supported on human or 1800\u20131840 17,000 francs was spent on furniture military accommodation. The Psyche mirror, or Cheval glass. The swan forms. Empress Josephine\u2019s for Imperial residences, and half a embroidered patterns on chair small, round gu\u00e9ridon, or candlestand, dressing room at Fontainebleau million francs went to Georges Jacob- upholstery were both large and bold. served a variety of functions, and probably houses the most famous Desmalter alone for furniture made sometimes had metal legs, patinated Empire chairs \u2013 those with a curved for the Palais des Tuileries. There NOVEL FORMS green to simulate ancient metals, back en gondole. were 10,000 workers involved with Several novel forms also appeared. possibly set with a porphyry top. furniture production in Paris during The lit en bateau was very fashionable, Finally, there were various furniture the first decade of the 19th century, often with scrolled ends, raised on a The commode slowly became forms for writing, from the box-like making pieces for both the local and dais, and draped in fabric. It was more functional and occasionally the secr\u00e9taire \u00e0 abattant (and its relative export markets. Jacob-Desmalter similar in form to the r\u00e9camier, or drawers were set behind doors. Chairs the secr\u00e9taire de compi\u00e8gne) to the employed at least 88 workers, some day bed, and the m\u00e9ridienne, a type were often supported by Grecian sabre bureau plat, which assumed grand at his Porte Saint-Denis workshop. of sofa with scrolled ends, one higher back legs, and had either rectangular and monumental proportions under than the other. For middle-class or over-scrolled backs. Usually the the Empire. Upholstery and drapery sometimes homes, the less expensive lit droit was overpowered the Empire room. popular; it had a headboard under a Ceilings could be tented in strong, triangular pediment. For the first time, usually striped, colours (blues, reds, Napoleon bonaparte FRENCH FURNITURE EXCELLED DURING NAPOLEON\u2019S ERA DUE TO HIS PATRONAGE AND MILITARY CONQUESTS, WHICH HELPED SPREAD EMPIRE STYLE. The Empire style was born from a ARMCHAIRS \u201cAUX T\u00caTES DE LION\u201d terminating in lion\u2019s-paw feet. The chairs are merger of art and political aspirations in attributed to the maker Jean-Baptiste Demay of a heady, post-Revolution atmosphere of These chairs are made of mahogany. Each has Paris. Although lion\u2019s masks appear frequently social and economic upheaval. It was a simple, rectilinear back, an upholstered seat on British furniture of the period, they are a largely shaped by Napoleon\u2019s powerful and back, and armrests terminating in lion\u2019s relatively unusual feature on French Empire personality, and his awareness that heads. The padded, upholstered seats are pieces. 1805\u201310. H:91cm (357\u20448in); W:58cm formal grandeur had great propaganda supported on sabre legs, with those at the front (22 7\u20448in); D:46cm (181\u20448in). GK value. The new style reflected Napoleon\u2019s desire for clean designs that incorporated Napoleon Bonaparte TRIC TRAC TABLE his preference for masculine and military austere, military style that reflected his life effects. Popular Empire forms and in the field. The palaces had been emptied This fine-quality flame-veneered tric trac, or games, table has a furnishings include tented beds, camp during the Revolution, and some of the removable writing table top with inset brass corners and a baize stools, consoles and the table de toilette. contents were auctioned abroad. Bonaparte playing-card surface on the reverse. Each side has one false took over Saint Cloud in 1802, quickly drawer and one drawer for playing pieces. The table stands Once Napoleon was crowned Emperor ordering complete suites of furniture. on square, tapering legs terminating in brass casters. c.1810. in 1804, he set up a dynamic art and The Palace of Fontainebleau was also H:71cm (28in); W:112cm (44in); D:56cm (22in). MAL design programme, choosing Charles redecorated for Pope Pius VII in 1804, Percier and Pierre-Fran\u00e7ois-L\u00e9onard and Versailles, St. Germain, and the Elys\u00e9e Fontaine to be his official architects and Palace, among many others, were all treated decorators. Their famous pattern book, to new, Classically-inspired furnishings. Recueil de D\u00e9corations Int\u00e9rieures, gave furniture pride of place and influenced The most famous Napoleonic house was cabinet-making in much of Europe. the Ch\u00e2teau de Malmaison, acquired by his wife, Josephine, in 1799. It was redecorated Due to Napoleon\u2019s patronage, Paris by Percier and Fontaine, and furnished by regained its position as the centre for the Jacob brothers. The building is covered fine cabinet-making, and his military in the motifs associated with Napoleon: the conquests \u2013 he installed relatives as gilt \u201cN\u201d within laurels, his heraldic device rulers in various European countries \u2013 of bees, and the Roman imperial eagle. The helped to spread this art as far as Russia. Empress Josephine\u2019s furniture was often embellished with a swan motif. Napoleon personally oversaw the establishment of new factories to ensure the highest quality of furniture and bronze production. Through the Garde- Meuble Imp\u00e9rial, which was responsible for the furnishings of the Imperial Palaces and oversaw their execution by cabinet-makers and bronze founders, he also refurnished the royal palaces in the","202 EARLY 19TH CENTURY 1800\u20131840 FRance: Restauration THE RESTAURATION STYLE, as its name industrialization of furniture-making Empire style was slowly watered down simpler, more domestic Empire pieces suggests, refers to the restoration of due to improved tools and the use of as severity gave way to comfort. Strict (see pp.200\u201301). The surfaces of the Bourbon monarchy from the steam. Fortuitously, this coincided linearity eventually relaxed into the Restauration pieces tend to be even expulsion and final exile of Napoleon with the need to furnish apartments, occasional curve in a nostalgia for simpler and less decorated than those in 1815, until its fall in 1830. which, for the first time, the middle Rococo style. Overall, forms became found on French Empire furniture, classes could rent. heavier and more solid, replacing the which was typically designed to create Louis XVIII became King of France Empire love of rectilinear elegance. an opulent effect. in 1815 and was followed by Charles CHANGING STYLES As elsewhere in Europe, furniture X in 1824, who finally abdicated in Empire decoration remained the became bulkier. Inlays became 1830 in favour of the exiled Duc leading style of furniture and many more common and mounts d\u2019Orl\u00e9ans, Louis Philippe. It was a of the cabinet-makers who had worked gradually became smaller, or period of considerable political unrest, in the Empire style, such as Jacob- disappeared altogether. culminating in the revolutions of 1830 Desmalter, Felix R\u00e9mond, and P.A. and 1848, which forced Louis Philippe Bellanger, continued to produce STYLE DIFFERENCES to flee to England. furniture with a great deal of success. Restauration-style furniture can sometimes be difficult The market for furniture also However, Napoleonic motifs and to distinguish from the changed, with growing interest from mounts gradually disappeared, and the the middle classes and the increasing CHARLES X DRESSING TABLE This dressing table is made of burr elm inlaid with amaranth depicting stylized foliage. The top section has an oval mirror with carved supports in the shape of swans. The table top is made of white marble. The lower section consists of a frieze drawer above two carved consoles. The piece terminates in a shaped platform base and flattened bun feet. 1825\u201330. H:141cm (30in). BEA SECR\u00c9TAIRE \u00c0 ABATTANT DRESSING TABLE FAUTEUILS AUX DAUPHINS This flame-veneered mahogany writing cabinet is raised on claw This is a mahogany dressing table with a swing-frame mirror This set of six mahogany armchairs, made by Pierre-Antoine feet and has a moulded cornice above a pair of Gothic-carved, set above a platform with two small drawers above another Bellanger, has straight top rails terminating in carved scrolls. glazed doors, enclosing shelves, above drawers. A frieze drawer drawer. The dressing table stands on C-scroll supports and The curved arms are carved with dolphin heads and each chair fitted for writing is set above cupboard doors flanked by scrolls. has a shaped platform base. c.1825. H:178cm (70in); has a padded, upholstered seat with a plain seat rail and is c.1820. H:196cm (763\u20444in); W:107cm (40in); D:60cm (232\u20443in). PIL W:68cm (26 3\u20444in); D:45cm (173\u20444in). PIL supported on sabre legs. c.1815. H:91cm (36 1\u20442in). GK","FRANCE: RESTAURATION 203 BOIS CLAIRS Traditionally, the Duchesse de Berry, GOTHIC STYLE would dominate the next epoch \u2013 1800\u20131840 Restauration furniture was usually the daughter-in-law of Charles X, is Towards the end of the Restauration Gothic motifs, otherwise known as made of oak, but it was increasingly credited with the introduction of period, the Romantic-revival styles the Troubadour style. veneered in lighter woods, the bois clairs, but this appears to be an gradually became evident in French so-called bois clairs. This change in unfounded myth. Mahogany, however, furniture design. Unlike the Chinese style, which tone began in 1806, when the British continued to be extensively employed was completely forgotten in early blockaded the importation of both as a veneer \u2013 where the These were probably first hinted at in 19th-century France but played an mahogany to France from its colonies. decorative effect of its figure was Pierre de La M\u00e9sang\u00e8re\u2019s Collection de important role in Britain at the time, the As a result, local woods became more much exploited \u2013 and in the solid. meubles et objets de go\u00fbt, published Gothic style did create a small impact. popular, including walnut, sycamore, between 1802 and 1835 in the Journal For example, in 1804, the cabinet- ash, elm, yew, plane, beech, and, With the decline in use of mounts, des Dames et des Modes. Here, La maker, Mansion the Younger, suggested perhaps most characteristically of various timbers, particularly ebony, M\u00e9sang\u00e8re adapted the severe, a Gothic-style piece for Napoleon. all, decorative bird\u2019s-eye maple. and metals such as brass or pewter, architectural style of Percier and were inlaid instead. However, their Fontaine to create a simple, domestic However, it was not until the late Mahogany, being expensive, was treatment was always restrained. Some style for the middle classes. He also 1820s and 30s, that the pointed arches reserved for the most lavish interiors, furniture even included plaques of began introducing the motifs that so typical of the Gothic style started so its use was often an indicator of painted porcelain. appearing on Empire-style furniture. the high value of a piece of furniture. The scrolled side support Detail of bolster is only decorated by mouldings to the edges. The mahogany frieze is unadorned The scrolled feet show a move The decorative motifs with the mounts typical of the away from the strict angular are Neoclassical French Empire style. in style. design of the previous epoch. M\u00c9RIDIENNE This mahogany m\u00e9ridienne has one end higher than the other, and an elegant, curved, padded back. The frame of the sofa has scrolling sides, a plain frieze, and stands on volute feet. 1820\u201330. H:88cm (342\u20443in); W:148cm (581\u20444in); D:67cm (261\u20443in). PIL CIRCULAR CENTRE TABLE CHARLES X OCCASIONAL TABLE MARBLE-TOPPED TABLE This table is made from rosewood inlaid with fruitwood and The top of this oval rosewood table is inlaid with a panel of This table has a black-and-grey-veined Saint Anne marble top marquetry. The circular top, and the four frieze drawers below, Gothic tracery and is bordered with a boxwood rolled moulding. set above a plain frieze. The massive columnar support is are raised on a columnar support, which has four splayed legs The frieze has a single writing-slide drawer. The table stands on baluster-shaped although it has been facetted. The three scrolled that terminate in paw feet on brass casters. c.1830. H:77.5cm six turned legs joined by a double-baluster stretcher. c.1830. feet are similarly angular and are square in section. H:71cm (301\u20442in); W:121.5cm (473\u20444in). H:71cm (28in); W:84cm (33in); D:48cm (19in). MAL (28in); Diam:97cm (38 1\u20448in). PIL","204 EARLY 19TH CENTURY 1800\u20131840 Italy LIKE MANY OTHER European states, symmetry and balance, with few the majority of the Italian states and curves and little ornament apart from kingdoms followed the lead of Paris. Neoclassical gilt-bronze mounts, The greatest French-style furniture eventually dominated Italian furniture and interiors were created during the production. To overcome the problem period of Napoleonic patronage, in the of poor-quality timber, many pieces first decade of the 19th century. The were painted \u2013 white, pale blue, and French Emperor installed his brothers eau-de-nil were popular colours. as rulers in Italy: Joseph became King Classical architectural forms were of Naples and Lucian became Prince favoured, along with motifs from of Canino. Napoleon\u2019s sisters also Imperial Rome, such as trophies of created significant interiors in the area: instruments or weapons, fasces Elisa Baciocchi in Lucca and Florence, (banded rods), laurel wreaths, and Pauline Borghese in Rome, and antique lamps. Caroline Murat in Naples. But it was not just aristocratic patrons who FRENCH IMPORTS CARVED MIRROR MURANO MIRROR commissioned the cabinet-makers: one The Grand Duchess of Tuscany (one of the period\u2019s characteristics was the of Napoleon\u2019s sisters) actually brought This carved and gilded mirror frame is decorated This mirror has an applied crystal pediment and emergence of middle-class buyers. This French \u00e9b\u00e9nistes to Florence to with masks of grotesques at the corners. The a frame with C- and S-scrolls at the corners. widening of the market coincided establish workshops and impart their pediment is richly decorated with baskets The oval mirror is surrounded by mirror sections with the beginnings of mechanization skills and techniques to the Italians. overflowing with flowers. c.1800. H:160cm engraved with leaves and divided with moulding. and the gradual organization of the Mounts were also imported from (63in); W:85cm (331\u20442in). BEA Early 19th century. H:205cm (803\u20444in). workshop \u2013 a trend that continued France. Consequently, it is almost throughout the 19th century. impossible to differentiate between the GILTWOOD SIDE CHAIR carved griffins above a stylized serpentine floral French Empire furniture in the Palazzo carving on a punched ground. The upright back ITALIAN EMPIRE Pitti in Florence and the Italian variants. These two Neoclassical giltwood side chairs supports are in the form of fluted pilasters with In some ways, the French Empire style The Empire style remained in fashion form part of a set of six Cardinal Fesch chairs; a frieze of running husks. The padded seats did not suit Italian furniture-makers. after 1815, sometimes combined with Fesch, a Corsican cardinal, became French have fluted seat rails and are raised on gilded Its emphasis on large expanses of French Restauration styles, but the use ambassador to Rome in 1804. Each chair has lion\u2019s-paw legs. c.1810. H:103cm (441\u20442in); high-quality timber was a significant of mahogany declined in favour of a richly carved, domed back depicting a pair of W:56cm (22in); D:46cm (18in). MAL problem in an area where this was walnut or lighter-coloured timber. difficult to find. Also, its rectilinear forms and strict, sober lines seemed During this period, Italy was made antithetical to a furniture tradition that up of a patchwork of small states and favoured sculptural qualities. However, kingdoms, dominated by Austro- Hungary in the north. Regional diversity was, therefore, far greater than in Britain or France, and much of the furniture produced echoes the traditions for which they are famous: Classical in Rome, Baroque in Florence, and Rococo in Venice. Lombardy produced some of the greatest innovators of the era, particularly Giocondo Albertolli, who trained at the Accademia di Brera and who published his influential Corso elementare d\u2019ornamenti architettonici in 1805. The study of Umberto I This shows a room in the Palazzo Pitti in Florence. Under Elisa Baciocchi, Napoleon\u2019s sister and Grand Duchess of Tuscany, several rooms in the palace were redecorated to reflect Paris fashions.","ITALY 205 1800\u20131840 The massive table The frieze is inset Caryatids top is veneered with marble panels support the with marble. table top. that match the table top. The table legs are inset with marble panels. ARMCHAIR AUX T\u00caTES DE LION Stop-fluted corner This mahogany armchair has a gently curved top rail, GILTWOOD AND VERDE ANTICO SIDE TABLE an X-frame back, and armrests terminating in carved and gilded lions\u2019 heads. The X-frame base has gilded This rectangular table has a verde antico (old green) veneered marble paw feet. c.1810. H:84cm (33in); W:58cm (227\u20448in); top above a frieze inset with matching marble panels and fluted corners. D:55cm (212\u20446in). GK The square, tapering legs are also inset with marble panels and are surmounted by carved caryatids, whose hands support the table top. c.1800. H:103cm (401\u20442in); W:192cm (751\u20442in); D:80cm (311\u20442in). Maggiolini Inset of Classical figure The frieze drawer is The top is not made inlaid with a row of of marble, unlike THE MOST FAMOUS NEOCLASSICAL FURNITURE-MAKER OF THE interlaced festoons. French commodes. LATE 18TH AND EARLY 19TH CENTURY, MAGGIOLINI\u2019S NAME IS ASSOCIATED WITH A PARTICULAR STYLE OF MARQUETRY. Giuseppe Maggiolini (1738\u20131814) made furniture that was austere, boxy, and unpretentious in form, with no carving and few mounts. However, its characteristic pictorial marquetry lent his work a brilliant opulence. Maggiolini used many different types and colours of timber to create his marquetry pictures, shunning stains, artificial colouring, and other tricks to achieve decorative effects. In the tradition of Piranesi and, more recently, the ornamental designer and interior decorator, Giocondo Albertolli, he produced marquetry trophies, still lifes, Chinoiserie and caprici. As a result, his name is used to refer to all work of this type, whether produced in his workshop or not. Maggiolini started his career as a carpenter in a Cistercian monastery, where he established his first workshop in 1771. He later founded a second workshop in Milan, which was inherited by his son, Carlo Francesco, and Cherubino Mezzanzanica. He crafted some of his most brilliant furniture for the Archduke Ferdinard of Austria, who was the Governor General of Lombardy, and the King of Poland was also one of his clients. In keeping with the tastes of his age, Maggiolini\u2019s furniture is simple in design and follows late 18th-century French prototypes. Its defining difference is the intricate marquetry; in Italy this had a long tradition stretching back to Renaissance intarsia works. Louis XVI commode This rectilinear, marble-topped piece, from the studio of The complicated marquetry The two case drawers are Guiseppe Maggiolini in Milan, is made from rosewood and several exotic patterns are typical of inlaid sans traverse with a woods with inlays of Classical figures in medallions and interlacing festoons. Maggiolini's work. symmetrical diagonal pattern The commode has three drawers with bronze mounts and is supported on centred by a medallion square, tapering legs. c.1800. W:122cm (483\u20444in). GK containing Classical figures.","206 EARLY 19TH CENTURY 1800\u20131840 Regency Britain THE REGENCY WAS a clearly defined Brighton Pavilion, remodelled for period in British history. From 1811 the Prince of Wales between 1815 to 1820, the Prince of Wales, who later and 1823. George, the Prince Regent, became George IV, ruled instead of came to dominate taste in the early his father, who was suffering from 19th century. He and his circle porphyria \u2013 a form of madness. drew on a diverse group of talented However, as a furniture style, Regency architects and artisans, often trained has come to embrace a wider time in France, many of whom had worked frame, from the 1790s to the third on Carlton House. These included the decade of the 19th century. architect, Charles Heathcote Tatham, the decorators and cabinet-makers, Reflecting the exuberant tastes of Morel and Hughes, and the clock- the Regent himself, the period begins maker, Benjamin Vulliamy. with his commission of the Neoclassical architect Henry Holland for his The Circular Room at Carlton House, London The London home, Carlton House, in the Prince of Wales\u2019s London residence was designed 1780s, and concludes with the exotic, in the finest Regency style. The room is decorated Oriental confection that is John Nash\u2019s with Neoclassical motifs and furnishings. 