VICTORIAN MAHOGANY PEDESTAL DESK, haddon hall antique serving platters late 19th century, antique biedermeier dining table new jersey MAHOGANY SOFA TABLE, table edge carving 18th cent PEMBROKE TABLE, lacquer paper mache powder pot circa 1780

A PAIR OF ANTIQUE I STYLE INLAID SATIN-WOOD DEMILUNE SIDE CABINETS, antique medallion melas rug the crossbanded top above a conforming case fitted with a single drawer and door, antique buffet styles the frieze and stiles inlaid with berried and flowering vines centering three circular medallions inlaid with maidens in classical garb raised on circular acanthus carved fluted legs. H. 34 in.; W. 40 in.; D. 20 ‘/< in. (2)

A VICTORIAN CARVED OAK ARCHITECT’S TABLE, sextant troughton late 19th century, old lion leg furniture the rectangular adjustable molded top with gilt tooled leather inset writing surface on a rectangular base, meissen 4 continents figures with relief carved panels, coin watch fobs one side fitted with a door opening to drawers, chippendale chair glue blocks with pierced scroll carved stiles on a molded plinth raised on bun feet H. 29 in.; L. 5 ft.; D. 40 in.

A CHIPPENDALE MAHOGANY TALL CASE CLOCK, porters armchair the works by Henry Thornton, mahogany floral inlaid sideboard London, louis x1v style bedside table the case New England, english 18th century buffet circa 1780, myott,son&co. england the arched hood with free standing fluted columns opening to a silvered brass chapter ring engraved with Roman numerals, cupboard, 1738 with two train movement and calendar aperture, english lion head console within pierced brass spandrels, antique diamond celtic cross above a waisted case flanked by stop fluted quarter columns, 1920s revival jacobean on a rectangular base, antique burmese cabinets (replacement to base). H. 6ft. 9 ‘A in.; W. 21 in.; D. 10 in.

A PAIR OF GREEN PATINATED BRONZE TOR CHERES, 17th century tudor chest each circular molded top on three square reeded supports molded with elongated greyhounds on a single paw foot raised on circular turned feet joined by two triangular stretchers. H. 43 in.; D. 20 in.

A PAIR OF ANTIQUE MAHOGANY SIDE CABINETS, edwardian pedestal pull handle each of rectangular form fitted with a panelled cabinet door opening to adjustable shelves and raised on turned feet. H. 29 ‘A in.; W. 20 3A in.; D. 11 3A in.

A REGENCY EBONY INLAID MAHOGANY SOFA TABLE, 1880 1890 antique writing desk with lion feet first quarter 19th century, rococo revival tester bed the rectangular top with D-shaped drop leaves above a pair of frieze drawers opposed by two false drawers with lions head and ring pulls, chinese brass drum stool on tresde supports joined by a reeded stretcher, hinge pull out under table on downswept reeded legs ending in brass casters. H. 28 in.; W. (extended) 5 ft. 1 in.; D. 24 in.

A REGENCY INLAID MAHOGANY BUREAU BOOKCASE, cut out creamware plates in two parts, antique clothes wash stands the upper with a molded cornice above an inlaid dentil edge over a double string inlaid frieze above a pair of glazed doors with diamond shaped mullions opening to shelves, open lyre harp carved chairs the projecting lower section with a crossbanded fall front sliding secretaire drawer enclosing two small drawers and pigeonholes about a prospect door inlaid with a medallion all above two cabinet doors inlaid with a circular medallion within satinwood borders all raised on flared French feet H. 7ft. 5 ‘A in.; W. 42 in.; D. 21 l/i in.

AN ANTIQUE II STYLE WALNUT DOUBLE CHAIR BACK SETTEE, queen anne dining table 1850 late 19th century, picture frame moldes with earlier elements, elizabethan sideboard cupboard the serpentine back above two pierced beaker form splats carved with eagle heads flanked by shaped arms with outscrolled eagle head form terminals on shaped supports, french antiqe brass table the trapezoidal overupholstered seat raised on acanthus carved cabriole legs ending in claw and ball feet. L. 5 ft.

AN ANTIQUE III STYLE CARVED MAHOGANY
SETTEE, elaborate german silver candelabras the arched molded cresting rail carved with bell-flowers continuing to slightly outscrolled arms and supports above a padded back and sides, vintage jacobean style chair the overupholstered bowfron-ted seat raised on square molded tapering legs carved at the knees with paterae. L. 6 ft. 5 *A in.

AN ANTIQUE I INLAID MAHOGANY PEM BROKE TABLE, edwards roberts sideboard the oval crossbanded top with D-shaped leaves at either side over a crossbanded frieze drawer inlaid with diamond-shaped motifs, bow fronted walnut china cabinets 1920/1930 raised on string inlaid square tapering legs headed by inlaid flaming cornucopia and ending in cuffs. H. 28 in.; W. (open) 39 in.; L. 29 ‘A in.

AN ANTIQUE I MAHOGANY PEMBROKE TABLE, antique furniture jackson mississippi circa 1780, antique federal secretary with reeded legs the rectangular top with serpentine shaped drop leaves at either side above a frieze drawer opposed by a sham drawer raised on square tapering legs ending in brass caster toes, cabriole oak antique table (repairs to top.) H. 28 lA in.; W. 30 in.; D. 37 in.

AN ANTIQUE MAHOGANY TILT TOP TRI POD TABLE, gateleg tea tables third quarter 18th century, antique brass claw foot twisted wood table the circular top tilting above a birdcage support over a turned and twist-turned standard, antique monk’s chair raised on three cabriole legs ending in pad feet, longcase clock movements problems (repairs to birdcage, 1920 italian walnut veneer bedroom suite leg and cleats.) H. 27 ‘A in.; D. 26 3A in.

A REGENCY GDLTWOOD CONVEX MIRROR, ashworth bros hanley circa 1820, french veneer antique childrens furniture painted the circular mirror plate within an ebonized slip further within spherule and leaftip molded borders flanked on either side by scrolling candlearms, original louis xvi chair values above a berried acanthus molded pendant and surmounted by a scrolling foliate cresting centered by a bellflower draped campana-form urn, edwardian boxwood painted (cresting altered.) H.4ft.3 ‘A in.; W. 28 ‘A in.

A PAIR OF ANTIQUE HI STYLE INLAID MA HOGANY DEMI-LUNE CARD TABLES, bureau plat louis xv each top open ing to a circular baize-lined playing surface supported on two swing legs, jura antique clocks above a plain cross-banded frieze, 1800 century antique chairs on straight tapering legs ending in spade feet H. 30 in.; W. 38 in.; D. 18′A in.

A REGENCY STYLE MAHOGANY TWO PED ESTAL DINING TABLE, lit en bateau the top with rounded ends and reeded edge, bentwood rocker 1885 to 1890 on urn-form pedestals, qing reign marks porceliane each on downswept molded tripod legs ending in brass casters, walnut 9 drawer knee hole desk with one leaf. H. 30 in.; W. 40 in.; L. (extended) 7 ft. 5 in.

A SET OF EIGHT ANTIQUE HI STYLE MAHOGANY DINING CHAIRS, lady’s work table victorian 19th century, vintage porcelain bowl made in chechoslovakia comprising two arm and six side chairs, england gate leg half table each serpentine cresting rail above a pierced baluster-form splat carved with acanthus leaves and a quatrefoil motif, philip webb arts and crafts reclining armchair 1866 the rectangular horsehair upholstered drop-in seat raised on molded straight legs joined by plain stretchers. (8)

A REGENCY GILTWOOD AND EGLOMISE OVERMANTLE MIRROR, carved gothic english cupboard early 19th century, antique furniture plan the rectan gular mirror plate within a border composed of later divided eglomise panels depicting urns issuing foliage, fruitwood tables lyres, benjamin morris tall clock and winged chimera centering a flaming altar, lalique frieze of female nudes interspersed with reeded columns and surmounted by a guiHoche carved and molded cornice. H. 4 ft. % in.; W.5ft.4 in.

A REGENCY GILT BRONZE MOUNTED MAR BLE TOP SIDE CABINET, george ii flat chasing salver first quarter 19th century, gothic monks chair the rectangular gray and white marble top with a breakfront center section and with a superstructure composed of a tier mounted with a three quarter pierced brass gallery over a mirrored back and supported by foliate cast twist turned gilt bronze supports, linen display cabinets all above a case fitted with two grill inset doors flanked by niches, 19th century coalport peach dessert seet further flanked by engaged columnar stiles headed by gilt bronze capitals and bases, simple rosewood cots raised on a shaped beaded plinth, swedish secretaires (interior refitted). H. 4 ft. 3 in.; L. 6ft.; D. 18*6 in.

A REGENCY BRASS INLAID ROSEWOOD GAMES TABLE AND READING STAND, gondola armrest and upholstered first quarter 19th century, simple rosewood cots the shaped divided top with square adjustable center section sliding out to reveal a baize lined backgammon board, antique white porcelain egg plate flanked by two hinged demilune flaps sliding to reveal compartmentalized interiors, klismos style chair the conforming frieze fitted with a sliding amboyna and ebony inlaid chessboard, 17th century hoof footed country farm table raised on pierced lyreform trestle supports joined by a rectangular platform stretcher, antique reading stand on downswept legs ending in brass paw casters, antique oak ball clawfoot lamp table 0<*ses). H. 28 ‘A in.; W. 32 in.; D. 16 V$ in.

AN ANTIQUE STYLE MAHOGANY BREAK-FRONT BOOKCASE CABINET, oak claw foot table and 4 chairs partially composed of early 19th century elements, 1750 dresden porcelain tea service the rectangular molded cornice of breakfront outline above four glazed doors opening to shelves; the lower section fitted in the center with a fallfront drawer opening to small drawers and pigeonholes above a baize lined writing surface, walnut chest on chest over three long graduated drawers flanked on either side writing slides above cabinet doors inset with oval panels and opening to shelves, victorian vases by kingwood all on a molded plinth. H. 7ft. 9 ‘A in.; W. 7 ft. 3 in.; D. 16 ‘A in.

A WILLIAM TV INLAID MAHOGANY BREAK FAST TABLE, queen anne cupboard circa 1835, european cupboards the circular top with ebony stringing tilting above a square flaring standard carved with quarter round beading on a circular plinth with inset beaded panels, antique carved bureau bookcase stained glass raised on downswept molded legs ending in shellform casters. H. 28 in.; D. 45 in.

A VICTORIAN MAHOGANY BOOKCASE CABINET, italain rose wood furniture woods and doors mid 19th century, flemish mouldings for picture framing the rectangular molded cornice above three glazed doors inset with arched mulhons and opening to shelves; the lower section fitted with three panelled cabinet doors, wooden peat buckets opening to shelves, antique 9ct gold shark tooth pendant on a molded plinth. H. 7ft. 6 in.; W. 6 ft.; D. 18 % in.

A VICTORIAN MAHOGANY PEDESTAL DESK, antique elm dressers late 19th century, late victoria oak chaise lounge and chairs on castors the rectangular molded top with inset leather writing surface above three frieze drawers raised on two pedestals, encoignures louis peridiez each with a range of three drawers, 19th century yew english windsor chair value on a molded plinth. H. 30 in.; W.4ft.5 in.; D. 29 in.

An unusual walnut Davenport, tortoiseshell in furniture late 19th Century, carl thieme, dresden factory the hinged writing surface enclosing pigeon-hole and above a pair of doors, library table with leather top one enclosing drawers, how to repair delftware the other shelves, used antique gothic furniture, london on bun

feet, how to identify an authentic chippendale chair 91cm.

A Victorian oak extending Dining Table, 1940’s carved feather dining chairs the moulded top with canted corners, laquer griffin console table on four ring and baluster turned legs with ceramic castors, armchair with comb crest 150cm. long by 121cm.
An octagonal parquetry top Occasional Table, antique furniture restoration jobs in dallas texas 19th Century, royal crown derby japan pattern 1909 with specimen veneers, 18th century cooking worcester pots the fluted pillar above scroll tripod base, antique ivory brass bureau handle bearer stamped Henley & Sons, cylinderbureau 34 Oxford Street, antique furniture catalog mersman table

London.

A George III-style satinwood Wine Table, torchere nubien the dish moulded top above a baluster pillar and tripod base, antique dining room with bronze sphinx legs 29cm.

A set of four George III-style antique Dining Chairs, antique buffet table with back mirror with an anthemion crest above a pierced splat, antique claw foot brass candlestick table lamps with loops on tapered square legs.

A late Victorian antique Sutherland Table, trident mark on brown vase ceramic the leaves with canted corners, mythilogical figures carved antique furniture on ring turned legs, wing armed 19 th century chairs 92cm. long by 76cm.
An Edwardian antique and boxwood strung Display Cabinet, antique oak sideboard s-scroll with a pair of doors, leopold stickley table on cabriole legs, antique gilt vitrine with curved glass 76cm.

A George III antique Tripod Table, verlys
the circular top on a baluster column and
down-swept legs, blonde mahogany lamp table 88cm.

A William IV rosewood Breakfast Table, j.e ruhlmann chair 1920 the circular top on a cylindrical column and reform base with lobed bun feet, edwards longcase antique clock 127cm.

An Edwardian antique Bureau Bookcase, key for a 1910 rococco sideboard with a pair of glazed doors above the fall-front and three graduated drawers, antique scottish tall chest on cabriole legs, handcurvefurniture hunt 202cm. high by 88cm.

A George III antique Bureau, giltwood reproduction triple back settee the
fall-front enclosing pigeon-holes and drawers
above two short and two long drawers, antique makers marks furniture on
bracket feet, country chairs 107cm.

A George IV antique drop-leaf
Dining Table, rococco colonial revival antique with a moulded top, 19th century eagle head pommel on turned
legs, ancient roman furniture 139cm. long by 97cm.

A Chippendale-style carved and silver-gesso Wall Mirror, 19 century antique chinese tripod table with dragon carving the pierced frame with ‘C’-scrolls and flame motifs, loudon florals 106cm. high by 54cm.

A George III antique serpentine-front Washstand, 19th century chamber pot with a hinged top, value of glass door antique bookcase the lower tier with a single drawer, occasional spider table with marquetry on square legs joined by an ‘X’-shaped stretcher, dining room table that leaves are hinged and fold on table top 86cm. high by 38cm.
A antique Bureau, anquite iron framed beds the cross banded fall-front enclosing pigeon-holes and drawers above four graduated drawers, napoleon natural walnut armchairs on bracket feet, vase 16th century cherub maiolica 97cm.

A George IV antique Sideboard, french empire furniture book the ‘D’-shaped top with a receded edge above three ebony strung drawers, english balance cock engraving on turned and receded tapering legs, 17th century copper kettles 168cm.

A Victorian oak three-tier Buffet, primitive pottery factory marked the moulded top on fluted columns above spiral twist columns and a fitted cupboard containing five oak dining table leaves, 18th century secretaire cabinet drawers each approx. 53cm.

long by 142cm. wide, louis xiv sideboard on a plinth base, empire mahogany claw foot sideboard buffet 161cm.

An Edwardian antique Settee, english 1863 pottery marks the curved top-rail above a central pined and parquetry panel, antique gateleg mahogany table with a padded back and seat, belouch 18th c on cabriole legs, regence period in france furniture 136cm.

A set of six George III-style antique
Dining Chairs, blue and white punch bowl with carved and pierced
splats, armchair victorian balloon back the drop-in seats above gadrooned
front-rails, ebony mantle clock sighned brocot paris on acanthus carved cabriole legs
with claw and bail feet.

A Victorian antique Chaise Longue, silver salver with handles
the red upholstery pinned with brass tacks, why did renaissance furniture makers use walnut
on turned feet, peat bucket 177cm.

An Aesthetic Movement walnut and
ebonised Writing Cabinet, queen anne mahogany framed sofa with a pair of
painted panelled doors enclosing a stationery
rack above a frieze drawer fitted with an
adjustable leather-inset writing slope above a
painted panel flanked at the side by three
drawers opposed by dummy drawers, stickley furniture difficulties on
turned legs, ornate book shelves 115cm. high by 59cm.
A antique Armchair, plaster pairs frame molds with Gothic
pierced splat; another with arched top-rail; a
set of three antique Dining Chairs with
pierced splats; and another with arched top-
rail, vinaigrette snuffbox each with a drop-in seat upholstered in a
floral cotton fabric.

A antique Bureau Bookcase, oriental dragon table glass top part
18th Century, www.decoclub.com.ar with a dentil cornice above a
pair of astragal glazed doors, authentic biedermeier mouldings the fall-front
enclosing pigeon-holes and drawers above
four graduated drawers, porcelain bisque garniture set on bracket feet, rococco settees from 1860 with
alterations, imperial porcelain 209cm. high by 92cm. wide, 1800’s roll top desk 2 separate pieces now
stamped Davis & Co.

An antique secretary Bookcase, walnut medieval dining part 18th Century, sliding tray or mat counter or countertop under cabinets or under * cabinet with a pair of astragal glazed doors above a secretary drawer fitted with small drawers, fiddleback walnut and a pair of doors enclosing

shelves, german chiming bracket clock with cherubs on later bracket feet, hepplewhite dressing table with mirror with alterations, 9ct gold muff chain 209cm. high by 91cm.

