Introduction tV G M Ellwooo

(tely

It is the aim of this book to give some idea of the beautiful furniture produced in England between lt)80 and 1800 including only what is good in design, and entirely ignoring the debased motives (Chinese and Gothic Chippendale and the work produced by Chippendale and Sheraton under direct French influence) that are of interest only to those who profess an admiration for anything that is old or of high value, however ugly it may be.

The photographs for convenience of classification are divided into broad periods, namely William and Mary, Queen Anne, Chippendale, Adam, Hepplewhite and Sheraton.

The reign of William and Mary, extending from 1689 to 1702, is notable for the great changes made in the design, material, and construction of furniture owing to the .ntroduction of foreign ideas by the Dutch craftsmen brought over by the King. In this minor art English craftsmen were compelled by the fashion to follow on similar lines, but the strong individuality of Sir Christopher Wren, who had already created a beautiful English Renaissance in architecture, developed, under the patronage of the King and Queen and great nobles, the essentially English style of interior decoration associated with the period. The walls of rooms were divicted into dado and filling, and cut up into large panels with wide bevels, simply moulded in many cases, but elaborately carved in the more mportant rooms. Architrave mouldings, cornice moulaings and friezes were all executed in oak and elaborately carved, so that the whole space trom floor to ceiling was generally treated with ornamental woodwork, though sometimes, as in

Wil'iarn Ill's state bed-room at Hampton Court, the space between dado and frieze was covered with tapestry. Doorways and overmantels seem to have been the architect's special care. In the best examples of the former richly carved and moulded architraves and pediments supported by elaborate and beautiful trusses were used. For overmantels high relief festoons of flowers and fruit, exquisitely carved in lime-wood by Wren's famous contemporary Grinl'ng Gibbons, framed a picture, mirror, or panel, the latter often quartered or inlaid in geometrical design. The actual fireplace was usually framed w:th a heavy bolection moulding without mantel-shelf. Dutch Chandeliers in brass or silver to hold from 3 to 30 candles were a feature of the time; their design consisted of a large metal ball or drum, with graceful curved arms spreading from the top or centre, the whole suspended by a cord or chain from the ceiling.

Furniture was made in oak veneered with Italian walnut, banded with other woods and decorated with burr and marquetry in large naturalistic patterns of vases, birds, flowers, etc., tulips being much used.

The favourite piece of furniture was the large bureau, standing either on a chest of drawers or turned legs, the upper part made up of a number of small drawers and cupboard recesses beautifully decorated with marquetry, and enclosed either by double doors or large flap (to let down for writing) surmounted by an ovolo frieze, divided into two panels of marquetry. This frieze usually formed a secret drawer, such drawers and spaces being a feature oi the period and great ingenuity was shown in their disposition and mechanical contrivances.

The revival of marquetry as a means of decorating furniture commenced between 1670 and 1680 with the decoration of small objects such as clocks, boxes, etc. It differed from Stuart marquetry in construction, the earlier method being to cut out spaces and let in pieces of different material to fill them, the later to lay down pattern and background together as a veneer, necessitating large flat surfaces in the objects to be decorated. At first the marquetry was confined to Italian arabesques and birds, executed in brown on light yellow coloured wood, somewhat later developing into the bold Dutch style mentioned above. The two styles, amalgamatingtowards the end of William and Mary's reign, finally developed into a series of very fine Acanthus scrolls and geometrical patterns of lines and burrs. The presence of jessamine in the marquetry, represented in ivory, bone, or hollywood, dates the piece as belonging to the William and Mary period.

Though some very elaborate carved and gilded stools and settees were produced during the early part of this reign, the chairs most in vogue were developed from imported Dutch models. Stuart ideas influenced the alterations made in the upper part, and a new and eminently sane treatment of turning and square-cutting, used for the legs. These were connected by the graceful moulded under-framing characteristic of chairs, cabinets and tables far into the next reign.

