Smith’s Auction Gallery, Plainfield NH 42ND ANNUAL LABOR DAY (2 DAY) AUCTION
Furniture in the Governor’s Mansion at Williamburg
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Queen Anne style furniture was further embellished by British designer Thomas Chippendale for the new American market.
Smith’s Auction Gallery, Plainfield NH 42ND ANNUAL LABOR DAY (2 DAY) AUCTION
Presented by William A. Smith, Inc.
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W. Yoder Auction Service Monday, September, 6, 2010 @ 9:30 am 745 South Street, Green Lake, WI.
Directions: Intersections of 23 and 49 by Green Lake. Turn right on Hwy. A to South St. Right on South 2 blocks. Auction is directly across the road from Shore Land boats. Watch for signs.
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Benefits of antique furniture outweigh the disadvantages – From the Poughkeepsie Journal
Benefits of antique furniture outweigh the disadvantages – From the Poughkeepsie Journal
Friends of mine who own a Victorian house have filled it with gorgeous antique furniture.
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Flea market now in 9th year
Visitors can expect a full house of antique dealers at the Ralston Creek Fair and Flea Market this Labor Day, said Bill Ackerman of Iowa City, who helped to organize the event.
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Business Briefs: Furniture maker to close in Clarksville
The business, which began in 1926, specialized in making antique reproductions and solid wood furniture. “They were victims of the economy,” said Roy M. Terry, Howerton’s attorney. The company filed for bankruptcy Monday. It was unclear when the business would close. The Norfolk-based railroad company says it has set a …
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Thomas Chippendale – Work And Styles Influenced The London Interior Design Community
Thomas Chippendale – Work And Styles Influenced The London Interior Design Community
Thomas Chippendale didnât grow up in London (in fact he was born in Leeds in 1718), but he did move to London at the age of 31, after he had already gained recognition as a premiere furniture maker and cabinetry-focused interior designer. His work and styles influenced the London Interior Design community then, and the Chippendale aesthetic continues to extend its impact well beyond London even today.
Chippendaleâs fluent, natural and sophisticated style developed after the promotion of his furniture and interior designs in âThe Gentleman and the Cabinetmakerâs Directorâ in 1754. Chippendale continued to make iconic contributions to the field of interior design until 1790. His furniture came to be manufactured as far afield as Philadelphia in the USA.
Chippendale drew on three key interior design inspirations for this work â namely French, Asian and Goth. In the USA, Chippendaleâs work was interpreted as a re-envisionment of the Queen Anne interior design style. His furniture was often heavily ornamentalised on the feet and uppers, with beautiful heritage-inspired scroll tops on taller units. Yellow Birch and Mahogany were often used, undersupport was rarely employed, and the rears of seated furniture were covered with plush fabric or otherwise left as shaped wood, perhaps as tessellated piecework with ornamental sculpting and Asia-inspired cross-strips. To round out his own personal interior design style, Chippendale would also include delightful finials and varnished shellac features.
Enthusiasts and professionals alike were very taken with Chippendaleâs work, lauding him as a master London cabinetmaker and a household name of eighteenth-century furniture-focused interior design.
Harewood House is a popular Leeds tourist attraction, located about 4 hoursâ drive from Central London. The famous building features a magnificent collection of Chippendale library furniture that was originally ordered during the 1760s. The interior design style reflects Chippendaleâs ideals throughout and showcases his focus on both form and function.
Today, Londonâs interior designers are often called to reconstruct period rooms in traditional mansions or luxury residences. Often Chippendale furniture will play a major role in such interior design concepts. Chippendale-inspired furniture designs such as those of Henrietta Spencer-Churchill may also be ideal for certain settings. However, the fresh lines of many Chippendale pieces also lend themselves to contemporary interior design concepts – many interior designers will use some of the more extravagant Chippendale pieces to offset some of the more frosty and unforgiving modern furniture elements.
Interior Design London – Global Interior Design Consultancy Company in London, UK for interior design services.
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Antique & Modern Furniture Styles Defined
Antique & Modern Furniture Styles Defined
There are as many styles in the world of furniture and design as there are tastes to desire them. From the somber dark woods of the Jacobean period to the geometric characteristics of Art Deco, there is something for everyone, and often making a choice is the hardest part. They say that beauty is in the eye of the beholder, and it is certainly true in the furnishing world.
Let’s run through some of the more well-known styles, defining and categorizing them so that with a little understanding, we can better analyze our tastes and desires. From rustic to formal, simple to elaborate, furniture creates a mood and shows off personal taste to best effect.