1819. The padded seat has an The upholstery is upholstered, tasselled buttoned, woven silk. bolster cushion for extra The back rail is inlaid comfort and support. in brass with a Greek-key pattern. Attenuated, elegant S-shapes are typical of Regency furniture. The front rail and highly The seat rail is inlaid with a The design of the chaise longue is scrolled ends are inlaid with trailing brass foliate motif. influenced by the contemporary trailing foliage and flowers, French form, the m\u00e9ridienne \u2013 a terminating in floral paterae. type of sofa with scrolled ends, one higher than the other. Sabre legs terminate in CHAISE LONGUE scrolled end supports. The generously padded lion\u2019s-paw feet and casters. seat and arms are supported on a rectilinear This elegant Regency chaise longue is made front rail decorated with a foliate motif. The Brass inlay detail of rosewood and is profusely inlaid throughout piece stands on outswept sabre legs which with brass inlay in a foliate design. The frame terminate in lion\u2019s-paw feet on casters. has a sweeping back rail which is centred with c.1810. H:86cm (34in); L:183cm (72in); a scrolled hand grip, and has highly decorative D:71cm (28in). MAL","REGENCY BRITAIN 207 FURNITURE STYLE maker George Bullock is best known \u2013 which has back stiles that rise from ornamental vocabulary. George Smith, 1800\u20131840 Regency furniture is often symmetrical for his use of patterned surfaces; he outswept sabre legs to support an who published a pattern book the year with clean, rectilinear lines. As such, frequently balanced English timbers, almost semi-circular back. after Hope, reinterpreted his cold, it was inspired by French Empire especially oak, with a riot of border academic designs by applying furniture and the simple late 18th- patterns featuring stylized flower- During this period, a wide variety Neoclassical motifs to French Empire century furniture designs of Thomas heads, lotus leaves, and dot motifs. of side cabinets of diverse outlines models that also included Gothic- Sheraton. Large surfaces were often came to dominate the wall space in and Chinese-inspired furniture. veneered in highly figured rosewood The strict Neoclassical taste found drawing rooms, replacing the use of Indeed, exotic forms and materials and then decorated with gilt-brass its most archaeological expression in commodes. In the dining room, a became the hallmark of Regency taste. mounts of ancient motifs, such as the designs of Thomas Hope, which he similar role was performed by the Smith popularized Hope\u2019s designs in rosettes, paterae, laurels, and published in 1807. Not only had he popular sideboard and chiffonier. his pattern book, introducing them anthemia. The Liverpool cabinet- plundered ancient Egypt, Greece, and to a wider public. Rome for decorative ideas, but he also ECLECTICISM attempted to recreate ancient furniture It would be a mistake, however, to see Smith inspired impressive-looking and interiors. Probably the most the Regency as simply a curvaceous furniture, with boldly carved leopard\u2019s typical furniture of this type is the and light Neoclassical style. It was masks or large lion\u2019s-paw feet, which rounded klismos chair \u2013 first known to characterized by endless variety, a anticipated the slightly heavier have been produced in ancient Greece freedom of forms, and an eclectic furniture of the 1820s and 30s. SMALL CENTRE TABLE MAHOGANY STOOL DWARF SIDE CABINET sides have open shelves with mirror backs and pierced brass galleries. The whole stands on The surface of this tilt-top table has a painted This Regency mahogany stool has a gently The rosewood and black-lacquer breakfront bold paw feet. Unlike gilt-bronze mounts in scene within a laburnum veneer border. It is shaped rectangular seat with scrolled ends and cabinet has a mottled grey marble top above a France, those on this cabinet are likely to be supported on a rosewood-veneered stem, on a light carving on the surface. It is supported on frieze with a central female mask. The central gilt-brass. c.1810. H:84cm (33in); W:202cm base with scrolled, ribbed feet on brass casters. an X-frame base with simple, carved decoration cupboard door is inset with a late 17th-century (791\u20442in); D:51cm (20in). PAR Early 19th century. D:86cm (34in). WW and stretchers. c.1810. W:51cm (20in). DL black-lacquer Japanese panel. The curving CARLTON HOUSE WRITING TABLE. LIBRARY TABLE terminate in lion\u2019s-paw feet, joined by a shaped stretcher. c.1810. H:74cm (29in); W:113.5cm This mahogany writing table has a three-quarter brass The rectangular top of this rosewood library (443\u20444in); D:71cm (28in). PAR gallery and a central, pull-out insert. There are six drawers table is inlaid with a Greek-key border in behind a lift-up flap, two drawers on either side, and two satinwood and ebony. The frieze has a central in the frieze, supported on slender, turned legs. c.1800. pierced ormolu palmette and two drawers. The H:93cm (37in); W:118cm (461\u20442in); D:62cm (24in). NOA bowed legs are headed by gilt lion\u2019s heads and","208 EARLY 19TH CENTURY 1800\u20131840 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 A DWARF GOTHIC CABINET designers drew on a wide variety of exotic sources. This lacquered cabinet has a crenellated When Napoleon invaded Egypt in July 1798, his invasion force included not only soldiers, but artists upper section with octagonal corner and poets, botanists, zoologists, and cartographers. towers. A deeper base with a pierced The ensuing publication of Descriptions de l\u2019Egypt quatrefoil gallery sits above a pair of established a vogue in France for all things Egyptian. tracery panelled doors flanked by ANCIENT EGYPT clasping buttresses. The cabinet The Egyptian craze surfaced in Britain following Nelson\u2019s subsequent defeat of Napoleon in 1798 at stands on a plinth base. Early 19th the Battle of the Nile. Sphinx heads appeared on the pilasters of bookcases and side cabinets and lotus century. H:168cm (671\u20444in). L&T 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\u2019s 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 calamander, 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, REGENCY TORCH\u00c8RE 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. H:99cm (391\u20442in). L&T A CHINESE EXPORT BUREAU This bureau has a 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. H:93cm (362\u20443in); W:72cm (281\u20443in). DN","thomas hope BRITISH EXOTICISM 209 1800\u20131840 THE MOST CELEBRATED OF ALL THE REGENCY DESIGNERS, THOMAS HOPE ENCAPSULATED THE LOVE Henry Holland, was profoundly influenced by Sir OF ANCIENT DECORATIVE MOTIFS THAT INSPIRED THE FURNITURE DESIGN OF THE PERIOD. George Staunton\u2019s An Authentic Account of an Embassy from the King of Great Britain to the Emperor of China Thomas Hope came from a wealthy banking family, stools appear in the prints, as do klismos chairs, their in 1797; and interest in the Far East increased after Napoleon\u2019s defeat in 1815, when further British envoys but established himself as one of the the early 19th large bar-backs decorated with strigules (serpentine were sent to the new emperor of China, Chia-ch\u2019ing. century\u2019s foremost connoisseurs of furniture and flutes) copied from Roman sarcophagi. Furniture was japanned black with gilt to simulate lacquer \u2013 as in the late 17th century \u2013 while lacquer antiquities. He also appears to have designed his Hope is probably best remembered for the masks cabinets (or lacquer panels reused from early screens) were incorporated into British cabinet work. Oriental own furniture. In 1807, he published a pattern book, that appear in his engravings. Inspired by Greek tragic bamboo was also echoed in the ring turnings on late Regency chairs. Many pieces of furniture were made Household Furniture and Interior Decoration, which and comic masks, they were repeatedly used on out of genuine bamboo, while others were turned and painted to simulate it. showed the interiors, furniture, and individual motifs Regency furniture, often as gilt-brass mounts. Some of The Prince Regent gave the royal seal of approval of his house on Duchess Street in London. The Grecian the furniture from Hope\u2019s Surrey mansion, \u201cDeepdene\u201d, to this trend when he furnished several rooms at the Brighton Pavilion with bamboo furniture imported interiors were archaeological in style and featured both survives, as does his famous collection of antique from China. Indeed, this architectural folly became Greco-Roman and Egyptian pieces. Classical X-frame marbles in the Lady Lever Art Gallery. the most famous mixing pot of all the exotic styles of the Regency period. Giltwood and bronzed stool This rectangular stool has ends in the form of griffins with gilt wings Western styles of lacquer and bamboo furniture and heads. The buttoned cushion is were also imported from Canton. The trade in goods upholstered in green velvet and from China to Britain had been established since the supported on the griffins\u2019 early 17th century, but the scale of Chinese imports outstretched legs. in the 19th century was unprecedented. As well as c.1810. H:71cm (28in); imported, Chinoiserie-style furniture, Oriental motifs W:106.5cm (42in); such as dragons appeared on the crestings of convex D:48cm (19in). PAR mirrors, while latticework and Chinese panelling were applied to chair backs, commode friezes, or Mahogany X-frame chair This has been made according brass grills on side cabinets or chiffoniers. to a Thomas Hope design, which is in the style of the curule chairs of ancient Rome. 1800\u201310. H:96.5cm STYLES FROM THE SUBCONTINENT (38in); W:59cm (23in); D:49.5cm (191\u20442in). JK India, as well as China, influenced the decoration of the Brighton Pavilion. Nash was inspired by William Circular gu\u00e9ridon With its pietra dura and Thomas Daniell\u2019s book, Oriental Scenery, and top, this piece emulates the Empire included pierced screens, copied from Indian jails style of Thomas Hope. It has lion\u2019s (perforated stone screens from Madhya Pradesh), in head motifs and a tripod base with his designs. The interest in India manifested itself large, gilded, bronze, claw feet. more in the importation of Western-style furniture, Late 19th century. Diam:109cm than in the application of Indian motifs to British (43 1\u20442in). GK 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.","210 EARLY 19TH CENTURY 1800\u20131840 british vernacular THE VERNACULAR FURNITURE of the sometimes of Classical lyre form \u2013 SCOTTISH CHEST OF DRAWERS Below the frieze are four long graduated first 20 years of the 19th century has stood in front of sofas, while library drawers flanked on either side by pollard elm more in common with the light, tables, often with leather-inset tops This Scottish, bow front chest of drawers panels. The piece has a curved apron. The elegant furniture of the late 18th and fixed ends, were designed to be is made of mahogany and decorated with chest of drawers is raised on tapering, square- century than with high-style furniture used in libraries. Kidney-shaped, boxwood stringing. The piece has a reeded, section legs with reeded decoration. Early 19th in the style of Thomas Hope. It was occasional, and worktables (for D-shaped top above a shallow frieze drawer century. H:111cm (433\u20444in); W:120cm (471\u20444in); usually made of mahogany, either solid sewing equipment) were all new types with compartments and a writing slide. D:59cm (231\u20444in). L&T or used as a veneer, or the newly of furniture, as was the nest of tables. popular rosewood. Pieces were also Sometimes called quartetto tables, on a baluster column, which is decorated with constructed of inexpensive timbers, these were designed so that three, four, carved acanthus leaves. The table is supported such as beech, and then painted to or five tables fitted into one another. on four outswept, moulded legs decorated simulate rosewood or more exotic with a carved reeded pattern. The legs timbers. Penwork, often the pastime Chiffoniers \u2013 a type of side cabinet \u2013 terminate in brass, leaf-cased terminals of young ladies, was also used to were also invented around 1800. Games and casters. Early 19th century. W:92cm decorate cheaper woods. Here, once and dining tables, both Georgian (361\u20444in). DN again, the Regency pictorial fascination inventions, remained popular and were with surface pattern and large, flat often designed with central, turned expanses of timber is evident. pedestals and reeded, downswept legs. It was also during the early 19th The so-called Trafalgar chair is century that oak re-emerged as a wood probably one of the archetypes of suitable for use in public rooms, and Regency vernacular design (see p.242). it was popularized by the work of Its sinewy line, with sabre legs at George Bullock. However, oak really the front and back, epitomizes the came to prominence in the antiquarian gracefulness of the era. These chairs interiors of the 1820s and 1830s. usually had a drop-in seat, although some seats were caned. SUBTLE MOTIFS Although plainer than the classic Caning, with its overtones of the Far Regency furniture destined for the East, came back into fashion at this Prince Regent\u2019s circle, furniture made time, and was used both in seats, and for middle-class homes or country- the sides and backs of library berg\u00e8res. house bedrooms still displayed all the inventiveness and exoticism of the The Davenport desk was another period. Subtle lotus-leaf carvings new form of this period. It owes its evoked the cultures of the Nile, while name to a Captain Davenport, who Greek-key patterned friezes on tables commissioned the design from the and bookcases echoed the ancient firm of Gillows. culture of Athens. Similarly, thin cross- bandings of an exotic timber such as GILLOWS STYLE GEORGE IV TEA TABLE calamander or amboyna were often Vernacular furniture production in used on even the humblest furniture. England in this period is dominated by This elegant tea table is made of mahogany. These were contained within boxwood Gillows, which started in Lancashire in The rectangular top has rounded corners or ebonized stringing, although it was the 1830s and later opened in London. and opens out to create a larger surface. often replaced with ebony on more Famous for high-quality mahogany The top sits above a flame-veneered frieze expensive pieces. Shiny brass was also furniture, often characterized by with a carved border. The table top is raised back in fashion, utilized as inlaid line carefully matched figured veneers, decoration, cut patterns, or pierced it is also associated with particular galleries. The cabinet-maker George motifs. On furniture, it would Oakley is often associated with the frequently gadroon the edges or add use of cut-star motifs in brass. lobes to the legs. Unlike designers such as Hepplewhite, Gillows never NEW FORMS produced a pattern book, but its One of the characteristics of the period Estimate Sketch Books provide a was the increased variety of furniture valuable index of its evolving style and types that were made for a range of are preserved in the Westminster City everyday needs. This is evident in the Archives. Unusually for this period, wide variety of tables designed for it frequently stamped its furniture specific functions. For example, sofa (often on the front upper edge of a tables with side flaps, central drawer) with its name. Although this pedestals, or side standards \u2013 would become more standard practice later in the century, Gillows is known to have left its mark on furniture from the 1790s.","BRITISH VERNACULAR 211 1800\u20131840 PENWORK SIDE CABINET DAVENPORT DESK MAHOGANY TALLBOY This Regency side cabinet has a shaped back panel with a The hinged top of this mahogany desk has a gallery to the rear, This tall chest of drawers, or tallboy, has a domed, panelled narrow shelf supported on miniature columns, set above the above a small pen drawer. Below this are four graduated side cornice above six long drawers. All of the drawers are lined with main shelf. A single drawer is raised on turned, column supports drawers. The desk front is panelled, with a shaped, crossbanded mahogany and have brass shell ring-handles. The piece stands and a plinth base. All the surfaces are decorated with penwork. border. The case stands on carved and moulded bracket feet. on sabre legs to the front. Early 19th century. H:224cm (88in); 1810\u201320. H:125cm (49in); W:81cm (32in); D:45cm (18in). JK c.1810. H:94cm (33in); W:38cm (15in); D:49cm (19in). NOA W:126cm (491\u20442in). WW The shaped gallery is outlined in boxwood stringing. Pressed brass handle Quarter-veneered doors are inlaid with an oval panel and foliage in satinwood. Detail of loper The square, tapering leg The frieze drawer is inlaid with boxwood. is fitted with small compartments for DECORATED BERG\u00c8RE BONHEUR-DU-JOUR writing implements. This armchair has a richly carved and decorated frame, arm This mahogany and marquetry bonheur-du-jour has a The loper suggests supports, and legs. The side, back, and seat panels are caned shaped upper section, two matching veneer cupboard a baize-lined and have loose cushions. The armrests are padded. The seat is doors, a writing surface, frieze drawer, and tapering supported on turned and reeded legs with brass casters. c.1810. legs with spade feet. c.1790. H:103.5cm (41in); writing surface. H:91.5cm (36in). DL W:72cm (281\u20442in); D:47cm (181\u20442in). NOA","212 EARLY 19TH CENTURY 1800\u20131840 George IV and William IV WHEN GEORGE III died in 1820, his 1830 was entrusted to the architect Sir However, this period also marked an available after the Revolution. scandalous son, who had been ruling Jeffry Wyattville. The furniture and important period of transition between These pieces, especially those with as Regent for nine years, became King upholstery was supplied by cabinet- the Regency and Victorian eras. Much tortoiseshell and brass boullework, George IV. Known for his extravagant maker Nicholas Morel. These heavily of the furniture was still Neoclassical were collected by, amongst others, the tastes, the interiors created during his gilded interiors have a French flavour. in style although it was generally Duke of Wellington and the Prince reign, particularly those at Windsor heavier than Regency pieces. Regent. Sometimes called the Rococo Castle, are some of the most On George\u2019s death in 