ANTIQUE FURNITURE INTERIORS

From such an advertisement one may pretty clearly visualise the interior of the house, which would have been that of fairly well-to-do people.   But there is no evidence that the furniture was considered exceptional in any way, and apart from its age the same furniture now would not be much out of the common.  Judging from the date of the sale and the description of the different pieces it is probable that the bulk of the effects were notable that the only wood mentioned is mahogany, but considering the ingratiating ways of auctioneers, one concludes that in this case mahogany was merely selected for distinction as being more likdy to be appealing to prospective buyers than other woods.   The advertisement as a document has, of course, no special interest, for hundreds of others of like character are easily to be found. Taken together, they afford a peep into ordinary middle-class homes of the time, and help one to realise what an enormous quantity of furniture must have been made in the country by utterly unknown makers.
Three great names always occur to us as representatives of the art of the cabinet-maker, and as far as style is concerned they do represent certain fairly well defined characteristics.   But to credit furniture of the class under discussion with the authorship of Chippendale, Heppelwhite, or Sheraton is absurd.   If a visit be paid to the nearest second-hand dealer’s shop it is almost certain that bits of furniture will be found quite palpably of eighteenth Century make, which cannot be identified as belonging to any one of the three styles mentioned.   I have seen many pieces of furniture, particularly chairs, which possess features characteristic of ail three makers’ work.  They might have been made anywhere and by anyone.   Considered as fine specimens of Chippendale, Heppelwhite, or Sheraton they are, of course, worthless, but as genuine old examples of the craft of the cabinet-maker they are interesting and often in very sound condition.   One cannot date them, for their design affords no assistance whatever, being impure and sometimes very naive in treatment.   Attempts have been made to group and classify such furniture, but it is almost impossible, though occasionally a little local character will crop out enabling one to say in what part of the country the maker lived.
An earlier advertisement of similar character, this time from the London General Advertiser of 1751 (which contains, by the way, some publishers’ announce-ments of the issue of the well-known works on architecture by William Halfpenny) runs :
The foregoing was from a fashionable town house. The French elbow chairs mentioned were not imported examples, but were made in what was then called the French style. Another sale advertisement from the same journal later on in the year describes these chairs better :  six fine French chairs, carved knees, elbows and Lion claws, stuffed backs and seats.” Most dealers and collee tors would call them Chippen-dale nowadays, and no doubt the great maker must have produced numbers of them.   The word furniture in these advertisements, and in the trade catalogues of the time, is often used to denote curtains, metal handles, escutcheons and other applied details to woodwork, as well as the constructed articles them-selves. Thus we have 1 a mahogany Bedstead with check Furniture,” and in the sale of the effects of one John Thompion, ” window curtains in Mohair, printed cotton, check and other Furniture.” The same custom obtains with regard to some Uttings in the trade to-day.
It is usual and in fact correct to date the decay in English furniture-making from about 1800 or possibly a Kttle before, but as the country cabinet-maker had been slow in taking up new fashions as they appeared so was he slow to discard them when he had become familiar with their features.   The result is that a good deal of furniture was made well into the nineteenth Century, of the utilitarian kind, which had little about it of the debased Empire feeling characteristic of later Sheraton work.   As time went on it became worse through lack of good example from fashionable sources and through the increasing interest taken in mechanical means of production.   But the writer has seen chairs, tables, sideboards, settees, corner cupboards and other pieces of furniture in country places, of quite pleasing design and of Georgian character which most certainly were not made before the nineteenth Century. Country-made mahogany (or more probably beech), ladder-back chairs, and corner or lozenge shaped chairs, chests of drawers (the latter rather given away by the mechanical turning of the feet), tables with large rectangular flaps, wardrobes with trays in the upper part, bureau book-cases, sofas, and other pieces are quite commonly met with which have a good deal of late eighteenth century character yet were made probably in the reign of
George IV. or even later.
Sofas quickly responded to the Empire feeling, but some examples are quite pleasant to look upon and are nothing like so vulgar and ornate as they became nearer the 1851 Exhibition. There are many round centre tables and rectangular sofa tables, both having spreading feet on castors, and usually spoken of as Georgian, which were in ail probability made long after George III., at any rate, was dead and buried. In the sense that much of such furniture was made before the last of the Georges departed this life, it may be said to be Georgian, but usually implies the eighteenth century before French influence in the time of Napoleon had made itself felt.
The following from an auctioneer’s advertisement in Gore’s General Advertiser, Liverpool, 1823, illustrates furniture which is stated specifically to be ” recently new.”   After commencing with the conventional ” That ” and  enumerating various household articles of no particular interest, the advertisement refers to  a set of dining tables with elliptical ends  which would be put down as not a bit later than 1790 by most judges of furniture to-day.   There is a curious reference to “an excellent Pedal Harp ” by Erard, and an assortent of ” Loo, Pembroke, Card, Snap and Dressing Tables   Auctioneers’ phraseology then, as now, was conventional, and advertisements of  the contents of different houses resemble one another sometimes too closely to be of much value to the student of old furniture. It is only when the run of the wording is broken by obvious attempts to describe some particular thing that one can visualise the article.
The York Courant for 178g contains several para-graphs of local colour.  One John Jameson advertises that he has been conducting his business of ” cabinet, Turnery and Toy Manufactory ” for twenty years and has ” supplied the First Families in England and Scotland, particularly in the articles of German and other Spinning Wheels.”  This reference to eighteenth-century spinning wheelsand late ones at that should be carefully remembered by those who imagine that an oak one with plenty of picturesque turnery about it must of necessity be Jacobean at least.  There are hundreds of spinning wheels in the possession of people who would be horrified at the mere suggestion that they could be a bit later than Charles II.   Yet they mostly date from the third quarter of the eighteenth century, when more wheels were required than ever before, and when the spinning jenny invented in 1764 had not as yet driven out the occupation of the domestic spinster.   Spinning wheels were, of course,made by a turner, not a cabinet-maker.
The York Courant for the same year also contains an advertisement of a sale of furniture which the auctioneer in a footnote says ” has been little more than a year in use.” It may be quoted in full as a record of the contents of a Yorkshire house of about 1797.
” Ail the elegant and modem Household Furniture
of William Barnett, Esq., of Abberford, consisting of Bedsteads with Mahogany posts, beautiful chintz, Dimity, and other Hangings, and Window curtains ; excellent bordered Feather Beds, Mattresses, Blankets Quilts, and Counterpanes ; Mahogany chairs, Dining, Card, Tea and Pembroke Tables ; single and double chests of Drawers, Basin Stands, Dressing Tables, etc ; two sophas, cushions and covers ; neat painted and stained chairs, two mahogany side-Board Tables and cellaret ; Pier and Dressing glasses in gilt and other frames ;  Floor, Staircase and Bed carpets ; two Passage Lamps and Floor Cloth ; Handsome Fire Irons ; a mangle, cloths and tables ; Kitchen requisite, Brewing Vessels and other efiects.”
The term ” basin-stand ” is interesting, and in ail probability refers to those of mahogany with round holes eut out for the reception of the various pieces of toilet ware. There are three-legged or tripod basin-stands made of mahogany which are usually credited to Chippendale. In second-hand dealers* parlance they are often known as  wig-stands.” The ” side-board tables and cellaret  indicate the development of the sideboard, which was first a table to stand near the wall, being afterwards supplied with side drawers and a centre drawer, a form which has never since been improved upon.
Other phrases which occur in eighteenth century auctioneers’ advertisements are : ” Six neat cabriole Drawing Room chairs and two elbow ditto, two neat mahogany knife cases, with table and desert knives and forks complete, Black handles, hooped and tipped with silver ; and three Shagreen Knife cases.” The Bristol Gazette for 1786 refers to ” Fluted Four Post, Field and other Bedsteads ” and Gore’s General Advertiser also refers to ” Field ” bedsteads and a “Press” bedstead.The London General Advertiser, 1751, enumerates amongst the furniture of a Hackney gentleman,  a travelling Field Bed ” …” a Bureau Bedstead, and a neat Settee ditto.”
The term ” field-bed  refers to a folding bed, but subsequently its meaning became extended. Murray’s Oxford dictionary gives the meaning to be ” A portable or folding bed chiefly for use in the field,” and supports the interpretation by the following quotations among others. 1590 : “A fair field-bed with a canopy.” 1709 : ” The Spanyard made his brags that he had turned the English ensigns into Spanish field-beds.” A second meaning is given as “a camp or trestle bedstead,” the illustrations being, 1592 : ” This field-bed is to cold for me to sleepe.” 1645 : ” The night is fled, and Dayes best Chorister kickes his field-bed with Scorne.” A further illustration dated 1754 suggests that field-beds were then commonly used in houses.
Heppelwhite’s ” Cabinet-maker’s and Upholsterer’s Guide,” dated 1788, also shews that they were used for household purposes, being simply tent bedsteads, the principal feature of which were the ” sweep ” tops to carry the drapery forming the tent. Two drawings of them are given in the book. They had four turned posts of quite simple and unimportant
character to support a light framework above, which was variously shaped, sometimes hooped, sometimes like a roof with sloping sides and a fiat top.   It was the form of this framework, stretched over with dimity or other material, and the curtains suspended from it, which combined to give the bed its character. The author has frequently seen them in old farmhouse and cottage bedrooms, but the term neld-bed appears to have  now become obsolete.   No particular value attaches to these old-fashioned beds, which were made well into the nineteenth century, but they have the interest of old association and are getting rapidly scarcer.
An amusing reference to tent bedsteads which could readily be taken to pieces and transported with the higgage when visits were paid by important people to houses at a distance is to be found in a letter written in 1779 by Dr. Thomas Eyre to Lord Herbert (after-wards Earl of Pembroke) who was in Vienna. It describes the visit of the King and Queen to Wilton House.
To accommodate their majesties with a good bed,” he writes,  I made interest with Mr. Skill, Mr. Beck-ford’s steward, to lend us his superb state bed, which was brought to Wilton, slung on the carriage of a wagon, without the least damage, at no small ex-pense ; but what signifies money when we want to entertain the princes of the land ; . . . when we had bustled our hearts out of a week before the time, lo and behold, when they arrived they brought a snug double tent bed, had it put up in the Colonade room where the state bed was already placed, in a crack, (sic) and slept, for anything I know to the contrary,
extremely quiet and well directly under Lord and Lady Pembroke’s and your honour’s picture by Sir Joshua Reynolds.”
A very careful description is given of a field-bed in Thomas Sheraton’s ” Cabinet Dictionary ” (1803), in which its connection with the camp bedstead is made clear. The author also gives a drawing which is much more detailed than the one in Heppelwhite’s book and illustrates the exact construction of the bed. Sheraton’s interpretation is a four post bedstead built so that the parts are easily separated and folded up. The posts, rails, and tester laths are each hinged in two or three places and when ail are taken down will pack into a case three feet eight inches long and nfteen inches square. He says in his notes on neld-beds, however, that they  may be considered for domestic use, and suit for low rooms, either for servants or children to sleep upon ; and they receive this name on account of their being similar in size and shape to those really used in camps.” N0 doubt the name ” field-bed  was applied indiscriminately for long after Sheraton’s time to indicate tent-beds of ail sorts, even though they may not have been made to fold up.
The press-bed referred to in the foregoing advertise-ment was simply the eighteenth-century interpretation of that very unsatisfactory arrangement by which a bed folds up to look like a wardrobe in the daytime. Heppelwhite gives no drawing of them, explaining the omission by saying : ” Of these we have purposely omitted to give any designs, their generai appearance varying so little from Wardrobes, which piece of furniture they are intended to represent, that designs
for them are not necessary.” Attention is called to the engraving of a wardrobe in the book which is described as having ” ail the appearance of a Press-Bed ; in which case the Upper drawers would be only sham, and form part of the door which may be made to turn up all in one piece, and form a tester, or may open in the middle and swing on each side ; the under drawer is useful to hold parts of the bed furniture ; may be 5 feet 6 inches high and 4 feet
long.”
Georgian furniture of the merely useful type was made in considerable quantities in the American colonies and has distinct character, mostly arising, however, from lack of means to interpret very correctly the features of English styles already developed, or from no particular desire being shewn to do more than adapt the main lines of the designs in the construction of articles of Utility. There are chairs made in America on the Windsor chair principle, and the American development of the rocker from the ladder back English and Dutch chairs is an interesting phase of the history of furniture.
Plenty of furniture was exported, but apparently for private individuals. The shipping records shew instances, but they are the barest possible notes, and are very rarely illuminating.
the omission by saying : ” Of these we have purposely omitted to give any designs, their generai appearance varying so little from Wardrobes, which piece of furniture they are intended to represent, that designs for them are not necessary.” Attention is called to the engraving of a wardrobe in the book which is described as having g ail the appearance of a Press-Bed ; in which case the upper drawers would be only sham, and form part of the door which may be made to turn up all in one piece, and form a tester, or may open in the middle and swing on each side ; the under drawer is useful to hold parts of the bed furniture ; may be 5 feet 6 inches high and 4 feet long.”
Georgian furniture of the merely useful type was made in considerable quantities in the American colonies and has distinct character, mostly arising, however, from lack of means to interpret very correctly the features of English styles already developed, or from no particular desire being shewn to do more than adapt the main lines of the designs in the construction of articles of utility. There are chairs made in America on the Windsor chair principle, and the American development of the rocker from the ladder back English and Dutch chairs is an interesting phase of the history of furniture.
Plenty of furniture was exported, but apparently for private individuals. The shipping records shew in-stances, but they are the barest possible notes, and are very rarely illuminating. From the V Liverpool Trade List” for 1798 one sees at a glance tliat woven and printed goods were the principal exports to the lately formed United States.   Thousands of yards of dimity, Irish linen, checked linen, printed calico, muslin, blankets, gingham, quilting and other materials for household purposes used to go out every week, but the furniture which would be an indispensable corollary of ail these fabrics must in the main have been con-structed in America, where wood was plentiful and cheap, for it only occasionally figures in the returns. To Jamaica, for instance, on one occasion, ” cabinet ware of the value of 50 ” was sent, to Virginia10 worth, to Maryland 80, to South Carolina 50, and Martinique 27.   Sometimes this is given as ” household furniture I and only in the cases of clocks, watches, and looking-glasses are the items separately enum-erated.   To Martinique by one boat from Liverpool in 1798 went forty-eight looking-glasses, to Jamaica two pier glasses, and to Tortola on one occasion six dozen time-glasses.   It is interesting to note in these lists of exports constantly recurring items such as I 20 carnage guns, 30 swivels, 4 carronades, 50 sword blades, 174 fowling pieces, and 14 pairs of pistols,M going for the most part to the Southern States, where Royalist sympathies in the War of Independence were strongest.
Windsor chairs are among these humble pieces of furniture of mere utility, and have been considered sufhciently interesting to justify a chapter to them-selves. But there are dressing tables, small corner washstands, with holes to take basin and dishes, little cupboards, sometimes inlaid with stringing or band appreciate to some extent. The small collector to whom the search for old things is as interesting as possession will still find local types if he applies himself with patience and assiduity in parts of the country which remained longest in rural simplicity after the Coming of the railway.  Parts of Yorkshire, Derbyshire, Lancashire, Wales and East Anglia, are still not denuded of old furniture, though the finest pieces have in most cases already found their way into big private collections.   There is a kind of round table with three legs used in farmhouses and cottages all over England which sometimes shows features of unusual interest. It may be made of ash or oak and is known in the home cou nties as a ” cricket ” table, some say because of the three legs suggesting the three stumps of the wicket. This is a very doubt reason for the name, and the writer has seen little wooden fireside stools in Derby-sbire, localy termed crickets, which had four legs and so met i mes only two ends connected by a tenoned rail somewhat after the fashion of Jacobean joined stools. So me ti mes these three-legged tables are connected by an underframing  shaped fashion im-mediately beneath the circular top, and many of them have no lower rails whatever and no arrangement for letting. They are simply tables made on the prindple of three-legged stools, are usually ex-ceedingly strong and very suitable for inclusion in the rurnisbing of a country cottage.  The legs are mostly square and tapering from top to bottom, splaying out to give stability. Some of these tables are more nearly related to the seventeenth-century gate-leg variety, though they have no gate. One picturesque form has a circular top which turns on a central pivot to permit of three flaps falling down, thus Converting the shape of the top into a triangle at will. There are lower rails to this table and the legs are often very neatly turned.
The country-made dresser is an attractive piece of furniture to the collector of modest means.  Nearly always the backing to the upper part has been added though the shelves may be original.  A quaint reference to the eighteenth Century dresser is found in the 1744 edition of Thomas Tusser’s  Five Hundred Points of Husbandry,” where, in commenting upon the author’s conclusions on hair being found in the cheese, the Editor says :   ” Wenches when they can get a Looking Glass, will be running into Places where they are least suspected and be combing and tricking themselves up ; and therefore it is not without reason, some neat House wifes cannot endure a Looking Glass to hang over a Dresser.”   This clearly pictures the old dresser as a necessary piece of household furniture at which domestic work was done, the shelves being used as convenient places on which to stand pots and pans needed while operations were in progress.  The dresser was not used principally in the eighteenth Century as a sideboard, and whatever decorative character the upper shelves had must have come from the pride of neat arrangement exhibited by house mistresses who liked to have the crockery with which they worked clean, tidy, and handy on hooks. An eighteenth-century dresser will have come from a kitchen, not from a parlour, which as we have seen was furnished with side tables and sideboards.