17th Century Furniture – Furniture has come a long way from the heavy 17th century Jacobean influences. This mediaeval-style furniture was typically plain wood with rush seats, straight lines and characteristically dark wood. In later years Early American style evolved, with typical European influence brought by the immigrants to the New World of America. In contrast, Louis XIV was busy creating the splendours and opulence of Versailles, with ornate gold carvings, fine artwork and magnificent craftsmanship in every room.
The later William and Mary style brought trumpet turned legs, ball feet and padded upholstery to English parlours with a new look in oriental lacquer work.
18th Century Furniture – As Queen Anne ascended the English throne in 1702, furnishings became more refined, with graceful cabriole legs, rococo ornate trimmings and shell curves. Tapestry and chintz were popular and this became known as Queen Anne style.
Colonial style American furniture was more conservative than English furniture of the same period, featuring carved pillars and less ornamentation. Following Queen Anne, Georgian style appeared and was particularly identifiable in architecture. In furniture, carved cabriole legs were the fashion, along with S-shaped curves and motifs. In the latter half of the 18th century, Chippendale furniture was in vogue, especially after the publication of Chippendale’s book of designs. His furniture was graceful, delicate and cultured and was further developed by Adam and Hepplewhite who introduced tapered legs, veneers and inlay to great effect.
From 1780-1820 Sheraton style was the most reproduced style in America during the Federal period, with bow-fronted chests and cabinets. Chairs now had sloping arms and upholstered seats with central splat detail on the backs.
19th Century Furniture – Shaker furniture is still a popular style today. It is defined by the simple, utilitarian furniture approved of by the religious communities in America. It is typically plain and unadorned, as was the architecture and lifestyle of those early immigrants.
Back in England, the Victorian era heralded much heavier and darker furniture than before. It is easily recognizable by its Gothic influence, and heavy substantial proportions. It often had elaborate carving or ornamentation to offset the dark finish of the oak, mahogany and walnut woods.
20th Century Furniture, and Onwards – With the dawn of the 20th century, Art Nouveau was a refreshing change. Furniture made a tremendous departure from what had gone before. Chair backs were balloon-shaped or bentwood. Furniture had curving lines, scalloped fronts and intricate patterns. This morphed into the Art Deco period which featured abstract designs, ornamental motifs, rectilinear shapes and a certain geometric style. It took the world by storm at the Paris Exhibition of 1925 after the dreary days of World War I. The Art Deco style is clearly illustrated in the pastel-coloured architecture of South Beach, Miami and the furniture within.
In furniture the Mid-Century Modern style was progressing, particularly influenced by Charles and Ray Eames, Arne Jacobsen and Gio Ponti, whose mass-produced designs in man-made materials revolutionised furniture in the mid 20th century western world.
From the 1960’s onwards furniture became Contemporary. Scandinavian ideas featured light natural wood, with simple lines, utilitarian design and very little ornamentation. This was later developed still more by such designers as Marc Newson into the Post Modern and Contemporary style which is popular today for modern homes.
This is the story so far, but progress does not stand still. With the advent of new materials, glass furniture and new innovations, styles continue to develop. No doubt by the end of the 21st century, several new terms will have been added to the dictionary of furniture design and style.
From contemporary modern furniture, all the way back to antique furniture – Crawleys Furniture has a wide range of items that can work with your home or office needs.
Crawleys Antique Furniture – has a wide range of items that can work with your home or office needs.
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Thomas Chippendale
Thomas Chippendale
A provincial Chippendale-style chair with elaborate “Gothick” tracery splat back
Thomas Chippendale (Otley, near Leeds baptised 16 June [O.S. 5 June] 1718 – November 1779) was a London cabinet-maker and furniture designer in the mid-Georgian, English Rococo, and Neoclassical styles. He went to London in 1749 where, in 1754, he became the first cabinet-maker to publish a book of his designs, titled The Gentleman and Cabinet Maker’s Director. Three editions were published, the first in 1754, followed by a virtual reprint in 1755, and finally a revised and enlarged edition in 1762, by which time Chippendale’s illustrated designs began to show signs of Neoclassicism.
Chippendale was much more than just a cabinet maker, he was an interior designer who advised on soft furnishings and even the colour a room should be painted. He worked in partnership initially with the upholsterer James Rannie and later with Rannie’s assistant, Thomas Haig, but artistic control of the luxurious furnishings that came from his premises in St. Martin’s Lane was firmly in Chippendale’s hands.