1830, his revival, it was known (incorrectly) at sumptuous in British history. The brother became William IV. In TOUS LES LOUIS the time as the Louis XIV style. The reconstruction of the apartments on contrast to the worldly pursuits of The interest in 18th-century French serpentine lines of Louis XV furniture the east and south sides of the Upper his predecessor, William\u2019s reign was styles dates from the late 1810s, when were re-interpreted on furniture Ward of the Castle between 1824 and dominated by the Reform Act, which typical of Louis XIV or XVI. brought about parliamentary reform. French furniture became The Elizabeth Saloon at Belvoir Castle, created by Benjamin Dean and Matthew Cotes Wyatt in the 1820s, mixed French Rococo furniture and panelling with modern scrolling and gilded English furniture. This opulent Bolster cushions provide additional comfort. The legs are Carved arm detail decorated with foliate carving. The back of the sofa The arms are decorated WILLIAM IV SOFA is decorated with with leaf motifs. scrolling acanthus The panelled top rail of this elegant mahogany sofa is flanked by carving. scrolling terminals depicting acanthus leaves. The lower arms of the sofa are upholstered to match the back and seat cushion. Two bolster cushions provide added comfort. The piece has leaf-carved urn terminals and is supported on turned and carved tapering feet with brass caps and casters. Early 19th century. W:204cm (801\u20444in). L&T LIBRARY TABLE WILLIAM IV TRIPOD TABLE This burr-oak and ebony-inlaid This painted tilt-top table has a rectangular top rectangular George IV library above a single column, which is supported on a table has a crossbanded tripod base. There is an armorial design painted top above a frieze with two on the surface of the table. The piece terminates drawers. The table top is in bun feet. c.1835. H:70cm (271\u20442in). DL supported on quadruple- baluster end columns linked by a stretcher. Stamped Holden & Co, Liverpool. Early 19th century. W:122cm (48in); D:61cm (24in). MLL","GEORGE IV AND WILLIAM IV 213 style was particularly appropriate LATE REGENCY 1800\u20131840 to seat furniture with buttoned, Much of the mahogany furniture upholstered backs or sides and plump, of the period was a heavier version cabriole legs. Case furniture tended to of Regency designs, anticipating have rectilinear, classical lines. Victorian solidity. Carving was often Classically inspired and combined The Old French Style was promoted with gadrooning and ribbing. Bun feet in a series of pattern books from 1825, were used on chests of drawers or including publications by John Taylor, plinth supports. Chair and table legs Henry Whitaker, and Thomas King. were often turned and ring-turned John Weale published reprints of rather than outsplayed or sabre-form. mid 18th-century pattern books by Bed-posts were similarly designed, Thomas Chippendale\u2019s sometimes with acanthus carving. contemporaries, including Matthias Lock, Thomas Johnson, and Henry Copland, giving rise to the so- called Chippendale revival of the late 1820s and 30s. Scallop shell motif WILLIAM IV FOUR-POSTER BED are plain, enclosing a panelled head board (formerly the foot board). The scalloped WILLIAM IV MIRROR This elegant mahogany bed has a moulded pelmet and drapes are made of a floral fabric. cornice decorated with a carved frieze and Early 19th century. H:273cm (1071\u20442in); This mirror has a rectangular plate supported on four turned and carved bed posts. L:202cm (791\u20442in). L&T within a gilt and silvered wooden At the foot, the posts are reeded and leaf- frame, surmounted by a laurel carved, while at the head of the bed the posts wreath and carved with berried laurel. The lower section has a GEORGE IV LIBRARY ARMCHAIR central scallop shell motif with a thistle below, flanked by rocaille, The upholstered tub back of this library plants and foliage. One of a pair. armchair has a U-shaped front, which has c.1830. H:134.5cm (52in); W:80cm been faced in mahogany and carved with (311\u20442in). PAR reeds and roundels. The chair is supported on turned and reeded legs that LIBRARY TABLE terminate in brass casters. The chair is one of a pair. This tortoiseshell-veneered library table has a moulded edge Early 19th century. DN above a shaped apron, and is supported on cabriole legs. All of the surfaces are decorated with tortoiseshell and embellished with gilt-metal mounts. c.1830. H:79cm (31in); W:165cm (643\u20444in). HL","214 EARLY 19TH CENTURY 1800\u20131840 Germany: Empire WHEN NAPOLEON BONAPARTE became craftsmen trained and worked in Paris, wreaths, and columns, combined with Friedrich Wichmann. In 1806, ruler of Germany in 1806 he brought and became familiar with the Empire military-style bronze mounts and Napoleon had a suite of Empire the Empire style to the region. style. The grand, Classical motifs details, epitomized Napoleon\u2019s furniture made for his Residenz at Germany and Austria retained victories and celebrated his triumphs. W\u00fcrzburg, Franconia. These pieces close stylistic links used in Empire style furniture, were inspired by the work of French with France, as including eagles, mythical ROYAL INFLUENCES architects Percier and Fontaine, whose many German creatures, laurel It was the Bonapartes themselves work Napoleon favoured. Their 1801 who really made Empire furniture pattern book, Recueil de d\u00e9corations fashionable in Germany. The Emperor\u2019s int\u00e9rieurs comprenant tout ce qui a brother, J\u00e9r\u00f4me Bonaparte, became rapport \u00e0 l\u2019ameublement, was well King of Westphalia in 1810, and he received and highly influential in furnished the Schloss Wilhelmsh\u00f6he Germany, inspiring local craftsmen with Empire-style pieces. These to produce their own publications. included pieces ordered from Georges Jacob-Desmalter (see p.201), and an imposing desk which was decorated with marble reliefs designed by Gilt bronze embellishes the interior fittings. Fall-front writing surface Gilt bronze lion\u2019s head The body of the desk VIENNESE GU\u00c9RIDON is modelled on a lyre. This mahogany-veneered and The applied bronze decoration partially carved gu\u00e9ridon has an includes gilded stars and overhanging table top with a gilt- lion's heads. edged round frieze below. The three tapering legs are topped by A rectangular plinth lions\u2019 heads and terminate in a supports the piece. tripartite base with paw feet. c.1810. H:102cm (40in); W:44cm (171\u20444in). BMN BEECHWOOD CHAIR This chair has a scrolled back and rose- coloured upholstery on both the back and seat. The chair has tapering front legs and cabriole back legs. The design is attributed to Leo von Klenze and the chair is thought to have come from the Residenz in Munich. c.1818. H:91cm (361\u20442in). NAG Carved paw feet VIENNESE SECR\u00c9TAIRE arrangement of drawers and arched compartments, luxuriously decorated with gilt bronze. The lower section of the secr\u00e9taire This exquisite secr\u00e9taire is made of fruitwood and mahogany. consists of two graduated drawers which are decorated to give It has a lyre-shaped case which is decorated with partial inlay the appearance of the strings of a lyre. The whole piece is and gilding. The case has a single arched pediment, flanked raised on a rectangular plinth which is supported on carved on either side by gilded Classical figures. A rectangular, fall- paw feet. c.1807. H:139cm (55 1\u20442in); W:62cm (24 3\u20444in); front writing surface opens to reveal a fitted interior with an D:41cm (161\u20442in). GK","GERMANY: EMPIRE 215 GERMAN INTERPRETATIONS Anterooms and throne rooms were Klenze, who worked for the Bavarian states, Viennese designers favoured the 1800\u20131840 German furniture was often larger furnished with gilded Empire pieces. King Ludwig I in Munich and whose striking contrast of ebonized wood and and grander than its French Empire Gifted court cabinet-makers produced Neoclassical buildings form much of gilt bronze and created finely cast and equivalents. Locally-produced pieces various ensembles with matching sofa the city of Munich today. chased gilt bronze mounts that equalled tended to have heavy columns and be tables and console tables based on the work of French craftsmen. rigidly symmetrical. French designs or adapted from the VIENNESE DESIGN fashion magazines that were popular at Vienna was a leading centre for the One of the most gifted Viennese Empire furniture was predominantly the time. Private rooms were furnished production of furniture. It was here cabinet-makers was Josef Ulrich a style for the nobility and was soon with mahogany pieces ornamented that some of the most inventive Danhauser. He ran the first Viennese adopted by the rulers of the monarchies with gilt-bronze mounts. Decorative designs were developed, including the furniture manufacturers, from 1804 and princedoms that made up the motifs were influenced by those of lyre-secr\u00e9taire, which often took on until his death in 1829, and made his German Confederation after the ancient Egypt. unusual shapes. Unlike the designers name by decorating his furniture with Vienna Congress in 1815. These rulers and craftsmen working in the German wood paste moulded to look like showed off their power by building Seating furniture was also directly expensive bronzes. new castles or by lavishly refurbishing inspired by the designs of the ancient existing ones, and the exuberant world. The influence of the Greek interiors of the palaces were designed Klismos chair, for example, can be in the Empire style. seen in the chairs designed by Leo von AUSTRIAN CHERRY WOOD TABLE NORTH GERMAN COMMODE This table has a rectangular top with rounded This rectilinear commode is made from mahogany veneered corners, which rests above a single frieze drawer. with maple. It has canted corners and three drawers with The piece is raised on sharply tapering, square- ebony stringing. The commode is supported on square, section legs. c.1810. H:77cm (301\u20444in); W:98.5cm tapering legs. Early 19th century. H:83cm (32 5\u20448in); (38 3\u20444in); D:65.5cm (253\u20444in). SLK W:112cm (441\u20448in); D:58cm (223\u20444in). BMN Karl Friedrich Schinkel (1781\u20131841) THE MOST INFLUENTIAL GERMAN MASTER-BUILDER OF THE EARLY 19TH CENTURY, SCHINKEL WAS ALSO A CITY PLANNER AND ARTIST, AND A FAMOUS FURNITURE DESIGNER. Karl Friedrich Schinkel was born near Berlin, afraid to experiment with shape and created and originally trained as an architect as one pieces designed for specific places within of the first students at the new Berlin a room. Typical Schinkel designs are for Bauakademie. He studied under the architect architectural secr\u00e9taires and comfortable Friedrich Gilly, whose plans for a monument armchairs. His publication Vorbilder f\u00fcr to Frederick the Great of Prussia greatly Fabrikanten und Handwerker inspired the young Schinkel. (Role Models for Makers and Craftsmen) in 1835 had a He travelled to France and Italy, and was widespread influence. In influenced by the Classical-style architecture later years, Schinkel\u2019s work and furnishings he saw. His theory was that new designs should draw on the ancient world drew less on the Schinkel in Naples This oil painting, by Franz Louis for inspiration, rather than slavishly recreate Neoclassical style, and Catel, shows Karl Friedrich Schinkel in Naples in it. On his return to Germany, he worked for more on the designs of 1824 during his second Italian journey. 1824 the Prussian state, including working as a the Renaissance. stage designer for the National Theatre. Schinkel armchair This generously One of Schinkel\u2019s earliest works was a bed upholstered armchair has a with bedside table, designed for Queen Louise curvaceous frame with a high for the Charlottenburg castle in Berlin. His backrest and is decorated with use of light-coloured veneers anticipated the motifs from the ancient world. Biedermeier style (see pp.216-17). He was not","216 EARLY 19TH CENTURY 1800\u20131840 germany: Biedermeier THE TERM \u201cBIEDERMEIER\u201d covers the Political unrest in the German states From about 1830, designs incorporated pear, birch, and ash, combined with wide spectrum of simple, Classical, in the early 19th century created a scrolled forms: chairs often had dark elm and thuyawood. The grain handcrafted, functional furniture made general feeling of uncertainty and splayed legs, sofas had arched backs, of the wood was the most important between 1805 and 1850, which was increasing poverty. As a result, people and moulded cornices were used as decorative feature. The natural grain made at the same time as furniture in withdrew into the privacy of their own ornament for writing cabinets. of the veneer was emphasized with the Empire style (see p.212). While the homes, and the middle classes in various pyramidal or fountain-like nobility furnished their formal rooms particular began to take an increasing POPULAR WOODS shapes. Root veneers of acorn, burr- with Empire furniture, the more interest in furnishings. The most fashionable woods for walnut, and elm were also popular private parts of their houses and Biedermeier furniture were mahogany, because of their varied colour and mansions were furnished in the MODEST STYLE which was imported and, therefore, attractive markings. Darker woods Biedermeier style, which was favoured Biedermeier furniture typically had rather too expensive for this essentially were frequently used as borders by the wealthy middle classes in straight lines and lacked decorative middle-class style, and also less costly around diamond-shaped keyholes, Germany, Austria, Switzerland, carvings. Motifs inspired by Classical local woods such as walnut, cherry, block feet, or cornices. and Scandinavia. designs, such as columns, gables, egg and dart, and bead and reel details were all popular. The cupboard door is decorated with an arched panel. Pigeonholes DINING CHAIRS legs. The chairs are upholstered with a provide storage Neoclassical-style striped fabric, probably the space for letters. These chairs are made of solid walnut wood original fabric, that is decorated with flowers. and walnut veneer. The backs are balloon- 1820\u201330. H:87.5cm (35in); W:45cm (173\u20444in); The interior drawers shaped and have double baluster splats and a D:46cm (181\u20448in). have ivory handles. shaped top rail. The tapered, upholstered seats are typical of the period and sit above sabre The fall front opens to form a writing surface. The bottom part of the cabinet is made up of three drawers. WRITING CABINET of the cabinet consists of three large drawers SOFA decoration were not part of the Biedermeier set on simple bracket feet. This practical piece style. The sofa is veneered in cherry wood, Covered entirely in cherry-wood veneer, this embodies the Biedermeier ethos of comfort and The frame of this elegant sofa is scroll-shaped which has been blackened in places, using impressive writing cabinet has a fall front that convenience and would have been used in the with a slightly raised back. The shape takes its a simple inlay of ebony to accent the flat opens to reveal a fitted interior. The inner sitting room, which was the focal point of the inspiration from Classical pieces, and is typical of surface of the wood. The upholstered seat compartment consists of 11 small drawers home. c.1820. H:151cm (601\u20442in); W:104cm the simple, geometric design that was favoured is coil-sprung for comfort. c.1825. W:185cm flanking a central tabernacle. The lower portion (411\u20442in); D:49cm (191\u20442in). KAV by Biedermeier designers. Ornate carvings and (74in). KAV","GERMANY: BIEDERMEIER 217 RESTRAINED INTERIORS designed for use as a linen press or By the mid 19th century, the style 1800\u20131840 Biedermeier interiors were modestly wardrobe, were very common styles. was seen as comfortable but rather furnished, and the emphasis was on dowdy, and was given the name practicality and comfort, rather than An overall colour scheme was a Biedermeier, a satirical term that meant decoration. The furniture was prominent feature of Biedermeier \u201cthe decent common man\u201d. The name moderate in size, rounded in shape, interiors and frequently light-coloured was originally used in a German comfortable, and homely. upholstery, curtains, and woods were publication for a fictional middle- chosen to create a homely interior class character, and was not intended Many pieces had a counterpart \u2013 with an integrated sense of design. to be particularly flattering. another piece that was similar in size \u2013 to balance the furnishing of The advances in manufacturing that The style gradually began to decline the room. The secr\u00e9taire with a fall occurred during this period did not in popularity and it was only at the front and the blender, which looked have much impact until the second beginning of the 20th century that like an imitation secr\u00e9taire, but was half of the century, so early this negative evaluation began to fade, Biedermeier furniture was visibly and Biedermeier-style furniture once A typical Biedermeier living room, c.1820\u201330 hand-made. Upholstery was generally again became much sought after. This simple Saxon living room is typical of a modest flat and square, made of silk or This led in turn to the style being townhouse of the period. The living room was the horsehair, and wooden surfaces were widely copied. social centre of the home, and great care was taken simply planed and polished with oil. with the arrangement of the furniture. DINING TABLE Made in southern Germany, this simple dining table is veneered in cherry wood with a star pattern on the table top. Some of the veneer is blackened to add visual interest. The single pedestal terminates in a tripartite base. c.1830. W:115cm (46in). BMN WALL MIRROR WALNUT-VENEERED COMMODE GLAZED CABINET This mirror frame is architectural in style and is decorated This commode has a top with an ebonized border above a This birch-veneered cabinet was made in Berlin and has a stepped with cherry veneer. The ebonized columns are edged by frieze drawer. A further two recessed drawers are flanked by pediment with a flat top. The oval glazed door panel is decorated with gilded bases and capitals, which support a Classical-style turned, ebonized columns with gilded Corinthian capitals fine wooden spokes emanating from a central sun motif. At the base of the cornice and pediment. The central mount shows the goddess and feet. The middle drawer is decorated with floral and cabinet there is a single drawer with a lock. c.1820. H:182cm (711\u20442in); Diana. 1820\u201330. H:170cm (67in); W:71cm (28in). BMN figural details. 