Lacquered furniture, now much in favour, was another importation of the King's from Holland to which country Eastern workmen had been brought to teach their art. This influence founded a style of ornamentation destined to obtain a strong hold in many English homes for the next fifty years. Walnut chairs and stools were painted in black and gold to harmonize with the larger work.

In the next period, associated with the reign of Queen Anne from 1702 to 1714, the cabriole leg, another great innovation derived from antique forms, but reaching us again through Holland, where it had been revived some years previously, became the almost universal support for all kinds of furniture for the next sixty years. Previous to its introduction, in the early part of Queen Anne's reign, twisted turning on Stuart lines was used as the support for cabinets and tables; at first very heavy, and with an ugly increase in the size of the turning as it descended; but at its best, extremely good and varied in detail. Several examples of the period exist executed entirely in silver.

In the accompanying series of photographs of Queen Anne furniture the simpler forms of the period are mostly given, as showing more plainly the assertion of English ideas of design suggested by the work of the famous contemporary architects. Rooms were more lofty, and, the walls being still covered with panelling, cabinets in proportion were called for. Therefore tall pieces with beautifully designed pediments became popular, and some of the finest cabinet work in history was expended on these.

The familiar bureau with book-case over, and sloping writing flap covering drawers and pigeon holes was introduced, also corner-cabinets with wooden or glass panelled doors, used to store the china and silver used in the social functions more and more coming into fashion. Settees with backs formed as two chair backs, and top rail fashioned from one piece of wood, appeared then and have been used in some form ever since, soon extending to three backs, and in Sheraton's time six or seven forming the one settee.

All furniture, though retaining similar outlines, became more elaborate as the reign progressed, expert carvers becoming more numerous. This was especially the case with chairs, which developed very elaborate and ornate ornamentation in comparison with the simple carved shell thai had so far been the characteristic decoration. In the earlier years of the period chairs were also ornamented with inlay on the back, the top of the cabriole and round teat frame, later by a small inlay panel in back only, and finally, for the reason above referred to, by carving alone. Cabriole legs and ends of arms terminating in animals and birds heads or claws were universal now, some being very ugly. The idea, though gaining great popularity for a time, soon died out, leaving only the lion's claw and ball foot so much used by Chippendale.

The whole effect of rooms of this period must have been very picturesque, — colour was more general, rich silks, damasks and velvets being much used for hangings and coverings, doubly rich against the fine deal wa'nscot. This was usually painted some pale colour as background to the dark-toned walnut or gorgeous lacquer furniture in red, green or black, ornamented in gold and further enriched by hinges and lock plates of chased brass.

The period directly following Queen Anne and preceding Chippendale is usually referred to as "Georgian ', which term is also used by some to denote the whole ground covered by this book. It was essentially a continuation ol the precedents already set, 'nterpreted by new men and much elaborated. The bold "Grinling Gibbons" carved festoons of fruit, flowers and masks, hitherto used only as architectural accessories, were now freely, often too freely, introduced into furniture, which was frequently heavily gilt. Candelabra finely designed and executed in wood shared with elaborate arrangements in cut class the favours of fashion, and side tables wit;h marble tops were largely made.

Mahogany was first used in furniture making between 1710- 1715, having previously been cm-ployed only in small quantities for decorative purposes; by 1720 it was in general use. Quite naturally the early furniture made in mahogany was similar to that previously made in walnut, early Chippendale chairs being practic ally identical in design with early Queen Anne models.

The Chippendale style embraces about fifty years, from 1730 to 1780. Though Thomas Chippendale was at work some time previous to 1730 his influence was hardly fully felt until about 1740. Thenceforward he became the undisputed leader of public taste in furniture until his death, having countless imitators and elaborators, but no serious rivals. It is worthy of note that at the early period of his sway wall-papers were coming into use, taking the place of silks used hitherto. The usual method of decorating a room intended for the reception of Chippendale productions was to run a panelled dado round it, have a classic mantelpiece, architraves and frieze, and fill the wall above the dado with a large patterned silk or paper designed in harmony with the furniture. Some quaint things were perpetrated in connection with the Chinese period, walls being covered with pagodas and figures suggesting tea advertisements.

