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ILLUSTRATED GUIDE 1500-1800
EDWIN JOHN FOLEY
DISCOVER the antique furnishings of 1500 - 1800 through the drawings of Edwin Foley, a Fellow of the Institute of Designers and the author of Some Old Woodwork, Our Household Gods: their Design and Designers and, the source of the plates included in this publication, The Book of Decorative Furniture, Its Form, Colour, & History. The furnishings are illustrated “to show each example with contemporary accessories and environment.” What can be found out about the author is mainly through genealogical records which indicate that he was born in the English county of Wilts [Wiltshire] in about 1859. His father was Arthur Foley, an inventor with patents, manufacturer, wholesale and retail furniture retailer as well as a building contractor. Edwin’s mother was Jane Foley. He had a brother Arthur Charles Foley who took an active part in the father’s business, Fisherton Steam Cabinet Works. His father died in 1894 and in that same year the partnership between Arthur, Jane and Arthur Charles was dissolved*. Edwin designed furniture for his father but it is unclear of how long he was involved in his father’s business.
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The Sunday Times (Perth, WA) of May 5, 1912 reported Edwin’s death as follows: “The death occurred at Cottesloe recently of Mr. Edwin Foley, Fellow of the Institute of Designers. Deceased was a recognized authority on decorative furniture and allied applied arts, and on antiques. He was well known in England as a lecturer, designer and author, and his last work, “The Book of Decorative Furniture” is a standard work on the subject in Europe and America. The deceased gentleman was 52 years of age. He had been visiting W.A. in search of health.” From genealogical records, Edwin was buried at the Devizes Road Cemetery Wiltshire. *notes: Building News and Engineering Journal July 16, 1880 The Cabinet Maker and Art Furnisher Dec 1, 1880 London Gazette, Jan 10 1896
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and Oriental Interior Woodwork. from the period of the introduction of the printing-press  into England and the building up of the English home-life. WWW.COM .CTGPUBLISHING. of the same period. Many of the examples are chosen from collections of colonial furniture in America. OTHER Italian. Chippendale. Adam. and Mahogany. Walnut. German. Sheraton. the late Gothic. FRENCH WOODWORK. and Georgian periods. with special preference to the masterpieces of the famous ebenistes and ciseleurs. Tudor. therefore. giving due prominence to the productions of the great eighteenth-century designers. the woodwork eras of Oak. It embraces. William and Mary. to the commencement of the nineteenth century. Spanish. Queen Anne.DESIGN PERIODS & GEOGRAPHY BRITISH DOMESTIC WOODWORK. who produced the sumptuous modes of the seventeenth and eighteenth centuries. and their contemporaries. Stuart.PAGE 4 o . Flemish. Hepplewhite.
work. superficial. to accomplish) is here employed in its more restricted popular sense to signify movable articles. not only its purpose. and romance.PAGE 5 . or item of existence — a table at which to eat. almost invariably of wood. used in the home for personal rest. and pleasure. One. The other way is to know it as a whole. or for the storing of household requisites and ornaments. a chair to sit upon. originally implying a store or supply of anything (as is obvious if its origin is the old High German Frummen. the origin of this piece of ornament. and withal dreary. but its evolution. the reason of that previously unconsidered shape.o FURNITURE The term Furniture. The WWW. history. its beauties as well as its defects. prosaic. as a mere detail. utilitarian. only this and nothing more.CTGPUBLISHING. tool. There are two ways of knowing a piece of furniture.COM .
PAGE 6 . interesting method.COM . then.latter is the vitalising. Every change in the forms of woodwork.CTGPUBLISHING. has its story for us. has been dictated by some requirement of use or beauty. and my aim and hope will be to infuse its spirit into our book of furniture modes. social. from the crude stool of the semi-barbarian to the stately throne of a Lorenzo il Magnifico. and ethical ideas of its time. Furniture. from the rough dug-out trunk to the Boulle Coffret de Mariage. by its aid we see that the furniture of bygone days often significantly mirrors the political. p WWW.
1. Chastity.5 IN.1912] Carved. and Death.COM . DEPTH 2 FT.PAGE 7 . and painted.ENGLISH C. 7 IN.CTGPUBLISHING. and on the sides with Pyramus and Thisbe and Narcissus. p WWW. 4 IN. gilded. HEIGHT 3 FT. in front with the Triumphs of Love. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . 1550 MARRIAGE COFFER LENGTH 6 FT.
comforts. and privileges embodied in the word Home.PAGE 8 . or coffer was its chief and most valued article of furniture.COM . o WWW.CTGPUBLISHING. the dug-out trunk. serving as bedstead and table. Throughout the fascinating sequence of periods during which the English domestic hearth was gathering the sanctities. chest. as well as for the safe storage of valuables.Facts and legends galore cluster round the coffer.
LATE GOTHIC SCHRANK [GERMANY] ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] WWW.PAGE 9 .COM .CTGPUBLISHING.
are of lime [wood] or linden [wood] — a wood which in Central Europe during the fifteenth century shared popularity with the slow-growing fir known as the Arhe or Zirve.CTGPUBLISHING. The doors and other constructional framework are of ash. through the medium of Gothic rather than of Renaissance.PAGE 10 . affording scope for the Teutonic love of the intricate. WWW. the convolutions of late mediaeval leafage. a banding of lime and palisander wood dividing the doors from the pilasters and friezes.COM . Such pieces of craftsmanship as the Schrank strengthen one’s conviction that the German temperament finds its most congenial expression in decorative furniture. upon grounds painted red or blue.o LATE GOTHIC SCHRANK In the Cupboard here shown the carved and pierced ornamental details.
CTGPUBLISHING. WIDTH 3 FT.COM . 7 IN.PAGE 11 HEIGHT 4 FT. 4 IN. GOTHIC PERIOD OAK DOUBLE HUTCH . 11 IN.1912] WWW.ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . DEPTH 1 FT.
some of its details indicate a later date than that architecturally gloomy pile. WWW. The double hutch was an early link in the long chain of evolution by which that modern symbol of man’s prosperity and pomp.COM . as of French during the latter part of the fifteenth.o OAK DOUBLE HUTCH Its birthplace.CTGPUBLISHING. the sideboard. has been reached. In all essentials it is as typical of English work of the sixteenth century. assigned traditionally to France — Plessis-les-Tours.PAGE 12 .