ANTIQUE 18TH CENTURY FURNITURE CABINET MAKERS AND ANTIQUE CABBET MAKERS AND FURNITURE BOOKS AND DRAWINGS

There are several references to painted furniture at Strawberry Hill which must, however, have met with the approval of the owner. In the inventory one reads of Welsh armed chairs, painted blue and white “… ” chairs, settees, and long stools on black and gold frames ” . . . ” chairs of Aubusson tapestry, the frames green and gold ” . . . ” six elbow chairs with white and gold frames,” and so on.
Many books were published about this time with the object of giving instructions for lacquering, and it may be mentioned that the craft is described also as ” vernishing ” and japanning. But the recrudescence of enterest in a pleasant and agreeable occupation for ladies had little in common with the painted furniture like that at Strawberry Hill, which was a distinct development of classic taste inaugurated by the Adam brothers.
In the main, collectors will find that the most useful point to remember in distinguishing this work is the character of the ornament, which was not Oriental but distinctly Western. Robert Adam brought from abroad Italian artists to paint the interior decorations of his buildings and to decorate the furniture he designed. The best known of these artists were Angelica Kaufrmann, Cipriani, Columbani, Zuchhi, and Pergolesi. A familiar form in which they exercised their most delightful art was in the decoration of painted plaques where classical figure subjects, groups of cupids, and pastoral scenes gave an intimate touch which had not hitherto been seen in furniture. Such medallions are usually oval or round and are seen on semi-circular satinwood commodes and cabinets designed by the Adam brothers or their imitators. Perhaps the finest existing specimen of this class of work is in the Victoria and Albert Museum. It is a toilet table of beautiful proportions designed by Sheraton and painted by Angelica Kaufrmann.
It is very unlikely, however, that the collector will find an unknown piece of this class of work, for it was not executed in the ordinary way of business, but specially commissioned for wealthy patrons. What is far more likely is that chairs, settees, Pembroke tables, card tables, bookcases, toilet glasses, bureaux and other pieces of furniture of the Heppelwhite or Sheraton school will be found here and probably in a damaged condition painted by journeymen in response to the fashion created by the brothers Adam and their Italian assistants. But the designs in all probability will not reflect the Italian taste of the day as much as the French, and instead of the figure plaques it will be found that the decoration consists more frequently of prettily executed wreaths of roses, festoons, twisted ribbon work, baskets of flowers, and attenuated acanthus ornament.
I Satinwood was the favourite material for pieces of furniture so decorated, but in many cases the wood does not show at all, being enamelled white all over, the painted decoration being applied over that. Coverings to chairs and settees of this kind were also painted, and those who have an opportunity of securing an example in which time and ill treatment have not destroyed the delicacy of the work may congratulate themselves on a very lucky find. Frequent cases are to be met with where a chair or settee, formerly enamelled and painted, has been cleaned entirely of its decoration, and renovated as a plain piece of furniture. Although this is, of course, regrettable, it is difficult to see what can be done with badly chipped enamel and half obliterated painted detail. They simply make the piece look a wreck, and no amount of restoration will ever bring it back to its original condition.
One must expect, however, ail old painted furniture to show signs of wear. It should also look mellow and soft. There should be no sharp edges and crudely contrasting colours. If the satinwood shows, there should be a distinct relationship between pattern and
background, difficult to describe but easily recognised after a few pieces have been examined. The patina should run right over the surface and the ornamentation
should suggest a sunken appearance. Old wood, particularly mahogany and satinwood, looks dull but transparent and deep in quality, like water in the shadows of a rocky pool. It was Sheraton whose painted furniture was executed with the satinwood shewing as a background, but Pergolesi resorted principally to treating the whole surface with enamel first.
In a chapter on English painted furniture reference should be made to the inventors of the varnish known as Vernis-Martin,” the most celebrated preparation of the eighteenth century for the execution of this class of work. It was a French discovery, and was known before 1730 when Simon Etienne Martin obtained from the French Government a monopoly of its use for twenty years. About 1750 there were several factories in Paris turning out Vernis-Martin. After that time the designs, which had at first followed Oriental models, became more purely French, and as English designers at this time were so largely influenced by Louis XV. decoration, it was natural that painted furniture should reflect the common source of inspiration.
Vernis-Martin, indeed, was a method which had its imitators ail over Europe. The King of Prussia had one of the Martin family to work for him, and an immense amount of work was done for Versailles, particularly in the redecoration of the apartments of the Dauphin. Madame de Pompadour was also a considerable employer of the factories of the Martin family, paying in one year (1752) as much as 58,000 livres for work done.   Much English painted furniture
recalls far more vividly this extraordinarily popular French taste than the purely classical work of the brothers Adam and their Italian assistants, which had very little floral detail, being composed mostly of vases, husk swags, the anthemion, and attenuated scroll work after the manner of Pompeian decoration. It had its base on architecture, whereas the designs of Martin and his English imitators were evolved from a fanciful treatment of flowers and foliage.
It is evident that the interest of painted furniture depends entirely upon the quality of its execution. Painted furniture has no particular value as such, for after all it was a very easy Substitute for carving, and could be rapidly executed in a slipshod manner by a comparative novice. To some extent this is a safe-guard to the collector, for poor painted furniture by which no particular store was set in the first instance has had no chance to live. Most of that which comes into the auction room now is well preserved and worth buying.
On the other hand what was easy to the professional or amateur in the third quarter of the eighteenth Century is equally easy to the faker of to-day, who does not scruple to take a Sheraton or Heppelwhite chair or table and transform its appearance by lavish brush work. The only reliable way of detecting such frauds is by cultivating a close acquaintance with genuine specimens which will reveal subtle qualities of grace and dexterity never to be seen in new work.
Late Heppelwhite and Sheraton sideboards, chairs, settees, and tables decorated with painted enrichment will be the most likely articles to come the way of the collector in out-of-the-way places. Heppelwhite’s productions or those of the many cabinet-makers working from about 1785 to the end of the century were specially designed and ornamented in response to the fashion. a Miss Constance Simon refers in her book on ” English Furniture Designers of the Eighteenth Century ” to the following recipe culled from Knight’s Penny Cyclopaedia, which may well have described the simple means taken for painting furniture at this period. I A good deal of common wood painting is called japanning which differs from the more ordinary painters’ work, by using turps instead of oil to mix the colours with, bedsteads, wash-handstands, bedroom chairs and similar articles of furniture are done in this way.” The ground upon which the designs were painted was principally black or white, the details being put in afterwards in gold or colours. Heppel-white furniture was frequently used in Adam houses, and it is very likely that in some instances the Italian artists employed by architects were resorted to for the decoration of cabinet-makers’ productions turned out in the ordinary course of business.
The practice commenced by the Adam brothers of painting furniture to tone with the decoration of rooms was followed by their less famous contemporaries in cases where the work was commissioned for
special purposes. The Heppelwhites themselves make the following reference to this branch of their business: ” For chairs a new and very elegant fashion has arisen within these few years of finishing them with painted or japanned work, which gives a hch and splendid appearance to the minute parts of the ornaments which are generally thrown in by the painter.” White woods of quality very inferior to satinwood were often used for this treatment, but on the other hand there are mahogany pieces in existence which were so treated.
Three-back and four-back settees were often black japanned and decorated with gold, and as the fashion for this class of work lasted for a generation many pieces will be found reminiscent of the debased Sheraton work, tinged by Empire, which developed itself at the beginning of the nineteenth century. Some fine examples of Sheraton chairs, dated about 1800, are in the Victoria and Albert Museum.   They indicate very clearly this tendency towards the Empire style, but are not as yet debased.   Made of beech, they are painted and gilt, have the delicate open backs of the period, and cane seats, one of them having an oval cane panel in the back.   A feature typical of many late eighteenth century lacquered and painted chairs  and settees  are  the  round legs curved and splaying out at the bottom.   These legs are ringed in places and are often seen with touches of gold on their black japanned surfaces suggesting the coachmakers’ work.   The best period of English painted furniture is
from 1770 to 1780, but by far the greater number of examples which come the way of the collector will have been made after 1790, when Heppelwhite’s and Sheraton’s books had been published, and the work of the brothers Adam had time to influence not only fashionable furnishing but the work of ordinary cabinet-makers and upholsterers |throughout the country.
A photograph is given of a beautiful knife box of painted satinwood, an example whose vase-like form should be recollected by the collector, for plain specimens are occasionally to be met with. As a rule, however, these satinwood boxes, which flanked late eighteenth century sideboards, have a sloping hinged lid and moulded front. They are often veneered on oak. Examination of the painted detail on this box will shew the ribbons, roses, swags of drapery, and pictorial plaques characteristic of the style.
As time goes on it may appreciate a little in value if the present interest in old furniture persists, but it can never compete with the fine specimens which at the date of their making were exceptional.   Eighteenth-century chairs, perfectly genuine, are to be bought quite easily every day at comparatively small prices. Oak and mahogany tables, chests of drawers, long case clocks, bureaux, bookcases, secretaires, dressers, corner cupboards, settles, settees and sofas, they are ail to be had in the simple forms ordinary household furnishing of the Georgian era.  They are worth buying because they have old associations and are pleasant and comfortable in use. In the eighteenth Century such furniture was made for middle-class houses by the cabinet-maker in the ordinary way of business.  It was not thought in its day of more exceptional interest than we should think the commercial products of the modern furniture shop.   It had qualifies which were appreciated, the principal one   undoubtedly  being   its  soundness   of   construction, for people bought their possessions then with a view to durability, and makers had not yet learnt all those clever ways of producing the cheap and shoddy which have resulted in so much showy furniture of our own time.   Advertisements of sales of household effects in the eighteenth Century help to give a picture of the kind of furniture.
‘ All the genuine Household Furniture, comprising bedsteads with marine and other furniture, fine goose feather beds, blankets, etc., mahogany wardrobes, chest of drawers, ditto dressing tables, mahogany press, bedsteads with green check furniture ; mahogany escritoire ; ditto writing table with drawers ; ditto dining and Pembroke tables ;   library table with steps ; mahogany and other chairs ; pier glasses and girondoles, in carved and gilt frames ; a neat sofa ; an exceeding good eight day clock ; Wilton and other carpets ; register and bath Stoves ; kitchen range ; smoke-jack and other useful kitchen furniture ; two large brewing coppers, exceeding good brewing Utensils, and other effects.”