1820\u201330. H:85cm (331\u20442in). BMN W:108cm (421\u20442in); D:54.5cm (211\u20442in). BMN","218 EARLY 19TH CENTURY 1800\u20131840 the low countries THE COUNTRY OF BELGIUM did not Dutch tapering feet. He also frequently BELGIAN FAUTEUILS DUTCH DINING CHAIR formally exist until 1831. Indeed, used canted pilasters on case furniture in October 1797, after the Treaty to reduce the sense of bulk. Much of The top rails of these Neoclassical, laminated, This elm dining chair has a panelled top rail of Campo Formio, the region was the seating supplied for the new Royal black-painted armchairs are decorated in gilt of joined construction with tapering sides. annexed to France. As a result, the palace was upholstered by Joseph with central twin putti flanking a lyre in husk- The felt upholstered seat has brass studding furniture produced there in the early Cuel, including a scrolling day bed decorated borders. The downcurved arms end and is raised on a plain seat rail above turned 19th century scarcely differs from the commissioned for the bedroom of and tapering legs. Early 19th century. French Empire style. Although the Queen Hortense. H:85cm (331\u20442in). DN province was struggling economically, those with sufficient financial means TRADITION Brass studs ordered their furniture directly from The Empire style remained popular Paris. After 1831, as elsewhere, a series even after Waterloo, so when King in gilt ball finials and are supported by of historical revival styles dominated William I re-decorated the State gilt cornucopiae headed by leaf tips. The Belgian furniture design. apartments of the palace in The inverted, U-shaped legs of each chair have Hague, they were conceived in a gilt-metal leaf-tip sabots. Each chair is The situation in the Netherlands Napoleonic style. stamped \u201cChapuis\u201d. Early 19th century. was slightly different, partly because H:89cm (32in). SI of antagonism towards the French One of the most important suppliers occupation. After the Battle of Jena in to the palace was Nordanus, a local 1806, Napoleon gave his brother Louis cabinet-maker. In 1818, he provided the throne of the Netherlands. As in numerous mahogany pieces, some of Italy, the Empire style was introduced which were veneered with floral directly by the Emperor\u2019s family. marquetry. Local motifs, such as the fluted friezes and corner chamfering INNOVATION characteristic of 18th-century In 1808, the new King ordered that the Neoclassical Dutch pieces, occur on 17th-century town hall of Amsterdam much Dutch Empire furniture. be refurbished as a Royal residence and had a suite of principal rooms Classical features still persisted in built in the fashionable Empire style. the Low Countries into the second Most of the furniture was supplied to quarter of the 19th century and, as the new French overlords by loyal elsewhere in Europe, furniture was Dutch craftsmen, including the frequently made from light woods, talented Carel Breytspraak, the son particularly maple or burr-walnut, and of a German cabinet-maker, who had was often influenced by both British matriculated to the Amsterdam guild furniture and the German Biedermeier in 1795. His furniture is heavily style. Furniture workshops also influenced by the severe Classicism became increasingly mechanized as of Percier and Fontaine (see pp.200\u201301), the century progressed. but demonstrates idiosyncratic touches, such as applied mouldings The Salon de Boiserie, Amsterdam Almost all of the around drawers or the use of typically painted panelling in this room is decorated with lavishly carved gilding. The room was designed by architects Charles Percier and Pierre Fontaine. SBA Detail of marquetry DUTCH CARD TABLE The folding top of this walnut table has rounded corners and sits above a rectangular panelled frieze. The table top stands on square-section, tapering legs with gilt-metal feet. The table is decorated throughout with floral marquetry typical of the Low Countries. Early 19th century. W:83cm (323\u20444in). DN","The frieze contains THE LOW COUNTRIES 219 1800\u20131840 three drawers. The simple escutcheon has plain brass stringing. The Egyptian-style mummy\u2019s head is of brass. The square, tapering legs The veneers are plain The doors are decorated with Brass stringing detail terminate in toupie feet. and well-figured. a brass, geometric pattern. The corner colonettes are carved. The cupboard doors enclose interior shelves. DUTCH SIDEBOARD CABINET The front of this rectilinear mahogany cabinet contains one dummy drawer flanked by two true drawers with a cupboard enclosed by double doors below. The corner colonettes are carved with tasselled drapery and have Egyptian-style brass mummy\u2019s-heads and foot terminals. The case stands on short, tapering legs with toupie feet. c.1805. H:99cm (39in); W:120cm (471\u20442in); D:59cm (23in). TNH Relief carving Escutcheon detail LINEN PRESS DUTCH CABINET The top section of this mahogany This mahogany and rosewood linen press has a pediment crest cabinet has two doors crowned above a pair of cupboard doors, by a moulded and shaped cornice which open to reveal three shelves with a domed pediment and and three aligned drawers. The central cartouche. The lower lower section of the press has section has a bomb\u00e9 base with two short over two long drawers three long drawers and claw-and- and is raised on rectangular ball feet. Early 19th century. feet. The linen press is relief- H:239cm (951\u20442in); W:178cm carved with Neoclassical motifs. (71in); D:62cm (243\u20444in). VH Early 19th century. H:231cm (91in); W:160cm (63in); D:56cm (22in). NA","220 EARLY 19TH CENTURY 1800\u20131840 scandinavia THE GREAT BRITISH VICTORIES of Abukir to a chair later designed by the BIEDERMEIER LOVE SEAT facings. The seat rail has brass mounts and (1798) and Trafalgar (1805), which sculptor Hermann Freund is supported on verdigris brackets, carved in opened up trade along the North Sea (now in the Fredericksborg This mahogany, Biedermeier-style love seat the shape of drapery. The piece terminates coastline, suggest that sympathy for Castle), it mimics the ancient has a solid, rectangular form with outswept in massive gilt and verdigris claw-and-ball Britain and British design could be Greek original. arms. The back and sides of the seat have front feet. The love seat has an upholstered evident in Scandinavian furniture. This brass-moulded panels and fan spandrels. The back, sides, and seat. Early 19th century. was not always the case. Denmark The Danish custom of using one arms have rosette terminals and mahogany W:139cm (543\u20444in). L&T and Sweden\u2019s ambivalence to France room as a combined dining room, encouraged the British Prime Minister, drawing room, and study at this SWEDISH SECR\u00c9TAIRE drawer has a cut-away arched shape. The piece Pitt, to destroy the Danish fleet and time resulted in some unique types is raised on rectangular block feet. This secr\u00e9taire bombard Copenhagen, creating much of furniture. One of these, the Chatol, The tall, flame-veneered case of this Swedish is made in the style of furniture from towards animosity towards the British. This consisted of a cylinder bureau with a Empire secr\u00e9taire has tapering sides. The upper the end of the period and is a move away from affected trade and shipping and left retractable writing slide, surmounted section of the case has a fall front positioned the Empire style. It was possibly made by J.C. the Danish-Norwegian economy at by cupboards for storing cutlery and beneath a shallow drawer. The lower section Reher. 1841. H:145cm (57 1\u20448in); W:122cm the point of bankruptcy in 1813. glassware. Another was a divan, which consists of three graduated drawers; the bottom (48in); D:58cm (227\u20448in). Bk had cupboards in the sides. So, although there are traces of British Neoclassicism in early 19th- HETSCH STYLE century Scandinavian furniture, it In Denmark, the Neoclassical style was often due either to the residual lasted into the 1840s, thanks to the effect of late 18th-century design, or late Empire style popularized by it had filtered through the influence Gustav Friedrich Hetsch. Hetsch had of north German cabinet-making. studied with Charles Percier in Paris earlier in the century, returning to The one positive outcome of these Copenhagen to direct the porcelain hostilities was that local craftsmen factory. He was also a designer and were protected from British his works were often scholarly competition and were encouraged to reproductions of antique prototypes. develop their own workshops and This style, which favoured the use of styles. As in the rest of Europe, the carved appliqu\u00e9s and mouldings over Empire style predominated, although mounts, is sometimes confusingly it had marked local characteristics. called Christian VIII after the Danish king who reigned from 1839 to 1848. DANISH EMPIRE A traditional preference for simplicity, SWEDEN and the need for frugality as a result of Sweden was slightly more francophile war and financial hardship, gave rise in its tastes than Denmark, particularly to a version of the prevailing French in Court circles. The furniture in the style called Danish Empire, which was Yellow Room at Rosendal Castle in taken up by three of the Scandinavian Stockholm, created for the king in the countries. Although mahogany was 1820s, is closer to true French Empire favoured, and was used in the larger, style than any furniture produced in wealthier cities, it was difficult to Scandinavia during the early 19th obtain due to war. As a result, the century. It was designed by Lorenz Danish Empire style made use of light Wilhelm Lundelius, the leading local woods, such as alder, maple, ash, craftsman in Stockholm. and birch, which could be polished to look like satinwood. Mahogany A famous secr\u00e9taire, made by Johan furniture did reappear after 1815, and Petter Berg in 1811, demonstrates how was generally veneered on pine rather Swedish cabinet-makers absorbed than oak pieces. German heaviness, combined it with Empire motifs (such as white marble Danish furniture was often inlaid pilasters), and added the occasional with contrasting woods, such as citrus, British reference, such as the Sheraton- rather than having ormolu mounts. inspired inlaid shell. Inlaid lunettes and arched details were popular, as was the occasional pressed The Hetsch style eventually arrived brass or giltwood detail. in Sweden, but it did not become dominant because Neo-Gothic had One of the most distinctive chairs taken hold there quite early. Indeed, produced in Denmark was the klismos by 1828, there was already a room chair, designed by Nicolai Abilgaard in decorated in the Gothic style in the 1800 and now in the Copenhagen Royal palace in Stockholm. Museum of Decorative Arts. Similar","SCANDINAVIA 221 1800\u20131840 DANISH ARMCHAIR LATE GUSTAVIAN ARMCHAIR LADY\u2019S WORKTABLE The substantial hooped-back, upholstered backrest of this This Swedish gilt-and-painted armchair has an upholstered seat This late Gustavian Swedish worktable has an oval, galleried mahogany armchair is raised on curved supports. The and back, a curved top rail with lion\u2019s head terminals, and top above a single frieze drawer. The table top is supported on upholstered seat has square, tapered legs at the front and carved, down-sweeping arms. The padded seat is supported on a tapering legs terminating in brass caps and casters and joined sabre legs at the rear. Early 19th century. H:76cm (30in); carved seat rail and is raised on turned and fluted legs at the by a shaped cross-stretcher. Early 19th century. H:77cm W:68.5cm (27in); D:58.5cm (23in). EVE front and sabre legs at the rear. Early 19th century. Bk (301\u20443in); W:56cm (22in); D:47cm (181\u20442in). Bk The table top is made of marble. The frieze is carved as a concave moulding with foliate paterae carved in high relief. The winged sphinxes are surmounted by stylized basketwork columns. The faux marble plinths The central column is carved are decorated with gilt with fluting and supported on a circular plinth carved laurel leaves. with acanthus leaves. SWEDISH CENTRE The faux marble plinth TABLE has concave sides. This outstanding parcel-gilt centre table has a marble top supported on a carved frieze above a central column carved with spiral fluting. The table corners are mounted on faux- marble plinths surmounted by sphinxes. The whole stands on a concave-sided plinth. c.1820. H:86.5cm (34in); W:147.5cm (58in); D:71cm (28in). MAL","222 EARLY 19TH CENTURY 1800\u20131840 russia FROM THE 18TH CENTURY, Russia had FOREIGN INFLUENCE They provided designs for local of furniture. One particular chair \u2013 been turning her attention to the Since the time of Catherine II craftsmen, which were also taken up made for the Tsar\u2019s summer residence, West for cultural inspiration, and this (r.1762\u201396), furniture had been by local architects, such as Zacharov. Tsarkoye Selo, in 1804 \u2013 is often continued in the opening decades of imported from Western Europe, associated with his name. It has the 19th century. However, unlike particularly France, but also Britain The furniture for the White Hall of sphinx monopodiae legs that rise, elsewhere in Europe, the Empire style and Germany. Architects, too, were the Mikhailovsky Palace was designed uninterrupted, into the winged arm did not make inroads through the brought over. By the time of Alexander by Rossi and supplied by the Russian supports. Not only does this chair imposition of a member of Bonaparte\u2019s I (r.1801\u201325), architects such as the Bobkov brothers. Architectural in demonstrate the vogue for Empire family or through French control. Swiss, Thomas de Thomon, and the detail and conception, the pieces furniture and ancient Egyptian motifs, Italians, Carlo Rossi and Giacomo epitomized French style and were but it anticipates Biedermeier chairs, Napoleon\u2019s invasion of Russia in Antonio Domenico Quarenghi, were covered in wreaths, rosettes, and which conceal the link between the 1812 had devastated the land, yet the introducing the strict Neoclassical other Empire motifs. arm and the leg. However, the French period is marked by a flowering of the style prevalent elsewhere in Europe. style was not the only influence on arts and economic recovery. Indeed, They continued the work of Rastrelli, Pavlovsk Palace was rebuilt by the the Mikhailovsky, Winter, and Yelagin Rinaldi, and the Scot, Charles Russian architect, Andrei Voronikhin, palaces were supplied with important Cameron, in the urban development of after extensive damage Empire-style suites during the reign St Petersburg and its outlying palaces. during the Napoleonic of Tsar Alexander I (1801\u201325). wars. He was also a consummate designer The table top is made of veined, white marble. The plinth frieze is set Each arch of the CENTRE TABLE with a series of ogee frieze is mounted arches with quatrefoils with acanthus leaf This centre table is made of birch. The circular marble top within them. and trefoil details. has a raised rim and reeded edge above a chamfered frieze. The table top is raised on a leaf-clasped column with three The quatrefoil columns The base plinth is anthropomorphic legs and paw feet with sunken casters. have leafy capitals. decorated with a Early 19th century. D:97cm (383\u20444in). L&T lattice of quatrefoils. Lacquered brass borders the base plinth. GOTHIC SIDE TABLE within each lunette. The corners of the frieze NEOCLASSICAL CONSOLE TABLE are embellished with foliate capitals set on This Gothic-style side table is made of silver slender quatrefoil column stems. The table This Empire console table has a rectangular marble top above alloy and has a veined white marble top. stands on a rectangular base plinth decorated a richly carved frieze with a stylized rosette at each corner. The frieze is designed to look like a series with an elaborate lattice of quatrefoils. Each of the four legs is a carved monopodia surmounted by a of Gothic ogee arches: these are decorated Lacquered brass decoration adds colour to an female head. Early 19th century. H:80cm (311\u20442in); W:112cm with acanthus leaves and have a trefoil set otherwise austere-looking piece. c.1820. MAL (44in); D:75cm (291\u20442in). Bk","RUSSIA 223 Russian furniture; England, especially or the famous green malachite, which with malachite tops and in-curved including Rococo. Later, in the second 1800\u20131840 the designs of Thomas Sheraton, also could be cut into such thin veneers supports with eagles\u2019 heads. One of quarter of the 19th century, furniture played an important part. that it was used on curved surfaces. the most lavish gilt-bronze items was designers began to look back to Russia\u2019s the dressing table supplied to the own traditions and folklore for NATIVE TIMBERS METAL FURNITURE Mikhailovsky Palace. With a blue smalt inspiration, designing pieces \u00e0 la russe. Much fine Russian furniture of this Timber was frequently gilded and (silica glass) table top, the piece is a These modes were popularized by period, with its simplicity, symmetry, patinated to simulate metal, particularly riot of antique motifs, from sphinxes architects such as A. Staken-Schneider, and love of bois clairs, is difficult to bronze, but some furniture was also to cornucopiae. and the Tour furniture shop. Typical distinguish from Central European made in metal. A rich tradition of steel chairs with pierced, rounded backs pieces. Mahogany was probably furniture was produced by the Arsenal STYLISTIC DIVERSITY survive in the dining room at the imported, but birch came from the at Tula, and some pieces were made After the mid 1820s, the Neo-Gothic Arkangelskoe, near Moscow. The design forests near Karelia in Finland. Poplar, entirely of gilt-bronze. Gu\u00e9ridons style became fashionable, along with is thought to reflect traditional 17th- olive wood, and sandalwood were also might be entirely metal, sometimes a plethora of other revivalist styles, century Russian architecture. fashionable, as were inlays in contrasting stones. The marble was often Russian, such as that from Siberia MAHOGANY-FRAMED SOFA Scroll-carved terminal CONSOLE DESSERT This sofa has an ornately scrolled top rail carved This gilt-bronze and brass-mounted mahogany demi-lune console with anthemion motifs and downswept solid arms dessert has an upper section with three tiers, each with pierced with scroll-carved terminals. The seat and back are galleries, and a frieze with brass fluted stiles. The columnar upholstered and are raised on sabre front and rear supports are joined by a tiered platform stretcher on block feet. legs. Early 19th century. W:212cm (831\u20442in). L&T Early 19th century. H:146cm (571\u20442in); 148cm (581\u20444in). MAHOGANY EMPIRE ARMCHAIR ARMCHAIRS This mahogany and ormolu-mounted These mahogany chairs have armchair has a rectangular panelled carved top rails and leather- top rail above a pierced back splat upholstered seats and backs. with military motifs. The chair has The armrests and arm supports distinctive sphinx-head monopodia are formed from one sweeping legs, and the wings of the sphinxes curve. The tapering seat is form the arm supports. Early supported on a straight seat 19th century. Bk rail. The chairs are decorated with brass inlay throughout and supported on sabre legs. c.1815. H:96cm (37 3\u20444in); W:60cm (232\u20443in); D:53cm (207\u20448in). GK","224 EARLY 19TH CENTURY 1800\u20131840 spain and portugal THE FURNITURE OF THE IBERIAN With the accession of Isabella (1833\u201370), and the development of peninsular during the early 19th the so-called Isabellino style, a more century was strongly influenced by romantic trend emerged in Spain, which prevailing styles in other European revived many of its historical furniture countries, mixed with the various types, particularly Baroque. As such, it tastes, techniques, and regional corresponded to the style of the Second differences that reflect both Spain Empire in France. and Portugal\u2019s cultural backgrounds. PORTUGAL PORTUGUESE COLONIAL CABINET and two short drawers. The cabriole legs The greatest foreign influence was In the opening years of the 19th are joined by a wave-shaped cross-stretcher the French Empire style. Spain was century, British Neoclassical style This cabinet-on-stand is made of white with a central urn finial in the centre. dominated by France for a period reigned supreme in Portugal. The metal-mounted hardwood and ebony. It has The cabinet terminates in claw-and-ball feet. following the abdication of Charles French occupation introduced a a moulded, shaped, and arched cornice Early 19th century. H:222cm (871\u20442in); W:173cm IV and Ferdinand VII in 1808, when ponderous version of the Empire style, above two shaped doors with glazed panels, (68in); D:61cm (24in). Napoleon\u2019s brother, Joseph Bonaparte, but when power returned to General introduced a taste for Empire furniture. Beresford in 1811, so too did a NEOCLASSICAL SIDE CHAIRS A similar Francophile furniture style preference for