] Judging from contemporary writings. green. and whitewashed the rest. was painted with vermilion.. and yellow. o WWW.PAGE 13 . the English were so passionately attached to colour. but the wainscot panelling. one of the main objections of the citizens of London to the introduction of coal was that its smoke impaired the whiteness of their houses. and from the colour usually shown upon the furniture in manuscript drawings of the fourteenth and fifteenth centuries. embroideries. and cared so little for the natural wood.CTGPUBLISHING. Not only were clothes.COM . [.” Indeed.. and textiles generally of strong primary and secondary colours.COLOUR-LOVING ENGLISH ANCESTORS During the Late Gothic and Tudor periods there is ample evidence of the continuance of English fondness for bright colours. that “they painted everything they could afford. which charms modern eyes chiefly by the natural beauty of the wood. as to give ground for the statement.
CARVED OAK DRESSOIR — LOUIS XII
HEIGHT 4 FT. 4 IN. WIDTH 3 FT. 10 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 - 1912] WWW.CTGPUBLISHING.COM - PAGE 14
CARVED OAK DRESSOIR — LOUIS XII
Indeed, the dressoir over-leaf, though allotted by the authorities of the Musee Cluny, upon doubtless indisputable authority, to the times of the twelfth Louis, might, if judged solely upon the evidence of its crocketed uprights, have been made at least thirty years before, when the ambitions of the eleventh and craftiest of the Louis, conflicting with those of Charles the Bold of Burgundy, created such a picturesque chapter in French history. Dressoirs were not always of the modest proportions of this example; their sizes, indeed, grew until circumscribed by decree; but no such limitation could be placed upon those used by the king.
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INLAID MUNIMENT CHEST C. 1556
LENGTH 6 FT. 6.75 IN. HEIGHT 3 FT. 3.25 IN. DEPTH 2 FT. 5.25 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 - 1912]
The drawing is an endeavour to present the appearance of the chest prior to its encasing with polish. One can detect at least eight of the woods used: oak, cherry, yew, holly, ebony, ash, walnut, and rosewood.
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1912] WWW. NORFOLK ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.THE “KING’S ROOM.COM .” OXBURGH HALL.PAGE 17 .
STRANGERS’ HALL. NORWICH C. 36 IN. WWW.OAK PRESS. who had settled in considerable numbers in East Anglia.PAGE 18 . HEIGHT 7 FT. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM . and are credited with the work.CTGPUBLISHING.1912] p More than usual divergence of opinion legitimately exists upon the period of this piece [but] it was probably the middle of the sixteenth century which witnessed the Flemish craftsmen. 9 IN. 1550 LENGTH 5 FT.
reminiscent of the enforced stay of these French princes [Duke of Orleans and his brother Count d’Angouleme].THE PANELLED STUDY AT GROOMBRIDGE PLACE.CTGPUBLISHING. KENT ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 19 . which contain the Orleans and the Waller arms.COM . are among the many ornamental details one finds at Groombridge. WWW.1912] p The central carved panels over the mantel.
COM .PAGE 20 . 10 IN.TUDOR FOUR-POSTER BED HEIGHT 4 FT. 4 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.1912] WWW.LITTLECOTE BEDSTEAD . WIDTH 3 FT.
COM . recesses were arranged in the heavy bases which support the posts. in with panelling up to the underside of the tester. as in the Littlecote Bedstead [.CTGPUBLISHING. the turned posts being then required only for the foot. communicating with a “priest’s hole” — a small secret chamber or passage for escape. WWW.o TUDOR BEDSTEAD In Elizabethan times the head-end of the bedstead was filled.PAGE 21 .end.]. whilst part of the panelling of the head-end at times formed a door.. by means of double panelling. A hiding place was sometimes contrived in the tester.. As a further means of hiding property.
ILLUSTRATION BY EDWIN JOHN FOLEY [1859 . 1 IN.PAGE 22 .1912] WWW. 3 IN. HEIGHT 6 FT. WIDTH 2 FT.COM .CTGPUBLISHING.CARVED AND INLAID OAK COURT CUPBOARD LENGTH 6 FT. 1 IN.
the space thus formed was called after the piece of furniture in which they formed part. when referring to the various forms of storage furniture. and in this work an endeavour has been made to use each term in accordance with the views expressed in the following pages. cupboard. It is. dole and standing cup-boards. as court cupboard. The idea of making the movable piece of furniture known as a cupboard. however. and buffet are at times employed indifferently and loosely by old and modern writers.CTGPUBLISHING. hutch. Afterwards. credence. is scarcely remarkable considering the difficulties of satisfactory definition. on which cups and plates were placed. but the name favours the theory that such pieces were originally open framework.COM . which were merging and evolving during the fifteenth and sixteenth centuries. WWW. almery. armoire. livery cupboard. in raised stages of boards. when enclosed by doors.PAGE 23 .o CUPBOARD THAT the terms coffer. by placing curtains in front. — literally cupboards. may have originated from the coveringin of a recess in the wall. a source of confusion.
to deliver) were. at times restricted to the servants’ allowance or “ livery. the tradition of their original use thus surviving. The term will recall to AngloIndians the Ahnirah of the East.PAGE 24 .CTGPUBLISHING. they are known as bread and cheese cupboards. requiring food between the evening meal at 5 p. WWW. fortunate enough to still retain and value these relics of bygone days. They were usually pierced for the admission of air. were originally lockers in which broken victuals.ALMERIES.” but also employed for the portions allotted to those who. If one accepts the definition supplied by the extant contract for building Hengrave Hall the livery cupboard was an open shelved piece of furniture of the simplest modern dinner wagon type. LIVERY CUPBOARDS (Livrer. had their “livery” supper of cakes and spiced wine delivered to them each night in their bedrooms. bread. and the morning meal at 10 a. used for holding food and other requisites for delivery. Livery cupboards were less ornamented than the court cupboard.m. judging from their derivation of name.m.COM . In old country farms and cottages. and were also frequently employed for domestic storage. OR DOLE CUPBOARDS. especially as the custom of giving doles fell into comparative disuse. and other food for doles or alms were placed.