Beds during the early part of the 18 th century were always of the four poster kind, very elaborately curtained and decorated lr the larger mansions. In the Wlliam and Mary and Queen Anne periods these cuitains completely enveloped the structure; later on, in Chippendale's time, the posts were in evidence a.id beautifully carved. The wooden superstruc ture then added to carry the short valance that supplanted the heavy draperies of the earlier periods was also carved. The hangings for beds were frequently embroidered by the womenfolk of the family owning them, and were of such elaborate design that they must have occupied, and well repaid, many years of patient work.

The backs and legs of chairs were generally treated in relation to one another by Chippendale; the Queen Anne vase-shaped splat was pierced and carved into strap work arabesques, and parts carved in similar style to the legs. The strap work often strayed beyond the limits of the splat and even invaded the whole back: from this Chippendale also evolved the beautiful ribbon-back style of chair. Astute tradesman as well as artist and an adept at accommodating his designs to the purses of his clients, he struck the happy idea of using straight legs Instead of expensive cabriole, reserving all the costly work for the back: these straight legs were square to outward appearance, decorated by fluting or beading and chamfered on the inside to give an appearance of lightness. Though first introduced for cheapness, Chippendale worked greatly on the idea and produced beautifully decorative square legs both straight and tapered, ornamented by fretwork and carving, and used them for cabinets, tables, etc., as well as chairs. The finest designs in this period were made for chairs, book-cases, writing, card and occasional tables, and tall (Grandfather) clocks. Most of those for china-cabinets were in over-ornate French or Chinese taste, in sympathy with the mania for collecting Oriental and French china which had an enormous vogue for years. The tall glazed bookcases show Chippendale's great capabilities to the utmost and exquisite work is found in their cornices and incised friezes, also in the ornamental divisions of glass-doors, and in the original ideas in carving and fret introduced into their classic broken pediments. In plan they were rectangular, straight or serpentine fronted in the smaller examples, with wings slightly shallower added in the larger. These remarks apply also to wardrobes which were similar in design, though plain cornices, without pediments, were more generally used than decorated ones. Chippendale published an elaborate book of drawings in 1754 prefaced by a dissertation on the Five orders, and called "The Gentleman's and Cabinet Maker's Director" containing 160 copper plates, modestly described by the author as "calculated to improve and refine the present taste and suited to the fancy and circumstances of all vn persons in all degrees of life". This comprehensive estimate of the scope of the book was perfectly justified by results, for the book was an immediate and immense succcss and became the inspiration of Cabinet Makers throughout the whole of Great Britain and Ireland, producing in the latter country a distinct variety of his style known as Irish Chippendale. The drawings in the book give no idea of the beauty of the works they represent and great taste and selective ability is needed in reproducing from them. That Chippendale was made conscious of this is shown by a note in his preface "Upon the whole I have here given no Design, but what may be executed with advantage by the hands of a skilful workman, though some of the Profession have been diligent enough to represent them (especially those after the Gothic and Chinese manner) as so many specious drawings, impossible to be worked off by any Mechanic whatsoever, I will not scruple to attribute this to Malice, Ignorance and Inability, and 1 am confident I can convince all Noblemen, Gentlemen or others (sic) who will honour me with their Commands, that every Design in the Book can be improved, both as to Beauty and Enrichment, in the Execution of them."