Regency design. Trafalgar also developed in Portugal, which chairs were most popular, while the These side chairs are part of a set of had come under French rule the engravings of Sheraton continued to four. They have mahogany frames with previous year. be influential. parcel gilt decoration. A scrolled top rail sits above a rectangular backrest. FERDINANDINO Portuguese furniture production The seat rails are plain, but mounted However, the true flowering of the experienced a downturn from this with gilt rosettes. The chairs stand on Empire style in Spain only occurred time onwards: with the return of circular, tapered legs. Early 19th century. after Napoleon\u2019s fall. It consequently Dom Jo\u00e3o VI from Brazil, political bears the name Ferdinandino after and social instability was accompanied Ferdinand VII, who reigned from by general economic decline. This 1814 to 1833. Less sophisticated and reached its peak with the civil strife clumsier than French pieces, the under Maria II de Gloria (1826\u201353). Spanish variants are usually made of mahogany, with carved gilt decoration Portuguese furniture is characterized instead of gilt-bronze mounts. by the use of South American timbers, Classical motifs were preferred, particularly those from the Brazilian especially figurative devices such as forests, such as jacaranda and putti or swans. These are epitomized pausanto. These woods are easy to on the typical Gondola chairs, which carve and allow sharp details, so had legs featuring swans or dolphins. carving is more common on Similarly, the king\u2019s desk in the Royal Portuguese furniture than its French Palace, Madrid, is made of mahogany or British prototypes. However, the supported on carved gilt swans. furniture produced in Lisbon tends to be far heavier and altogether simpler The Spanish love of walnut, pine, than the examples that inspired them. cedar, and olive wood is also evident Generally, some fine-quality furniture in pieces with relatively little was produced, such as the mahogany decoration and few appliqu\u00e9s. Overall, and gilt-brass mounted suite supplied like contemporary Portuguese work, for one of the bedrooms at the Royal the pieces are heavier than true Palace of Queluz. Empire furniture and often of slightly exaggerated proportions. Spanish From the 1830s, when Maria pieces from the south also feature II\u2019s consort, Ferdinand of Sachsen- an occasional motif echoing Spain\u2019s Coburg-Saalfeld, began building the exotic Moorish past. Pe\u00f1a Palace, the German Biedermeier style became popular. Although France was the predominant cultural dynamo, British, Portugal\u2019s strong colonial ties with German, and Italian influences are all India and the Far East ensured that discernable in Spanish furniture of much colonial furniture was also this period. The presence of British imported, particularly from Goa and cabinet-makers on the island of the Malabar Coast. Often simplified Minorca helped to diffuse the versions of European styles carved in principles of British Neoclassical Eastern hardwoods, they tend to echo design, while 18th-century ties with 18th-century styles rather than reflect Naples generated Italianate forms. the latest European trends.","SPAIN AND PORTUGAL 225 1800\u20131840 DINING CHAIRS long spindles, and the lower forms a tightly MALLORCAN COMMODE inlaid sans traverse. The drawers are flanked by spaced decorative border. The leather seats canted scrolled angles, which are also decorated These Spanish chairs are made of walnut and are attached to the frames with brass studs, This marquetry commode, one of a pair, is made with leaf inlay. At the base of the commode form part of a set of ten dining chairs. Each and the seat rails are shaped and decorated. from mahogany, fruitwood, and rosewood. The is an inlaid concave-fronted drawer above chair is decorated with mask finials. The seat The chairs stand on ring-turned, reeded legs, rectangular, white marble top rests above a a banded rim and acanthus-carved feet. back comprises two vertical rows of turned which are joined by an H-stretcher. convex frieze drawer, which is inlaid with Early 19th century. H:104cm (41in); W:125cm spindles \u2013 the upper row is of widely spaced, Early 19th century. scrolling leaves, and three drawers, that are (491\u20444in); D:61.5cm (241\u20444in). Brass lock plates The lock plates are Brass drawer pulls made of pierced brass. SPANISH COMMODE panelled drawers are carved with geometric, relief patterns, and are flanked with tapering Tapered pilasters This rare commode is veneered all over with pilasters. The drawer pulls and lock plates are flank the case. mahogany. The piece has a moulded made of brass. The piece stands on elegant, rectangular top above two narrow drawers, sabre legs. c.1800. H:104cm (411\u20442in) W:135cm The drawers are which are flanked by fluted pilasters. The two (54in) D:65cm (26in). decorated with panelling. Sabre legs support the commode.","226 EARLY 19TH CENTURY south africa 1800\u20131840 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\u201340. H:84cm (33in); W:47cm (18 1\u20442in); D:40cm (153\u20444in). PRA THE DISTINCTIVE FURNITURE of the Painting in oil on wood This shows typical wall CAPE OF GOOD HOPE CABINET doors, divided by a fluted pilaster. The canted Cape of Good Hope reflected the styles decoration, curtains, and furniture styles of the early corners of the cabinet are also fluted and of the two major colonial powers in 19th century. All the furniture, with the exception of This low cabinet is made from amboyna, are raised on claw-and-ball feet. Early 19th the area: Britain and the Netherlands. the writing bureau, was made according to the stinkwood, and satinwood. It has a rectangular century. H:80cm (311\u20442in); W:105cm (411\u20443in); The various struggles in Europe had prevalent Neoclassical style. 1815. PRA top, shaped at the front above two bowed D:62cm (241\u20443in). PRA also been played out in the colonies, but by 1806 British dominance was years of the century survive at Groot EASTERN CAPE TABLE assured. In 1820, more British settlers Constantia. With their upholstered, established themselves further up oval back-panels, this type is luxurious This round, stinkwood table has a moulded edge the East coast. The Cape\u2019s position at and rare. Far more common are above a plain apron with a beaded edge. The table the mid-point of the trading routes Sheraton and Neoclassical chairs \u2013 top is supported on four ring-turned, tapering legs between Europe and the Far East the latter with pierced vertical splats, terminating in turned feet. 1830\u201340. H:76cm also gave rise to influences from caned or thonged (animal hide strips) (30in); D:152cm (597\u20448in). PRA such places as Batavia. seats, and tapering, square-section legs that were sometimes fluted. The A wide range of furniture was made Sheraton variety, introduced around in the Cape both for the metropolitan 1810, had a wide top rail, generally homes of Cape Town and the famous above a second horizontal bar splat white-painted and gabled homesteads and square seat. Later the front leg of the vineyards. Their forms and was either turned or ring-turned. motifs were often simplified versions More provincial chairs, the tulbagh, of those in Europe. A slight delay is of simplified box-like form, survived generally considered when dating into this period. These shapes are also colonial furniture. The Empire style, evident on the rusbank, a Cape type omnipresent in Europe, appears to of settee-cum-settle with a chair-back. have had little influence in the Cape, except maybe in an increased linearity TABLES AND CUPBOARDS of design. Its preference for highly D-end dining tables and gateleg polished timber and expensive gilt- tables were also produced during bronze mounts did not suit the local these years. Different timbers were traditions, life styles, or materials. sometimes used for the top, frieze, and legs, which were often tapered The most recognizable aspect of and fluted like other chairs of the South African furniture is the use of period. Chests of drawers in the local timbers, which unlike mahogany, Sheraton style, which were popular in do not tend to take a glass-like polish Britain, seem to have been relatively to their surfaces. Most characteristic is rare in the Cape; South African cabinets the combined and contrasting use of tended to favour earlier serpentine lines. stinkwood and yellowwood. However, the monumental armoires, corner-cupboards, and wardrobes, COLONIAL CHAIRS so typical of high-production Cape A wide variety of different chairs were furniture in the 18th century, seem made in the early 19th century. Some to have been produced into the early so-called \u201cAdam\u201d chairs from the early years of the next century.","SOUTH AFRICA 227 1800\u20131840 WESTERN CAPE SETTEE This stinkwood settee has a carved top rail above a seat back comprising a series of evenly spaced pierced panels \u2013 ten in total \u2013 and gently outswept arms with simple scroll terminals. The settee is supported on tapering, square-section legs joined by H-stretchers. c.1800. H:97cm (381\u20444in); W:220cm (862\u20443in); D:97cm (381\u20444in). PRA The rectangular top is simple and moulded. The two panelled doors have chamfered edges set in a rectangular frame. 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. 1810\u201320. H:74cm (29in). PRA CAPE TOWN TEA TABLE A shaped apron rests above shaped The rectangular top of this satinwood and stinkwood tea table sits above a bracket feet. plain apron. The table is supported on square-section, tapering legs. c.1800. EASTERN CAPE H:75.5cm (29 3\u20444in); W:81.5cm (321\u20448in); CUPBOARD D:56cm (22in). PRA This stinkwood and yellowwood cupboard 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. 1820\u201330. H:169cm (661\u20442in); W:105cm (411\u20443in); D:44cm (171\u20443in). PRA","228 EARLY 19TH CENTURY 1800\u20131840 united states: Late Federal FOLLOWING THE WAR of Independence, a carved horizontal slat at the back. and caned top rails, with Neoclassical useful tool for identifying Lannuier\u2019s the victorious Americans embraced the Designs also showed the influence decoration of swags, cornucopia, pieces today, in contrast with Phyfe\u2019s Neoclassical movement and made it of the latest French styles, or English wheat sheaves, and thunderbolts. furniture, which is very rarely labelled. their own Federal style. This new style interpretations of them, and the was initially inspired by the work of English Regency style. Another of New York\u2019s great cabinet- SOFAS AND CHAIRS Robert Adam and the pattern books of makers was Frenchman Charles-Honor\u00e9 Late Federal sofas became more Sheraton and Hepplewhite, and slender, NEW YORK CRAFTSMEN Lannuier, who worked there from 1803 delicate and simple in style than delicate furniture was produced. At this time, New York became a centre to 1819. He worked in the French previously, and had straight-topped of fine craftsmanship and home to the Directoire and Consulat styles until or curved backs and tapered legs. However, in the later stages of the largest group of cabinet-makers in 1912, when he switched to the new Greek-style couches were designed Federal style, cabinet-makers took the country, who started exporting Empire style, often using decorative to serve as day beds. Painted fancy fresh influences from the ancient their work to the other states. motifs base on the art and architecture chairs became highly fashionable Greek and Roman worlds and used of ancient Greece and Rome. Lannuier\u2019s and Baltimore was renowned for its them directly in their work. For One of its best craftsmen was furniture was marked with his stamp example, after 1800, chair designs Duncan Phyfe (see p.233), whose and carried a label written in French became heavier and were based closely name is synonymous with furniture and English, which promoted his on the ancient Greek klismos model, that combines Greek-cross or sabre European training and knowledge of with a thick, curved top rail and usually legs, paw feet, harp and lyre backs, Parisian styles. These labels offer a very The top of the chest is The oval panels are inlaid The handles are oval bow-fronted to match with bellflowers. and made of brass. the case. MAHOGANY PEMBROKE TABLE This Baltimore \u201cHepplewhite\u201d inlaid table has an oval top and hinged leaves above plinths with fan-inlaid corners. The square tapering legs have a rare five-petal bellflower pendant. H:73cm (283\u20444in); W:91cm (353\u20444in). Lorem ipsum dolor sitamet, tempor incidunt ut labore etdolore exercitation. BOW FRONT CHEST OF DRAWERS front has oval brass handles and inlaid The shaped apron curves \u201cSHERATON\u201d WORK TABLE decoration giving the impression of three continuously into the This chest of drawers is made of mahogany with panels. An exotic wood tablet at the centre splayed French feet. This inlaid, figured mahogany and birch veneer inlaid decoration, and comes from the southern of each drawer depicts a swag of bellflowers. table has a swelled, rectangular top with round states of America. It has a bow-shaped top with The base of the case has a shaped apron, outset corners above two drawers. The ring- a line-inlaid edge. The similarly-shaped case which continues into French feet. c.1810. turned, tapering, reeded legs have ring cuffs, consists of four graduated drawers. Each drawer W:105.5cm (411\u20442in). FRE on brass casters. c.1807. H:71cm (28in).","UNITED STATES: LATE FEDERAL 229 very elaborate examples of these. Early Federal sideboards were too As glass became more widely STORAGE FURNITURE 1800\u20131840 Chairs and sofas were often covered long for most American houses \u2013 some available, some secr\u00e9taires and small Storage furniture ranged from linen with silk or satin decorated with were up to 210cm (7ft) long \u2013 but by desks were made with an upper section presses \u2013 some of the finest of which Neoclassical patterns, such as feathers, 1820, many smaller, simpler versions with glazed doors. The panes were were made at this time \u2013 to chests of baskets of flowers, animals, or had been devised. separated by thin wooden strips, often drawers, chests-on-chests, and chests- Classical figures. arranged in complex patterns. on-frames. These last three tended to TABLES DESKS AND DRESSING TABLES be flat-topped with bracket feet or Drop-leaf, tilt-top, and Pembroke Tambour desks, an early version of the By the late Federal era, dressing tables turned Sheraton-style legs. They were tables continued to be made, as were roll-top desk, first appeared in America had become small and rectangular in often decorated with veneers or inlays. consoles, side and tea tables, work, at the beginning of the 19th century. shape, often with a knee hole. The Most chests of drawers were made card, and centre tables, and stands of The tambour was made up of a series of plain top could be left flat or mounted with straight fronts and the drawers varying sizes. wooden rods glued to a length of fabric with a small case of drawers. Urban were set with oval or rectangular and sometimes had an inlaid motif. examples were often painted and mounts and bail handles. However, FEDERAL SOFA gilded or decorated with fabric swags. pieces were made also with serpentine Rural tables were simpler in design fronts and these examples are often This mahogany-framed sofa has a gentle and made from inexpensive wood, said to represent a high point in serpentine back and partially upholstered which was painted to imitate woods American furniture-production. arms. The scrolled wooden armrests continue such as mahogany. to vasiform and ring-turned posts, which then become vasiform-shaped, reeded front Hepplewhite\u2019s pattern book THIS GUIDE WAS ONE OF SEVERAL PATTERN BOOKS WHICH HELPED TO TRANSMIT EUROPEAN STYLES TO THE UNITED STATES. George Hepplewhite\u2019s Cabinet-Maker Hepplewhite\u2019s ideas had been influenced and Upholsterer\u2019s Guide is one of the by the work of Robert Adam and are best known of the 18th-century British noted for their grace and elegance. They furniture pattern books. can be seen in particular in the designs for Federal chairs, cabinets, sideboards, Published by his widow in 1788, two sofas, and tables. years after his death, its Neoclassical legs, terminating in turned feet. Two further furniture designs had a great influence front legs are in the same style. The three on American Federal furniture. rear legs are plain and splayed. The sofa is upholstered in yellow scalamandre fabric. They appealed to members of the Early 19th century. L:202.5cm (81in). FRE American upper and middle classes who were looking for new forms to reflect the new politics of the young republic. FEDERAL ARMCHAIR CARVED MAHOGANY CHAIR Desk and bookcase Plate 40 from George An inlaid butler\u2019s desk and bookcase This has a Hepplewhite\u2019s The Cabinet-Maker and scalloped cornice beneath urn finials. The trefoil- This mahogany armchair has gently curving The back of this chair has flame-birch veneering Upholsterer\u2019s Guide, 3rd Ed, 1794, Dover arch doors and shelves are above a desk with a arms that continue to turned supports. The on the arched top rail and urn-shaped splat, Publications, New York. butler\u2019s drawer, a further three drawers, a shaped upholstered seat is held in place with brass which is flanked on either side by reeded skirt, and French feet. H:257.5cm (103in). NA studs. The chair has tapered front legs and supports. The front legs are tapered and are splayed back legs. Early 19th century. joined by box stretchers.","230 EARLY 19TH CENTURY 1800\u20131840 FEDERAL INTERIOR Following America\u2019s declaration of independence in 1776, there was a boom in the construction of both government buildings and grand private houses. Maple and ebony armchair This chair has THE NEWLY FORGED American state saw itself as the scion a curved, flat top rail above a pierced back of the Classical world, heir to the traditions and prestige of rest and scrolled arms. The cane seat is Republican Rome. The Neoclassical interior style of Robert covered with a fixed cushion. The chair Adam was enthusiastically adopted by American architects rests on ebonized, ring-turned legs. c.1820. H:81cm (321\u20442in). FRE and designers, in spite of its English provenance. Wealthy merchants and planters in Charleston, South Carolina built impressive harbour-front houses. One such figure was Nathaniel Russell, whose residence at 51 Meeting Street, completed in 1808, was one of the most elegant in the town. The decorative scheme included shades of grey and a rich oxblood red, lightened with gilt embellishments. The architraves, mantles, and wainscoting boards were painted in bold monochrome, and the wall hangings included a plain, salmon paper with a lambs-tongue border first used in ancient Greece. The most striking features are the wide, unsupported staircase that sweeps up in a graceful curve to the second and third floors, and the oval drawing room, shown here. This room was the scene of Alicia Russell\u2019s grand wedding ball in 1809. Demonstrations of wealth and confidence are as much a hallmark of the Federal style as the American eagle. Homemakers employed a variety of colour schemes, although the walls were generally decorated in light colours, especially pastel shades. NEOCLASSICAL STYLE The basic structure of the Federal room closely follows the Neoclassical Georgian model; the overriding impression is one of pleasing symmetry, with the doorways placed centrally and flanked by equal numbers of windows. Public, showcase rooms often occupied unorthodox floor spaces, including hexagonal and circular chambers. Dentil mouldings or balustrades tempered the sparse Classical lines. Banisters and rails were often constructed from iron, as wood did not perform well when cut to the requisite lean proportions. Neoclassical swags, urns, and medallions were applied to cornices and friezes on interior walls. Rather than being carved out of stone, these decorative motifs were hewn from wood or, more commonly, were moulded from composition ornament, or \u201ccompo\u201d. Compo was a mixture of animal glue, resin and chalk that was malleable when warm but hardened to the consistency of plaster when cool. It Lyre-base card table This hinged-top was most famously used to create the mahogany table is decorated with brass- central ceiling rosette in the dining outlined panels and brass foliage. The room at Mount Vernon, George pedestal has ormolu details and the legs are faced with ebony. 