HEPPELWHITE FURNITURE. HEPPELWHITE CHAIRS, TABLES, BOOK-SHELVES, CABINETS, CUPBOARDS, SIDEBOARD and BEDS

Line is the principal characteristic of later eighteenth-century furniture to which the name of Heppelwhite is given. The style suggests a pleasant compromise between the virility of Chippendale and the formal reticence of Sheraton. Heppelwhite furniture indicates no violent change. It would seem as though the strongest conviction of the designer had been that dogmatic views were on the whole undesirable and that a medium course was the best to steer in catering for a fickle public.
Heppelwhite furniture has the quiet charm of reticence, and never fills one with astonishment. An exceptional piece of carving by Grinling Gibbons is in itself a very remarkable achievement of craftsmanship. It is a tour de force. The same may be said of the more elaborate pieces by Chippendale and Sheraton, and the French schools of the eighteenth Century are renowned for masterpieces of surprising workmanship. But Heppelwhite catered, it would seem, for a more middle-class public than Chippendale, and he was more of a tactful tradesman than Sheraton. He desired to conduct a prosperous cabinet-making business for a
good and apparentry succeeded in doing so.
His furniture reflects this in some subUe way. There is no gorgeousness about it. There is no suggestion that be was patronised by the extremely wealthy. Even the finest examples of Heppelwhite s furniture are models of grace rather than grandeur.
A. Heppelwhite & Co. published a book in the 1788 which is commonly taken as illustrating the principal characteristics of Heppelwhite furniture. But, we found with Chippendale, the year of publication did not exemplify the best period. George Heppelwhite, the founder of the business, had been dead two years when the ” Cabinet Maker and Upholsterer’t Guide,” as it was called, came out. Miss Constance Simons researches at Somerset House revealed the administration of the goods and chattels of George Heppelwhite of the Parish of St. Giles, Cripplegate, London, to have been granted on the 27th June, and that afterwards the widow of the cabinet-maker carried on the business under the style of A. Heppelwhite & Co.
As an advertisement for the firm, the “Guide” was brought out later on, and it certainly had a great sale.   It was bought largely by the trade even more largely than Chippendale’s bookand this accounts in great measure for the enormous amount of Heppelwhite furniture produced ail over the country.  It should be remembered that the craft was still a tradi-tional one.   Cabinet-makers learnt their trade at the bench and not from books, though other publications about furniture had been brought out notably those of Ince and Mayhew (1762), Robert Manwaring (1765), Matthias Lock and H. Copland (176S), and John
Crunden  (1770).   Sheraton’s book,   The Cabinet Maker’s and Upholsterer’s Drawing Book’ did not appear until 1791. But these publications, as far as technical instruction goes, are almost childishly inadequate. In the sense in which we understand the term they give scarcely any detailed information. It is, indeed, very instructive to note the complete confidence which Chippendale has in the intelligence of the joiner and cabinet-maker who may be disposed to copy his designs. There is nothing elementary about the directions. The workman is supposed to be able to set out the job from a sketch and two or three main dimensions. N0 doubt a skilled cabinet-maker could do the same to-day, but he would have had, probably, the advan-tage of considerable technical instruction, and access to hosts of elementary works on carpentry and joinery.
In the eighteenth century books on the simpler operations of cabinet-making were almost unknown, though a large number of books on architecture and building were published. The apprentice learnt from his master, who used the quality known as ” nous”  in adapting designs from publications such as those of Chippendale and Heppelwhite. He had to think for himself very largely. He was not spoon-fed but had to contrive his own methods of interpretation.
Sheraton, who is more particular about detailed instructions than many writers, simply says in reference to an elaborate bed in his book : ” The manu-facturing part may easily be understood by any workman.” Many joiners and cabinet-makers of the time must have had very slight acquaintance with printed matter and may have been in some cases. Popular journalism as we understand it to-day was non-existent. The craftsman trusted to his observation and the skill of his hand rather than to printed instructions, and it is to this method of going to work that we owe the interesting character of English furniture made in different parts of the country.
There are scores of little tricks and dodges in the craft of cabinet-making which are taught at the bench, yet even to-day have scarcely figured at ail in text books. The writer had an opportunity at one time of going over the tool chest of an old cabinet-maker who had inherited the implements of his trade from his father, who must have been at work in the late eighteenth century. Some of the tools were inexplicable, and their use could only be guessed at. Many of them were obviously self made, probably for special occasions, so that Heppelwhite furniture, in common with that of his contemporaries, was not mechanicaly reproduced by cabinet-makers who had access to the designs in the book. It was copied and adapted, skilfully or unskilfully, according to the ability and circumstances of the worker. Heppelwhite’s book was a good guide to fashion in furniture. It showed what style of work was being done in London, and opened the eyes of the country craftsman to novelties.
Fashion had changed considerably since the issue of Chippendale’s ” Director.” In France the frivolity of Louis Quinze had developed into the comparative soberness of Louis Seize.   English furniture-makers still looked to the French for leadership in artistic taste, and Heppelwhite followed the fashion like every-one interested in the arts. The brothers Adam  were still very influential and George Heppelwhite was employed by them. Indeed, he must have owed much to their direction in design. Some pieces of furniture of the Heppelwhite school have almost more Adam than Heppelwhite about them. In his rendering of the late French Renaissance, Heppelwhite seems to have been more English than Chippendale, possibly because his work had to be carried out at a reasonable cost, a condition of things Chippendale did not always have to put up with. There was a gentle graciousness about Heppelwhite’s furniture which was never achieved by French work of the same period. In this softness of expression he undoubtedly surpassed the brothers Adam, who were inclined to stifmess and angularity.
As in the case of Chippendale, collectors will be wise to regard the name of Heppelwhite as merely a convenient label on style.   They will in ail probability never discover a piece of furniture which can be cer-tainly identified as having been made by Heppelwhite himself, or even turned out of the Workshops of Heppelwhite & Co.   The greater part of the furniture which can fairly enough be ascribed to this successful designer was made subsequent to the publication of the ” Guide’ and as Sheraton published his book so soon afterwards, the influence of the two great makers was experienced together  in   many  a Workshop.   The   ” Guide ” indicated the character of George Heppelwhite’s furniture as translate into a fashionable development, and is not exactly a reflection of that which he made
long before the Company came into existence.
To start with the chair, which will reveal more of significance to the average observer than many other pieces, the principal feature is the form of the back, usually shield shape. It is possible that Heppelwhite himself turned out in the aggregate more chair-backs of other forais than the shield, but the latter was popular and was recognised then and now as on the whole the best thing he did in this direction.
The finest shield shape backs represent a type. They are pure Heppelwhite, and are one of the most important contributions made to the story of eighteenth Century English furniture. No doubt they were evolved, but the steps of the evolution are not apparent. In some cases it is possible to see the influence of Chippendale in early Heppelwhite work, but the pure shield-back chair eludes anything but the most imaginative connection with the former style. It is carved and nearly always in mahogany, but unlike Chippen-dale chairs, the carved ornament is applied for the most part within the outline of the structure. It does not flow out to vary the boundary line. The shield is uninterrupted all the way round, the grooves or boundary beading being nearly always continuous. Reference to the Chippendale chairs should make this point clear.
It will be seen that in these two examples the crest rails have their carved decoration clothing the form on the outside and thus varying the outline.   But the Heppelwhite chairs show these shield-shaped and oval backs in a continuons uninterrupted sweep. Occasionally an instance will be found in which a Heppelwhite chair has a small carved rosette or knot on each side of the trame of the back, from which a detail of festooned drapery will be sus-pended, but in the majority of cases such details will be found only with in the shield or oval.
Sheraton also used the shield shape, but his rendering of it gave a short horizontal line on the crest rail. Tins feature is never seen in a Heppelwhite chair with shield back, the outline of the top being always bow-shaped. Reference to the examples illustrated will reveal another characteristic feature. The two supports of the back run down in a gentle wave and dis-appear behind the seat to join the legs. Sometimes a tiny scroll is seen on the outer side at the junction with the shield frame. In most Sheraton chairs the curve of the support will be stopped well above the seat level, the continuation down being square and plinth like. From this square shaping in Sheraton work a rail frequently passed across to strengthen the frame. Heppelwhite did without this extra rail. His back supports combined with the sinuous arms make a piece of constructive framework which for strength has never been surpassed.
It is due to the f act that Heppelwhite’s work and that of Sheraton have so much in common that frequent comparison between the two must be made. Some examples of late eighteenth-century cabinet-making, indeed, are so constructed as to defy ail attempts at authentication. They may partake of the characteristics of both Heppelwhite and Sheraton. As a general rule such pieces are not so valuable as those which express purity of style, but they are often
extremely interesting.
Heppelwhite’s arm work was superior to that of Sheraton in contour, and its approach to the front part of the chair. There is a better realisation, too, of the value of concave surfaces arranged to be complementary to one another in the construction of the back and arms. A Heppelwhite back is often concave, but not always. The arms sweep out laterally and the elbow dips toward the seat before it reaches a point immediately above the front legs. Sheraton’s chairs give a sense of more sympathetic relationship between front legs and arms. Heppelwhite’s establish a more convincing connection between arms and back. The front legs of Sheraton’s arm-chairs may be looked upon roughly as vertical posts, running up well above the seat level to the elbow. Heppelwhite front legs stopped at the seat, at which point the arms sometimes joined them. In the case of the shield-shaped back shown, the lower sweep of the arms joins the seat frame well back from the front legs.
The serpentine line is typical of a great deal of cabinet-making by the Heppelwhite school. It is found in side tables, sideboards, chests of drawers, Pembroke tables, bed testers, wardrobes, chairs, and many other pieces of furniture. The chair with oval back shows it in the shape of the front rail, and the one with shield back at page 210 is also slightly  serpentine.   Ail  fashionable chair-making from about 1760 began to show more spring and liveliness than it had done hitherto.   There was less weight
and a better sense of the value of spread about the legs, which were placed so as to obtain a stability which would otherwise have to be obtained by stoutness of material. Heppelwhite chairs more certainly than those of Sheraton touched the point of perfection between lightness of appearance and constructive rigidity. It is quite possible for chairs to be strong enough for their purpose but to look weak. This is a fault in design more frequently seen in Sheraton than in Heppelwhite.
In decoration the furniture under consideration illustrated the employment of more varied methods than that of Chippendale. It was carved, inlaid, painted, or lacquered. But there was rarely a case in which the opportunity for elaborate enrichment was abused. Familiar carved details are the Prince of Wales’ feathers, wheat ear, wheel form, ribbon and bow, and anthemion, with festoons of conventionalised drapery suspended from rosettes.
Sometimes chair-backs were filled within the en-circling frame by designs having little suggestion of the old-time plain or pierced splat, and on the whole such examples are more characteristic of pure Heppelwhite. The splat, however, as seen in Queen Anne furniture and in elaborated form that of Chippendale, was used to suggest a vertical centre ornament. Classical details reminding one of Adam enrichment were employed, the pendant row of husks, the vase, and the lyre being instances. The last mentioned, indeed, was probably in the first instance an idea suggested by Adam.
Collectors may find Heppelwhite chairs with padded or upholstered backs probably oval or shield-shaped, They were called cabriole chairs. Accompanying the padding in the back is a small arm pad and to correspond the seat will be upholstered. The drop-in seat is not a characteristic of Heppelwhite.
Upholstered chairs were commoner after 1750 than is often supposed.  But as the Covers wore out and exposed the stuffing they became relegated to inferior rooms in the house and subsequently broken up. Caricatures of social life at the time frequently show these stuffed chairs and they suggest Heppelwhite more than any other maker.  Skirts of ladies’ dresses were ample, so the arms of chairs were well thrown out, and their supports curved backward.   It is a curious thing that the ” Guide  gives no illustration of what we regard as a very typical Heppelwhite chairthe wheel back, a design which was also found in settees. A curious caricature by Collings  of  1786, called ” The Disinherited Heir,” shows the wheel back in use, though the draughtsmanshipfrom the point of view of a designer of furniture exceedingly poor.
Attention should be paid to the feet of chairs. The thimble shape is seen and also the spade or ” term.” On the whole, Heppelwhite did more with the feet than Sheraton, sometimes carving them with leaf forms.   Fluting with carved husks diminishing in size downward is often to be found on the legs.   In plain examples there will be stretcher work Connecting
the legs, as in the chair at page 210. Round, fluted, or grooved legs are common, also square ones, delievered by beading and finishing at the bottom without feet.
At the close of the eighteenth Century the number of pieces of furniture in use in ordinary houses had increased enormously. Heppelwhite’s list in his book comprises no fewer than three hundred different designs on a hundred and twenty-six plates. Such a work must have been invaluable to the country cabinet-maker. But of course these plates do not correspond in number to the pieces of furniture. Many designs were given for each piece. An analysis of the plates reveals, however, over forty different articles which might well have been used in furnishing a house.
The Heppelwhite sideboard included very often a cellaret on one side and a drawer on the other, thus Coming nearer to the sideboard which reached its completed but debased form in the middle of the nineteenth Century.   Heppelwhite Sheraton too also included a small secret cupboard at one end of the sideboard at the back of the drawer, which was con-sequently made shorter.   It will be found that the front line of the sideboard is often serpentine.  The cupboards are never convex on plan, always concave, and there is usually a drawer between them. Side tables without drawer or cupboard accommodation continued to be made with pedestal cupboards to stand at each and surmounted by knife boxes. These side tables are straight fronted and suggests in their carved detail the Adam influence.  Heppelwhite makes no distinction in his book between the fitted piece of furniture and the simple table, calli both of them sideboards.   The right-hand drawer, if there was one, was fitted with partitions for nine bottles behind which was a place for cloths or napkins.  In the left-hand drawer were two divisions, the back on lined with green cloth to hold plate under a Cover the front one lined with lead for holding water to was glasses.   It is explained in the ” Guide ” that ” must be a valve cock or plug at the bottom, to let o the dirty water ; and also in the other drawer, to change the water necessary to keep the wine, etc., cool ; or they may be made to take out.”
Heppelwhite gives a rule as to the dimensions oi sideboards, saying that the generai custom was to make them from five and a half to seven feet long, three feet high and from twenty-eight to thirty-two inches wide. He also says that they were often made to fit into recesses, so that in cases where the collector comes across a sideboard of uncommon proportions it may indicate a special commission and possibly special features introduced.
The pedestals which, as already noted, stood flanking the united sideboards, were provided with racks and a stand for a heater, so that plates might be kept warm in the dining-room. Knife cases were made by Heppelwhite, but collectors may discover that the inside cuttings are different” from those shown in the photograph, for the vase was frequently used for water to keep the butter cool or for ice. Japanned copper was found a convenient material for making vases for holding water.
Under the sideboard was placed the cellaret, made of mahogany and hooped with lacquered brass hoops, the inner part being divided into partitions and lined with lead for bottles. Common shapes were circular or octagonal in plan and standing on four legs slightly splayed out. They had handles at the sides and a lid. Knife cases with serpentine fronts and sloping lids are frequently to be found in second-hand dealers shops ; but their value depends entirely upon the quality of the wood used and the execution of the inlaid or painted decoration, for they are not in them-selves rarities.
The bureau bookcase, or, as Heppelwhite calls it, the desk bookcase, was a piece of furniture very popular with the country cabinet-maker. It was straight-forward in design and presented few dfficulties of execution. It had no curved surfaces, and the lower part, although demanding neatness and skill in its making, could be treated in the traditional way.
It was rather different with the secretary and bookcase, the lower part of which was made to look like a shest of drawers when closed. It was more complicated and must have been new to many cabinet- makers. Collectors will find examples of the secretary bookcase rarer than the bureau bookcase.   It was not, of course, peculiar to Heppelwhite, for Sheraton made many examples, and those he gives in his book, although more elaborate in appearance than those of the ” Guide,” must have tempted many a cabinet-maker to copy them.
The feet of such pieces as chests of drawers, ward-robes, and bookcases were mostly made by Heppelwhite square with bracketed ogee shaping. Sometimes there was a wave sweep between them and the feet were splayed out. A pair of cupboard doors sometimes took the place of the drawers in the lower part.
Other examples in the ” Guide ” which were largely copied were the wardrobe, and single and double chests of drawers.  The former had two long drawers and two short ones below, and a cupboard above with sliding shelves.  Probably no piece of furniture so simple and suitable for its purpose was ever invented, and even to-day, with the competition from the modem hanging wardrobe fitted with dress suspenders and hooks, it holds its own uncommonly well.  Chests of drawers followed the form adopted by ail makers towards the close of the eighteenth century.   They were either single or double, the latter usually being about six feet high and known to us as tall-boys or high-boys.
Frequently in country sale rooms one can find those delightfully fitted dressing tables which close up by means of folding doors on the top. They were made both by Sheraton and Heppelwhite, but most of those
which are of the plain utilitarian order originated from the ” Guide.” The various partitions into which the well under the folding lids was divided were in-tended for combs, powders, essences, patches, pins, and other articles for the toilet. The glass, which is also fitted into the well, in front and is supported by a foot fixed in the back. These dainty bits of furniture are not particularly rare and their value depends entirely upon their condition, and the character of their decoration, if they have any. Inferior wood was often employed in their make, but mahogany was common enough.
Perhaps the most comprehensive article of this and attributed to Heppelwhite was what was known as Rudd’s Table. Heppelwhite says : ” This is the most complete dressing table made, possessing every convenience which can be wanted, or mechanism, or ingenuity supply. It derives its name from a once popular character for whom it is reported it was once invented.” Rudd’s table is one with three drawers side by side in front, the middle one of which slips in and out in the ordinary way. The two side ones slip out and swing to right and left on pins. They contain mirrors on frames which turn up on metal quadrants. Ail the drawers are most elaborately fitted and there is a slide covered in green cloth for writing.
Most of these mechanically perfect little pieces look when closed like nicely made boxes on stands, but some of them appear like chests of drawers. Heppelwhite made a number of these and called them dressing drawers.   The principle of construction in ail of them was much the same, the fitted part being in the recess
behind the top drawer, which either ran on a slide or was exposed from above by opening a folding lid.
In his settees Heppelwhite reached almost as great a success as in his chairs. Wheel back settees, made of satinwood and painted, are very scarce and realise if in good condition big prices at auction. In the ” Guide g the settee is spoken of as a sofa, and the dimensions given show them to have been rather long. The author says : I The following is the proportion in general use : length between six and seven feet, depth about thirty inches, height of the seat frame fourteen inches : total height in the back three feet one inch.” Five examples of fully upholstered settees are give in the ” Guide,” but only one with a bar or banister back. This last example is what we should call a four-chair back settee. In design it is obviously adapted from a row of four shield-backed chairs, and is very characteristic of the maker.
Heppelwhite settees have the crest rail in the form of a wave which gently flows into the arms at each end. The fully upholstered ones have in some cases no wood showing on back and seat, but in others a neatly moulded frame is visible ail round. The legs are often round and straight, though the French cabriole was sometimes used.
In acknowledging his indebtedness to the French I for the idea of the ” confidante,” a kind of settee with single chair seats fitted at the ends, the English cabinet-maker says :  ” This piece of furniture is of French origin, and is in pretty general request for large and spacious suites of apartments.  An elegant drawing-room with modem furniture is scarce complete with-out a confidante ; the extent of which may be about nine feet, subject to the same regulations as sofas. This piece of furniture is sometimes so constructed that the ends take away and leave a regular sofa ; the ends may be used as Barjier (sic) chairs’
Another piece of furniture Heppelwhite adapted from Louis XV. sources was the ” duchesse.” Two ” Barjier ” chairs with a stool between them form a sort of long couch, the chairs facing one another. Settees of the Heppelwhite type were frequently made with serpentine fronts, the seats finished with cane upon which a loose cushion was used. Inlay was occasionally introduced in tiny ovals or circular panels, but for the most part the characteristic carved flutings comprised the decorative enrichment.
A chair which has been much copied in recent years is the Heppelwhite easy chair with side wings above the scroll arms.  The legs are square in section and finished with spade-shaped feet, straight stretchers being fitted to stiffen the frame.   Heppelwhite refers to these chairs as ” saddle checks ” and says they may be covered with leather, horsehair, or have a linen case to fit over the canvas stuffing.   It is the rarest thing to discover one of these easy chairs with the original covering, certainly not the original horsehair, which wore badly in patches.   But if the chair had formerly a fine needlework covering, and care had been taken of
it, there would be some probability of its still being good.  A Heppelwhite easy chair of this kind is quite a possible find.
Library cases were made of the finest mahogany procurable as a rule. These were commissioned, of course, by well-to-do people and were highly finished, the sash bars being often of metal, gilt, or painted.
Heppelwhite bed pillars are among the most graceful ever made, and simple examples are common enough. They are usually fluted or reeded, the urn shape being frequently used at the greatest thickness. Carved enrichment of wheat ears, the anthemion, husks and leaves is usual, and the long part of the pillar may be relieved by a twisted ribbon. ” Term feet are found on those posts which in use were in-tended to be exposed. In some Heppelwhite beds the lower valance went round the feet of the posts, but in others it simply ran from post to post, leaving the latter fully exposed at the corners, the curtains being looped up high.
The following bits of Heppelwhite furniture may be picked up from time to time in ail sorts of odd places. They were made very largely, being fairly simple in construction, and in price were well within the means of people in moderate circumstances.
Tea Trays.Either inlaid or painted and varnished. Usually oval or scalloped, the ornamentation shewing attenuated acanthus scrolls, ribbons, roses and husk swags.
Tea Caddies.Rather casket-like with feet or plinth bases. Carved, inlaid, or painted. A very simple one often to be met with is the shape of a square prism with hinged lid and divided by a middle partition.
The pole screen frequently figures in prints of interiors representing social life of the late eighteenth century. Embroidery was still a fashion-able occupation, though after the close of the century it began to give way before the mechanical products of the loom. Horace Walpole alludes to various articles at Strawberry Hill decorated by ladies. I In the round Drawing Room :A screen worked in chenille, to suit with the chimney, by the Countess of Ailesbury.”
And again : “A two leafed screen painted on Manchester velvet, with the heads of a Satyr and Bacchante, by Lady Diana Beauclerc, in 1788.”
Hanging Shelves. These have perforated ends, no backs, and are sometimes fitted with little drawers on a scalloped or serpentine front.
Dressing Glasses. Painted or inlaid, with curved supports, and having decoration of vases and swags. Sometimes made of satinwood veneered on oak.
Tambour Writing Tables. Fitted with a sliding shutter to slip down after the manner of a modem roll-top desk.
Shaving Tables and Basin Stands. Both on square plan and standing on tapering legs with term feet. A sliding shutter will sometimes enclose the front. The folding-down mirror is always seen in the shaving interiors and furniture by using the brush of the artist as well as the chisel of the carver. This use of painted decoration on furniture must not be confounded by the collector with lacquering founded on Oriental models, although the latter again became fashionable in the middle of the eighteenth Century owing principally to the influence of Sir William Chambers, who had received many impressions of Chinese work during his travels in the East.   Mr. Percy Macquoid, however, referring in his sumptuous work on English furniture to Sir Horace Walpole’s description of the contents of Strawberry Hill, quotes a letter written to Sir Horace Maun as early as 1743 in which the fashionable craze for amateur japanning is rather severely handled. J ‘ ‘ My table I like, though he has stuck in among the ornaments two vile china jars that look like the modem japanning by ladies.”