Though mahogany was the wood generally used by Chippendale, some of his designs were executed in rose-wood, and he also employed white wood japanned or painted and partly gilt. For mounts and handles he used brass and silver richly moulded and chased, and for metalwork generally he produced quantities of designs, some, as those for fenders, of great refinement, others, candelabra and flower-stands for instances, quite ridiculous in their redundancy of meaningless curves. The designs of Robert Adam influenced Chippendale's laterwork, the influence being all for good. Chippendale carried out in his workshop many of Adam's designs, and suggestions doubtless coming from both sides, it is impossible to say definitely that the resulting pieces are the work of one or the other. Adam designed the furniture for two of the finest English mansions of the period, Osterley Park for Lord Jersey and Harewood for the Earl of Harewood, the work being executed by Chippendale. Though totally different in style to anything he had hitherto executed, he yet produced perfect results in the elaborate inlaid work employed. Adt^m developed a style of inlay, embodying classic heads, broken columns, rude vases and trophies inlaid very boldly on ovals, surrounded by laurel leaves or bandings of coloured woods; refining the detail by his knowledge acquired first hand in Italy into delicate arabesques and scrolls springing from fanned paterae or vases on backgrounds of wood-mosaic, harewood or satinwood. The woods employed were bright in colour, and time has dealt kindly with them, making the objects they were used upon very desirable as acquisitions.

Adam's style was based on a study of late Roman decoration, such as the work at the Palace of Diocletian at Spalato, of which he published a folio book of drawings. With keen perception derived from training and travel, Adam saw the possibility of adapting the style to English homes, and fortunately possessed the power to mprove in the process, evolving the daintiest style of decoration that has ever existed. He was appointed architect to the King in 1762 and his work influenced architecture, decoration and furniture for the next half century. The work of Sheraton and Hepplewhitc is but a modification of motives introduced by him.

Dining-rooms during the 18 th century were furnished with table, chairs, and side-board table only; some time after 1750 the side-board was flanked by pedestal cupboards which were slightly later joined to the table, forming the piece of furniture known as a pedestal side-board. In both these forms the pedestals were often surmounted by urns fitted for hot water or as knife-boxes.

The Brothers Adam used a new patent "Compo" for the ornamental work and panel mouldings in wall decoration, a perfect substitute for carved wood, very rigid when dry. It could be used with perfect safety where wood could not, as in swags and very prominent ornament light in character; for swags it was tixed on to bent wires. With this material Adam decorated the dining rooms of his houses, dividing the walls into panels with ornamental work within and without and in places framing pictures with it. Niches filled with statues were a feature also. The ornaments of ceilings and walls were picked out in various tints, frequently different shades of green. The chimney pieces were of marble or scagliola, a substitute for marble, with overmantels in "Compo" or carved wood, gilt or painted. Rooms were sometimes divided into compartments by pilasters and the ornaments of these were either gilded or left white on tinted backgrounds, while painted or china medallions

English Scagliola Furniture
Bury Hall, Lower Fdmonton. Chimney Pitce of Painted Wood. First Half of 17 th Century
Bury Hall Edmonton

Carved Pine Doorway. Early 18th Century, from IS Carey Str., Lincoln's Inn, London. Now in the Victoria and Albert Museum, London

Scagliola Mantel
A Georgian Doorway. Stapleford Park
Jacobean Overmantel

Fireplace and overmantel, with Carving partly in Cedar. Portion of a room from No .? Clifford's Inn, London, erected by John Penhallow between about 1686 and 1688. William and Mary Period.

Now in the Victoria and Albert Afuseutn, London

Fireplace and overmantel, with Carving partly in Cedar. Portion of a room from No .? Clifford's Inn, London, erected by John Penhallow between about 1686 and 1688. William and Mary Period.

Now in the Victoria and Albert Afuseutn, London

Georgian Fireplace Overmantels Images
Bury Hall, Lower Edmonton; Chimney Piece; late 17th or early 18th Century
Hall Panelling GeorgianGrinling Gibbons Carving Swags

Doors and Panelling of Oak, Carving partly of Cedar. From N" 3 Clifford's Inn, London. Iireeled by John Penhallow between about ¡686 and 1688.

Victoria and Albert Museum, L ondon

Doors and Panelling of Oak, Carving partly of Cedar. From N" 3 Clifford's Inn, London. Iireeled by John Penhallow between about ¡686 and 1688.