36in (91.5cm). NA Washington\u2019s Virginia home.","","232 EARLY 19TH CENTURY 1800\u20131840 AmericaN Empire THE EMPIRE STYLE, which originated As industrialization increased, being made at the end of the century, making furniture suited to life in France around 1800, became popular Empire-style furniture was made to when urban cabinet-makers had moved in the 19th century. in the United States about 15 years suit a variety of budgets \u2013 it could be on to newer styles. later. This was the start of the elegant and costly for the wealthy, or Designs started to emphasize Industrial Revolution. Transport, plain and affordable for the middle CHANGE OF SHAPE the outline rather than the details education, health, and communications classes. This meant that furniture in The new style of furniture took the of a piece, and decoration such as were improving rapidly and many one style could be made to suit people early delicate Federal form and made undulating scrolls carved in high relief people were moving west in search of all classes. The style proved to be it huge, bulky, and ornate. Like Federal was applied to heavy, geometric of prosperity and new opportunities. popular and country pieces were still furniture, Empire pieces were inspired furniture. Cabinet-makers stopped using by ancient Greek and Roman forms, inlays and started using stencilling, The cornice is moulded. The side columns are but used them more literally while still gilded-brass or bronze mounts, or reeded and fluted. as little decoration as possible. DUNCAN PHYFE SIDE CHAIR MAHOGANY BREAKFAST TABLE This mahogany and ebonized Neoclassical This table has a top with shaped, hinged leaves chair has a curved and rolled top rail above above a single frieze drawer and is raised on a demi-lune splats, flanked by reeded stiles. leaf-carved baluster-shaped base and platform. The upholstered seat is raised on curved legs, The downswept legs end in brass paw caps and the front ones terminating in claw feet. 1820. casters. c.1815. H:70cm (28in). FRE The cuffs and feet The panelled doors CHEST OF DRAWERS three long, graduated drawers, each of which are made of brass. enclose shelves. has two gilt-brass ring pulls in the shape of This chest of drawers is made of flame- lion\u2019s heads. The drawers are flanked on either CLASSICAL ARMOIRE to reveal an interior fitted with shelves. The mahogany, and most of the decoration is side by tapering columns carved with lotus case is flanked by elegant, fluted, engaged provided by the colour and patina of the wood. motifs. The columns rest on a plinth base, This impressive, Classical-style armoire is columns and is supported on short, turned The chest has a rectangular top with a moulded giving the piece an architectural, Neoclassical made of mahogany. The piece has a moulded legs with brass cuffs and feet. The piece edge set above a blind drawer. Below this are feel. W:120cm (48in). S&K architectural-style cornice, which is set above was probably made in the New York area. a rectangular case. Two shaped doors, 1800\u201320. H:228.6cm (90in); W:157.4cm decorated with geometric panelling, open (62in); D:60.9cm (24in).","AMERICAN EMPIRE 233 KEY DESIGNERS AND INFLUENCES exuberant designs for tables and settees, ornamental centre tables, and drawers were furnished with lion\u2019s 1800\u20131840 The new style first flourished in New chairs, often with gilded caryatids, mirror-backed pier tables, sleigh and head mounts, and brass, pressed glass, York, inspired by British and French were made at his workshop in New canopy beds, and day beds, such as or turned wooden knobs. publications, and in particular by the York. However, the more flamboyant r\u00e9camiers and m\u00e9ridiennnes. Cabinet- work of the English designer Thomas Empire furniture was generally made makers also continued to produce MATERIALS Hope. By the 1840s, American in both Boston and Philadelphia. sideboards, dressing tables, and Rosewood and richly grained mahogany designers were making their own pedestal desks. Chests of drawers or walnut were popular woods, but design statements and John Hall of SHAPES AND DECORATIONS were now made with splashboards. maple and cherry were also used. Baltimore published the country\u2019s first Empire furniture usually has sabre or Vernacular furniture was made from design book, The Cabinet Maker\u2019s curule \u2013 X-shaped \u2013 legs with large Roman symbols were especially local woods including pine and birch. Assistant, featuring Empire designs. scroll, ball, or carved animal feet. important in the decoration of Empire The woods were also used for veneers. Chairs often had solid vase-shaped furniture and included cornucopia, The cabinet-maker who was pivotal splats. Some table tops were made anthemion and acanthus leaves, Chairs and sofas were upholstered in establishing the style in the United of marble, while others had heavy eagles, dolphins, swans, lyres, and in silk damask with bold, large-scale States was the British-born Duncan pedestal bases. harps. Napoleon\u2019s campaign in Classical designs or stylized flowers, Phyfe (see box). Another early Egypt inspired the use of scarabs, striped silk, or plain silk or velvet. exponent was Charles Honor\u00e9 Typical Empire furniture included lotus flowers, and Lannuier (see pp.228\u2013229). His klismos chairs, scroll-end sofas and hieroglyphs. Doors Duncan Phyfe DUNCAN PHYFE\u2019S FASHIONABLE AND HIGH-QUALITY FURNITURE HELPED TO ESTABLISH HIM AS ONE OF THE MOST SUCCESSFUL AND PROLIFIC CABINET-MAKERS IN THE UNITED STATES. By the end of his life, Duncan Phyfe (1768\u20131854) had Phyfe has now given his name to the generic furniture helped to transform American cabinet-making. His made in the Late Federal and Empire styles, which furniture was based on a series of European styles, featured Neoclassical motifs from ancient Greece and from Sheraton and Regency through to Empire, and Rome. However, as he rarely attached a trade label to his he produced many of these styles simultaneously. furniture, few Phyfe-style pieces can be conclusively linked to the designer himself. Born near Loch Fannich, Ross and Cromarty, in Scotland, Phyfe emigrated to the United States as a MARBLE TOP PIER TABLE teenager and was apprenticed to a cabinet-maker in Albany, New York. In 1792, he moved to New York City This table is carved and stencil-decorated. The top rests on a and within three years had opened his own store. By cyma-curved apron and frontal columnar supports with gilded 1845, he was one of the richest men in the city. Corinthian capitals and ringed bases on ribbed feet. The mirrored back is flanked by flat pilasters. The table has a shaped medial Such was the demand for his work that he went on to shelf. c.1835. W:102.5cm (41in). NA employ 100 carvers and cabinet-makers, each undertaking a specific task such as turning legs or carving. They produced a wide range of furniture, especially large and ambitious pieces for dining rooms, using the best mahogany and featuring elegant proportions and fine details, particularly in the carving. Phyfe\u2019s customers were the wealthy of New York and beyond, including the multi- millionaire fur trader and landowner, John Jacob Astor. Empire sofa This sofa has a carved top rail and arms, and a caned Phyfe\u2019s shop and warehouse This watercolour, black ink, and seat, back, and arms. The reeded, crossed, curved legs end in gouache picture depicts Duncan Phyfe\u2019s shop and warehouse casters hidden in brass paws. 1815\u20131825. L:208cm (82in). AME in New York City. The artist is unknown. c.1816 \u201cSHERATON\u201d CARD TABLE This carved mahogany card table has a serpentine hinged top over a similarly shaped apron, which is decorated with a carved basket of fruit. The table is raised on turned and reeded, tapering legs, which are decorated with floral and foliate carving. 1830. L:94cm (37in). NA","234 EARLY 19TH CENTURY 1800\u20131840 european Influences THE RELATIONSHIP BETWEEN American, Phyfe usually worked in Santo ENGLISH PEDESTAL SIDEBOARD British, and French furniture in the Domingo mahogany, palisander, or early 19th century is complex and purpleheart. He went on to produce This mahogany sideboard has a raised shell and there is often no easy way to distinguish pieces in the Empire style before acanthus-carved, shaped back over four frieze drawers. the origins of pieces. Although the developing the Fat Classical style, The breakfront pedestals are carved with lion\u2019s-paw United States was stylistically which favoured sculptural decoration. feet and open on to shelves. They stand on plinth dependent on the Old World, it still produced some highly original makers, Charles-Honor\u00e9 Lannuier was \u25cfbases. c.1820. W:221cm (881\u20442in). FRE 3 who adapted the Regency and Empire French and settled in New York in styles in much the same way as 1803. Having trained in France, he AMERICAN PEDESTAL SIDEBOARD European countries diluted the French brought with him the Louis XVI style, Napoleonic style. However, it is which evolved into an idiosyncratic This Classical mahogany sideboard mirrors the English sometimes only possible to confirm form of Empire. His furniture is often version (above) having a leaf-carved, shaped backboard that a piece is American by analyzing difficult to distinguish from the French and pedestals on a plinth base. The rectangular top is the construction timbers. prototypes, especially as he used costly stepped and sits above an ogee-moulded frieze fitted materials and probably imported gilt- The American interpretation of bronze mounts from Paris. \u25cfwith drawers. c.1840. W:183.5cm (72 1\u20444in). FRE 4 styles is best seen in the work of Duncan Phyfe and Charles-Honor\u00e9 Pattern books produced in Britain Lannuier. Phyfe\u2019s Scottish origin and France by Sheraton, Percier, and probably encouraged him to adopt others disseminated European style to Thomas Sheraton\u2019s style initially. the United States more quickly than in the past, so trends were less delayed. The arms have small, padded elbow rests. The fluted legs The upholstery is are crowned by from a later date, carved rosettes. the 20th century. DIRECTOIRE BERG\u00c8RE and back, downswept arm supports, and a ENGLISH CURRICULE CHAIR AMERICAN TUB CHAIR gently shaped seat rail. The upholstery fabric is This French armchair exemplifies the berg\u00e8re not original. The frame of the berg\u00e8re is carved The rounded back and arms of this rosewood Like the curricule chair (left), this Federal design. It has a high, curved back with a top with leaves throughout and is raised on short, and beech chair flow in a continuous line, mahogany armchair shares characteristics with rail sweeping forwards to form the armrests, tapering, fluted legs to the front and splayed echoing the berg\u00e8re. It is one of a pair designed the berg\u00e8re: the upholstered seat, back, and which are padded to provide support for the legs to the rear. The front legs are decorated by Gillows. c.1811. H:87cm (341\u20444in); W:54cm arms, and the continuous line of the rounded elbows. The chair has a fully upholstered seat (211\u20444in); D:53cm (21in). LOT \u25cfwith carved rosettes. c.1800. Bk 3 \u25cfback and arms. Early 19th century. NA 4","EUROPEAN INFLUENCES 235 1800\u20131840 GEORGE IV CARD TABLE AMERICAN CARD TABLE ENGLISH CENTRE TABLE AMERICAN CENTRE TABLE This mahogany, boxwood, and ebony-strung Made of mahogany and bird\u2019s-eye maple, this This rosewood table has a circular tilt-top with This Empire table has a circular rope-carved card table has a rectangular, crossbanded, card table has rosewood crossbanding and a a plain, crossbanded frieze. It has an octagonal top with a plain frieze and a floral carved and folding top above a plain frieze and ring-turned, hinged top above a serpentine frieze. The ring- spreading pedestal and a concave triform base gilded pedestal. The base and feet are almost tapering legs with brass casters. Early 19th turned, fluted legs end in turned feet. Early with scrolling paw feet. Early 19th century. identical to the English example, left. \u25cfcentury. W:90.5cm (351\u20442in). DN 4 \u25cf19th century. H:73.5cm (29in). NA 3 \u25cfD:135cm (54in). L&T 4 \u25cfEarly 19th century. D:104cm (351\u20442in). L&T 4 ENGLISH CELLARET AMERICAN CELLARET FRENCH SECR\u00c9TAIRE \u00c0 ABATTANT AMERICAN SECR\u00c9TAIRE The rectangular hinged top of this mahogany This inlaid cherry-wood cellaret, on a stand, has This Empire-style, mahogany tall chest has This Classical-style secr\u00e9taire \u00e0 abattant has cellaret encloses a divided interior. It is a hinged lid and compartmentalized interior. three drawers above a pair of cupboard doors. a marble top and a frieze drawer flanked by supported on a rope-turned plinth and raised The cellaret stands on square-section, tapering The case is flanked by tapered pilasters topped figural mounts. The drop front sits above on ring-turned brass caps with casters. Early legs. Early 19th century. H:40.5cm (16in); by gilt-metal female busts. Early 19th century. cupboard doors. Early 19th century. H:143.5cm (561\u20442in); W:99cm (39in); D:46cm (18in). \u25cf19th century. H:68cm (271\u20444in). L&T 3 \u25cfW:33cm (13in); D:32cm (121\u20442in). BRU 5 \u25cfH:164cm (641\u20442in). FRE 3 REGENCY SOFA The sofa is supported on splayed, reeded AMERICAN SOFA on elaborately carved legs that terminate in This mahogany Regency-style sofa has a legs with leaf-cast brass caps and casters. This elegant American sofa has a similar paw feet. Compared to the Regency example, framed scrolling back and outscrolled arms shaped and carved top rail and outscrolled with reeded, mahogany fronts. The squab The splayed legs are particularly susceptible arms to the Regency sofa (see left). The back, this sofa is proportionally more bulky. 1825. cushion and bolsters are supported on a reeded arms, and seat are upholstered and raised on seat rail with bead-and-reel moulded tablets. to damage. Early 19th century. W:225cm a leaf-carved seat rail. The sofa is supported \u25cfW:218cm (86in). FRE 1 \u25cf(90in). L&T 3","236 EARLY 19TH CENTURY 1800\u20131840 THE SHAKERS the THRIVING COMMUNAL SOCIETY of the shakers produced finely crafted but simple furniture, in accordance with its deep religious principles. The Shakers were a Christian group led by Ann Lee, simplicity in all things. Items had to fit their purpose known as Mother Ann, who emigrated to America and making them was another way in which they from England in 1774. Within 50 years, there were could praise God. The result was fine craftsmanship 19 communities, made up of over 5,000 men devoid of superfluous decoration such an inlays, (Brothers) and women (Sisters). They were celibate turning, or carving. Wood was smoothly finished, and lived separated from the outside world. They with no tool marks left on the finished piece. shared their resources and were self-sufficient, believing that their work was for the good of their The Shakers took the simple forms of 18th-century community. Women had the same rights as the design, such as the ladder-back chair, trestle table, men, but they lived apart and only came together cupboard, and chest of drawers, and adapted them for meetings and singing. Since their communities to suit their way of life. All their furniture was made were built on recruits, they often took in orphans. from pine, maple, cherry, walnut, butternut, poplar, and birch woods found on their own property. SIMPLE FORMS Joseph Meacham, who became their leader in Furniture was often painted or stained red, 1784, declared that Shaker buildings, furniture, red-brown, yellow, or dark blue. Although and clothing should be devoid of decoration and decorative painting was forbidden, Brothers and extravagance, so the communities strived for Sisters were allowed to paint their buildings and certain utilitarian items. Boxes were frequently painted red or yellow, for example. CUPBOARD-OVER-DRAWERS This case piece has two hinged cupboard drawers set above Shaker furniture was based an arrangement of ten short over two long graduated drawers on simple Neoclassical with turned knobs. It is made from pine and boss wood with designs. Common items its original finish. It is from Mount Lebanon, New York, and included slat-back chairs, is attributed to Brother Amos Stewart. WH plain and sewing tables, candlestands, benches and SHAKER ROCKING CHAIR stools, and low-post beds. The chair is made of solid Chests had complex drawer beech that has been stained a arrangements and were darker colour. It has a gently made on simple, geometric curved frame, a cane seat, lines. All these items were quick and inexpensive to and sweeping armrests. make. The Shakers used traditional construction H:104cm (41in); W:61cm techniques, such as mortise- (24in); D:74cm (29 1\u20442in). and-tenon joints that were often pegged, nailed, or dovetailed. Drawer and cupboard pulls were usually turned wooden knobs. Chair seats might be caned or made from woven tape. CHEST OF DRAWERS This piece is made of butternut and poplar, with pine as a secondary wood. It has a finely-bevelled top board above six dovetailed and lipped drawers, with cherry-wood threaded knobs. The case has inset panelled ends and stands on arched feet. W:109cm (43in). WH","Simple homes THE SHAKERS 237 1800\u20131840 SHAKER FURNITURE AND INTERIORS REFLECT THE Sewing Room This room in UTMOST SIMPLICITY FOR WHICH THEY STRIVED. the Centre Family Dwelling at Pleasant Hill was built by Shakers lived in dormitories, two to a room, which usually Shakers in the 19th century. contained two single beds on wheels, with a candlestand It was sparsely furnished and iron candleholder between them, and two ladder-back in the simple Shaker style chairs, fitted with small tilters. These were turned, wooden with two ladder-back rocking balls with flat bases that fitted into hollows at the base of chairs and a round stand. the back chair legs. The balls were attached to the legs by leather thongs and helped to keep the chairs in balance. Elder\u2019s rocking chair This chair is made from tiger maple and has its original finish. The roommates usually shared a cupboard-over-drawers. It has curvilinear arms, a taped seat, and The top cupboard held bonnets or hats and the drawers tall finials and is from Mount Lebanon in clothes. Sometimes there would be another small cupboard New York. c.1840. H:112cm (44in). WH at the bottom for shoes. Pegs and pegboards surrounded the walls of every Shaker room. COMMERCIAL SUCCESS These were used for hanging an occasional Due to the Shakers\u2019 productivity, piece of clothing on a wooden hanger or for they started selling their surplus hanging up chairs while the room was being cleaned. A small mirror would hang on a holder attached to the peg products to people outside their communities. They rail. No decoration was allowed in the room. made chairs, that were sold in sizes from \u201c0\u201d (the smallest child\u2019s chair) to \u201c7\u201d (a large adult rocking Shakers led a very ordered life, and rooms and the pieces chair). Ladder-back rockers could be ordered with a of furniture made for them were often numbered so that if shawl bar across the top of the back, so that people a piece was moved it could be returned to its rightful place. could hang a shawl on them for warmth. These numbers can still be found painted on the undersides of chairs and tables. When other manufacturers began copying their products, the Shakers put a trademark decal on the Shaker round stand The small, circular top of this table inside of their rockers or on the back of the bottom is raised on a turned column and legs in the form of slat of the ladders, to show that the chair was a intersecting crescents. The piece is probably made of genuine Shaker product. cherry wood and was used for setting down small objects. 