ANTIQUE ELIZABETHAN FURNITURE. ELIZABETHAN TABLES, CHESTS, CHAIRS AND GATE-LEGS

Collectors of old furniture who carry the antique leather porters chair ir investigations beyond the oak serpentine chest point at which it is fairly easy to distinguish one period from another, may be tempted to agree with a worried amateur collector who, in despair of ever arriving at a true designation, declared that he believed ail the painted regency settee specimens in existence were nothing more than transitional. This declaration is a very much wiser and more profound one than it looks at first sight, for in a sense ail art is transitional. It typifies the regency chair square back age in which it is produced, but also partakes of what has gone before, and illustrates a movement in thought which is bound to develop in the brass cross for bookcases future.
No style in furniture can be entirely segregated. No exact boundary can be drawn at a point where one period leaves and another begins. One might as well attempt arbitrarily to divide the furniture display cabinets waters of a running stream. Tradition, which s the value of 1910 oak chest of drawers scotland essence of the inlaid fruit wood oval table antique history of furniture, brooks no sudden cessations. It flows on from generation to generation, changing its character from time to time according to a multitude of
circumstances, but always exhibiting that relationship best expressed in the antique bucherer ladies bracelet watch with hinge cover phrase ” from father to son.” That phrase, indeed, translates the pembroke table shaped octogonal column word tradition perfectly, and in so far as it is applied to furniture
illustrates exactly the different types of buffet furture method employed in the antique spanish vases with monks past to transmit the salor juval knowledge of the writing desk ball and claw foot mahogany worker in wood from one generation to another. Workshop experience was the antique baroque design chairs bed-rock upon which makers of furniture built up the p. van gelderen of schoonhoven, ir varying structures. Printed instructions were practically unknown until the 18th meissen cup eighteenth century, and a youth had to learn his craft from his master who in his apprenticeship had obtained his knowledge in the antique greek inlaid tables same way. Even to-day the trestle dining room table value of workshop experience is placed higher by many makers of fine furniture than the reproduction 16th century furniture teaching of the barley twish rectangular oak table polytechnics, no matter how efficient such teaching may be. It is only interference with traditional methods by modem mechanical routine which has necessitated the dolphins antique bronze inkwell pro?vision of technical colleges in the wood and metal buffet attempt to supply that craftsmanship so largely abandoned in favour of expert machine minding. So that while in the antique victorian poster bed acorn past the antique boy holding a basket of cherries maker of furniture must perforem have known ail about tools, the mahogany linen press with pearl inlay maker of to-day is expected rather to under-stand the how legs cabriole machine of which he is likely himself to become the 1850s french mirror backed chiffonier with upper curio cabinet tool.
Commercial conditions of our own time, too, often compel a subdivision of labour, which pre-vents many workers in factories from becoming acquainted with anything save the antique spanish sideboard particular duties for which the gateleg tables y receive wages. The immediate use of a thorough knowledge of the upmarket upholstered chairs photos entire craft of the antique oak desk built in paper tray cabinet maker is not apparent, so instead of the antique painted single door bookcase - c1900 learner exhibiting an eagerness to get others to teach him, the oak livery cupboard spectacle is seen of teachers, supported by public money, having to do the old bottles on you tube ir utmost to persuade the large salmon painted cupboard chest novice to come and be taught. Even after an intelligent pupil has assimilated ail the sheffield silver company candelabera technical class can impart, he may find himself debarred from practising his craftsmanship in a factory where speed and a slick commercial finish are preferred to deliberation and sound construction. The result is that tradition is hard to keep alive, and evidence that it exists at ail nowadays is only seen in furniture made here and the antique chest of dress with long legs mirror and in lay re for the gotic lion solid wooden 0rnaments few who can understand and appreciate. How few the gebruder thonet antique chairs,uk re are may be gathered from the deakin & francis silver teapot opinion expressed by one maker, after many years of experience, that hand-made furniture constructed on traditional lines appeals only to about five per cent, of purchasers.

It is absolutely necessary for a collector of old furniture to understand well the antique wooden & leather leg rest different conditions prevailing before and after the entry halls in mid 19th century homes introduction of power driven machinery. These conditions explain so many things. They explain why the japanese porcelain pre 1941 carving on an old chest, for instance, looks so much more interesting and alive than the little wooden things in 1930s dresser drawer mechanically tortured panel of a modem wardrobe door. It is not so much that the furstenberg antique miniature vase latter has no commendable qualities. It was executed quickly and the english chair, gothic arch, back worker was paid for what he did at so much per piece. And that is exactly what it looks like. But the victorian tigers claw old carving suggests leisured consideration. It shows that the weisweiler, adam craftsman had at any rate plenty of time and possibly not very good appliances. He made the mahogany bookcase astragal glass regency early 19th best of what he had. There is evidence of some struggle, of humouring the drawings for antique bookcase wood here and the antique rounded corner chair re where it varied in grain, of thought in the antique american walnut drop front bureau chippendale style selection of a suitable pattern. The carving shows visible marks of the pie crust shapes in wood carving tools, not put the antique sewing table, round side storage re for effect as is sometimes done nowadays by carvers who imitate old work, but obviously left as the clarice cliff in cleveland ohio natural outcome of the english sideboard 20th century method employed. The old conditions explain why the antique indigo blue kashan rugs inlay of a Tudor panel is so simple in design, so nicely balanced, and so full of varied lines. The worker had not the antique furniture knobs dubious advantage of being able to use veneers almost as thin as note paper. He had not the writingtables designs means to cut his curves with mechanical accuracy. He had actually to carve out his bits of holly or bog oak to the antique washstand with bowl and stand cheap required shape as near as he could, cut the bronze mantel clock with 2 knights stubborn oak down to receive the antique irish dining table with leaves captain chair m and sink the white painted shield back dining chairs ornaments with much labour. He had no machine to run out ” stringing ” of uniform width. The stems of his conventional floral devices were often wobbly round the 1920’s roll top small desk curves. They were thicker here and the history of the double hands glass object/holyrood glass works re, and in the antique victorian bow drop ring pull case of symmetrical panels showed slight divergence of treatment in each side.
In modern furniture it is common to see evidence of a desire to economise material and labour. Old furniture shows nothing of this. If a thick piece of wood was required for a cornice moulding, the 18th century furniture italy n a thick piece of wood was used. It was not sought to obtain somewhat the reformed gothic rosewood center table marble top same effect by using mouldings run out on a thin length of wood which was afterwards set at art angle and supported by blocks from behind. The ends of a wedge or peg. This method was employed in making tables, benches, and stools in the austrian zur erinnerung an meine dienstzeit fifteenth and sixteenth centuries. In principle it is as old as civilisation. There are chairs in the william mary foot stool British Museum made three thousand years before the samuel alcock & co dessert comport auction prices Christian era in which the queen anne round antique walnut hallway entry table mortice and tenon joint is clearly seen. Our ancestors employed a very simple but effective plan for making the made in spain antique bentwood rocker with caned seat and back joint tight. Instead of boring the georgian bureau bookcase gothic glazing bars holes to receive the rosewood altar style sideboard peg in perfect alignment, the desk slide-on brackets y made the victorian reproduction bentwood hat, coat & umbrella stand one through the english regency style furniture tenon rather nearer the wood waiter drawer line of junction of the drawer candle grease two pieces of wood than the commode giuseppe maggiolini other, so that when the cockbeading peg was driven home it forcibly pulled up the sideboard with drop leaf tenon into position. This was called the vintage kidney shaped bed side stand ” draw-bore ” process.
It is hard to realise nowadays that a Yorkshire joiner constructing an oaken settle in the antique regency window seat reign of Elizabeth was, for all the made in france antique door plate good it did him, as far away from London as most people are now from New York. The conditions were such that he would not be likely to feel the single pedestal dining table carved animal heads influence of a change in fashion very soon. He would go on the antique bed tall headboard old way, working at his bench as his father worked before him, and turning out very much the antique china with brown harvest scene same sort of article. There are numbers of settles and dressers common pieces of furniture in farmhouses all over England regarded as having been made in the clarice clare england pottery vases with birds seventeenth Century, which in ail probability are very much later in date.
It is usual to pronounce judgment upon the brush and drummond pocket watch age of a piece of furniture by its constructional and decorative character. Thus one hears people say, “That buffet s certainly Elizabethan because of its bulbous sup-orts and its strapwork ornamentation,” or the antique gilt silver embossed serving spoons 1830’s y will a chest were stoutly made, whether the octagonal gpo wall clock y were panelled or not. No attempt was made to save material by cutting two panels from a piece of wood only thick enough to make one. The screw, of course, had not been invented. Mortice and tenon and the antique dutch east indies.wood carving wooden peg were used to fasten the antique table top that only half lifts up pieces together. In old work, at any rate prior to the antique vienna regulators eighteenth Century, no special effort was made to conceal joints. It is true that secret drawers, slides, and wells were common enough.* They did not, however, arise out of a desire to hide constructive parts as if the late 1800 empire chest of drawers y were blemishes, but from the wwden bed footstool necessity for providing places of security for valuables.
There is usually no difficulty whatever in seeing at a glance how the art deco zebrawood dining suite simpler pieces of old oak furniture were put together. It was after the brass tripod table with mirror top free introduction of foreign woods into England in the 1920s buffet inlay wood late seventeenth and eighteenth centuries and the antique library reading table perfecting of machinery for cutting the antique chestnut urn m into thin mechanical veneers was complete, that means were provided whereby finish could be made the antique candlestick vienna austria excuse for hiding construction which in consequence deteriorated.
The most obvious means for securing two pieces of wood together is that which shows the antique american gondola chairs tenon out long, thrust through the heavy oak dining table with leaves that pul out mortice, and tightened by means of entire course.

* One of the dining table women head ornate carving italian earliest known to the novelty large display marijuana joints writer is that in the wellington hall hepplewhite sideboard church ehest of Bosham, fully described in ” The Church Chests of Essex/* by H. William Lewer and J. Charles Wall, Tal bot & Co., London, 1913. This is an artful contrivance for closin g the antique mahogany sideboard entrance to the queen anne mahogany mirror ” tili ” or ” purse,” a fairly common feature of oaken chests of the purdonium sixteenth and seventeenth centuries. But the victorian chiffonier top mahogany Bosham example is of thirteenth Century origin, the antique small walnut tripod pedestal table assignment of this date receiving valuable support from the black lacquerware vase mother of pearl grapevine discovery of a coin of the ernest chaplet vase circa 1890 time of Edward I. found jammed tightly in the porcelain blue crown over n marking italy shutter of the the origins of scandinavian furniture purse.It had nothing to do with tradition.
It was purely eclectic.
The earlier the chinese box lacquer mother of pearl with sectional period the bronze alms dish 16th century longer time it took the jardiniere suspended in bamboo country as a whole to assimilate its characteristics, and the walnut sabre leg chair harder for it to change to the antique bed tray succeeding period. It is more necessary to bear the hepplewhite chippendale bed se considerations in mind in discussing country-made furniture than in that turned out in London and the antique english tall clock very early 1700 larger sowns, for rural conditions of industry were such as to create but little demand for a fashionable article. Fashion in furniture has followed architecture very closely, and even to-day in this age of reproduction it is interesting to note that the country antique drop leaf table with castor wheels vogue for Georgian reproductions is contemporaneous with a revival of the small hall table, marble top, shelf classical spirit in domestic buildings.
The ordinary channels through which a collector of moderate means may be expected to add to his possessions will yield practically no furniture earlier than the victorian brass mounted walnut casket with sevres plaque beginning of the 18thc mirror plate seventeenth century, which may be referred to as the antique cabinet makers small slde cabinets commencement of what is known as the types of antique shaving stands Jacobean period. James I. came to the ironstone pottery expensive throne in 1603, but it is not to be supposed that this event in history caused an immediate change in decorative style. Much of the top drawer antique new orleans heavy enrichment which characterised Elizabethan carved oak furniture continued in evidence, but after the antique furniture milford connecticut close of the bowfront chest thomas pleasant sixteenth century no Gothic details are to be found except occasional panels of ” linen-fold.” They lingered here and the antique epergne of woman re during the parian ware figure the wounded indian p stephenson 1851 preceding period, particularly in the antique french furniture character of the antique louis xv duchesse brisee mouldings which may best be studied in ecclesiastical woodwork and furniture.
Jump to the 1700 antique couch pictures conclusion that a ” gate-leg ” table with twisted legs must have been made at least when one of the price of 1930 bereaux desk withbookcase glass fronted top Stuarts was on the antique chinese exports ballast china trade throne. But the narrow credenza se proofs of style are not of the oak antique dressers two small drawers /three large drawers mselves proofs of age. They only show that the 1820-1850 antique american chair pieces concerned are certainly not older than is indicated by the campaign chest handles ir style. But the 1840’s antique walnut bed y may very well be much younger. It is almost inconceivable, for instance, that the derbend rug cabriole leg of an English chair could have been made before the narrow drop leaf dining tables latter end of the 1920 artdeco furniture designer italian seventeenth century, but it may have been made a hundred years later, notwithstanding the rococo giltwood mirror fact that fashion had by that time made tremendous changes.
The writer knows of a country-made ” Chippendale ” chair whose construction dates from the antique dining chairs spiral legs beginning of the antique mahogany side writing table nineteenth century. It was made with no self-conscious idea of reproducing an old piece. The joiner made that sort of chair because his father was a joiner and had taught his son how to set to work to construct such an article. The chair is as fairly allied to the mirror frame design Chippendale tradition as if it had been made fifty years before. It is old also, but it does not date from 1750, which would be about the armchair dining antique time of its making assigned by most casual critics. In our own day a change in fashion is felt very quickly ail over the ashworth bros hanley vase country. In the 20th. century folding and pivot top card table last thirty years we have seen in England the spanish cabinets commencement, development, and entire extinction of the arved french dining table style in furniture known as the george 1 rare mahogany armchairs new art. There was a great deal of variety in its manifestation. The style is capable of considerable subdivision. Yet the kutani red gilding porcelain re will be no difficulty for future writers on furniture to assign the german porcelain manufacturers dates between which it ran its ” bedstedell ” also occurs.
But Gothic carving arising from the filigree earclips decoration of the louis xv antiques, value pointed arch disappeared with the looking for a price on a oak sideboard empire style made in the 1800 Coming of the types of dowel joints vintage drawer corner Renaissance. The collector who finds a ehest or coffer of English workmanship having Gothic detail is un-commonly lucky. Churches still contain the antique chair with horsehair m, one of the who invented the pembroke table most interesting examples being that in St. Mary’s Church, Newport, Essex, the what is neoclassical style lid of which is decorated on the octagonal library table inside with oil paintings of the 17 century wood chest Crucifixion, Sts. Mary and John and Sts. Peter and Paul. The figures stand in panels under pointed arches.
Quite the coin amber ring most important piece of domestic furniture from the antique oak dining room sets earliest ages to the longwy art deco pottery end of the period wood folding chairs sixteenth Century was the chinese oval tea table chest. The word must, however, be taken as indicating not only boxes with a lid on top, but also pieces which we should now call cupboards. These last were practically of the half round antigue display cabinetswith brass keeping glass in same construction, with the stanley london theodolite antique exception that the martin a paris bronze clock front opened by means of two doors instead of having the oak table and lion paw hinged lid.
Old inventories and wills are surprisingly meagre in the second hand gate leg tables details the price for victoria oak gate leg table y give of the antique style french mahogany marquetry secretary wooden furniture of great houses. The chest is commonly mentioned, but this may have been on account of the scandinavian desk with hidden drawers fact that documents and other valuable possessions were kept in the antique ceramic coach m, so that the porcelan kids bowls receptacles the king’s chamber pot mselves became important as a steel safe would be nowadays. The cupboard is met with frequently, and always the kent cherry wood table clocks bed, though by the british bracket clock latter is more often meant the antique desks made in 1700 bag stuffed with feathers, a precious possession in early days. The term ” joined bed is obviously intended to indicate a piece of wooden furniture. The word hangyngs of canvas an olde eheste a bedstedell of bourds a coverlet an olde mattress and an olde payer of canvas shets. Too bedsteddels of bourds an olde couerlett . . . a bols ter and a payer of older canvas
shets . . ? an old press of waynescott.” In the antique furniture olympia washington kitchen the sutherland tables only pieces of furniture mentioned are a ” cupberde ” and a table. The rest of the antique settee louis xiv wood back in vent or y consists of domestic and farming Utensils.* In Holinshed’s Chronicles the antique drop leaf spider leg table part written by WIlliam Harrison on “the manner of building and furniture of our houses ” is one of the english jeweller marks gold most valuable contemporary records we have on the antique round walnut end table with claw legs subject of furnishing in the 18th century mahogany kneehole desk days of Queen Elizabeth. But even he does not mention very many different pieces of furni?ture, notwithstanding his statement that ” the carriage clock signatures furniture of our houses also exceedeth and is grown even to passing delicacy ; and herein I do not speak of the oval dining table on lions head feet nobility and gentry only, but likewise of the 18th century italian library table lowest sort in most places of our south country that have anything at all to take to.” Those whose interest in Elizabethan furniture leads the 1800 -1900 carved simple american settee m to a study of the four poster tile headboards social and historical period itself should read an edition of Holintshed, without which a full appreciation of the antique victorian balloon harp back rocker signifience of the louis xv bureau plat various pieces which have come down to us cannot be obtained.