to overhang sufficiently to make a secret hiding-place. forming [the following plate]. to hold plates and mugs. and candles required by the family. in later varieties. as in the Newark example shown in [the previous plate]. at first.COURT CUPBOARDS. This column was. which was almost invariably friezed. its cornice being supported by a turned column. however. food.PAGE 25 . The functions of the court cupboards were originally to store the wines. consisting of open shelving below. reduced to a turned pendant or “drop. a structural peculiarity causing the cornice.” frequently of acorn shape. the actual cupboard in the upper part was formed by small square doors. The term was. were simply short cupboards in the genesis of the term (from French court = short). In another characteristic design. The ample shelf thus obtained was used for garnishing with plate. as in Sir Theodore Fry’s court cupboard. WWW. the upper division was recessed. They were originally made in two divisions and usually.CTGPUBLISHING. and is still employed to describe a piece of furniture (of Welsh origin usually) in which a third stage is superimposed on the old form of the court cupboard. and were so called to distinguish them from the continental “standing” cupboards of the dressoir type. frequently canted back at each end.COM . which made their debut in Elizabethan days. enclosed in both. and a cloth to cover the top was always used.
HEIGHT 3 FT. 10 IN. 17 IN.CTGPUBLISHING. ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .COURT CUPBOARD BUFFET C.COM .PAGE 26 . DEPTH 1 FT. 1657 WIDTH 4 FT.1912] WWW. 1 IN.
BONFET.e. to detect poison. before it was served to the family. CREDENCES — The term credence. such as [the next two color plates]. i.PAGE 27 . required in dining. and conveys a good idea of that worn by men during Tudor times. is often. which one prefers to restrict to continental pieces. is a corruption of Buffetiers. to which a shelf was usually attached near the foot. used to describe old furniture of the cupboard or buffet types — forerunners of the modern sideboard — chests on legs. Such pieces were employed to carve meats upon after the steward or taster had fulfilled his doubtfully pleasant function of eating a portion. BEAUFAIT. As great freedom has been shown in applying the term to any piece of furniture used for standing plate or other articles upon. Their costume has been little changed. attendants at a bufet or sideboard. WWW.” as applied to the yeomen of the royal guard. but with doubtful accuracy. The term “Beefeaters.COM . BOFET. OR BUFFET — A freedom from “the letter that killeth” is shown in the many English methods of spelling this Gallic synonym for our sidetable.CTGPUBLISHING.BEAUFETTE.
PAGE 28 .CTGPUBLISHING. 17 IN. DEPTH 1 FT.1912] WWW. 10 IN. HEIGHT 4 FT.PETITE CREDENCE. 1520 LENGTH 3 FT. FRANCOIS I C.COM . 9 IN. ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .
17 IN.1912] WWW. ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .CARVED BOURGUIGNON CREDENCE C. 10 IN.COM . HEIGHT 4 FT. DEPTH 1 FT.PAGE 29 . 8 IN.CTGPUBLISHING. 1550-75 LENGTH 3 FT.
THE TABLE OF DEGREES — England does not appear to have observed so strictly as did France, the mediaeval ordinances decreeing the number of stages or “steps’’ in these forerunners of the upper part of our highbacked modern sideboards. The prescribed numbers in the Table of Degrees were : — [2 steps for the wife of a knight-banneret, 3 for a countess, 4 for a princess and 5 for a queen]. DRESSERS — dressoirs— were of somewhat similar construction to the credences, but were originally cupboarded fixtures with tiers of shelves. They gradually became lighter in construction and with greater table accommodation, whilst upright cupboards were added to the upper part. About the end of Henry VIII’s reign the dressoir seems to have fallen into disuse, until the “Welsh dresser” of the succeeding period arrived, with its ample table part of convenient height, and its picturesquely homely rows of plates and mugs. ARMOIRES [the name] was derived probably from Armarium. If so, it may be safely assumed that their original use was to keep valuables, arms, and armour free from dust and rust. Upon the disuse of armour they became cupboards in which to hang other dress equipments, and thus were the forerunners of the wardrobe.
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CARVED OAK ARMOIRE C. 1540 & TABLE
LENGTH 4 FT. 5 IN. HEIGHT 6 FT. 1 IN. DEPTH 2 FT ILLUSTRATION BY EDWIN JOHN FOLEY [1859 - 1912] WWW.CTGPUBLISHING.COM - PAGE 31
BAHUT was originally confined in France to leathern travelling trunks. Its usage was gradually extended to strong coffers, boxes, or chests intended for travellers, and even to cupboards and armoires. HUTCHES (huches), though simple varieties of the coffers and chests of the mediaeval home, were of somewhat better type than the bin or trough to which the term hutch is now applied. FLANDERS CHESTS — All chests were raised at their bases at least a few inches above the ground, that they might be freer from damp; at first by continuing the end posts, and, at a later period when mouldings were used, by the addition of turned balls or “buns.” Very typical, and among the richest in design of the “Flanders Chests” in this country, is that at East Dereham. It is divided into seven niches or panels, separated by turned and ornamented buttresses of Frangois lere type, the ends being similarly treated : the whole piece is Renaissance in detail, save that the lock plate is of flamboyant Gothic design.
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PAGE 33 .CTGPUBLISHING.1912] WWW.COM . 1555 ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .CARVED COFFER OR BAHUT & OAK SCREEN C.
W 2 ft.CTGPUBLISHING. CARVED CHIMNEYPIECE AT CHIDDENSTONE.5 in. 10 in.COM . 10 in. KENT c. CARVED “DRAWINGE” TABLE. 1 in. CAMBRIDGE C.5 in. H 2 ft. 1600 Full L 9 ft. 1580 WWW.1912] LATE SIXTEENTH CENTURY WOODWORK p INLAID NONESUCH CHEST. D 1 ft. AT BORDEN HALL c. . 11. 1600 EARLIEST ENGLISH WALLPAPER.PAGE 34 . SHIBDEN HALL C. 11.ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1580 L 4 ft. H 1 ft.
or picture. 7 IN.CTGPUBLISHING. — but was not used to signify the piece of furniture which we understand by the word. 9 IN. HEIGHT 2 FT.OAK TRESTLE TABLE C. the palm of the hand. 9 IN. WWW.COM . a backgammon or chess board.1912] p Until the beginning of the sixteenth century a “table” meant a list. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . 1570 & “MINE HOST’S” CHAIR LENGTH 9 FT. and many other more or less plane-surfaced objects.PAGE 35 . WIDTH 2 FT.