Victoria and Albert Museum, L ondon

Queen Anne Chest. Property of Lady Wolseley
Chippendale Secretaire Cabinet Stand

Chippendale Cabinet on Stand. Lent by Messrs Gill & Reigate, London

1750 Gill And Reigate

William and Mary Cabinet, tent by the East Anglian Gallery, Orchard Str., London

17th Century Drawing Room Moldings

William and Wary Fireplace, second Half of 17th Century; from the Blue Drawing Room of Ham House, London

Ham House Cabinets

William and Mary Cabinet of Venire red Lacquer. Property of Lady Wo/seley

English William And Mary Furniture

William and Mary Mirror; Queen Anne Cabinet and Chair. Property of W. H. Lever Esq. M. P.

William Mary Chair
William and Mary Cabinet and Settee, Queer Anne Table (in Stuart Room) !n possession of W. H. Lever Esq. M. P.
Red Stand With FireplaceQueen Mary Settee

1. William and Mary Settee. Property of Lady Wolselev. 2. Queen Anne Settee. Lent by Messrs Gill & Rebate, London

William Mary Dining Room FurnitureHatton Garden
Panelled Room. First Half of 18'h Century. So 26 Hatton Garden, London. Slightly earlier than the Chippendale Period
Chippendale Drawing RoomsEarly Georgian Interiors
Early Georgian Interior. Lent by Messrs Lenygon & Co. L.td, Old Burlington Str., London
Earlu Georgian Interiors
Queen Anne Brd-room. The Treasurer's House, York
Houghton Hall Room
Georgian Bed-room. Houghton Hall
Houghton Hall Room
Georgian Room, Houghton Hall
English Georgian Rooms Images
Georgian Library. Houghton Hall
Queen Anne Drawing RoomsHoughton Hall Bedroom Floor Plan
Simple Georgian Dining-room. Rannbiiry Hall
English Georgian Drawing Room

Simple Georgian Drawing-room. Ramsbury Hall to

English Georgian Drawing Room
Georgian State Dra wing Room. Prime Minister's Resilience, 10 Downing Sir., London
Geogian Drawing Room
Georgian Drawing Room. Prime Minister's Residence, 10 Downing Sir., London
Queen Drawing Room
Queen Anne Ante Room at Ladv Wolseley's House
Chippendale Drawing Rooms
Compton Place: I he Dining Room. Qutwfi Anne with Chippendale Furniture
Chippendale FurnitureHall Furniture ImagesSimple Old English Mantlepiece
Queen Anne. Old Parlour, l.ymore Hall
Simple Old English MantlepieceChair Molding Ireland Georgian House

Small Room in an old Georgian House, now occupied by the Uuild of Decorators, Newman Str., London

Grate and Mantelpiece about 1790

Ham House Scagliola

Fatly Georgian. The Hall, Ponder ham Castle

Queen Anne Tall-Boys
Classic Queen Anne Tall Wardrobe
Queen Anne Chest. Property of Lady Wolseley
Queen Anne Cabinet in quartered Walnut

Queen Anne Chest of Drawers

Property of l ady Wolseley

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Queen Anne Cabinet Bureau. Lent by C. H. F. Kindermann F.sq., London
Irish Queen Anne Cabinet
Queen Anne Cabinet. Lent by the East Anglian Gallery, Orchard Str., London
Partridge London Tea
  1. Queen Anne Settee in Walnut. Lent by Mr Partridge, St. James Str., London
  2. Queen Anne Settee. Lent by the East Anglian Gallery, Orchard Str., London
East Anglia Chest DrawersEnglish Secretary 1705 Walnut

1. Queen Anne Settee 1705. 2. Queen Anne Lacquer Settee. Property of I ady Wnlseley

1. Queen Anne Settee 1705. 2. Queen Anne Lacquer Settee. Property of I ady Wnlseley

Lacquer Cabinet
Walnut Love Seat. First Half of 18th Century. In the Victoria and Albert Museum, South Kensington
Sofas Victoria And AlbertSofas Victoria And Albert