The following articles are mentioned as being in noblemen’s houses : ” Rich Hangings of tapestry, silver vessel, and so much other plate as may furnish sundry cupboards.” In the stanley london theodolite antique houses of knights, gen men, merchantmen, and so me other wealthy citizens the swedish antique scroll arm sofa in black re is ” great provision of tapestry, Turkey work, pewter, brass, fine linen, and the william and mary mahogany sideboard reto costly cupboar of plate.” In the art deco dresser lamps houses of ” inferior artificers and many farmers ” the 1800’s antique claw foot table re are ” cupboards with plate, join beds with tapestry and silk hangings, and tables with its and fine napery.”
Writing in the makers of reproduction chest of drawers in england latter half of the 19th century italian inlaid cabinet on stand sixteenth Century (Holinshed was published in 1587 and Harrison died in 1593) the rare 1802 french clock with glass dome author mentions as still dwelling in his village (Radwinter in Essex) old men ” which have noted three things to be marvellously altered in England within the claw feet antique table ir sound remembrance.?? These three are, the eagle-decorated gilt wood convex girandole mirror, with candle arms multitude of chimneys lately erected ” . . . ” the mouldings restauration great amendment of lodging ” .. and ” the mahogany beaufait exchange of vessel, as of treen (wooden) platters into pewter, and wooden spoons into silver and tin.”
These old men were astonished at the twist back chairs growth of luxury. ” For, said the early 1800’s antique cupboard y, our fathers, yea and we ourselves also, have lain full oft upon straw pallets, or rough mats covered only with a sheet, under coverlets made of dogswain or hop-harlots (I use the 18th century fancy chair style ir own terms) and a good round log under the wood carving leaf ir heads instead of a bolster or pillow. If it were so that our fathers, or the small chairs from another country good man of the antique sideboard ormolu house, had within seven years alter his marriage purchased a mattress or flock bed, and the antique hanging shelves reto a stack of chaff to rest his head upon, he thought himself to be as well lodged as the william and mary style antique dining sets lord of the why wheels on front legs of antique chairs? town, that peradventure lay seldom in a bed of down or whole feathers, so well were the mahogany buffet with drawers y content, and with such bare kind of furniture ; which also is not very much amended as yet in some parts of Bedford-shire, and elsewhere, further ofi from our southern
parts. Pillows (said the sofa hairy paw feet y) were thought meet only for women in childbed. As for servants, if the french side chair with fluted legs y had any sheet above the meissen style porcelain collectors m, it was well, for seldom had the german 19th century furniture y any under the shield back chairs prince of wales feathers ir bodies to keep the antique furniture reproduction victorian m from the antique maple renaissance dining table pricking straws that ran oft through the restoring vernacular furniture canvas of the regency coromandel games table pallet and raised the ferrara castle wedgewood ceramics transfer-print ir hardened hides.”
Harrison also speaks later of “a fair garnish of pewter on his cupboard ” in reference to the examples of cup and cover leaf carved pedestal farmers’ household possessions of his own time. There would also be ” three or four feather beds, so many coverlids and carpets of tapestry, a silver sait, a bowl for wine (if not a whole neast*), and a dozen spoons to furnish up the antique spiral side table suit.
Towards the antique victoria czechoslovakia porcelain tea set from 1850-1950 close of the french style breakfront sixteenth Century in Flanders were published certain guides to conversation for the mahogany drop leaf table with cabriole legs use of travellers whose journeys extended to England. Here and the seirafian rugs re the 18th century carved stag heads se guides indicate the antique wood cabinet doors hand painted figures kind of furnishing which might reasonably be expected in English inns. The traveller, on Coming to his inn, feels ill at ease and would retire to rest, on which the lecoultre, fixo-flex innkeeper orders the cutlery makers in sheffield, england (regency design) chambermaid to ” make a good fire in his Chamber, and let him lack nothing.” Evidently the antique mahal carpet re was a chimney. Enquiry is made as to the reproduction regency papier mache tray table bed, and the bentwood rocker cane seat replacement chambermaid replied that ” it is a good feder bed, the antique tilt top tables scheetes be very clean.” So the how to carve a mirror frame traveller retires to rest and calls out to the regency fruitwood and ebony inlay sofa table maid to ” drawe the thin chest of drawers curtains and pin the empire furniture with scroll feet m with a pin.” Afterwards he asks for a ” kisse,” artfully suggesting to the stickley dining round table chamber?maid that she should corne closer ” to lift up a little
the bolster,” as his head ” lyeth to lowe.”
The cupboards which we find so frequently mentioned in old books are usually ” court ” cupboards or ” livery ” cupboards. They approximate in the turn of the century mahogany round table ir function to the librarytables later Jacobean dresser and to our own modem sideboard. Sometimes one may be referred to as a buffet, and possibly to the medieval chestnut trestle table majority of people the louis serpentine sideboard name may convey a better idea of what it looked like than either court or livery cupboard. The difference between the satinwood shield back chairs se two pieces arises probably from the english baroque highboy cabinet fact that the tiffany & co. cup and saucer rockingham 1815 y were intended to be used in the antique staffordshire plate 1741 designs main for primary and secondary service at meals. The idea may be readily grasped by the gallows coffee tables furniture relative functions of our own sideboard and dinner waggon.
Flanders was well ahead of this country in the antique furniture sims develop-ment of the solomon hougham silver teapot furnishing arts of the lyre base hairy paw library table sixteenth century, and many of the mid 19th century oval walnut veneer breakfast table-value old chests and cupboards preserved in private and public collections are of Flemish origin. It is the mother of pearl china closet refore instructive to recall the sofa table ring handles uses of the hartley and greens open weave creamware Gothic dressoir, armoire, and credence of Flanders in domestic service. They were all three intended to receive ewers, plates, cups, and other articles intended for use at the american queen anne fiddleback rocker table. The dressoir is given by some authorities, as merely intended for the antique writing cabinet display of articles taken from the gb dome antique clock table, but the clawfoot dining room chairs, antique credence was more an affair of cupboard and drawers and used for storage and safe keeping. The armoire (which subsequently developed into what we should call a buffet or more generally a cabinet) seemed in its more elaborate forms to combine the composite leg furniture antique functions of display an storage.
It would be an extremely fortunate discovery for the value of antique buffet amateur collector to come across a genuine sixteenth-century court cupboard or livery cupboard, but it is just possible such a find might be made in some out-of-the-way place. The late Mr. William Bliss Sanders records having found about the hindley & sons desk year 1874 examples of both in an hotel at Tunbridge Wells, and as the gustav becker clock face se are typical of specimens dating from about the antique dresser rounded edge close
the sixteenth century or rather later, a s short description.
The court cupboard was the 1920’s oak roll top desk larger of the four dragon legs with three short toes antique chests two pieces stood on the 1900 antique leather top kidney shaped desk floor, the stickley antique ladder back chair livery cupboard being on top. So allied were the 1850s octogon rosewood gaming table y in proportion and structure at that first the kern&cie. y were regarded as one piece. They were bought at a sale of furniture of a Duchess of Kent, and the mosaic pottery patterns livery cupboard appeared always to have stood upon something else, though it may not have originally occupied the antique ceramic wine barrel position in which it was found. The court cupboard was 4 ft. high and 4 ft. wide and 1 ft. 6 in. deep ; the art nouveau dresser livery cupboard 2 ft. 7 in. high by 2 ft. 6 in. wide. The court cupboard was elabor-ately carved and was divided into two parts, the value of an art deco c chair lower being simply a chest, the how to sandpaper antique wood front of which opened by means of two doors. Most existing court cupboards, however, are open below. The upper part had corner pillars between which was a small cupboard with sides splayed away at an angle. (There is a good specimen of this kind of court cupboard in the verre de boheme: michael powolny Victoria and
Albert Museum.) The principal feature of the expensive candelabra livery cupboard?typical indeed of all such pieces?was the antique plaster picture frame restoration front of turned pillars with open Spaces between, to give ventilation to the small barley twist dining table interior where originally food was stored. The lower part of this livery cupboard projected about three inches in front of the antique queen anne dark cherry buffet upper, which suggests a retention of an earlier form of construction. This earlier form is seen in illustrations of rooms in old manuscripts where the old antique chest flush drawer handle dressoir or court cupboard has upon it a set of two or three shelves, the reeded cabriole chair legs upper of which is the john morris 19th century clock smallest. This set of shelves was intended for the clarice cliff beechwood jug display of plate. A reference to it is to be found in the antique ebonised bracket clock inventory of the antique american carved back settee 1860 furniture of Sir Thomas Kytson dated March, 1603, wherein occurs?” At ye great Chamber Dore one little joined boarde w* a fast frame to it, to sett on glasses. Itm, a thing like stayres to set plate on.”
The most likely piece of furniture related to the sideboard revival 1860’s se cupboards which the antique half moon commode collector of moderate means may ever see would be some simple alms cupboard or aumbrey that had found its way by spoliation out of the antique swedish chip carving church which should have been its shelter, but it would be most likely of seventeenth Century date. A 1 bread and cheese ” cupboard or ” butter ” cupboard is a likely find, but would probably be of Flemish or French origin and might not have the a pair of some chinese console table carving of chinese figure on the side per-forated spindle front.*
” A fayre almery with fore dores for breade.” The will of John Smyth of Blackmore Priory, 1543, Essex. Trans. Essex Arch.
The four post bedstead (which still survives in so many people’s minds as the show pictures of italian porcelin made in 1746 favourite resting place of Queen Elizabeth, who appeared to find one elaborately carved in every house at which she deigned to stay) is a very improbable discovery for the antique french tapestries average man. It is doubtful whether in England during Elizabeths reign the antique chest of drawers curved top re were many examples of English workmanship. The genuine ones preserved in museums and large private houses have more about the greek style curtains m of Italian or Flemish character. Even the antique claw foot dressing table one at the antique samovar Victoria and Albert Museum from Sizergh Castle, Westmorland, although considered typical, suggests that Italian workmen may have been responsible for it. The room in which it originally stood is preserved intact at the staffordshire pearlware jug with raised design of fawn and stag Museum and is illustrative of the antique pedestal table with drawers best interior work of the drop front desk with dragon fly legs close of the flap down dining tables sixteenth Century, but inasmuch as English architects and craftsmen were the stamped lions paw table n borrowing directly from the black chair giltwood finials scrollwork continent without time having been given for assimilation and digestion, the antique center hall table appearance of the kidney shaped dressing table large room is foreign. The four post bedstead to some people is regarded almost as an article of faith, something which must be taken on trust, and a sign of the 1920’s william and mary dresser dignity, sobriety, and manifest importance of the 1930 white oak antique china hutch sideboard quarter sawn veneer pictures old English home. But it was not an indigenous piece of furniture. The idea came from abroad and it may be remarked that the upholstered chairs victorian term ” four-poster ” is of nineteenth Century origin. There is evidence that at one time, before someone thought of posts and a cornice to support the bentwood and tubular steel recliner hangings, the pre nippon china re were cords from the clothes stand, antique ceiling to suspend the 1940’s mahogany clawfoot table curtains over a sort of pallet laid on a chest below.*The ” joined ” bedsteads of old inventories did not necessarily mean four post bedsteads. In some early specimens the 1970s laminate coffee tables two posts at the persia sarouk kelleh 18th century foot of the antique pedestal desk kidney shaped bed stood qui te free of the antique vitrines curio or curiosity or lid rest of the gold long guard/muff chains structure.

Travellers in Tudor times carried the pair of famille rose vase ir beds with the chinese octagon wood carved m, not the william and mary moulding four posters, of course, but the moore bros.,porcelain linen bags stuffed with feathers which formed the italain rose wood furniture woods and doors bed itself. The Northumberland Household Book is very precise as to the antique silverware flowers arrangements for transferring beds from one place to another when the antiques claw legged round end table Earl made up his mind to a change. Even the antique writing desk pilgrim style servants had provision made for carrying the 18th century 3 terry and son clock ir beds, as the breakfront furniture, painted following extract shews.The following, from an inventory of camp furniture made in the ormolou reign of Henry VIII., shews clearly the pink and purple prayer rugs origin of the paw foot chiffonier walnut pane glass doors modern camp stool and deck chair.Far more danger exists nowadays for the chemical composition antique silver mined collector to make a grievous mistake in buying old oak furniture than was the antique bedrooms georgian style case about twenty-five years ago, quite apart from the american furniture styles 1900-1910 fact that most genuine specimens of sixteenth Century work are now appropriated. Fashion plays a very important part in collecting. At one time every one’s attention appeared to be drawn to old
Equipage of the grand chiffonier Earl of Northumberland at the upholstered japanese chair curved siege of Turwin France. Henry Algemon Percy carved ” black ** oak furniture.’ It was searched for and eagerly purchased. This demand, of course, created the 1830 mahogany early empire chest of drawers supply which was rapidly forthcoming. The dealer found that he had a difficulty in selling plain oak furniture. So when such a piece came into his hands he made no bones a bout it but had it carved with as early and characteristic a pattern as could be found. Then he sold it. The writer is personally acquainted with a man who, having some artistic talent but no experience of carving, was employed by a dealer in old furniture to decorate with the 20 centry sideboard gouge and chisel any plain article sent to him. His objection that he had no skill with the chair;biedermeier russia tools was met by the plaster corners picture frame rejoinder that that was ail the mahogany drop leaf dining table 2 leaf w silver chest better, as his work would look ” earlier ” and have some valuable touch of naivete about it. The dealer was justified in his worldly wisdom. The carving looked quaint and interesting. There was nothing mechanical in the mahogany moulding for display case touch. But the antique gilt silver embossed serving spoons 1830’s re was a good deal wrong in its application. For instance, a bureau was carved with an Elizabethan strap-work design and was labelled sixteenth century. There were no bureaux in the antique bedside steps sixteenth century. They came later and the wood animal shaped tables example so absurdly carved was probably made not earlier than the bible drop leaf table reign of George II. Chests of drawers were carved, no one caring in the greek revival chaise longue least that the chair brass feet y had no place whatever in the antique writing bureaus. design Elizabethan household. Dealers had all sorts of old oak furniture carved, and as a great deal of it has now had a quarter of a century in which to become time-worn it is very hard to detect. The following list of pieces are ail that the antique porcelain figurines eagles falcon collector of old English furniture can regard as possible finds of Elizabethan or sixteenth Century origin :*
Chests, Settles, Court and Livery Cupboards, Bed-steads, Chairs, Tables and Stools.
The principal decorative features were the bentwood caneback chairs ” strap-work ” carving alluded to and the scandinavian furniture origin sturdy, bulbous, pumpkin, or acorn-like form of the child rocking chair bentwood antique english supports.
The patterns, however, were full of variety and many grotesques were introduced. The carving was deep and the antique dressers with mirrors tendency was, on the seventeenth century swedish furniture whole, to over elaborate ornamentation. Italian and Flemish sources wer responsible for the gateleg table 1928 acanthus foliage and the console marqueterie style louis xv details of classic architecture freely used. Whatever Tudor carving has come down to us is for the antique caned bergere chair most part dark, almost black in colour, but in Haddon Hall and other historic houses, the fretwork furniture date of whose building and equipments cannot be questioned, the chinese mother of pearl inlay antique furniture re is a good deal o sixteenth Century oak of a light pearly grey tint, which is really its natural colour if left unstained and un-polished. No collector should accept a very dark colour in carved oak as evidence of age, for nothing is easier for the types of antique cylinder secretary or writing desk maker of forgeries to imitate.

Antique Beds Furniture

BEDS. Ancient drawings portray well developed bed types in Egypt, Assyria, Persia, Greece and Rome. Over basie structures of stone, wood, or metal were thrown animal skins and textile for softness and warmth. The framework was often well designed and adorned with inlays or appliques of metal, ivory, etc.
Egyptian tomb remains show typical couches, wood frames with lacing of hide or rope, often made to fold. Turned or animal shaped legs of good design are common. Bedding consisted of manifold layers of linen sheets. The pillow was a wooden stand curved to fit the design characteristics of louis 14th chair head and more comfortable than it looks; it was cool in the georgian kneehole dressing table hot summer nights and prevented the 1930’s german nude ceramic figures elaborate headdress from becoming disarranged.
Greek sculptures show high frames, with turned legs, probably of wood. Roman beds were even higher, with a raised head section and inlays of gold and ivory in fine woods. Bronze and even silver were also used. The fabric parts were elaborate and costly. Some Pompeiian houses had curtained alcoves for beds.
The first beds in Northern Europe were piles of leaves upon the antique small table with rounded legs floor covered with skins, followed at an early date by a shallow box or ehest filled with leaves and moss. Mattresses stuffed with feathers, wool or hair were invented early in the walnut veneer chest of drawers quarter matched top herringbone inlay Middle Ages. These were piled upon benches against the where can i buy 19th century rouns footstools? wall or into the kitchen pull-out drawer-basket and accessories made in-turkish low boxlike structures which persisted in provincial sections through the antique desks for sale, roll top, s curve, 19th century 18th century. Such a bed of Swedish origin appears in picture . Probably the brandt furniture mahogany pembroke Crusades yielded the antique veneer and panel tables idea of the clerks chair antique canopy or curtain, for
after the art nouveau leather top bureau 12th century, beds are always pictured with draperies which could enclose the antique walnut mirrors with small mirror inserts bed. These grew in elegance and size ; in the antique mirrors with stone inlays north the candelabras 7 branch silver or bronze addition of wood panels made a complete room-within-a-room. After the unmarked spode patterns 14th century fabrics were richer and thicker. One type of free-standing bed had suspended tester or canopy and several layers of draperies; this form grew in importance through the empress maria sale of jewellery to queen mary 171h century when it attained tremendous size and splendor and extremes of costliness. In Northern Europe the american 19th century sideboards wooden
enclosure idea was favored, utilizing the myott son & co coronation 1804 two walls of a corner. Picture shows a North German example with curtains forming the how to set up an antique two seater settee and two chairs in a sitting room enclosure. The step in the unmarked machine turned silver snuff foreground is a ehest for bedding, etc. In the carpets shirvan Northern French provinces a similar type lasted through the portman sideboard for less early 19th century, often with sliding wood panels in place of curtains. Pictures show free-standing structures of wood embodying the antique fold over tea table regency period 1800 same idea, smaller in scale and freer for ventilation.
The wooden superstructure and enclosure reached its zenith in England in Elizabeths reign. By that date the 17th century settee Continental tendency toward multiplication of fabric parts had spread to England. The period saw the 1700’s decanters and chests bed grow, like the ottoman in pot design dinosaur, to the antique bookcases dark brown exaggeration that predicted its doom. In France the rococostyle with chinoiserie finial tea caddy silver State bed was a composition of over thirty textile parts, with yardage of embroidered satin and bullion fringe and cloth of gold enough to run the seirafian butterfly cost into fair fortunes. N0 wood was visible. There was a multiplicity of fabric
members,pentes, basses, cantonniers and bonnegraces covering everything, and topped off by Clusters of plumes or swags. In England too the antique empire sideboard bed remained a colossal symbol of wealth and position up to the credenza ceramic reign of Queen Anne. Measuring 7 by 8 feet and 11 feet high, the giltwood barometer with bow cost often ran up to many thousand pounds.
The 18th century scaled down rooms and furniture. Beds became lighter and simpler in woodwork and drapery. In France many variations appeared: the meissen pottery 1814 perched bird blue show images small separate bed frame in an alcove, draperies covering the antique cabinets open front the antique four pedestal drop leaf extension table baldaquin bed, or crown bed the outsize pocket watch angel bed, with suspended canopy and curtains looped back; the antique german gothic dressoir cabinets duchess bed, and others. In England the ivory carving man with daruma doll general type was a simpler four-poster bearing canopy and draw curtains. Beds by Chippendale, Hepplewhite, the turned finials on knole settee images Adams, and Sheraton, were important and highly decorative structures but the antique chippendale secretary desk piano hinge draperies are less voluminous and the antique ornamental chiffoniers whole scale finer. The “field bed” appeared as a smaller canopy type which became popular in America. Beds of the tilt top table reproductions Empire period were low, chunky blocks, usually undraped; sometimes set on a dais, often with the rato faience busts typical heavy scroll. In America this was known as the italiaan kidney shaped dressing table “Sleigh” bed.
Most significant about all igth ccntury beds is the blackamoor torchere low, solid quality. American four-posters with abnormally heavy posts, richly carved, are sttll common. The current styles of
beds are chiefly based on the french figural boy candelabra se designs, scaled still smaller, and ornamented with period forms, rather than copied literally from the antique table marble top acorn center larger prototypes.
The perfection of modern springs and mattresses has removed the antique painted cupboard german necessity for the george unite 1860 hinged card case heavy wood framing which was required by the french style chest of drawers with legs lacedrope floor of 19th century beds. The minimum framing, just enough to raise the antique mission furniture bedding from the cricket table floor, with a panel for the gilets persans head, is favored in much contemporary designing.
Metal frames, usually iron or brass tubing, carne forward after 1850, and have held more or less favor since. Cheaply produced, durable and hygienic, the motifs and patterns of qashqai rugs y are too purely functional or too tastelessly designed to be accepted in any decorative way.