PAGE 36 .CTGPUBLISHING. however. The discomfort of the upright back and hard seat had. WWW. for the preceding half-century been minimised by the provision of loose “Quysshons”. 1600 COUCH LENGTH 5 FT. HEIGHT 3 FT. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . was unpractised.UPHOLSTERED CHAIR AND COUCH C. 9 IN. if not unknown.1912] p Until the conclusion of Queen Elizabeth’s reign. in England and Scotland. the branch of the upholsterer’s craft which encloses stuffing in fabrics fixed to the wooden framework of seats.COM . 6 IN.
OAK CABINET & WALNUT CHAIR COUCH LENGTH 4 FT.1912] p The group illustrated is composed of French decorative equipments made during the reign of Henri Deux or of his three sons. DEPTH 1 FT..PAGE 37 . HEIGHT 4 FT. Charles IX. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .CTGPUBLISHING. — Francois II. and not later than the middle of the century. and Henri III. 6 IN. WWW. 9 IN. The incised cabinet is apparently the work of one of the woodwork “schools” of Central or Northern France. 2 IN.
CARVED OAK BEDSTEAD C. 1562 ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .1912] WWW.COM .CTGPUBLISHING.PAGE 38 .
ILLUSTRATION BY EDWIN JOHN FOLEY [1859 . 1574 COUCH LENGTH 4 FT. 9 IN. 3 IN.COM .PAGE 39 .1912] WWW. HEIGHT 4 FT.CTGPUBLISHING. SEAT WIDTH 2 FT.THOMAS RUKER WROUGHT STEEL CHAIR C. 6 IN.
ebony.1912] PORTUGUESE INLAID CABINET p Group of late sixteenth .COM .CTGPUBLISHING. and coloured woods [as well as a] spiral turned armchair with silver finials and nails.ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .century continental furniture: Portuguese cabinet of chestnut inlaid with ivory.PAGE 40 . WWW.
GODINTON ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .CARVED OAKEN STAIRWAY.COM .PAGE 41 .CTGPUBLISHING.1912] WWW.
HEIGHT 7 FT. DEPTH 1 FT. WWW. 1688 WIDTH 6 FT.PAGE 42 . 6 IN.OAK WELSH DRESSER C. 3 IN.1912] p This sketch is intended to represent the probable furniture and appearance towards the close of the seventeenth century of a well. 9 IN.to-do Welsh or North Devon farmer’s slate-floored kitchen and living room. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .CTGPUBLISHING.
A CABINET OF OAK AND WALNUT WITH EBONY PANELS AND COLUMNS.1912] WWW. INLAID WITH ROSEWOOD AND IVORY ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .COM .PAGE 43 .CTGPUBLISHING.
COM .PUTNAM CUPBOARD OF ENGLISH OAK AND CEDAR ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .PAGE 44 .CTGPUBLISHING.1912] WWW.
COM .WALNUT KAS INLAID AND WITH DELF MEDALLIONS ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .1912] WWW.CTGPUBLISHING.PAGE 45 .
PAGE 46 p . is made upon a principle so sensible and solid that one wonders at its disuse in favour of the screw-extension method of the modern dining-table.AN EARLY VIRGINIAN COLONIST’S PARLOUR C.1912] The English “Drawinge” table is an evolution from the table a rallonge first made in France about 1550. WWW. 1636 OAK “DRAWINGE“ TABLE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM . which can be drawn out at each end and thus give double its normal accommodation.CTGPUBLISHING. The “Drawinge“ table.
2 IN. 3 IN.PAGE 47 .1912] WWW. DEPTH 2 FT.COM . ILLUSTRATION BY EDWIN JOHN FOLEY [1859 . 8 IN.CTGPUBLISHING. HEIGHT 7 FT.“RUBENS” CABINET— OF EBONY CARVED WIDTH 7 FT.
COM .CTGPUBLISHING.PAGE 48 . GUERTDONS. AND TABLE ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .1912] WWW.SILVER MIRROR.
and fauna which add to the richness of the Antwerp example. cupids. DEPTH 2 FT. HEIGHT 8 FT. 3 IN.CTGPUBLISHING. The date of the stairway is probably between 1675 and 1690.PAGE 49 p . Antwerp. 4 IN. although devoid of the cherubs’ heads. much resembling the well-known stairs in Brewer’s Hall.COM . 9 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] CARVED WALNUT BOMBE ARMOIRE The stairway shown is identical in detail with that erected in one of these [English] houses. WWW.LENGTH 6 FT. and is evidently of Dutch lineage.
in the same collection.CTGPUBLISHING. informs us that this masterpiece of inlaid woodwork was “made at Massevaux by Jean Conrad.” [.1912] p An inscription in French upon the oval cartouche in the centre of the base. Tornier.. typical of the delicate German ornamentation in ivory such as may be seen upon arquebus stocks of the period. WWW.COM .INLAID JEWEL CASKET OF WALNUT WOOD C. 1630 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 ..] Its details are. Arquebus mounter in 1630. however.PAGE 50 .
COFFRET DE MARIAGE ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .1912] WWW.PAGE 51 .CTGPUBLISHING.COM .ANDRÉ-CHARLES BOULLE .
CTGPUBLISHING.COM .1912] WWW.JEAN BÉRAIN .ARMOIRE IN EBONY ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .PAGE 52 .
ciseleur et doreur du roi. was the chief producer of the sumptuous woodwork made for the royal palaces during the reign of Louis XIV. and sobered by the French genius.1912] p Kneehole writing table in red tortoiseshell and lacquer steel top by Boulle with gilt fauteuils.CTGPUBLISHING.PAGE 53 .ANDRÉ-CHARLES BOULLE . Andre Charles Boulle.” WWW. harmonised. in Lady Dilke’s words.COM . when.KNEEHOLE WRITING TABLE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . “Italian tendencies were absorbed. upholstered in tapestry.