1. Wood curving. The Royal Arms of Queen Anne. Victoria and Albert Museum, 2. Queen Anne Chair. Property of Lady Wolseiey. 3. Queen Anne Hogarth Chair. Lent by C. H. F. Kindermann Esq., London

English Period Furniture

1. Lac Table, late Sheraton period. In possession of Lady Wolseley. 2. Queen Anne Dressing Table. 3. Queen Anne Bow Chest. Property of Lady Wolseley. 4. Queen Anne Chair. Lent by C. H. F. Kindermann Esq., London.

Right Hand Possesss English

Mahogany Table, early 18Ceniury. Lent by Mrs McClure

Largest Clock, early 19 th Century | , , ,, ... _ , to,,* , j-

Other Clock on table, early 18th Century J Lent hy the Under Secretary of Slate for India

Small Bedroom Clock, about 1790. Property of Henry Willett Esq., Brighton Mirror on left hand Walnut, about 1740 | _ , , ,

Mirror on right hand Mahogany, gilt fillet, 1760 j Properly of Lord Middleton

Pulborough Postcard

Queen Anne Wash Stand

Queen Anne Pole Screen Property of Lady Wolseley

Queen Anne Wash Stand

Willett Furniture Wood Card Table

Queen Anne Candis Stand Property of Lady Wom&y cr>

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Georgian Windsor Armchair Cabriole Legs

Walnut Chair, 1710. Property of Lord Loudie, Parham, Pulborough

Windsor Arm Chair, Birdu about 1710. Property of C. H. Talbot Esq., Lacodt Abbey

Windsor Arm Chair, about 1710. Property of C. H. Talbot Esq., Lacock Abbey

Walnut Chair, 1710. Property of Lord Loudie, Parham, Pulborough

Windsor Arm Chair, Birdu about 1710. Property of C. H. Talbot Esq., Lacodt Abbey

Pulborough Postcard

Early Georgian China Cabinet and Card Table, Early 13"' Century. Property of A. E. Warner Esq.

Georgian Cabinet Classification

Early Georgian Toilet Glass, Wood frame. Carved and gilt ', about 1730. Property of Violet, Lady Beaumont.

Walnut. Chest of Drawers, early IS1'' Century, ^

belonging to Lord Middleton "

Pulborough PostcardSpencer Cabinet Cards

1. Chippendale Table, about 1740. Property of Lord Barnard, Raby Castle, Darlington. 2. Mahogany Writing Cabinet, Brass Mounts. Chippendale, about 1750. Lent by J. Robinson Esq. C. 1. P., Dorking. 3. Chippendate Table, first Half of 18th Century. Property of Edgar Willett Esq. M. A. 4. Walnut Table, about 1730. Property of W. R. Philips Esq., Montacute. 5. Mahogany Dumb Waiter, about 1740. Property of the Hon. Sir Spencer Ponsonby-Eane K. C. B. 6. Wine Cooler, about 1740. Property of C. 11. Talbot Esq., L.acock Abbey

Leopard Wing Back Dining Chair

Early Queen Anne Chair, about 1702 Queen Anne Chair Queen Anne Chair

Property of Lady Wolseley

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Queen Anne Chair With Acanthus LeavesQueen Anne Style Dumb Waiter

1. 2. Simple Queen Anne Mirrors. In possession of Lady Wolseley. 3. Queen Anne Settee. Lent by C. // F. Kindermann Esq., London

Queen Anne Dressing Glass

Queen Anne Dressing Glasses.

In the possession of Lady XX'olseley

Queen Anne Dressing Glasses.

In the possession of Lady XX'olseley

Colonial Queen Anne Carved Chair

1. Queen Anne Chair. 2. Queen Anne Arm Chair 1705.

Queen Anne Lady Chair

Settee of Carved Oak, early IS'"' Century. Property of Vincent J. Robinson Esq. M. A.