“A Design for a State Bed” from the Director, 1762
In 1978, Christopher Gilbert was able to identify from among over sixty known clients twenty-six documented commissions where surviving furniture by Chippendale could be identified, much of it still in the aristocratic houses for which it was made. Chippendale furniture was supplied to Blair Castle, Perthshire, for the Duke of Atholl (1758); Wilton House, for Henry, 10th Earl of Pembroke (c 1759-1773); Nostell Priory, Yorkshire, for Sir Roland Winn, Bt (1766-85); Mersham Le Hatch, Kent, for Sir Edward Knatchbull, Bt (1767-79); furnishings for the royal family and for the actor David Garrick both in town and at his villa at Hampton, Middlesex; Normanton Park, Rutland and other houses for Sir Gilbert Heathcote Bt (1768-78) that included the management of a funeral for Lady Bridget Heathcote, 1772; Harewood House, Yorkshire, for Edwin Lascelles (1767-78); Newby Hall, Yorkshire, for William Weddell (c 1772-76); Temple Newsam, Yorkshire, for Lord Irwin (1774); Paxton House, Berwickshire, Scotland, for Ninian Home (1774-91); Burton Constable Hall, Yorkshire for William Constable (1768-79); Petworth House, Sussex and other houses for George Wyndham, 3rd Earl of Egremont (1777-79), to name only the most outstanding commissions.
He collaborated in furnishing interiors designed by Robert Adam and at Brocket Hall, Hertfordshire, and Melbourne House, London, for Lord Melbourne, with Sir William Chambers (c. 1772-75).
“Two Bookcases”, from the Director, 1754
His workshop was continued by his son, Thomas Chippendale, the younger (1749-1822), who worked in the later Neoclassical and Regency styles, “the rather slick delicacy of Adam’s final phase”, as Christopher Gilbert assessed it. A bankruptcy and sale of remaining stock in the St. Martin’s Lane premises in 1804 did not conclude the firm’s latest phase, as the younger Chippendale supplied furniture to Sir Richard Colt Hoare at Stourhead until 1820 (Edwards and Jourdain 1955: 88).
Recognizably “Chippendale” furniture was produced in Dublin and Philadelphia, as might be expected, but also in Lisbon, Copenhagen, and Hamburg. Catherine the Great and Louis XVI both possessed copies of the Director in its French edition. (Gilbert 1978, xvii). As a folk hero of English craftsmanship, he is enshrined as a full-size sculpted figure standing among other notables adorning the facade of the Victoria and Albert Museum, London.
A Chinese Chippendale desk
His designs became very popular again during the middle to late 19th century, leading to widespread adoption of his name in revivals of his style, so much so that dealers spoke of “Chinese Chippendale”, “Gothic Chippendale”, and even “Irish Chippendale”. Many of these later designs that attach his name bear little relationship to his original concepts.
Thomas Chippendale’s workshop, in Otley, West Yorkshire.
The “Chinese Chippendale” chair is characterized with having a pagoda roofline, dragon motifs, and flipped up ears on the top. The body of the chair has fretwork, a stretcher for carving, a drop in seat with an exposed wooden apron. Its legs are sober in the back and square in section, on block feet. The “Gothick Chippendale” chair has a cupid’s bow crest rail, highly pierced splat, and a stretcher that is for show rather than function. The chair also has a completely covered seat as opposed to the drop in seat. The legs are straight or square but do not sit on feet. This chair has a masculine and rectilinear quality. The “Neo-classical Chippendale” chair is a lyre back chair. The integrated crest rail at the top has flipped up ears. There is a boss, or circular decorated motif, often incorporated into the design of this chair. The central splat is in the shape of a lyre. Greek and Roman motifs are often also incorporated into the chair. This chair differs from the Gothick Chippendale by having a drop in seat. It is similar to the Chinese Chippendale by having an exposed apron.
There is a statue and memorial plaque dedicated to Chippendale outside the old Prince Henry’s Grammar School in Manor Square, in his home town of Otley, near Leeds, Yorkshire.
See also
List of furniture designers
Chinese Chippendale (architecture) for architectural details inspired by Chippendale’s work
Notes
^ “Thomas Son of John Chippindale of Otley joyner bap ye 5th” (Otley, Yorkshire Parish Register, June 1718). He was buried 16 November 1779, according to the records of St Martin’s-in-the-Fields, in the burying ground now occupied by the National Gallery. Details of Chippendale’s life are drawn from Christopher Gilbert, The Life and Works of Thomas Chippendale (New York: Macmillan) 1978, “Biographical Essay”.
^ Christopher Gallard Gilbert, M.A., F.M.A. (1936-1998)
^ Gilbert 1978:I,122.