PAGE 54 .CTGPUBLISHING.LIMEWOOD MIRROR & WALNUT FURNISHINGS ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .COM .1912] WWW.
1725 LENGTH 6 FT. HEIGHT 4 FT. WWW. DEPTH 1 FT.1912] p It must be confessed that the beauty of the Anglo-Dutch open-work settee is much greater than its comfort. 10 IN.CARVED WALNUT DARBY AND JOAN SETTEE C. indeed only by sitting almost “ bolt upright “ can the back of the sitter be rested.COM . 9 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . 9 IN.PAGE 55 .CTGPUBLISHING.
4 IN.1912] WWW. 2 IN. WIDTH 8 FT.COM . ILLUSTRATION BY EDWIN JOHN FOLEY [1859 .QUEEN ANNE’S BED LENGTH 7 FT.CTGPUBLISHING.PAGE 56 . 4 IN. HEIGHT 19 FT.
5 IN.5 IN. 4. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . WWW. some few years after Boulle had clothed its form in his metal inlays — of which the Versailles piece [illustrated in previous red tortoiseshell plate] is perhaps the finest example.LENGTH 4 FT. with enclosed centre. made its appearance in England towards the end of the seventeenth century.1912] WALNUT INLAID WRITING-TABLE p The kneehole writing-table.COM .CTGPUBLISHING. HEIGHT 3 FT.PAGE 57 .
PAGE 58 .CTGPUBLISHING.COM . 4 IN. WIDTH 3 FT. 11 IN.RED AND GILT LACQUER DOUBLE CHEST OF DRAWERS HEIGHT 5 FT. ILLUSTRATION BY EDWIN JOHN FOLEY [1859 . DEPTH 1 FT.1912] WWW.
BLACK LACQUER SETTEE.PAGE 59 .1912] p Early hoop-back chairs were somewhat tardy in obtaining popularity in their stretchered and inlaid forms. WWW. indeed. that the splat and hoop-back outlines took permanent hold upon English taste. The absence of the stretcher usually indicates a date later than 1710.COM . it was not until the abolition of the stretcher and their ornamentation by lacquer.CTGPUBLISHING. CHAIRS AND TABLE & MIRROR ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
PAGE 60 .A GROUP OF EARLY EIGHTEENTH-CENTURY FURNITURE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.1912] WWW.COM .
COM .CTGPUBLISHING. 10 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CHIPPENDALE CHAIRMAN’S CHAIR C. 6 IN. HEIGHT 5 FT. 1735 WIDTH 2 FT. 4 IN.1912] WWW. DEPTH 1 FT.PAGE 61 .
from which in 1753 he removed to larger premises in St.o CHIPPENDALE He [Thomas Chippendale II] was the middle member of three generations of Chippendales. Martins-in-theFields. His father. Martin’s Lane.CTGPUBLISHING. all named Thomas. is recorded a marriage between Thomas Chippendale II and Catherine Redshaw of St. George’s Chapel. but tempted. By 1735 the status of the house of Chippendale was assured. Chippendale I — for it will be convenient to number this Chippendale succession. and all woodwork craftsmen. possibly by ambition born of local fame. The year after his marriage we find that Chippendale II took a shop in Conduit Street. where he WWW.COM . In the register of St. to seek metropolitan renown. migrated to London about 1720. Long Acre. and the firm’s showrooms were a rendezvous of art and fashion. Mayfair.PAGE 62 . although only Chippendale II looms largely in decorative furniture history — carried on business originally in Worcester.
Chippendale on his own account. where his signature.had Hogarth as a neighbour and was near the birthplace of the Royal Academy. and others.” Evidence of Chippendale’s rise to fame is given in the autograph album of the Society of Arts. Martin’s Lane. Adelphi.PAGE 63 . which consumed the same. and the Trade will for the future be carried on by Mr.CTGPUBLISHING. David Garrick. that “A fire broke out in the workshops of Mr. will be found near those of Sir Joshua Reynolds. Thomas Chippendale is dissolved. James Rennie.COM . near St. Martin’s Lane. Johnson. the partnership existing between him and Mr. Dr. John Street. In April 1755 the Gentleman’s Magazine reports. Cabinet Maker and Upholder. upon election as a member. in language which might not escape the censure of a zealous sub-editor of to-day. late of St.” Chippendale’s name again occurs in an issue of the Public Advertiser of February 1766. cabinet maker. Gibbon the historian. WWW. wherein were the chests of twenty-two workmen. Chippendale. “Whereas by the death of Mr.
PAGE 64 . however.containing some two hundred plates.CTGPUBLISHING. By 1765 the vogue of Chippendale had apparently declined sufficiently to encourage the suggestion that he died between 1762 and 1765: the main ground for the error being.the first edition of which has appeared in 1754 .COM . 1779. Manwaring’s loosely-worded reference to Chippendale as a “late” to be identical with “recent”.In 1762 was published the third edition of Chippendale’s Gentleman and Cabinet Makers Director . p WWW. for it was not until November 13th. being forty more than in the two previous editions of 1754 and 1759. that the burial entry of Thomas Chippendale II occurs in the register of Saint Martin’s Church.
CTGPUBLISHING.PAGE 65 . WWW. and the clumsy imitations of French art which prevailed at Herrenhausen were transplanted to England.MAHOGANY AND GILT GEORGIAN SUITE C. There fortunately followed. 1730 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . ere the close of his reign — somewhat curiously through the Gallic tastes of speculators who had profited by the South Sea Bubble and the financial schemes of John Law — a distinct affection for lighter Regence forms of Louis XV.1912] p George the First was devoid of taste.COM .
1912] WWW.CTGPUBLISHING. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM . 11 IN. LENGTH 6 FT.CARVED CHIPPENDALE LIBRARY BOOKCASE HEIGHT 8 FT. 8 IN.PAGE 66 .
1745 WIDTH 2 FT.1912] WWW.COM .PAGE 67 .CTGPUBLISHING. 7 IN. 4 IN. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . HEIGHT 2 FT.CHIPPENDALE SCHOOL GALLERY TABLE C.