1820\u201330. H:64cm (251\u20444in); Diam:40cm (153\u20444in). AME The Shakers reached the height of their success in the mid 1800s. After the Civil War, the United States started to shift to a more industrial and urban society and it became more difficult for the Shakers to find converts. After 1900, communities started to close their doors. A number of them have since been re- opened as museums. TAILORESS\u2019 COUNTER This chest of drawers was used for storage and as a sewing table. It has a curly maple top set over four short and two long drawers with maple stiles and rails and curly maple drawer fronts. The sides and back of the case are panelled pine and the legs are turned. 1820\u201330. H:114cm (45in); D:61cm (24in). AME","238 EARLY 19TH CENTURY 1800\u20131840 north american vernacular IN THE EARLY 19TH CENTURY, pioneers and cities. However, as urban cabinet- Neoclassical style that was popular in taste and budget of the clients. Many were building new towns and makers moved to find work, some the United States and Britain started pieces seemed to be unaffected by the settlements across North America. trends began to have an impact on to catch on, although cabinet-makers latest fashions, or were a very simple Like many of the families who had country furniture, and the traditional trained in French techniques still used interpretation of them. However, even been living in the colonies for the styles favoured in rural areas were them to make the new British- and inexpensive vernacular pieces made by past 200 years, these pioneers needed influenced by newer designs. American-style furniture. urban craftsmen often mimicked the furniture that was practical rather than fashions of the time. Sometimes fashionable. Vernacular pieces dating STYLE INSPIRATIONS The Federal style, which had elements of different styles were back to this time are considered some While the United States tended to be developed in urban America at combined. Later in the century, for of the most interesting made in the influenced by British styles, parts of the end of the 18th century also example, a Victorian chest might have United States and Canada, because Canada, which had originally been appealed to rural craftsmen, and their incorporated late Empire features, rural makers began imitating more French, were influenced by French interpretation of its simple shapes, such as scrolled feet. sophisticated pieces. designs. When Britain took over the decorated with brightly coloured French colonies in 1760, the local paint, was popular for decades. VERNACULAR STYLE The cabinet-makers and wood- craftsmen continued to make furniture Although basic in both design and workers in small settlements rarely in the modified French style they had The quality and design of vernacular construction, vernacular furniture was learnt skills such as veneering, which been using for decades. Slowly, the furniture across North America were rarely crudely made. Details were often were being used in the larger towns usually determined by the skill of the maker, the materials to hand, and the Escutcheon detail LOW BUFFET NEW MEXICAN CHEST change style, so pieces like this were common in the 1900s. Late 18th century. H:48.3cm This carved and painted pine This pine carved chest has seven panels on the (19in); W:61cm (24in); D:71cm (18in). buffet has a rectangular top front with rosettes and stylized lions of Leon above fielded panel sides. The Province in Spain, and pomegranates in low case contains a pair of short relief. The side panels are decorated with large drawers above lozenge-carved rosettes. Vernacular styles took longer to doors, and is raised on stile feet. W:137cm (54in). WAD The mortise-and- tenon joint is The bedding is made from exposed. a simple woven textile. Each bed end NEW MEXICAN DAY BED has two rows of turned spindles. The design for this pine day bed was influenced by the pieces that came to New Mexico via the This is a rustic SINGLE-DRAWER STAND Santa Fe trail. This rustic-style piece has exposed interpretation of joints. The bed would have been used for the the sabre leg. The top of this Federal stand is inlaid with a sick or dying. AME geometric design and has rounded corners. The piece has a single drawer set below the top. The stand is raised on square, tapering legs. c.1810. H:72.5cm (281\u20442in). FRE","NORTH AMERICAN VERNACULAR 239 heavier than those found on more Different parts of the furniture Cupboards were often built to fill Six-board chests were among the 1800\u20131840 refined and expensive pieces, but were usually joined using a mortise- a particular space and rarely had feet. earliest American pieces and they were they were always elegant. and-tenon construction, but they Sometimes they were made from scrap sometimes decorated with moulding, were also sometimes pegged, nailed, timber and then decorated with carving, or paint. By the early 19th Craftsmen used local timber, such as or dovetailed. coloured stains, sponging, or graining. century, they were made from panelled pine, ash, hickory, birch, oak, maple, The doors were fastened with shaped oak or pine and were gradually and fruitwoods including cherry and DOMESTIC PIECES wooden, brass, or iron latches, and superseded by chests of drawers. apple, and decorated them with stains Common types of vernacular furniture had turned wooden knobs or porcelain or paint rather than the veneers of the early 19th century include slat- pulls. Escutcheons usually took the Other common pieces of vernacular favoured by city furniture-makers. back chairs. Stools, benches, and form of either brass or iron plates, furniture included drop-leaf, tea, work, Many of these painted pieces have settles were also made, as well as or keyhole surrounds. sewing, and other small tables, as well now achieved the status of folk art low-post beds and cradles. as chests, and hanging racks. and are, therefore, highly prized. Dry sinks \u2013 which were usually Legs and spindles were often turned, made by simply nailing together and pediments and skirts frequently had boards to make a place for washing cut-out details. Seats were generally dishes \u2013 were a necessity before carved, or were made from rush, splints, indoor plumbing was available. tape, or cane. Hutch tables THESE QUAINT CHAIR-TABLES ARE TYPICAL OF THE TYPE OF VERNACULAR AMERICAN FURNITURE MADE DURING THE EARLY 19TH CENTURY. The hutch table was one of the first until the mid 19th century. They were RUSH-SEAT SIDE CHAIRS The turned legs are joined by a number of pieces of multi-purpose, space-saving made from local woods such as pine, stretchers, the one at the front being double furniture in the United States. It was maple, oak, birch, and fruitwoods. These three Neoclassical side chairs from the and more elaborate than those at the sides and basically a table with a round top that Mid-Atlantic States are made from tiger maple back. The rush seats were probably original, could be swung back to create a chair Hutch tables were variously decorated and have rush seats. The outswept back of although it is likely that the upholstered with a circular back. Some hutch tables according to the styles that were popular each chair has a shaped centre rail, which is cushions were added later for increased also had a drawer or cupboard built into when they were made: fashions reached flanked, top and bottom, by rectangular rails. comfort. c.1825. H:84.5cm (33 1\u20442in). the base, to provide useful storage space. rural communities later than they reached cities, and these were adopted on a more These chair-tables were first made in modest scale. A plain hutch table, for the 17th century in rural areas, the East example, might indicate that it was Coast, and the colonies, but their influenced by the Federal style popular popularity in the countryside continued in the early 19th century. This piece is plainly styled and lacks decoration, indicating that it is vernacular. The shelf doubles as The table top lifts a chair seat when the up to transform the piece into a chair. table top is raised. The four turned NEW MEXICAN CHAIR CANADIAN ARMCHAIR legs are joined by cross -stretchers. This is a simple, low chair made from yellow This armchair is made of birch and has three pine. The only decoration is provided by salamander-shaped slats, which are flanked A hutch table This piece has birch geometric chip carving on the apron and back by block-and-urn turned stiles over a rush arms, a pine seat, and is painted slats. The legs are linked by turned stretchers. seat. The chair is raised on similarly turned red. c.1800. W:127cm (50in). PS Early 19th century. H:39cm (151\u20443in). AME legs joined by stretchers.","240 EARLY 19TH CENTURY 1800\u20131840 windsor chairs THE WINDSOR CHAIR is often associated elements of the back, legs, and arms AMERICAN WRITING-ARM CHAIR AMERICAN COMB-BACK CHAIR with country timbers and provincial all mortised into it, they were made in manufacture (particularly around High different timbers. In Britain, ash, yew, This high-back Windsor chair from Connecticut This chair, from Philadelphia, has a serpentine Wycombe in England). However, its and fruitwoods were used, with elm has an arched top rail, a mid rail with an arm top rail with scrolled ear terminals, a yoked origins were far from provincial. The for the seat and, occasionally, beech and a writing paddle with drawer, a saddle seat mid rail with scrolled knuckle-arm terminals, Duke of Chandos had japanned for the turnings. In North America, with a drawer beneath, reel-turned legs, and an a saddle seat, outsplayed legs, and an H- Windsor chairs in his library at his hickory, chestnut, oak, ash, and Middlesex home, Canons, and there sometimes maple were favoured, with \u25cfH-stretcher. 1797. NA 3 \u25cfstretcher. NA 5 were mahogany examples in the tulip, poplar, and pine for the seats. library of St. James\u2019 Palace in the early 18th century. However, by the early There are also some stylistic 19th century, they were restricted to differences between the two types. humbler homes or taverns. For instance, the use of a splat was more typically British, while the low- Windsor chairs were only ever back Windsor chair was entirely produced in Britain and North American until the 1840s. Similarly, America, but British and American the Neoclassical Windsor chair, Windsor chairs often display different sometimes called an \u201carrow-back\u201d on characteristics. While the seat account of the spear or arrow shape (generally a saddle type) is central that constitutes the back sticks, was to the construction of both, with the never produced in Britain. The top rail is shaped and scroll-carved. The spindle rails GEORGIAN WINDSORS are turned. Each of these yew armchairs has a hoop back Scroll-carved arms and arms with a Gothic pierced splat and continue from a carved spars. The elm saddle seats are supported on tub-shaped back rail. cabriole legs terminating in pad feet and joined \u25cfby hoop stretchers. 1750\u201370. L&T 4 The splat is solid FAN-BACK WINDSORS and vase-shaped. Each of this pair of English elm, walnut, and The legs are fruitwood fan-back Windsor armchairs has slightly crooked. a shaped seat supported on turned legs joined by an H-stretcher. The chairs bear traces of their original paint finish. c.1770. H:101.5cm (40in); W:63cm (243\u20444in); D:46cm (18in). RY CROOKED LEG WINDSOR the solid, vase-shaped, central splat is flanked by elegant, turned spindle rails. There are three This is an early English Windsor chair made main spindles that continue from the top rail to of fruitwood, ash, and elm. It has a ram\u2019s the seat, and extra spindles in the lower section. horn- and shell-carved top rail that terminates The shaped seat is supported on four crooked in scrolled ears. The central back rail curves legs. c.1750. H:96.5cm (38in); W:66.5cm forward to provide the scroll-carved arms, while (261\u20444in); D:58.5cm (23in). RY","WINDSOR CHAIRS 241 1800\u20131840 PHILADELPHIA WINDSOR AMERICAN BOW-BACK WINDSOR AMERICAN WINDSOR SIDE CHAIR GOTHIC WINDSOR CHAIR This Windsor armchair has a top rail with a This mahogany and painted armchair has an This side chair has a bow-shaped back with Made from ash and elm, this chair has a lancet- butterfly and seven spindles with bamboo arched, moulded top rail, nine flaring spindles, nine spindles above a saddle seat. The seat shaped back with pierced splats. The chair seat turnings above a shaped seat. The seat is down-curved arms over raked bamboo supports, is supported on splayed legs with bamboo is shaped and supported on cabriole legs with a supported on tapering legs joined by stretchers. a squared, shield-form seat, and raked bamboo turnings and is joined by an H-stretcher. hooped stretcher. One of a set of four. Early \u25cfC.1800. Seat: H:44.5cm (171\u20442in). AAC 1 \u25cfturned legs with an H-stretcher. NA 1 \u25cfH:45.75cm (18in). AAC 1 \u25cf19th century. L&T 3 windsor Settees DESIGNED VIRTUALLY AS AN ELONGATED CHAIR, THIS TYPE OF SETTEE WAS ONLY PRODUCED IN BRITAIN AND NORTH AMERICA. There is little agreement on the differences pierced back with splats, just like An English Regency settee This beech piece between a settee and a sofa and indeed a chair, rather than the complete was overpainted in verdigris and gilt. The the preferred term seems to be largely upholstery of a sofa. The Cape rusbank back of the settee has four lattice backs dictated by current fashion. However, was a simplified variation of this type with musical trophy panels below an \u201csettee\u201d generally designates a particular of furniture. outscrolled top rail and down-scrolled arms. type of furniture made in the late 18th The caned seat is supported on turned front and early 19th century that was much Windsor settees are peculiar to legs with brass caps and casters. Early 19th more closely related to chair, rather than Britain and North America. They are sofa, design. constructed in the same way as Windsor century. W:185cm (73in). L&T chairs, with a wooden seat into which Often conceived as a chair extended the back, arms, and legs are mortised. to seat two or more people, its origins lie The backs are either of a continuous in the chair-back settee of the mid 18th form, running into the arms with century and the settle. Consequently, it vertical splats, or take the form of a might have a caned seat and back, or a series of chair backs. A Philadelphia bow-back Windsor settee S-curved supports. The seat is An American arrowback, painted Windsor settee This black- and gold-painted settee supported on bamboo turned legs This has a flat top rail and scrolling arms set has bamboo turnings. There are 29 joined by swelling H-stretchers. above a planked seat. It has turned legs and spindles below the curved top rail and turned panel stretchers. Early 19th century. the downswept arms are on modified \u25cfW:197.5cm (79in). NA 6 \u25cfH:194cm (771\u20442in). FRE 1","242 EARLY 19TH CENTURY 1800\u20131840 chairs panels on the bar back. Beech was used, and was often painted; light- ALL THE CHARACTERISTICS OF Regency coloured woods were favoured outside ENGLISH LIBRARY ARMCHAIR FRENCH RESTAURATION BERG\u00c8RE and Empire furniture, from the Britain. Chairs from this period rarely Neoclassical motifs \u2013 often on pierced had stretchers. This mahogany armchair has a reeded frame The crest of this maple berg\u00e8re en gondole is backs \u2013 to the choice of timbers, are and arm supports. The sides, back, and seat inlaid with a flower-head and stylized leaves, displayed on early 19th-century chairs. One type of armchair, inspired are caned and have loose cushions. The turned and the arms have carved leaf tips. The leather by Georges Jacob, had a rectangular, and reeded legs have brass casters. Early 19th slip seat is supported by a carved seat rail on One of the most typical types of chair scrolled, upholstered back and open of the period is the Trafalgar chair, arms with straight supports, often \u25cfcentury. W:63cm (243\u20444in). DN 3 \u25cfcabriole legs. Early 19th century. NA 3 which was made in Britain and used carved with sphinx heads or female for dining. The chair had two horizontal masks. It also had turned and tapered splats \u2013 one usually of bar form, the front legs. These more comfortable lower one sometimes a rope-twist, set fauteuils might be used in the drawing above a caned or drop-in seat. Caning, room, whilst Regency berg\u00e8res, which with all its exotic overtones, was had caned backs, sides, and seats, were revived again during this period, probably made for the library. These particularly on British or Cape chairs had squab cushions, often furniture. During the first two decades covered in leather and buttoned. Other of the century, the front and back pieces might be upholstered in silk or legs were usually of sabre form, but velvet. Needlework was rare, although turned or ring-turned legs, which are a suite of furniture from the Winter structurally stronger, were used later. Palace in Russia, was covered in tapestry, in a mixture of wool and silk. These chairs, and many that they inspired, were often made of solid mahogany or rosewood, with veneered All the surfaces of the chair are carved and decorated in shades of green, blue, and red, highlighted with gold. ENGLISH TRAFALGAR CHAIR FRENCH DIRECTOIRE CHAIR This Regency mahogany dining chair has a This is one of a pair of Directoire side chairs, plain top rail and a rope-twist back rail. The each with a rectilinear back rail and splat needlework-covered drop-in seat is supported inlaid with brass musical instruments. The on a plain seat rail and sabre legs. One of a upholstered stuffover seat is supported on \u25cfset of four. Early 19th century. DN 3 \u25cfsabre legs. c.1800. H:81cm (32in). 