External links
Wikimedia Commons has media related to: Thomas Chippendale
The Chippendale Society
Gentleman and Cabinet Maker’s Director, first edition, 1754 online as part of the University of Wisconsin’s Digital Library for the Decorative Arts and Material Culture.
Ralph Edwards and Margaret Jourdain, 1955. Georgian Cabinet-Makers.
Christopher Gilbert, 1978. The Life and Work of Thomas Chippendale 2 vols. (New York: Macmillan) 1978.. The standard work.
Thomas Chippendale – The Legend!
Persondata
NAME
Chippendale, Thomas
ALTERNATIVE NAMES
SHORT DESCRIPTION
British cabinet-maker
DATE OF BIRTH
1718-06-05
PLACE OF BIRTH
Otley, Yorkshire, United Kingdom
DATE OF DEATH
November 1779
PLACE OF DEATH
Categories: English furniture designers | Furniture makers | People from Otley | 1718 births | 1779 deathsHidden categories: Articles needing sections from December 2009 | All articles needing sections
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English Chippendale Furniture
English Chippendale Furniture
Thomas Chippendale was an English furniture and cabinet maker working in the 1700s who’s name is probaly most famously associated with Chippendale Chairs. Chippendale Chairs typically feature ball and claw feet and ornately carved backsplats with a chunky feel. Chippendale also made chests, desks, cabinets and other pieces of furniture. His enduring style was produced in workshops in both Britain and America since then. The Chippendale legacy can be seen in the intricate Gothic, Rococo and Chinese inspired chair backs assoociated with mid – 18th Century furniture. As Chippendale’s designs were taking hold so the Neoclassical style emerged and was evident in the light elegant chairs of the late 18th Century. In Britain it was later interpreted by George Hepplewhite and Thomas Sheraton.
Thomas Chippendale, (1718-1779), the English furniture designer and cabinetmaker whose name has become the generic label for furniture of the 1750s and 1760s. The son of a Yorkshire joiner, he probably served a family apprenticeship before seeking his fortune in London. He established a workshop there around 1749, later moving to spacious premises in St Martin’s Lane, at the hub of the London furniture trade. His partner, James Rannie, probably financed the business.
In 1754 Chippendale published The Gentleman and Cabinet Maker’s Director by subscription. This was a book of engraved designs for a wide variety of household furniture in the fashionable styles of the time, including the Rococo, Chinese, and Gothic tastes. It was reissued in 1755 and, with additions in the newly emerging Neo-Classical style, between 1759 and 1762. The Director established Chippendale’s reputation as a leading cabinetmaker and ensured his lasting influence. It was the most distinguished of all the 18th-century furniture design books and the first to provide a comprehensive survey of the styles in vogue.
Chippendale’s considerable business (he employed about 50 skilled craftsmen) was not without setbacks: in 1755 the cabinet shop was severely damaged by fire, and the death of Rannie in 1766 led to financial problems. Although relatively little is known of Chippendale’s private life and although he never achieved the gentlemanly status of some of his contemporary cabinetmakers, his firm produced a quantity of fine furniture for noble and wealthy patrons, and this is well documented. For some he both designed and provided complete interior schemes and it is known that he furnished interiors designed by Robert Adam.
Some of Chippendale’s most important furniture, ranging from early Director pieces to those executed in the Neo-Classical style of the late 1760s and 1770s, can still be seen in the houses for which it was commissioned. Notable examples are Dumfries House, Ayrshire; Wilton House, Wiltshire; Aske Hall, Nostell Priory, Harewood House, Newby Hall and Burton Constable in Yorkshire; Mersham le Hatch, Kent; Paxton House, Berwickshire; and Petworth House, Sussex. Canonbury Antiques on Church street in London carries some fine examples of Chippendale furniture.
Chippendale’s eldest son, also Thomas (1749-1822), continued the business and maintained its reputation as one of the leading cabinetmakers of the late 18th century.
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Lastest French Antique Reproduction Furniture News
Galleries: Sept. 2
Exhibit listings are published on a rotating basis as space allows.
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Style inspired by the Old World for fall
English poet Percy Shelley wrote, “There is a harmony in autumn, a luster to its sky.” This fall, that’s especially true in home decor. Rich, interesting hues, textiles and materials work in concert to welcome the season when we all move back indoors. As… Percy Bysshe Shelley – English poetry – Interior design – Autumn – Shopping
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Old days never looked as fresh, new
English poet Percy Shelley wrote, “There is a harmony in autumn, a luster to its sky.” This fall, that’s especially true in home decor. Rich, interesting hues, textiles and materials work in concert to welcome the season when we all move back indoors.
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