1912] WWW.COM .PAGE 68 .CARVED ENCLOSED MAHOGANY BOOKCASE C. 1746 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.
CHIPPENDALE CHAIR & CARVED CHINA CASE C.1912] WWW. 1750 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.COM .PAGE 69 .
1750 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING. and the even more charming apple-green. and are credited to Lang Too. both are associated with the culminating era in Chinese ceramics covered by the reign of K’ang Hsi.PAGE 70 p . their reputed author. Both glazes were obtained by the Chinese from copper silicates. a viceroy of provinces.CURVED COMMODE TABLE.1912] The colours of the vases shown upon these [candle] stands but inadequately represent the glorious hues of the famed ruby red known as sang de boeuf in French art. WWW. STANDS & SCREEN C.COM .
1750 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.1912] WWW.COM .CHIPPENDALE STYLE MAHOGANY ARM-CHAIR C.PAGE 71 .
CTGPUBLISHING.COM .1912] WWW.PAGE 72 .CHIPPENDALE CHINESE ROOM AT BADMINTON HOUSE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
COM .1912] WWW.MAHOGANY DIVISIBLE DINING-TABLES C. 1755 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.PAGE 73 .
and now (having been separated from their “mates”) become independent pieces.table was composed of two central pieces.CTGPUBLISHING. Burghard’s Dining-Table.MAHOGANY DIVISIBLE DINING-TABLES To the generality of the public the Chippendale period is associated rather with simple yet dignified furniture of the type herewith illustrated. are seldom recognised as integral parts of the complete Chippendale dining-table. WWW. virtually two tables forming an octagon when closed.COM . supported by cabriole legs. the usual type of dining . Dr. These latter being used as sidetables. and with semicircular ends to the tops. is an early form or species of the flap-extension dining-table. During the interesting era designated in furniture annals by the title of Chippendale.PAGE 74 o . ornamented with frets and executed in dark mahogany. One is inclined to credit Ince and Mayhew — two of Chippendale’s most industrious contemporaries — with the design and manufacture of these tables.
1912] WWW.PAGE 75 . 1775 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .COLONIAL MAHOGANY CABINET SCRUTOIR C.CTGPUBLISHING.
COLONIAL CARVED MAHOGANY CHINA CASES C. 1775 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 76 .CTGPUBLISHING.COM .1912] WWW.
there was little use for an enclosed piece with so much table and cupboard accommodation. and the changing of knives.COM .1912] The sideboard did not assume its present forms and functions until the latter half of the eighteenth century. forks.CARVED MAHOGANY PEDESTAL SIDEBOARD C. Indeed.PAGE 77 p . and spoons with each course. WWW.CTGPUBLISHING. 1780 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . and side-tables amply sufficed. until table service was made more complex by the constant multiplication of courses.
himself the architect of Hopetoun House. a French architect. at whose university Robert was educated. Robert Adam travelled in France and Italy until 1758. among his fellow-students and friends there being Adam Smith. making the acquaintance of. and the King’s Mason. In Italy Robert Adam. of whom Sir William Cliambers (“Chinese Chambers”) had been a pupil. the second of the four sons of William Adam of Maryburgh. and studying with. especially devoted himself to making the drawings he afterwards published of the Emperor Diocletian’s palace at Spalatro (Spalato) in Dalmatia. together with the painter Zucchi and Clerisseau. and Adam Ferguson.o ADAM BROTHERS ROBERT ADAM .PAGE 78 . Upon leaving college in the early fifties. David Hume.COM .CTGPUBLISHING. at Edinburgh. Clerisseau.The style associated with the Brothers Adam owed its inception chiefly to Robert. and completed his drawings WWW. He was arrested — despite the authorisation he had obtained from the Venetian Senate — as a spy using his art as a cloak for sketching fortifications.
was appointed Architect to the King and Queen. within four years of his settlement.under the constant supervision of a military officer. Upon Robert entering into partnership with his brother James. was but a temporary check to their career. the typical Adam “sideboard” consisted of a sideWWW. [.COM .] As has been noted in our commentary on the period. Robert decided to settle in London.CTGPUBLISHING. and in 1762. an office he was compelled to resign in 1768 upon becoming Member of Parliament for Kinross-shire. At the conclusion of his travels... Their progress was so rapid that they leapt rather than stepped into fame as the fashionable classical architects. Even the financial failure of their bold architectural and building speculation. that well-known range of streets (to which they attached their names) built upon arches on the foreshore of the Thames. he had indeed been elected a Fellow of the Royal Society during his absence. during the fifteen years which elapsed between Robert’s settlement in London and the publication of the first part of their book. they became known as the Adelphi (Brothers). They designed exclusively for the nobility and other wealthy clients.PAGE 79 . the Adelphi.
Coventry. by the highest circles may be gathered from the pall-bearers at his funeral in Westminster Abbey.His elder brother. Viscount Stormont.table.. JAMES ADAM . Pulteney. who also travelled in Italy in 1760-1762 with Clerisseau and Zucchi. [. and Mr.PAGE 80 . a wine cooler (frequently of sarcophagus design) underneath.COM . being the Duke of Buccleuch. and flanked on each side by pedestal cupboards surmounted by urns. and outlived Robert some two years..CTGPUBLISHING. He held the appointment of Architect to George III. That he was esteemed. with knife-cases and brass gallery at back. the Earls of Lauderdale.discovered by latest researches to have exhibited five times at the Royal Academy between 1784 and 1801 . A third brother.Robert Adam appears to have been somewhat gifted as a landscape painter. Lord Frederick Campbell. has been especially credited with the design of Portland Place.] Like Chippendale III . not only as a great architect but also as a personal friend. with whom they had carried on commercial rather than architectural relations. WWW. afterwards endeavoured for some years to continue their practice. William.
