Mahogany China Case

6 ft. 3 ins. high x I ft. 8 ins. wide X IlJ ins. deep. Date about 1780-90.

members—usually of bone and ivory—under, appears to have originated, as a usual detail, about 1775-80, and became a favourite one with the Sheraton school. When this feature is introduced, both the fillet and the ogee above are usually kept very small, the hollow under often appearing disproportionately large. In this china cabinet not only the cornice but also the tracery of the door and the astragal on the panels below with segmental rosetted corners are late details, contrasting somewhat curiously with the typical Chippendale gadroon moulding above.

MAHOGANY CHINA CASE. 8 ft. II ins. high x 5 ft. 1 in. wide. Upper part, I It. 1 in. deep. Lower part, I ft. S ins. deep. Date about 1780-1800.


Lower part: 3 ft. 10 ins. wide x 2 ft. 8 ins. high x 1 ft. 11 ins. deep. Upper part: 3 ft. 8J ins. wide x 4 ft. 6 ins. high x 1 ft. 3 ins. deep. Pediment, io| ins. high. Date about 1780-90.

The corner cabinet, Fig. 171, illustrates another favourite piece with country makers at this date, and may be bracketed with Fig. 169 as showing the persistence of early type. In these late corner cabinets the shelves are nearly always shaped on the fronts, and in the original instance it was the custom to paint the interior in a shade of cream or pale green, the edges of the shelves being lined with gold.

  1. 172 is one of the tall, slender china cabinets of this date, usually made in pairs to fit recesses 011 either side of a fireplace.
  2. 173 is a fine china case of about this date, where the fronts of both upper and lower carcases are bowed in a peculiarly flat sweep which was characteristic of the early Sheraton period rather than that of Hepple-white. The tracer)' of the upper doors is formed of mouldings of double-hollow section instead of the usual astragal, and the reason for the flat character of the bow front is apparent when it is pointed out that each door is quite flat, those on the sides being hinged at a slight angle to follow the sweep of the front. The turned knobs are, of course, modern additions, and the incongruity of their appearance here demonstrates the decorative value of the usual brass ring handles of this period.

Mention has been made of the homogeneous character of much of the furniture of this period, which permits of its being resolved into some six or eight fixed types. Exceptions must be made in favour of furniture of the elaborate kind, and also of the productions of some of the minor craftsmen, such as Seddon and Shearer. The latter,


Lower part: 3 ft. 10 ins. wide x 2 ft. 8 ins. high x 1 ft. 11 ins. deep. Upper part: 3 ft. 8J ins. wide x 4 ft. 6 ins. high x 1 ft. 3 ins. deep. Pediment, io| ins. high. Date about 1780-90.

Date about 1775-SO.

m.Mganv sideboard.

6 ft. o ins. long x 2 ft. 9 ins. high x 1 ft. 10 ins. deep. Dut. ahnnl 177II.SI1

16 3

although overshadowed by the greater renown of Hepplewhite and Sheraton, was a designer of some note, being responsible for many of the plates in the 1788 and 1793 editions of The Cabinet-makers London Book of Prices. If priority of publication count for anything, to Shearer must be given the credit of being the first to introduce the self-contained sideboard, other than that of the pedestal type, as distinct from the side table. The latter had hitherto fulfilled the sole function of a serving-board, and drawers in the frieze were exceptional. Even when the addition of separate pedestals was introduced by Adam and Hepplewhite, the use of these does not appear to have been properly comprehended by the latter, as it is not the function of a sideboard to act as a plate-warmer, still less of the other uses referred to by Hepplewhite. Shearer-appears to have been the first to add a wine drawer or cellarette, a useful and practical adjunct to the sideboard, and to have fitted it with drawers and a cupboard for holding napery, silver, and table glass. If it were possible to reconstruct the history of the craftsmanship of this period in detail, it would probably be found that Shearer influenced both Sheraton and Hepplewhite & Co. in the character of their

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