Chippendale Walnut Arm Chair.

About 1730. Property of Earl Brownlow P. C.

Chippendale Bookcases
Chippendale Bookcase or China Cabinet. Lent by Messrs Gill & Reigate, London
Chippendale Bookcase CabinetsCarved Winged Lady Chippendale Table
Chippendale Bedstead. Lent by Messrs Gill & Reigate, London
Warings Bureau
Chippendale Group. Properly of Messrs Waring & Gillow, London
Gillows Gothic ChairsWaring Gillow Cabinets
Chippendale Writing Table and Chair, Property of W. G. Raphael Fsq.
1750 Chippendale MirrorChippingdale BureauChinese Chippendale Chair

Chippendale Chair. About 1770. Property of the Earl of Coventry

Chippendale Chair. About 1750. Property of Edgar Willett Esq. M. A.

Willett Furniture

Chippendale Walnut Chair. Property of W. R. Philips Esq., Montacute

Gillow Book Case
Chippendalf Bookrase
Horn Chippendale Mirror

!. Chippendale Hanging Mirror. Mahogany with carving, gilt, and Chippendale Bureau-Bookcase, handles and ornaments in turned horn. Property of A. B. Hayward Esq. 2. Chippendale Bureau. In possession of Airs Egon Eriedeberg, Berlin

Chippendale Furniture Museum Cabinet Waring And Gillow Bureau

1 2 3 2. Mahogany Chair and Arm Chair; first Half of 18th (¿ntury. Property of W. R. Philips Esq., Montacute

Property of the Worshipful Company of Clothworkers, London

1 2 3 2. Mahogany Chair and Arm Chair; first Half of 18th (¿ntury. Property of W. R. Philips Esq., Montacute

Property of the Worshipful Company of Clothworkers, London

3. Mahogany Arm Chair. First Half of 18th Century.

18th Century English Chippendale Chairs

1. Chippendale. Second Half of the 18Century. Property of Sir E. Hope Vcrney Bart. 2. Chippendale Mahogany Elbow Chair. Last Half of 18th Century. Property of the Under Secretary of State for India. 3. Mahogany Chair, horsehair Seat. Property of the Governors of the Charterhouse

Hepplewhite Chairs

1. Hepplewhite Window Seat and Chippendale Chairs. Lent by Mr Narramore, Newman Str. London 2. Chippendale Corner Chairs. Lent by Mr Quantrell, Wardour Str., London

Fretwork Chairs Dutch

1, Chippendale Chair, about 1760. Victoria ana Albert Museum. London. 2. Chippendale Chair, about 1760. Property of the Utidet Secret, of State for India, 3. 4. Chippendale Chairs, in possession of Warings, L ondon

Warings Furniture

1. Cupboard, Mahogany veneered Walnut. First Half of 1S»> Century. Property of Sir IT. E. Welby Gregory, Bart. 2. Pollard-wood Chest. Chippendale, about 1730. 3. Combination Dressing Table, Secretaire and Swing Glass; Brass mounts. About 1700. Property of Miss E. G. Tanner

Warings Furniture
  1. Carved Walnut Chair, Style of Chippendale, Second Half of 18th Century. From the Dining Room of Roehampton House. 2. Chippendale Chair, belonging to Messrs Fhornton Smith, Soho Sq., London. 3. Chippendale Chair, first Half of 18"' Century. Belonging to the
  2. W. F B. Massey, Mainwaring

OO Cj

L Mahogany Wine Cooler, Chippendale. Victoria and Albert Museum, London. 2. Carved Mahogany ¡-tower J,', ProPerty of the F.arl of Co-Cent,y 3. Chippendale small octagonal Table, inlaid on top. A h f M,dMM. Wollaton Halt, Nottingham, f. Mahogany Stand, abou 17.50. Victoria and mn*um. London. 5. Chippendale Bookcase, 1760. Belonging lo the Under Seer, of State for India