PAGE 81 .CTGPUBLISHING.1912] WWW.COM .ADAM PAINTED AND LACQUERED SEDAN CHAIR ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
” and usually.CTGPUBLISHING.COM . their heyday of favour in England was the eighteenth century — much later than upon the Continent. WWW. being decorated elaborately. James’ Square. In England the sedan. placed for convenience in a prominent place in the hall. when decorated by such artists as Jean Berain. though a picturesque accessory of traffic. is not unworthy to uphold British decorative woodwork. Yet the example illustrated. when not in use. designed for Lady Watkin Williams Wynn.o SEDAN CHAIR Although Buckingham certainly did much to secure their popularity. Originally employed that the occupant might “take the air. the carrying-chair or sedan became a favoured piece of indoor equipment. scarcely reached the high artistic level which. it attained in France.PAGE 82 . and Fragonard. and upholstered in rich stuffs. and shown in the hall also designed by the Adelphi for the house in St. Boucher.
WWW.COM . 1780 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING. the ribbon-back or perforated splat of Chippendale period. or Heppelwhite’s “bar-back” — if less comfortable than enclosed-back seats and sofas is almost invariably more pleasing in appearance.PAGE 83 p .1912] It can scarcely be denied that the openworkback settee — whether it be the Darby and Joan form of William and Mary’s days.WHITE GILT AND PAINTED SETTEE C.
1912] WWW.PAGE 84 . 1780 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .INLAID SATINWOOD COMMODE C.COM .CTGPUBLISHING.
COM .PAGE 85 .CTGPUBLISHING.1912] WWW.KING’S SATINWOOD & MAHOGANY DRESSING CABINET ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
and account for the vogue of the Chintz. became [. WWW..COM . for spotted or variegated. however.PAGE 86 . a name derived from the Hindu chint.] popular in England. originally produced in India.CHINTZ & SATINWOOD HEPPELWHITE BEDROOM ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] p Comfort and cheerful attractiveness rather than dignity were.CTGPUBLISHING.. the objectives. From early in the eighteenth century the cleanliness and freshness of its bright vivacious colourings upon a highly glazed light ground.
HEPPELWHITE .CTGPUBLISHING.and influenced Sheraton in the succeeding period. It is desirable to acknowledge the indebtedness of the style known as “Heppelwhite” to his friend Shearer. indeed. but as a probably actual compiler and the undoubted designer of some of the plates of the Heppelwhite book.COM . yearly becomes more appreciated by admirers of eighteenth-century woodwork modes. did much for the continuance of Heppelwhite traditions . lines of demarcation can only be laid down with the distinct qualification that the originators of decorative furniture during that period so freely annexed each other’s methods and decorative details WWW. but the recognition of his contemporary Shearer’s position is still virtually confined to the professional expert in decorative furniture. Shearer.SHEARER SCHOOL The work of George Heppelwhite. not only during [Heppelwhite]’s life.PAGE 87 o . though not so famous as that of Chippendale or Sheraton. moreover. This collaboration of Heppelwhite and Shearer is no unusual feature in the history of eighteenth-century decorative design.
COM . a revolt against Chippendale’s Chinese.that they will frequently be found to have stepped outside the style boundaries allotted them. and Gothic phases. upon which subsequent workers in the Heppelwhite manner based their designs until the termination of the vogue. He is confidently surmised to have been one of several cabinetmakers working together. and more retrained work was. In 1788. It is difficult to fix with any degree of precision the date of the commencement of his influence in design. was published Cabinet-Maker and Upholsterer’s Guide. Their lighter.PAGE 88 .CTGPUBLISHING. like that of the Brothers Asam. probably by 1805 at latest. two years after his decrease. HEPPELWHITE .setting aside decorative WWW. daintier. was apprenticed at Lancaster. — or Hepplewhite. but probably his designs and work in London were affecting furniture early in the sixties. probably a native of Durham. rococo. — the founder of the Heppelwhite style and firm. For the foregoing it will be seen that . for the name was spelt by its owners both ways.George Heppelwhite. of whom Shearer was probably another.
and others. when working in the “Heppelwhite style”.the term “Heppelwhite” is applied to the following groups of decorative furniture: (A)To the work of George Heppelwhite proper. (C)To the designs and manufacturers of Shearer. commenced practically “in wooden monochrome” white carved mahogany. concluded with colour. and his own work was affected by their style. from 1786 until the conclusion of the century.PAGE 89 .COM . and. Heppelwhite. (B)To the productions by his widow’s firm of A. like Adam. in inlay and paint.furniture executed to the commissions and designs of the Brothers Adam .CTGPUBLISHING. like Adam. p WWW. He made furniture for the Brothers Adam from the sixties. Heppelwhite & Co. Casement. from about 1768 until his death in 1786..
COM .PAGE 90 .SATINWOOD DRESSING-TABLE WITH MEDALLIONS ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] WWW.CTGPUBLISHING.
PAGE 91 p .1912] The decoration of furniture by painting. gilding and brass mounts being at times used to enhance the effect. and even black. were at times adopted. and upon a ground of the natural wood. was introduced about 1770 by the Brothers Adam: the favourite painted grounds being various shades of green and cream. both in the manner of the pieces shown in the plate.PAINTED COMMODE AND CHAIRS LATE 18TH CENTURY ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . WWW.CTGPUBLISHING.COM . although other colours as well as white.
1790 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 92 .WEDGWOOD-FLAXMAN CHIMNEYPIECE C.COM .1912] WWW.CTGPUBLISHING.
ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . pattern. with a cupboard above. the primitive family cooking is performed. trodden down. Over the stove indicated in the left-hand corner. and construction of the painted pine furniture are traditional.PAGE 93 p .CTGPUBLISHING. The colourings. and the floor of earth.1912] The arrangement of the furniture in the Hungarian peasants’ living rooms differs somewhat with the district. but the walls are invariably whitewashed. but retaining its dark rich colour.AUSTRO-HUNGARIAN PEASANT FURNITURE 18TH C.COM . WWW.
1912] WWW.CTGPUBLISHING.PAGE 94 .COM .ASIATIC FURNITURE OF LORD CURZON OF KEDLESTON ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
1912] p When the frigid pomp of the court of Le Grand Monarque was gladly abandoned under the Regency. WWW. yielding to smaller and more comfortable apartments. which gradually lost their aesthetically valuable restraint.CTGPUBLISHING. the salle du reception lost its importance.COM .PANELLED ROOM: FRENCH STYLE OF THE REGENCE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 95 . whose boiseries were enriched with carved trophies — usually pastoral and of the chase — enclosed in shaped curving mouldings.