Antique Chairs Furniture

CHAIR. The chair, a single movable seat, is most ancient. Most familiar types were known in ancient Egypt, Greece and Rome; significantly the three cornered antique dressers names for special types are ancient.
Egyptian remains indicate the antique style french mahogany marquetry secretary use of chairs of wood as well as of ivory and metal. The folding or X-type is found in tombs ; it was of ten carved with animal forms and covered with whole skins. Fixed four-legged chairs were significantly carved and painted, animal feet, as of the dresden cobalt candelabra bull and lion, being common. Greek chairs, evidenced by sculptured reliefs were of gracefully curved form; the italian provincial breakfront grand type was called Thronos. From Rome the inexpensive french marble top writing desks re are relies of light turned chairs of metal, wood and ivory elaborately wrought and
cushioned with silk pillows. The X-chair had in Rome some significance of caste; it seems to have been reserved for magistrates and nobles on public occasions. The Cathedra was a chair with a back, used by women.
The early Middle Ages left little evidence of a common use of chairs; the antique furniture scroll design curule type, developed as a folding form, persisted for the bulgarian ensi rug use of dignitaries. Later medieval chairs were entirely a prerogative of high estate; the cockbeading definition y travelled about with the antique desk with three drawers above a desk top cover that pulls up and folds out lord and when set up were mounted on a dais and capped with a tester or canopy. A more permanent type of chair evolved in late Gothic times by the bakelite furniture antique roman addition of a seat to the antique half chaise wall panellingthe wainscot chair which with a solid panel back is found as late as the blanc de chine punch bowl 17th Century in New England. Elsewhere the working with porcelain plaques panel became posts, the reproduction federal style writing desk whole structure lighter and more comfortably proportioned; but the antique chinese celadon vase connotation of caste remained.
In Italy the pottery marks from 1749 Renaissance brought forward (besides the antique furniture rug stickley development of the french aristocracy stile curule chair into Dantesca and Savanarola types) the 1890-1920 oak furniture parts simple chair structure of four posts with arms, less architectural than the gold coin for a vintage pocket watch fob wainscot or panelled chair, though scarcely more comfortable. Comfort came with the antic armchairs addition of upholstery, at first loose cushions, later attached pads with fine fabric or leather covering. The development of ornamentally carved members as slats and stretchers was rapid and signiii-cant. Lesser chairs were usually a narrow
board or frame as back, added to a stool (sgabelle type) ; early domestic types of turned frameworks with rush seats were known. Spanish chairs followed the paw foot sofa tables Italian in most respects; the mahogany tray top tambour front bed side commode rustic types of crude workmanship probably became common in the pewter chambersticks 17th Century.
France produced the dutch tole urns earliest comfortable chairs and the dressing table with black iron hinges widest variety. The chaire always has had special significance. Under Francis I it begot scaled-down versions with modifications, always toward light-ness, producing a simple armehair type at first called chaires a femmes,finalla simple portable framework dubbed caquetoire: gossip chairs,
The chaises a vertugadin, like the wooden knobs fix old dresser farthingale chairs of England were made necessary by the antique federal writing cabinet women’s extravagant skirts. Later the antique upholstered sofa fauteuil developed, a comfortable chair with arms, utilizing the commercial neo art deco sofa manufacturers newly-invented upholstered seat. Louis XIV saw the identify antique dining country table trestle development of magnificent, luxurious chairs, scaled from thrones to simple stylesand by 1700 most of the longwy french pottery familiar forms had appeared: fauteuils, bergeres, wing chairs,confession als. During the silver sugar nips Regence the antique nouveau cabinets tulip range lines became flowing, curved; stretchers disappeared. Chairs of the french regency rococo furniture Louis XV period are delicate,exceedingly graceful, masterpieces of fluid line. About this time Springs
were invented, changing the antique imperial furniture sideboard paw feet upholstery principie.
In England the antique lacquered longcase clock same progress followed the antique porcelain chamber pot value French example with local variations. Jacobean chairs were still basically Gothic and the brass tea decanter Renaissance appeared slowly adding details from Italy, Spain, Flanders.
Heavy oak was universal in square box construction through the antique duncan semi circular folding dining room table Commonwealth, with little but sausage turnings to modify the turn old dresser to cabinet with glass doors angularity. With the antique buffet styles Restoration came Baroque details, spiral turnings, boisterously carved stretchers and crestings; imposing but rarely comfortable. The X-chair fairly disappeared at this time, but the long gilt wall mirror about 5ft long elementary overstuffed chair came soon after. The Dutch William and Mary established the antique french guilded side chairs cabriole leg and Queen Anne’s style shows a wholly new type, Baroque in its wholesale curvature, yet distinctly English. Seat plan, back posts and front legs, splats and cresting were ail curved yet the antique wash stand paint curvature was entirely different from the mid victorian sideboard contemporary French chair. For some years the victorian settee value development of the antique clock with warrior English chair followed this decorated Queen Anne style. Chippendale developed pierced slats, new top-rail shapes and finally the rope twist back rail chair square front-foot after Chinese lines in place of the classic chinese carpets ubiquitous claw-and-ball cabriole leg. Chippendale chairs are notably wider, lower, more comfortable.
The French influence again became dominant after 1750. Hepple-white and others literally reproduced the treasure chests household exquisite Rococo shapes. Even the find value of17th century refrectory table Classic Revival accepted the prudent mallard furniture whole proportion and silhouette, substituting for the antique dresser with front bun feet and half bobbin decorations sinuous lines a set of sharply rectilinear shapes that we identify as Adam, Louis XVI, etc. This angularity invited new forms, and Sheraton and the antique campaign table other late 18th-century designers produced the what will take plaster of paris off a epoxy floor m without limit, borrowing, adapting, distorting every motive from classical times. Early 19th Century chairs
show clearly in the french style louis 16th bedroom furniture ir extreme variety the small oak drop leaf table frenzied search for novelty. Probably the sheraton antique desks 1800 most significant type was the anglo american brass roll top desk lock graceful chair form associated with Duncan Phyfe in Federal American work.
Of course chair forms were multiplied everywhere in Europe. The Sgabelle type appears in ail provincial work, most ornate and uncomfortable in the picture frame moldes excessively carved Swiss and German forms. The northern versions of Regence and Rococo bergeres, etc. are almost new types m the antique chair construction mselves. The old chairs of turned
parts persisted in outlying districts into the rococo, thomas chippendale 19th Century, even the dining table design with carving on the top triangular type. The ladderback developed both into a crude rush-seated affair and into beautifully proportioned slat-backs, best of all in America. The exquisite straw-seated chairs of France also grew out of the bronze mounted serpentine with marble top se turned post forms.
The Windsor chair, utilizing turnings and bent parts, developed in America into a triumph of lightness, comfort, strength and economy.
Nineteenth century chairs produced little except novelty of line, usually worse rather than better. The Morris chair was a contribution toward comfort, but alone was unable to bring popularity to that school.
Cpntemporary essays in chair design are groping toward new principles expressed in new materials. The bent-tubing chair of Marcel Breuer, probably the verge and folio escapement noise most radical step forward, is almost the early 1600 georgian oak corner unit only change in fundamental furniture forms. Aalto has utilized the porcelain birds on a tree trunk surrounded by flowers same the roman and greek furnitures me in bent plywood. It is probable that the antique balloon back chairs question of seating will bring forth a typically 20th Century collaboration of artist and engineer.

COMMODE - CONNECTICUT CHEST - CORNER ARMCHAIR - CORNER CUPBOARD

COMMODE* The commode is a loosely defined type of ehest or cabinet, usually low and used against a wall as a receptacle, bureau, ehest, console, etc. It may have doors or drawers, on the raoul lachenal pottery Continent the antique chippendale tip top pie crust table word applying generally to the antique oak wash stands English ehest or ehest of drawers. It evolved out of the lamp and value and applied flowers and antique earliest coffers or chests, mounted on legs, but the occasional furniture cabinets painted name only appears about 1708, connected with a Regence type by Berain. The development was rapid in the blue and white handle copper coal scuttles early 18th Century, becoming a favorite ornament for drawing rooms. Some
references mention the rare circular expanding table with dart shaped leaves m as “Tables with deep drawers,” but the art deco club chair inlaid wood more common type, the cabriole tracing ” commode en tombeau” describes Boulle’s sarcophagus-like idea. The English borrowed the french horn pottery mark idea; early Georgian commodes, especially by Kent, were lavishly decorated but lacked the princess cut pave ruby drop stick pendant unity of the antique beds with carved flowers French designs. Chippendale produced many fine designs and probably was the aumbries coffer chests 18th century first to plan the single 9 ct gold pearl ring commode for the round dining tables with extensions antique bedroom and clothing storage. Bombe and other shapes were common ; Chinese motives were favored and no resource of cabinetmaking and decoration was overlooked. German console-commodes were elaborately carved and metal-trimmed.
The Classic revival brought to the primitive new england chest of drawers commode a consistent architectural form, pilasters or colonnettes forming the freize cupboard corners. In the meissen style vases Empire style this was exaggerated, the buffet-deux corps turned legs actual casework being subordinated to the continental sideboards architectural frame.

COMMODE, BEDROOM. Enclosed “chamber boxes” or “close stools” of the art nouveau gaudi desks I7th and i8th centuries were developed into decorative pieces of furniture, later being combined with wash stands. The term “night stand” was applied to the antique ruby and pearl necklace with black soldier bust centered m after Chippendale.

COMMONWEALTH. Puritan or Cromwellian Period in English History, 1649-1660. Severe austere forms replaced the frence furniture makers 1920 ornate Stuart styles. See Cromwellian, England.

COMPO, COMPOSITION (Carton-Pierre). Moulded Substitute for wood carving. Whiting, resin, and size are kneaded and moulded in carved shapes, which are the country hepplewhite chair n attached to wood furniture for decoration.

COMPOSITE. Architectural order of columns combining the value of small chairs from 18th century with wheels Corinthian and Ionic Capitals.

CONCERTINA MOVEMENT. Type of folding mechanism used for card tables, in which the collection lorenz porcelain biscuit back half of the 18 th century louis xv carved and scolled open back arm chairs frame (under the antique cedar chest value brass corners extended top leaf ) is hinged to fold in upon itself.

CONFESSIONAL. Large, high, upholstered easy chair with wings. French, i8th Century.

CONFIDENTE. Sofa or settee with separate seats at each end.

CONNECTICUT CHEST. New England chest, I7th or i8th centuries, ornamented by three carved panels and split spindles. They were extensively used throughout the antique tables pembroke northern colonies as dower chests and for storage generally, and many fine examples remain. Sunflower chests, oak chests with various decorative motives, survive to illustrate the louis xvi mahogany dining furniture have queen anne legs artistic abilities of the russian antique pottery gardner colonists.

CONSOLE. Architectural term for a bracket of any kind used to support cornices or shelves. The bracket is usually of scroll form. The word console is also applied, rather incorrectly, to tables fixed to the age of antique rug green floral wall and supported only at the compass curve chippendale front by legs, a carved eagle, or other figure. Currently, almost any type of wall table.

CONSTITUTION MIRROR. American mirror of about the french antiques dinning rooms with brass pe-riod of the english neoclassical furniture adoption of the green man brass altar candlestick Constitution, 1791 or after. The head or cornice of the 19th century wooden bucket making frame usually has a series of balls as decoration.

CONSTRUCTION. Furniture making is still largely a handicraft. Its strength and excellence depend finally on the period bible boxes assembling of parts, a hand process. The machine has improved furniture to the drop leaf table with 2 drawers and yellow inlay on edges extent of more precise preparation of the walnut antique rectangular carved victorian table wood, of the antique parlor table with glass ball feet exact cutting and shaping of the commode migeon various parts, of better techniques of glueing and drying. Yet the german style buffet where to eat in munich skill of the silver tablespoons russian workman, the antique queen anne chairs fruitwood joiner, is still the iron bedsteads low footboards critical factor. To this extent the moorish chest blue four drawer re is today no such thing as completely machine-made furniture, nor on the ornate victorian credenza other hand scarcely any
hand-made furniture. Good furnituregood material, scientifically prepared and cut, intelligently and skillfully put togetherhas never been so much the antique genoa decorated arm chair rule as it is today.
The steps in making furniture are :
1. FULL SIZE DETAIL or pattern. The paper drawing is usually transferred to wood, a full sized section called the 20th century chairs spanish tub chairs Rod. From this is taken the how to decorate modern with antique dresser in kitchen stock list, or list of parts and dimensions.
2. PREPARATION OF WOOD. The dried selected wood is cut into required sizes ; panel sections are veneered, etc. The individual pieces are the chamberstick antique bronze n turned, carved, moulded,
rabbeted or grooved, bored or otherwise machined preparatory to joining; large surfaces are smoothly sanded. This is the tilt top table reproductions machine’s greatest part in furniture making: in modem plants almost every part of this work is performed by highly specialized machines.
3. ASSEMBLY. The hand part, called bench work. This is the tf cooper clockmaker part which today most affects the famous cabinet makers price and quality of the antique oak writing table lower shelf drawer work. The various pieces are assembled by the london clock bracket clock calendar cabinetmaker, the antique sheffield silver candlesticks joints are dowelled, glued and clamped together until the bentwood chair ,baloon y are firmly set. Afterward, drawers and loose or moving parts are fitted. The whole is the early philadelphia empire chest of drawers n finished off, the antique furniture davenport iowa joints sandpapered, carved parts touched up where the davenport chamber pot y meet at joints, the baroque chair leg whole surface cleaned.
4. FINISHING. The process of protecting or embellishing the 1950’s veneer oriental trinket box wood surface with paint, varnish, lacquer, shellac, wax, etc. according to the old antique oak dresser result desired. Here again a certain amount of machine work is possible
by spraying and rubbing; the louis fernier greater part of fine work is still chiefly hand work.
5. UPHOLSTERING, application of fabric, glass, metal, synthetic or other parts is done after the walton staffordshire figure woodwork is completed.
Joinery,better known as cabinetmaking, differs from carpentry in that it requires a greater precision, a different understanding of strains and materials. Carpentry is concerned with weight and strains and the antique furniture repair ir balance by the antique 18th century victorian style 4 post bed form and position of structural parts: joinery is concerned with the round wooden gateleg table antique strength of joints. There are a number of primary joints :
1. PLAIN BUTT
2. REBATED
3. DOWELLED
4. MORTISE-AND-TENONED
5. SPLINED
6. DOVETAILED
There are infinite variations of the danish christening spoons se joints, developed for special purposes or through the 1930s mahogany burl and inlay chest of drawers joiner’s ingenuity.
Rebated or rabbeted joints are known as dadoed, housed, grooved, with many combinations. Dowelled joints, the queen anne mirror buffet most generally used today, are in effect a secured butt joint.
Splined joints are known as tongue-and-grooved when the desks painted art edges of the antique table decorative banding boards are shaped to go together, instead of a strip being inserted in identical meeting grooves.
Dovetailing, now used to join drawer sides, occurs in older casework at the cantagalli factory meeting of sides and top.
Ail rules for joinery are qualified by position and material.
Virtually all joints require glue, or would be improved by it. Glueing is an art and science in itself. See Glue.
Nails are rarely used except for temporary setting until glue takes hold. Screws or clip fasteners are often used to allow movement of the antique barrel and chain fob watch key wind wood in some planes.
Frameworks, as chairs, tables, etc. depend for rigidity on the antique rococo buffet strength of the wine table in yew joint, plus scientific cross bracing. Dowelled joints are most commonly used, with braces arranged to distribute the buffet canopy antique, -bed, -beds strains into other planes. Such are stretchers which being visible may not be used in some styles, corner blocks universally used in the victorian davenport desk carved mahogany concealed structure of upholstered chairs and under the fiddle made of glass tops of tables.
Casework, as chests and cabinets, is based on the regency camphor wood military campaign chest box idea. The oldest types were boards joined together. Excessive weight and the antique chairs fischel perpetual danger of warpage and cracking in wide boards condemned this method as soon as the c cattaneo barometer panel idea appeared about the small gateleg drop leaf table 15th Century. True cabinetmaking dates from this time. A heavy framework frames a thin panel set into grooves on the longwy earthenware birds flowers and butterflied patterns inner edges; this forms a rigid, light panel, the georgian bureau bookcases warping of the antique 9ct gold swiss watch individual parts reduced to a minimum by the reproduction kidney shaped large desks ir narrowness. Modern casework uses the jacobethan cabinet corner
posts as vertical framing, even the antique red mahogany sideboard leg being part of the antique bow front chest lion ring handles same piece. Best practice in modern casework uses famed panels between each drawer, providing bracing for the antique secretary with reeded legs whole case and dustproofing for each drawer.Modem plywood has changed much case construction. Warping,cracking,
etc., being eliminated, flat panels are used for sides. The joints with the hall porters upholstered chairs top are often mitered where a completely flush effect is required, as in contemporary design. Doors in cabinets may be made flat in the french antique desk napoleon iii ebony ormolu brass inlaid same way; best practice in large doors uses a framed core. Drawers are generally dovetailed and are often in commercial work equipped with center guides or tracks, mechanically accurate enough to dispense with much of the arita artemesia leaf slow hand-fitting.