L Mahogany Wine Cooler, Chippendale. Victoria and Albert Museum, London. 2. Carved Mahogany ¡-tower J,', ProPerty of the F.arl of Co-Cent,y 3. Chippendale small octagonal Table, inlaid on top. A h f M,dMM. Wollaton Halt, Nottingham, f. Mahogany Stand, abou 17.50. Victoria and mn*um. London. 5. Chippendale Bookcase, 1760. Belonging lo the Under Seer, of State for India

1. Chippendale Settee and Book Rack. By permission of Messrs Thornton Smith. Soho Sq., London. 2. Chippendale Commode; lent by C. H. F. Kindermann Esq., 26 Golden Sq., London

1. Mahogany Chair, about 1780. Prop, of the Hon. Sir Spenser Ponsonby-Fane K. C. B. 2. Chippendale Walnut Chair. Property of W. H. Evans Esq., Forde Abbey. 3. Walnut Chair, Early George HI Period ¡760 -1780. Prop, of the Hon Sir Spenser Ponsonby-Fane K- C. B.

1. Mahogany Chair, second Half of the 18"' Century. Property of the Undersecretary of State for India. 2. Second Half of the 18th Century. Property of Sir Edmond Hope Verney Bart. 3. Second Half of the 18<h Century. Property of the Marine Society

Chippendale Bookcase. Lent by Messrs Matlett & Son, Bath

/. Chippendale Table Lent by F. W.I'hiilips tsq., Iiitchin. 2. Chippendale Writing Table. L ent by Messrs Mallelt & Son, Bath

1 Chippendale Table, lent by W. 0. Raphael Esq. 2. Chippendale Knee-hole Writing Table. Lent by

Messrs Isaacs, New Oxford Str., London W.

Small Chippendale Bedstead

Chippendale Gentleman's Wardroba

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Chippt ndate Bookcase Bureau Dutch copy of Chippendale

Property of Charles Horsfall Fsq., Berlin

Chippendale Bureau Lent by Messrs Mallett & Son, Bath

  1. Chippendale Settee and Chair. Lent by the East Anglian Gallery, Orchard Str.. London W.
  2. Mahogany Card Table, about 1770. Property of T. M. Horsfall Esq., Cheltenham
  3. Mahogany Music Stool, about 1760. Property of T. M. Horsfall Esq., Cheltenham

1. Chippendale Bracket Clock. 2. Sheraton Bracket Clock. 3. Sheraton Clock. No. I to 3 lent hy Percy Webster Esq., Great Portland Str., London. 4. Chippendale Clock; lent by Messrs Mallett & Son, Bath

Chippendale Side Table and Settee. In possession of W. H. Lever Esq. M.P.

Carrinzton House, Whitehall. Ball Room by Sir William Chambers, about 1760; now pulled down

Carrington House, Whitehall. Built by Sir William Chambers about 1760, now pulled down

C.arrington House. Whitehall. Dining Room by Sir William Chambers, about 1760 Property of Lord Carrington: now pulled down

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Bowood: The Dining Room. Adam
The Old House. Canonbury Place. London. Chimney Piece, late 18"' Century, Adam
Bowood; The Corridor. Designed by Adam

Bath: Banquetting Room of the Town Hall. Style of the Adam Period

Adam Decoration in White and Gold with inset medaillons in China. Painted satinwood flepplewhite Settee and ( hairs

A Newbies Guide To Wood Working

A Newbies Guide To Wood Working

Wonder No Longer About Things Like Designs, Tools And Safety. These Problems Among Others Will Be Covered In This E-Book. You Will Be Creating Great Wooden Works Of Art In Very Little Time At All! For The Beginning Woodworker, The Construction of Handcrafted Wood Creations Can Be a Daunting And Overwhelming Experience. Well, Not Anymore!

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  • pippin
    Can suspension is a divicted?
    2 years ago

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