KINGWOOD.CTGPUBLISHING.1912] WWW.COM . AND OTHER WOODS C.INLAID ORMOLU -MOUNTED UPRIGHT SECRETAIRE SYCAMORE.PAGE 96 . 1760 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . HOLLY. TULIP.
1912] WWW.BUREAU DU ROI LOUIS XV C.PAGE 97 .COM .CTGPUBLISHING. 1769 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
COM .UPRIGHT SECRETAIRE IN PARQUETERIE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 98 .1912] WWW.CTGPUBLISHING.
CTGPUBLISHING. 1765 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .1912] WWW.UPRIGHT SECRETAIRE INLAID VARIOUS WOODS C.PAGE 99 .
1912] WWW.CTGPUBLISHING. 1780 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .ESCRITOIRE A TOILETTE C.PAGE 100 .
GILT STATE BED OF QUEEN MARIE ANTOINETTE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.PAGE 101 .1912] WWW.COM .
COM .1912] WWW.CTGPUBLISHING.PAGE 102 .JEWEL CABINET OF QUEEN MARIE ANTOINETTE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .
CARVED AND GILT DRAPED DOMED BED LOUIS XV-XVI ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 103 .COM .1912] WWW.CTGPUBLISHING.
WWW. the suite of which the canape shown by this colour plate forms part.PAGE 104 p .].. consists of two sofas.. four bergeres [.COM . identical in pattern with that illustrated. the Comte D’Artois of Revolutionary days. eight easy-chairs having the more usual openings below the arms.CTGPUBLISHING. and twelve ordinary or small chairs: in all twenty-six pieces.CARVED GILT COUCH COVERED IN ROSE BROCADE ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] Authoritatively stated to have formed part of the ameublements of Charles Philippe.
1912] WWW.PSYCHE AND BED OF NAPOLEON THE FIRST ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 105 .COM .CTGPUBLISHING.
CTGPUBLISHING.COM .BUREAU DE CAMPAGNE OF NAPOLEON THE FIRST ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 106 .1912] WWW.
1912] WWW.CTGPUBLISHING.PAGE 107 .SALLE DU TRONE IN THE PALACE OF FONTAINEBLEAU ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .COM .
1912] WWW.CTGPUBLISHING.COM .SATINWOOD WARDROBE LATE 18TH CENTURY ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .PAGE 108 .
PAGE 109 . 1800 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.SECRETAIRE & BOOKCASE CABINET SHERATON.COM .1912] WWW. C.
and must.CTGPUBLISHING.“SEMI-CIRCULAR” MAHOGANY SIDEBOARD & KNIFE-BOX ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . was probably made in 1791 or 1792. to accord with the following narrative.COM . veneered with mahogany. or — an unlikely alternative — have been copied in France from Shearer’s design.1912] p It is almost entirely constructed of oak.PAGE 110 . WWW. have been imported into France immediately.
CTGPUBLISHING.PAGE 111 .COM .PAINTED CANED SATINWOOD SETTEE LATE 18TH C. ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .1912] WWW.
1790 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CTGPUBLISHING.1912] WWW.PAGE 112 .COM .MAHOGANY BOOKCASE & SATINWOOD TABLE C.
Zucchi.COM . or other of the celebrate artists who employed their brushes upon the woodwork designs emanating from the Adelphi.PAGE 113 p . WWW. It was purchased by the authorities of South Kensington in 1871 for the modes sum of £78. 1800 ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 .CARVED SATINWOOD BARBACK SETTEE C. a fraction of its present-day value.a period too late to permit the attribution of its painted decoration to Angelica Kauffmann. Cipriani.CTGPUBLISHING.1912] Its date of manufacture one judges to have been about 1800 .
PAGE 114 .” The design of the sideboard is typical of late eighteenth-century decorative woodwork at the overlapping period of Heppelwhite and Sheraton.CTGPUBLISHING. WWW.SHEARER PAINTED & INLAID SATINWOOD SIDEBOARD ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 . the painted and inlaid urns being similar to a pair at Hursley.1912] p In Shearer’s publication will be found the source of several of Sheraton’s “inspirations.COM .
LATE EIGHTEENTH-CENTURY DECORATIVE FURNITURE
ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 - 1912]
Mr. Hudson acquired his piano in Paris; nevertheless its English origin and authenticity is unquestionable, being substantiated by an old print, recently brought to light, giving names and other data endorsing the following account and stating that the piano was made by a still existent English firm of that period, for presentation in 1796 to the Queen of Spain by Manuel Godoy.
WWW.CTGPUBLISHING.COM - PAGE 115
INLAID & PAINTED SATINWOOD WRITING-DESK
ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 - 1912] WWW.CTGPUBLISHING.COM - PAGE 116
INLAID MAHOGANY BREAK-FRONT BOOKCASE
ILLUSTRATION AND DESCRIPTION BY EDWIN JOHN FOLEY [1859 - 1912] WWW.CTGPUBLISHING.COM - PAGE 117
COM .CTGPUBLISHING.PAGE 118 .EARLY WOODS USED IN FURNITURE DESIGN Wainscot Oak: Natural Color Brown Oak Wainscot Oak: Darkened by Age Cedar Bog Oak Yew Chestnut Elm Ash WWW.
PAGE 119 .CTGPUBLISHING.STUART PERIOD WOODS USED IN FURNITURE DESIGN Italian Walnut Pear English Walnut Box Cherry Lime Beech Rosewood Birch WWW.COM .
18TH CENTURY WOODS USED IN FURNITURE DESIGN Spanish Mahogany West Indian Satinwood Plumpudding’ Mahogany Partridge Wood End Grain Harewood Amboyna Purplewood East Indian Satinwood Tulipwood WWW.PAGE 120 .COM .CTGPUBLISHING.
COM .PAGE 121 .18TH CENTURY WOODS USED IN FURNITURE DESIGN Planetree (Lacewood) Macassar Ebony Austrian Pine Corail Birdseye Maple Teak Zebra Olivewood Kingwood WWW.CTGPUBLISHING.
CTG PUBLISHING q INTERIORS & FURNISHINGS r ILLUSTRATED GUIDE 1500-1800 .
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