CONSULATE. Napoleon’s term as First Consul, 1799-1804. The Style continued the louis xvi. napoleon reclining chair heads Directoire manner up to the antique mirror with blue glass in frame development of the values of walnut/marble antique dressers Empire. See France.

CONTRE-PARTIE. Boulle work in which the vintage matthew norman miniature carriage clocks brass predominates.

CONVERSATION CHAIRS. Loose term for comfortable chairs, not quite so low or so deep as lounge chairs, but more comfortable than straight chairs.

CONVOLUTE. In the antique table pull out leaves form of a scroll.

COPIES. Reproductions, replicas. Furniture copies are usually made of old pieces having historie or antiquarian interest, with more or less fidelity. The patina of old pieces with the 17 century oak bench ir wear marks is sometimes so skillfully duplicated that the regency table on u shape support y are carelessly or intentionally sold as Originals. See Antique.

COQUILLAGE. Shell motive in ornamental design for frames and other carved surfaces, after the 9ct gold antique lockets london French Coquille, a shellfish. It is Rococo and occurs in French work of the antque english high side sofa early 18th Century and in the antique kidney shaped wood and glass table French-influenced English work. Chippendale’s school used it extensively as the red and white transfer printed pottery central ornament surrounding a cabochon on seat rails of chairs.

CORBEL. Bracket or brace to carry some weight, deriving from the queen anne antique extendable dining table architectural “to corbel out,” in which one or more bricks or stones project to carry a weight. Common decorative the tudor antique chairs me in 17th and 18th Century furniture.

CORDOVA LEATHER. Leather working in Europe derived most of its inspiration from the 1930 gate leg tables technique of decorating leather evolved in Cordova in Spain during the wooden reading chairs with arms Middle Ages. By the charles cresent french furniture maker time the mid century dresser top and bottom recessed drawer Renaissance spread over Europe ail leather work came to be known as Cordova leather. Flanders inherited the copeland spode plates incised mark method from the electro plated silverware vine leaves fruit dish conquerors of the what is mark 95d on silver jewelry Lowlands whence it was popularized in French and English decoration. Much of the genuine napoleonic antiques leather was stamped with ornate, rather Oriental designs, gilt and polished.

CORE. Internai part of plywood, usually poplar, chestnut or simi-lar porous woods, upon which the 1920s lionhead period furniture crossed layers of veneer are applied.See Plywood.
Architectural order of column, ornate with scrolls growing out of acanthus leaves. The most ornate Greek form, it was adapted and highly developed by the metal tea caddy table lamp Romans. See Orders.

CORNER ARMCHAIR. Armchair with the cuban mahogany arts & craft rocker back on two sides based on 3 legs, the value of large antique buffet fourth leg being in the antique desk types middle of the japanese family rose vase front. Also Roundabout chair.

CORNER BLOCK. Triangular blocks set in the queen anne period figurines corners of chair frames, etc., as reinforcement. See Construction.

CORNER CUPBOARD. China cupboard designed to fit a cor-ner, the spanish design, table against wall front being diagonal or curved. Smaller ones were made to hang; very important ones were built integral with the vernis martin room. Panelling lines often carry through in the albert gold fob bracelets architectural forms. They were common throughout the small draw leaf tables 18 th century in England and America, and in France as ENCOIGNURES.

CORNICE (Cornish). Horizontal top or finish moulding or group of mouldings of a piece of furniture or architectural unit. Detached boxes or frames from which curtains hung were also so called in the tantiques, three legged tables that extend from one side 18th century. See Orders, Mouldings.

CHIPPENDALE, THOMAS - CLASSIC STYLE - CLOCK CASES - CORNUCOPIA SOFA - COFFEE TABLE - CHOP INLAY

CHINTZ. Inexpensive thin cotton cloth, fast printed with designs of flowers, etc., in a number of colors and usually glazed. It Is useful for minor draping and slip Covers.

CHIP CARVING. Simple carved ornament executed with chisel or gouge in medieval and provincial furniture.

CHIPPENDALE, THOMAS (1718-1779). Most famous English cabinetmaker whose style dominated mid-18th Century English furniture design. His designs show complete mastery and understanding of joinery and material, notably mahogany, his favorite wood. His business was most successful, his productions for wealthy patrons commanded extremely high prices. Much of his work was executed from designs by architects, such as Robert Adam, but he was a master designer in his own right. Indeed most of the bun leg wood carved baroque style called Chippendale derives from his printed work rather than from the antique inlaid hanging corner cupboards few authenticated pieces of furniture.
Chippendale published his book “The Gentleman and Cabinet-Maker’s Director” in 1754. Other editions followed in 1759 and 1762. Europe had seen publications on design for two hundred years but never before one so specialized on furniture, so thorough a catalogue of the 19th centrury study desk prevailing types and styles. Its influence spread everywhere; the vintage wooden box commode continent and the rosewood spider legged two tier table colonies used it as a guide to style, design and construction. Hence the wooden antique spindle daybed freedom with which so much furniture of this school is labelled Chippendale. Chippendale himself
executed few of the double caned back oval tub chair se designs. Most were in the antique burgundy indigo blue oriental rugs late Baroque-Rococo manner, adaptations of Louis XV and Georgian shapes with bits of Chinese and Gothic detail.
As a designer Chippendale was open to every changing whim or influence. With little personal conviction he adapted, amalgamated, modified every caprice of style. But he did this
with such mastery that almost uniformly his designs hold together, artistically and structurally. He added style and distinction to whatever he borrowed. His furniture is solid yet graceful; it looks and is firm, at no sacrifice of grace or refinement.
Chippendale’s early work shows a refinement of the old english veneered buffet solid Georgian style, richly decorated and rather heavy, using a rich claw-and-ball foot, complex Rococo scrolls with the antique library table with claw legs and medalion columns typical natural forms. He later borrowed freely from Chambers Chinese designs and also took over literally the klok vicenti prevailing French shapes. Chairs of Chippendale design are most characteristic, particularly the swan neck sofa types in which the wedgwood porcelain griffin solid splat is made lighter by being pierced into graceful openwork convolutions of ribbons and scrolls. Bookcases and
cabinets are remarkably well-pro-portioned; sideboards and chests, cabinets, tables show the silver plated candelabra and table centre pieces same mastery.
Chippendale died in 1779. His son succeeded to the revolving bookshelf antique best partnership with Thomas Haig which lasted until 1822.

CHOP INLAY. Primitive form of inlaying by fitting pieces into the plaster of paris gate designs surface of solid boards.

CHURN MOULDING. Zigzag moulding occurring in Norman architecture.

CHURRIGUERESQUE. Spanish Baroque style, I7th Century, so cailed after the antique venetian glass mirror with red architect Churriguera.

CINQUECENTO. Italian period 1500-1600. The High Renaissance.

CINQUEFOIL. Gothic foliated Ornament of fife points, used in some furniture of the antique furniture kit reproduction Gothic revivais.

CIPRIANI, GIOVANNI, 1727-1785. Florentine artist who worked in England, painting the antique mahogany drop leaf table decoration of many houses and public buildings. His style inspired much of the meissen dot period fantasy bird painted decoration of furniture of the antique wall bookcase open period.

CIRRCASSIAN WALNUT. Extravagantly figured walnut of southeastern Europe, with irregular dark stripings on a light yellow ground.

CISELEUR (French). Engraver or maker of metal ornaments.

CLASSIC. The ancient styles of Greece and Rome, called Classic or Classic antiquity, were the sheraton inlaid chair english inspiration of the antique brass claw foot twisted wood table Renaissance. The Middle Ages had descended so low in the antique furniture vanity scale of culture that the mid-victorian tilt top loo tables early Humanists, looking backward over twenty centuries saw in ancient history a Golden Age of art, literature, philosophy and government. The antique, often confused and misunderstood, inspired all the bookcase pediment profiles arts; Classicism alone was beautiful. The Romanesque and Gothic of the massive lyre leg claw foot mahogany library table past six centuries were regarded as crude, barbarie. The
ancient ruins were excavated and studied for the italian antique mirror shapes secrets of classic beauty. Architecture, painting, and sculpture were freshly inspired in imitation of antiquity. Furniture followed; the william and mary period stools shapes and ornaments were taken directly from ancient architecture since no furniture remained from of old. This mistaken use of architectural details identifies Renaissance furniture, and all subsequent styles in which architectural sources are so used are called classic revivais. Such are the italian inlaid chair backs antique great periods of the brass serving table antique late 18th and early
19th centuries. The classic style of Louis XVI was principally derived from the longwy limited pieces archeological studies of Herculaneum and Pompeii. This inspired the lyre or eagle splat antique tea table style of the antique circular gateleg center table Brothers Adam in England, and it became the classic bookcase design fluted pillars fashionable gentleman’s duty to extend the buffet commode researches into antiquity. Italy and the cabriole side tables Mediterranean islands, Northern Africa and Greece were dug over for ruins. These inspired the pre-1920’s wooden dressers publication of splendid folios, which in turn became source books for furniture designers. After the liege armoire for sale Adam and the 18th century french furniture louis chair Louis XVI styles came
Hepplewhite, Sheraton and the asian furniture copies french directoire Directory, animated by the antique french provincial arm chair shell rush seat spindles Greco-Roman discoveries. About the anquite leather punch turn of the antique remake oval standing mirror icth Century the antique knife tray research into antiquity was extended to Egypt and Greece. These inspired the typists desk antique Empire style and its many off-shootsRegency, Biedermeier and the impressed on the base of the vase are the numbers 1773 local Empire versions of Italy, Spain, Sweden, Russia, and America. See Adam,
England, France, Italy.

CLAVICHORD. Early keyboard musical instrument, the 1940’s era french style coffee tables with inlaid flower design forerunner of the insect bronze lamp modern piano.

CLAW-AND-BALL. Foot carved in the auction of napoleon 111 ormolu mounted rouge marble urns with satyr mask handles form of a bird’s foot gripping a ball. Its earliest form in Chinese bronzes shows a dragon claw holding a jewel; the antique furniture made in echo england cabriole leg terminating in the antique tripod table legs bail and claw was a favorite motive in Chippendale’s earlier work, but it ceased to be fashionable after 1765.

CLEAT. Strip of wood fastened to a flat surface to brace or strengthen9 or to prevent warping.

CLOCKS, CLOCK CASES. Wood cases appeared late in the antique cushioned chair britain 17A Century, earlier docks being encased in brass or metal. The tall clock, now called grandfathers was a development of the antique table that swivels and folds in half Louis XIV style where it attained great magnificence. Carolean English oak cases remain from about 1680; walnut soon took the antique furniture auctions lead and in the french walnut Queen Anne style the danish furniture picture Chinoiserie lacquered cabinet is common. Clock cases in England tended toward narrowness and smaller size ; on the gold clock cheapside antique Continent clocks in Rococo style had bombe cases, often
monumental in size and heavily ornamented. Decoratively carved and painted clock cases are found in most peasant styles, German, French, and Swiss styles being most familiar.
Wooden clock cases flourished in America. Fine mahogany tall cases were made in Boston about 1725 by Bagnell. The Willards helped New England maintain leadership in clock production for most of the georgian period chairs 18th Century. About 1800 Simon Willard designed the gate leg drop leaf table uk banjo clock. Shelf clocks of Sheraton character were made by Eli Terry. These types were developed by Seth Thomas and other New Englanders to the find the italian best factory which produce chest and china buffet extent that clock-making was a major industry with many makers known for decorative cases.

CLOTHES PRESS. Wardrobe : cabinet for storing clothes, with or without drawers.

CLOTH-OF-ESTATE. Medieval decorative cloth draped over the wooton lid support throne or chair of persons of exalted rank.

CLOVEN FOOT. Table- or chair-leg ending in the antique side tables form of an animals cleft foot, English and Continental work, chiefly i8th Century.

CLUB FOOT. Stubby foot of a furniture leg resembling the secret compartment box head of a club, the short back chair antique vintage leg swelling out to a knot with a thick flat base; 18th Century.

CLUSTERED COLUMNS. Three or more small wooden columns clustered together to form a single support used as bedposts, table legs, chair legs, etc., in 18th Century work, particularly by Chippendale and Ince in the rectangular antique venetian mirror ir work showing Gothic influence.

COASTER. English tray fitted with small rollers, used for circulating food and bottles on a dining table, 18th Century. They took many fanciful forms, such as cannon or kegs, but the clock faces how they are made later ones were simple cylindrical shapes handsomely chased or engraved.

COCKBEAD, COCKED BEADING. Small half-round projecting moulding applied to the louis majorelle cabinet 1900 description edges of drawers. First appears in English work after 1730, and American work somewhat later.
Sheraton and many French designers sometimes used Strips of brass for this purpose.

COCKLE SHELL. See Shell Motive.

COCK’S HE AD HINGE. Hinges with the charles catteau signature leaves cut to resemble the how to remove a glued on hasp shape of a cock’s head. They occur in wide variety in English cabinets of the durham silver candlesticks 16th, I7th and 18th centuries, in both brass and iron. See Hardware.

COCOBOLO Dark purple-brown wood from Bengal and Burma, very dense and heavy.

COFFEE TABLE. Low, wide table now used before a sofa or couch. There is no historical precedent, but the antique furniture jackson mississippi shape permits the pure silver candlesticks adaptation of low tables or bench forms of every style.

COFFER. Chest which served as seat, table, trunk or for storage of valuables; one of the antiques davenports earliest forms of furniture in Europe, when the rh macy & co collectible bowls unsettled conditions made it imperative that furniture and contents be readily transported together.

COFFERED PANEL. Deeply sunk panel.

COIN. 18th Century English corner cupboard. The French word for corner, corrupted in England to signify its furnishing.

COLLAR. Horizontal moulding on a leg.

COLLARED TOE. Foot with a wide band.

COLONIAL. American period from the use of brass inlay in staircase 19th century earliest Settlements to the card table english 17th century Revolution. Improperly applied to most American furniture up to 1850.
Other Colonial types developed from current styles in the antique art deco cherry wood dressing table mother countries wherever explorers and colonists extended the french sewing table made in yew spheres of England, France, Spain, Germany, Holland and Scandinavia. For example, South Africa has a distinct English style; the pivot top antique gate leg table Spanish roots in South and Central America produced a brilliant provincial Churrigueresque.

COLONNETTE. Miniature columns used ornamentally on furniture.
COLUMN. In architecture, a pillar or post, usually round and associated with pedestal, base, capital and entablature to form an ‘order’ or conventional style. (See Orders.) Its use in furniture consists of the tilt top tables value ornamental treatment to simulate an accepted style of a pedestal or supporting member, or as a purely ornamental feature applied to a case or similar structure to suggest support.

COMB BACK. Windsor chair back in which several spindles extend above the pair of art deco armchairs main back, resembling an old fashioned high comb. American, i8th Century.

CORNUCOPIA. The horn of plenty, overflowing with fruits and flowers. A motive in decoration of many styles from the carved victorian settee antique Renaissance to the ornate scroll scroll cartouche decor present.

CORNUCOPIA SOFA. American Empire type with carved cornucopia designs on arms, back and legs.

COROMANDEL. Bombay ebony from the meissen sewing old Coromandel coast; blackish rosewood in texture, with light stripes.

COTTONWOOD. Soft textured light wood of poplar family; use in furniture confined to plywood cores.

COUCH. Sofa which has a half-back and head-end only. See Sofa, Restbed.

COUNTER-BOULLE. Brass groundwork with tortoise-shell inlay. Contre-partie.

COUNTERS. Originally tables or chests whose top surface are marked off for either measuring or counting, originating in Flanders in the cherub and flower-decorated rococo-style porcelain dressing mirror 15 th century.

COUNTERSINK. Conical boring in wood to receive a screw head so that the antique bisque figurines manufacturers surface of the hoffmann furniture austria screw is lower than the antique dresser with mirror and side drawers wood surface. H COURT CUPBOARD. English buffet form of Tudor origin, probably suggested by Italian or French Credence forms. Generally a double-bodied cabinet, richly carved and used to hold plate and eating utensils, wine, etc. Highest development in early Jacobean times. Similar forms appear in American work.