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Antique
Collecting:
English
Furniture
Forms Of
Decoration
Page 4 of 6
Lacquer
Lacquering was practised in the Far East
for many centuries before it was
introduced into Europe. Chinese and
Japanese craftsmen decorated furniture
by painting it carefully with many
coatings of the sap of a locally grown
tree, then after it had been well
smoothed it was painted with designs in
gold and colours. Some of this work was
brought to England at the end of the
seventeenth century, and became popular
enough to be imitated as closely as
possible by both professional and
amateur artists, and much furniture made
in England in the early 1700's was
ornamented with this pseudo-oriental
lacquer. In addition, pieces of English
furniture were sent out to the East to
be embellished in the authentic manner
by local craftsmen, and quantities of
cabinets and other furnishings of Far
Eastern manufacture were sent to all
countries of Europe.
In addition to the
lacquer just described, in which the
smoothed surface was painted upon, often
with small areas raised to emphasize
details of the pattern, there was
another type in which the designs were
cut and then coloured. The finished
article showed a smooth black panel into
which were incised coloured designs
about one eighth of an inch deep. This
was called 'Bantam' or 'Coromandel'
lacquer, and was made often in the form
of large folding screens. Some of them
were of as many as twelve leaves, each
about two feet wide and eight feet high.
Occasionally, on arrival in Europe they
were cut up regardless of their pattern
to make cabinets or other pieces of
furniture.
Although the
principal interest in lacquered
furniture was at the beginning of the
eighteenth century, it remained
fashionable throughout the Georgian
period and pieces were made at all
dates. A considerable quantity of plain
old furniture was lacquered in the
1920's when there was a revived fashion
for it. Chairs and tables, tea-caddies
and trays, made both of wood and of
papier-mache, were painted with a black
lacquer and inlaid with mother-of-pearl
and then gilt during the 1850's. Some of
these pieces were also painted with
attractive panels in oil-colours.
Black is the most
common ground colour of lacquer, but
pieces in which the ground is red, blue,
green, yellow, or white, are known. The
two last named are the rarest and the
most valuable.
Polish
The finish applied to antique furniture
when it was made was to rub it down with
fine abrasives until it was as smooth as
possible, apply linseed oil or a mixture
of beeswax and turpentine and continue
to rub until the desired gloss was
produced. This made a hard-wearing
surface, especially when the process was
continued occasionally in the home.
About 1820, came the process known as 'french
polishing', in which a shellac varnish
is applied to the furniture by means of
a 'rubber' made of linen wrapped round
cotton-wool. A french-polished surface
is not as hard-wearing as the original
method, it is damaged easily, but is
much easier to apply and quickly came
into general use. In the course of time,
most old furniture has been repolished
by this more modern method, and it is
very rare indeed to find an untouched
piece with its original surface.
Styles
Tudor:
Elizabeth I to James I (1558-1603)
Oak was in use for
furniture during the reigns of the
Tudors, and for most of the seventeenth
century as well. It is a heavy and
strong wood, which grew plentifully in
England but was imported also, and the
furniture made from it is both weighty
and durable. Being a hard wood it is not
easy to carve, although it can be
decorated with inlay. On the whole, the
hardness of oak determined the styles in
which it was made and ornamented, and in
spite of the difficulty of working the
timber surprisingly elaborate carving
and inlay was carried out. Construction
was simple: the mortice and tenon joint
held fast with a wooden peg, or dowel.
The most noticeable feature in design is
the exaggerated bulbous turned leg on
tables, bedstead posts, and supports on
the fronts of cupboards.
Jacobean:
James I to Cromwell (1603-1649)
Walnut began to be
used, but in the solid and then only
occasionally. As this wood is prone to
attack by woodworm, a great amount of it
was probably destroyed and it may have
been much more popular than we know. The
bulbous support, so popular earlier, is
seldom seen and is replaced by simpler
turning.
Cromwellian:
Oliver and Richard Cromwell (1649-1660)
Oak and walnut
remained the principal woods, but the
most common feature is again the use of
turned ornament. Fronts of chests were
decorated with turned columns cut into
two halves lengthwise, and inlaid with
simple patterns in mother-of-pearl, bone
or ivory. Turning on chair and table
legs was often in a series of knobs,
known as 'bobbin-turning'. Seats of
chairs were sometimes of leather, fixed
with large brass-headed nails.
Carolean:
Charles II to Flight of James II
(1660-1689)
After the years of
austerity under Cromwell and the
Puritans, the accession of Charles II
was the signal for an outburst of luxury
and extravagance; according to some,
never surpassed. Walnut superseded oak,
although the latter continued in use on
a diminished scale as it does even now.
Veneers and marquetry, lacquer and
embossed silver were introduced for the
decoration of furniture, and the use of
mirrors on the walls of rooms became
general. The tall-backed chair, known
earlier in a simple pattern, became the
object of attention from turners and
carvers and is the typical feature of
the period. The back and the front rails
were elaborately carved, the design
often centring on a pair of cherubs
holding a crown aloft, and the seat and
back panels were caned.
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