2 The (newly) caned seats have yellow-silk squab cushions. The uprights are INDIAN THRONE CHAIR SWEDISH BIEDERMEIER ARMCHAIR CHINA TRADE ARMCHAIR carved with stylized acanthus. This polychrome-painted, ivory-veneered chair This birch open armchair has a stepped yoke This Asian hardwood armchair, has a Greek-key is in an exaggerated Regency style. It has an backrest with a decorative oval inlay and carved top rail and a shaped, carved back rail. arched, slightly panelled back with a reeded scrolled armrests. The drop-in seat has a plain The cane seat rests on a reeded seat rail above top rail, carved uprights, sabre legs, and paw seat rail and is raised on sabre legs. c.1825. slender reeded legs joined by an H-stretcher. feet. c.1830. H:105cm (411\u20442in). MAL W:57cm (221\u20442in). EIL Early 19th century. H:84cm (331\u20442in). MJM","CHAIRS 243 1800\u20131840 FRENCH RESTAURATION CHAIR GERMAN BIEDERMEIER CHAIRS within a curved frame with a rounded seat rail AMERICAN FEDERAL SIDE CHAIR This walnut and fruitwood side chair has a These Biedermeier mahogany-veneered dining and are supported on four outswept sabre legs. This mahogany side chair has a moulded and gently reclining back with a rectangular top chairs were made in Berlin. Each chair has rope-carved shield back around an urn, Prince- and back rail. The padded seat is supported on a bar top rail, a solid, shaped back rail with a 1820-30. H:84.5cm (331\u20444in); W:46cm (181\u20448in); of-Wales feathers, draped swags, and leaves. The a plain seat rail above stylized cabriole legs. central oval, and elegant, slightly sweeping serpentine seat rests on reeded, tapering legs. uprights. The shaped caned seats are set \u25cfD:42.5cm (163\u20444in). BMN 10 \u25cfEarly 19th century. H:80cm (311\u20442in). ANB 4 \u25cfEarly 19th century. H:98cm (381\u20442in). FRE 1 AMERICAN GONDOLA CHAIR ITALIAN GONDOLA CHAIRS roundel at each side and are supported on GEORGE III SHIELD-BACK CHAIR plain seat rails. The chairs are raised on This is one of a pair of Neoclassical figured These six dining chairs are made of walnut sabre legs. The elegant sweeping uprights This mahogany armchair has a shield-shaped, mahogany gondola chairs, each with a curved and are designed in the Neoclassical style. give the chairs their characteristic shape, curved back, outlined with guilloche moulding, back and vasiform, solid splat, a padded slip Each chair has an unusual fluted, rectangular which is reminiscent of the style of the with five reeded splats, curved downswept seat, and downswept stiles continuing into backrest positioned above a pierced, stylized gondola boats found in Venice. arms, a bowed seat rail, and reeded, tapering shaped sabre front legs. c.1830. S&K leaf border. The cane seats have an applied Early 19th century. NA front legs. c.1800. H:95cm (371\u20442in). PAR RUSSIAN OPEN ARMCHAIR AMERICAN DINING CHAIRS are upholstered with black Naugahyde and SWEDISH GUSTAVIAN SIDE CHAIR are showing considerable signs of wear. The This birch open armchair has a stepped yoke These eight Neoclassical-style dining chairs are seats are supported on plain seat rails and This white-painted side chair has a shield- backrest, with carved fan detail, and slender, made of mahogany. Each chair has a flat raised on sabre legs. The armchairs have gently shaped back with a solid, carved splat. The scrolled armrests. The upholstered seat is curved top rail carved with a foliate pattern curving supports. The set comprises two padded seat is supported on a moulded seat raised on sabre legs. It is one of a pair. and a slender horizontal splat, also decorated armchairs and six side chairs, and is attributed rail and is raised on stop-fluted legs joined by with leaf carving, plus a rosette. The seats \u25cfEarly 19th century. H:91.5cm (36in). EVE 4 \u25cfto Anthony Quervelle. c.1820. FRE 3 \u25cfan H-stretcher. Early 19th century. Bk 2","244 EARLY 19TH CENTURY 1800\u20131840 new developments IN THE EARLY 19TH century, many These might contain shelves or even a ENGLISH CELLARET AMERICAN TAMBOUR SECRETARY different forms of furniture were cellaret drawer. They frequently had a developed for specific purposes. brass railing at the back, although they This Sheraton mahogany, arched-top cellaret This desk has a rectangular upper section with Previously, furniture was placed against are now usually missing. British has a domed lid above a rectilinear case with tambour doors that open to reveal a fitted the wall and had to serve multiple sideboards are generally made of central oval panels and geometric inlay, set on interior. The lower section has two long drawers functions, but this had gradually mahogany with brass or ebonized rope-twist legs. c.1800. H:68.5cm (27in); raised on square-section legs with tapering changed through the 18th century stringing. Side cabinets and chiffoniers, W:45cm (171\u20442in); D:45cm (171\u20442in). NOA and, by the early years of the next both developments of the commode, \u25cffeet. c.1795. H:103cm (401\u20442in). NA 6 century, more specialized pieces were were also new. They often had a pair made. The same period saw the rise of of doors with brass grilles backed novel patent furniture. Thomas Morgan with pleated silk. and Joseph Sanders of London specialized in the \u201cPatent Sofa-Bed The cheval mirror, or Psyche glass, & Chair-Bed\u201d. They also made a was a new piece of bedroom furniture. celebrated type of armchair that It consisted of a large single mirror hinged over to form library steps. held within a plain frame on a pivot, through which it was attached to the Not only were new forms of uprights of its stand. This was generally furniture developed, but old types set on splayed legs with casters, so that were revitalized after taking forms it could be moved around easily. derived from ancient Egypt, Greece, and Rome. For example, a cellaret, Other new types of furniture, such or wine cooler \u2013 an 18th-century as campaign furniture, reflected the invention \u2013 might be reconfigured in military turbulence of the period. the form of an ancient sarcophagus. Campaign furniture was specially designed to be portable and easy to New types of furniture were made dismantle (see pp.280\u201381). for the dining room. The sideboard was still a relatively new invention. In similar vein, the chaise \u00e0 l\u2019officier Often of rectangular form with a (officer\u2019s chair) was made in France. bowed front, it usually had two It had arm supports, but lacked elbow compartments separated by a drawer. rests, to enable a man wearing a sword to sit down with relative ease. AMERICAN D-SHAPED SIDEBOARD Each of the drawers and ENGLISH REGENCY SIDE CABINET with lion\u2019s-mask ring handles. The cupboards cupboard doors has below have front grilles, and there is a centre The rectangular top of this satinwood and figured banded and satinwood- The shaped top of this parcel-gilt rosewood side shelf. The cabinet has gilt-wood lion\u2019s-paw feet. maple sideboard has a bowed front above a inlaid borders. cabinet is outlined with satinwood stringing. c.1805. H:95cm (371\u20442in); W:175cm (69in); conforming case with an arrangement of drawers and The frieze beneath contains five drawers, each D:66cm (26in). PAR cupboard doors. The reeded legs have ringed cuffs. \u25cf1800\u201305. W:188cm (74in). NA 6 The central cupboard The stiles each have an inlaid AMERICAN KLISMOS CHAIR doors are flanked diamond motif set over a by bottle drawers This mahogany chair has a curved, rectangular and additional diagonally segmented column top rail with scroll carving, and a shaped, cupboard doors. with a Gothic arch crest. carved back rail. The seat is supported on sabre legs. c.1815. H:86cm (333\u20444in); W:44.5cm (171\u20442in); D:46cm (18in). BDL","NEW DEVELOPMENTS 245 1800\u20131840 REGENCY WATERFALL BOOKCASES AMERICAN WORKTABLE ENGLISH DAVENPORT DESK Each mahogany bookcase has a three-quarter This Classical mahogany astragal-end worktable The hinged top of this pollard oak desk has a gallery above four graduated shelves and a has various compartments. It sits on a reeded three-quarter spindle gallery enclosing two real single drawer with ivory handles. The cases urn pedestal on four splayed, carved legs, which and false drawers, flanked by a pen drawer and have brass carrying handles at the sides. end in brass feet and casters. slides above four side drawers. Early 19th \u25cfEarly 19th century. W:53cm (21in). L&T 5 \u25cfEarly 19th century. H:73cm (291\u20444in). NA 6 \u25cfcentury. W:51cm (20in). BonS 4 New Materials A RANGE OF EXOTIC MATERIALS FROM INDIA OR OTHER COLONIES WAS OFTEN USED TO ADD DECORATION TO SMALLER ITEMS OF FURNITURE. Many previously rare materials became screens was still used as a veneer. On the The tilt-top has a more widely available early in the Continent, the embargo on mahogany led lacquered surface. century. Brass inlays were used in British to an increased use of light-coloured local furniture, although they had been used timbers, the so-called bois clairs. In ENGLISH CHEVAL MIRROR from around 1740 to 1760. Similarly, Britain, pieces were often completely mother-of-pearl was increasingly used japanned in a technique called This Regency mahogany cheval mirror has a throughout the 19th century, particularly penwork. Other popular decorative crossbanded rectangular frame supported on a on small objects such as tea caddies. techniques in Britain were Tumbridgeware ring-turned frame. It has outswept legs with Exotic timbers and materials, such as (wooden inlay in small geometric designs) brass paw terminals and casters. Early 19th amboyna or ivory, were imported from the or straw-work (pieces of straw arranged colonies, and lacquer cut from Chinese in patterns to look like marquetry). \u25cfcentury. H:170cm (67in). DN 2 Ebonized parcel-gilt table The papier-m\u00e2ch\u00e9 top has painted Oriental figures and rests on a turned leaf-carved support, triform base, and paw feet. \u25cfEarly 19th century. H:72cm (281\u20444in). DN 3 A mirror is revealed Penwork decorates when the table the surfaces of this top is opened. occasional table. The rosewood veneer A turned baluster is inlaid with mother- column supports of-pearl. the oval table top. Biedermeier sewing table English penwork oval-top SOUTHERN GERMAN VITRINE This sewing table is veneered in occasional table This rosewood and inlaid throughout with piece has a turned Veneered with part-ebonized cherry wood, this mother-of-pearl. The top opens to baluster column support, vitrine has three glazed sides flanked by reveal a fitted interior and mirror. a triform base, and is protruding column stiles with gilt-metal c.1830. H:76.5cm (30in); W:48cm decorated with penwork. capitals. A front-opening door reveals two glass (19in); D:40.5cm (16in). BMN \u25cfc.1825. CATO 6 \u25cfshelves. c.1825. H:91cm (353\u20444in). BMN 3","1800\u20131840246 EARLY 19TH CENTURY was often surmounted with an eagle or similar motif and frequently had mirrors candle arms attached to it. SCOTTISH OVERMANTEL MIRROR bevelled glass and is flanked on either side by slender, reeded, Corinthian columns. The wide MIRRORS, LIKE PICTURE FRAMES, are Also fashionable was the use of verre This Regency giltwood and gesso overmantel landscape format of the mirror means that it decorative so are rarely subjected to \u00e9glomis\u00e9 in which glass was back- mirror has a moulded cornice with ball was probably an overmantel mirror and would much wear. As a result, they are often painted in black and then engraved with decoration above a deep frieze depicting a have been intended to hang over a fireplace. gessoed and gilded. Painted examples a design before gilding. Verre \u00e9glomis\u00e9 scene with angels playing trumpets flying over Early 19th century. H:91cm (357\u20448in); W:162cm from this period also exist, as well as plates were frequently inserted above a chariot being drawn by lions. The mirror has Empire pier glasses, which often have normal plates. Mirrors with a more \u25cf(633\u20444in). L&T 3 mahogany frames and ormolu mounts. rectilinear design were also popular, particularly those intended to stand From the late 18th century, larger above pier tables between windows. plates became available, so early 19th- From the late 1820s, revival styles led century mirrors with a divided plate to the reintroduction of Chippendale- became less common. Although not style mirrors in Britain; these are often new, convex plates became especially difficult to distinguish from the 18th- fashionable in Britain and the United century originals. In Florence, boldly States, and were used in dining rooms carved foliate frames were introduced to give servants an all-round view of in imitation of the Baroque originals. the table. The convex mirror plate was usually framed by an ebonized and The guilloche motif reeded slip with a gilt frame echoing is stylized. the shape of the mirror. The frame The acanthus leaves are pierced and scroll-carved. AMERICAN LOOKING GLASS gilded and moulded ends. Like the mirror above, this type of overmantel mirror is sometimes This simple, late Neoclassical maple looking erroneously referred to as \u201cAdam\u201d, perhaps glass has a rectangular mirror plate set within because of its rectilinear Neoclassical styling, a relatively unadorned rectangular frame. The or perhaps because such mirrors frequently top and sides of the mirror frame have corner featured in Robert Adam interiors. c.1835. blocks joined by half-section balusters with H:51cm (20in); W:85.5cm (833\u20444in). SL ITALIAN WALL MIRROR being gilded. The ornate, sculptural form of REGENCY MIRROR ENGLISH PIER GLASS the mirror frame is reminiscent of the Baroque This rectangular giltwood wall mirror has a style of the 17th century, and harks back to This giltwood mirror has a moulded cornice With a concave cornice above a ring-and-leaf carved softwood frame featuring guilloche and the designs of Andrea Brustolon and the work with ball decoration above a panel with a shell frieze, this giltwood and gesso pier glass has stylized, scrolling acanthus leaves. The whole of the Genoese carver, Filippo Parodi (see cresting flanked by latticework. Columns flank 11 plates of varying sizes divided by astragals frame has been covered in white gesso and p.40). Early 19th century. H:67cm (261\u20443in); both sides of the mirror. Early 19th century. and flanked by half columns. Early 19th then given an undercoat of red paint, before \u25cfW:59cm (231\u20443in). Cato 3 \u25cfH:109cm (431\u20442in). L&T 3 \u25cfcentury. W:117cm (463\u20444in). L&T 4","MIRRORS 247 1800\u20131840 AMERICAN GIRANDOLE ENGLISH WALL MIRROR OVAL MIRROR ENGLISH GILTWOOD MIRROR This giltwood and ebonized girandole has a The circular, mirrored plate sits within a reeded This mirror is set within a moulded gadrooned This simple Regency giltwood mirror has a convex mirror plate with a reeded slip. The ebonized slip and a ball-moulded frame. The frame, surmounted by a painted figure of convex mirror plate within a circular leaf- frame is decorated with carved leaves, has four frame is surmounted by a dragon flanked by Neptune. At the base is a giltwood figure of moulded and reeded border. It might originally candle arms, and is surmounted by the Federal two sea serpents. Below is a leaf-carved apron. Triton, and foliate arms that end in candle have had candle arms or cresting. Early 19th nozzles. W:112cm (44in). \u25cfeagle. c.1825. H:132cm (52in). FRE 5 \u25cfc.1815. H:115cm (46in). FRE 4 \u25cfcentury. Diam:58cm (223\u20444in). DN 1 AMERICAN LOOKING GLASS REGENCY LOOKING GLASS AMERICAN GILTWOOD MIRROR This Classical mahogany and carved giltwood This carved and gilded looking glass has a This Federal mirror has a broken pediment with looking glass has an architectural pediment moulded, projecting cornice above a carved ball decoration above a verre \u00e9glomis\u00e9 panel above a carved eagle tablet and a mirror plate frieze, with a verre \u00e9glomis\u00e9 tablet, and reeded depicting Hope with an anchor, flanked with flanked by colonettes. Early 19th century. pilasters. Early 19th century. H:109cm (43in); festoons. The columns have spiral beading. \u25cfH:190.5cm (47in); W:61.5cm (241\u20444in). SL 2 \u25cfW:62cm (241\u20442in). FRE 2 \u25cfEarly 19th century. H:80cm (32in). NA 3 AMERICAN LOOKING GLASS AMERICAN LOOKING GLASS IRISH OVAL MIRROR BIEDERMEIER PIER GLASS This tall, narrow, carved mahogany looking The moulded cornice of this giltwood mirror is This oval mirror, one of a pair, has its original The rosewood-veneered frame of this southern glass frame has a moulded cornice above a hung with ball decoration above a wreath-and- plate set within a copper frame, which is German pier glass has an architectural pediment veneered frieze. The mirror plate is flanked by acanthus moulded frieze. Below this is a tablet. decorated with applied, alternating blue and above an ebonized panel depicting the Goddess projecting blocks linked by carved urns and The colonnettes are rope-turned. c.1800. clear crystal facets. Late 18th\u2013early 19th Diana in gilded brass. c.1820. H:112cm W:77cm (301\u20444in). SI \u25cfslender pilasters. c.1825. FRE 1 \u25cfcentury. H:105cm (411\u20444in). L&T 5 \u25cf(441\u20448in); W:33cm (13in). BMN 3","248 EARLY 19TH CENTURY 1800\u20131840 Chests of drawers THE CHEST OF DRAWERS is limited in usually with a marble top, below AMERICAN CHEST OF DRAWERS crossbanding, stringing, and a beaded edge, scope by the rectangular shape of its which was a projecting frieze drawer drawers. Whilst its more elaborate supported on either side by a pair of This Federal inlaid chest of drawers is made and brass, oval drawer-pulls. The case is cousin, the commode, might contrive architectural columns. Set back were of mahogany. The piece has a rectangular top to contain them within serpentine or two or three drawers above a plinth with an applied, inlaid edge which rests above supported on a moulded base with straight bomb\u00e9 shapes, the chest of drawers base. The piece in flamed, or plum four long, graduated drawers, each one with shows little stylistic development. pudding, mahogany was decorated bracket feet. Although American, the design with Neoclassical ormolu mounts, AMERICAN EMPIRE With the exception of plain British particularly on the frieze drawer and CHEST OF DRAWERS closely follows British prototypes. Early 19th pieces, which often bowed at the around the capital and column bases. front, chests of drawers tended to This Empire carved mahogany and \u25cfcentury. W:101cm (393\u20444in). NA 3 be box-like in the early 19th century. Another type of chest, which had mahogany veneer chest of drawers Meanwhile, the status of the commode its origins in the Louis XVI style, also is stamped \u201cWm Palmer\/Cabinet as the seminal item of drawing-room featured a marble top but, instead of Maker\/Catherine St.\/New York\u201d. The furniture was on the decline. Also on the projecting upper drawer, all the moulded top is set over three outset the wane were chest-on-chests and drawers were flush. The piece had a short drawers, with carved attached tallboys, although the occasional more delicate look, possibly because it columns flanking four drawers. The bowed example does survive. was raised on square-section, tapering case sits on leaf-capped hairy-paw legs. It was especially popular in Italy, feet. Early 19th century. W:123.2cm A smaller version was developed and was known to be produced by resembling a miniature tallboy and Maggiolini, sometimes in walnut. \u25cf(451\u20442in). Sl 2 similar to the French semainier. Called the Wellington chest after the famous Due to their widespread use and commander, its drawers were locked relatively simple carcase construction, by a hinged pilaster to one side. chests of drawers had a huge range of surface decoration from veneering in A particular type of French exotic timber to painting, which was Empire chest of drawers was popular useful for disguising cheaper woods. throughout Europe. It was rectangular, Inlays of walnut and other stained woods create a strong, geometric design. Escutcheon and geometric inlay detail A straight frieze emphasizes the rectilinear shape of the case. Short, tapering legs The side cabinet has two support the case. large front cupboard doors. NORTH ITALIAN SIDE CABINET are richly decorated with inlays of figured FRENCH COMMODE rectangular frieze. The three drawers have This side cabinet, or commode, has a slightly walnut and other contrasting, stained woods, This case of this provincial commode is made glass handles and matching escutcheons overhanging top above a straight frieze, and a of walnut and the piece is designed in the rectilinear case with two large cupboard doors forming a strong, colourful geometric design. Empire style. It has a rectangular, dark-grey and are flanked by ogee scrolls. The piece at the front. The front and sides of the cabinet marble top which is set above a deep, The cabinet is supported on short, tapering is supported on block feet. Early 19th century. legs. c.1800. H:102.5cm (401\u20443in); W:135cm H:90cm (351\u20442in); W:110cm (431\u20443in); D:52cm \u25cf(531\u20448in); D:63cm (247\u20448in). GK 5 \u25cf(201\u20442in) MAR 3"]