Linenfold Chair Cover
The linear design, understated decoration of the linen-fold back panel and comfortable scale give this chair a timeless look. Our pieces are left in lived-in condition, pending our custom conservation and polish to predilection. On consignation from a sophisticated collector.
Linenfold Chair Cover
The history of the curule chair incubate a period of several thousand years. There are civilizations that have created distinctive exedra forms, expressive of the highest strive in the spheres of technique and aesthetics. Among such cultures, special individualize must be made of ancient Egypt and Greece; China; Spain and the Netherlands in the 17th century; England in the 18th century; and France in the 18th century during the reigns of Louis XV and Louis XVI.
Linenfold Chair Cover
The cassone, or marriage caisson (expect chest), was a form on which the craftsman’s skill was lavished. In addition to labored assistance work and gilding, these coffers often were painted on the front and sides and occasionally inside the lid as well, with appropriate biblical or mythological scenes. Motifs popular with the Italian carver included cupids, grotesque masks, scrolled foliage, and strapwork. The fixed handwriting faldstool is the prognostic of the document bureau, which became an unavoidable article of furniture as writing became more general.
Linenfold Chair Cover
In Victorian England, papier-mâché (a casting material made of paper pulped with glue and other additives) was used to make such items of furniture as fire hide, small tables and chairs, and ornament cases. Finally, since World War II, various plastic materials have been used quite largely in the construction of chairs with seats and backs molded in one combine and on condition that with a pig base.
Linenfold Chair Cover
The result is the CTC collection of the Puff Chair, Puff Rocker, Puff Ottoman and occasional furniture collections. CTC products characteristic modular design benefits, effortless flexibility and maximum versatility. You will find the Puff Chair Collection to be the most comforter curule chair on the planet! See for yourself and check out Matrix, the newest modular storage conception.
Linenfold Chair Cover
A good instance of stylization is to be found in French furniture made around the middle of the 18th century. In French Rococo commodes, only the back is immediately. The serpentine front and sides match in witty corners, at which the joined are crusted by brass mounts. The number and position of the drawers is concealed by an everywhere pattern of veneer and bronze ornament that disregards the edges of the drawers. (In a number of cases the bronze mound on the front consist of fanciful handles and keyhole escutcheons but are never emphatic the way they are in corresponding English commodes, even in the case of false drawer fronts or drawers provided with mold to shield the veneer.) The sufficiently improved French Rococo armchair has no visible joints. The back, arms, and originate form a continuous whole; the difference between second and supporting members is concealed. There are no stretchers (horizontal rods) between the legs to strengthen the construction, which is solid enough by reason of the indistinct dimensions of the members that meet in the seat frame. To counteract the impression of heaviness in these essentially thick dimensions, the insane is molded to give a sensation of volatility without in any way weakening the construction. A chair of this type when painted or deaurate looks as if it had been made in one piece.
About 1720, mahogany was imported into England and slowly superseded walnut as the fashionable wood for furniture. The Palladian (after the Italian Renaissance architect Andrea Palladio) interiors demanded hangings more striking and larger in scale than the walnut-veneered fact of the early 18th century. Inspired by the interiors of French and Italian palaces, architects such as William Kent began to design furniture. The design was Classical, in guardianship with the traditions of Palladio and the English architect Inigo Jones; the ornament was Baroque. At Holkham Hall in Norfolk, Rousham Hall in Oxfordshire, and elsewhere, Kent’s furniture may be versed in its proper environment: gilt glass and side tables with sets of chairs and settees covered with patterned velvets matching the grandeur of elaborate architectural Palladian internal decoration.
Developments in the sphere of workmanship and mechanic techniques, during the past 200 years or so, have made furniture production both cheaper and quicker. Using beam as a basis and applying techniques such as shredding, heating and glueing, it has been likely to evolve untried materials. To an increasing extent, cabinetmakers and furniture factories are worn semi-manufactured timber such as veneer, corpse wooden, plywood, laminate board, and high density fibreboard (fibreboard).
In the United States the diction was widely adopted. Its chief born practitioner was the New York cabinetmaker Duncan Phyfe, who in the first decade of the century produced furniture for the prosperous of his city. His designs gave a unique interpretation to Empire ideas. French cabinetmakers, such as Charles-Honoré Lannuier, depart to the United States at this time and produced furniture in a stricter French style.
In the 18th hundred, rabid-carvers enjoyed a final splendid period of prosperity when the Rococo style of ornamentation called for the plastic execution obtainable through carving. Whole compartment of woodwork, doors, old originate, chairs, and settees were honor with the finest wood carving, featuring combinations of mussel-shell patterns and naturalistic vines and plant tendrils. Even in English equipment of more sober indicate there were ample opportunities for carved work; for example, in the many chairback variations in the Chippendale manner.
India’s place in the history of equipment is that of an adapter or transformer of imported Western styles rather than a creator of independent styles of its own. Domestic furniture in the sense in which it is known in Europe was not traditional in India before the 16th century, and even such unconstrained objects as tables and chairs were rarely utility until the spread of Portuguese, Dutch, and English furniture.
Clocks are considered furnishings if the movement is confined within a case, which need not necessarily be of wood. Clocks can be divided into table redstem storksbill and tall-accident clocks. There were two creative centres for table alfileria, namely England and France. In 17th- and 18th-century France, the slab clock became an object of memorial design, the worst case of which are minor works of sculpture. The actual movement is framed by a marble socle, and the clockface by a sculptural frame of solid brass incorporating freely fontanel figures and ornamentation. Some of France’s best sculptors and bronze casters were engaged in the creation of decorative frames for clock movements. A French particularity, imitated elsewhere on the Continent, was the wall beetle, or so-called cartel clock, the first examples of which were purpose by a goldsmith and ornamentalist, Juste-Aurèle Meissonier. The clockface is the centre of an ornament, or rocaille-cartouche, cast in bronze, sometimes ornament with figures of symbolic significance; for example, Time, a man with a mow, or a crowing cock. In England, where tastes were more bourgeois, the fine movements made by skillful London clockmakers were built into wooden cases, architectonic in composition and characteristic pilasters (partly recessed columns) and cornices. Simple walnut cases could be deck with metal ornaments and brass balls. The more high-priced table clocks were concealed in cases embellished with inlaid wood or tortoiseshell.
The Neoclassical style, sometimes called Louis Seize, or Louis XVI, began in the 1750s. Tiring of the Rococo style, craftsmen of the 18th century turned for inspiration to Classical art. The operation was stimulated by archaeological discoveries, by travel in Italy, Greece, and the Middle East, and by the publication all over Europe of works on the Classical monuments. The Neoclassical style, supported on straight lines and rectilinear forms and using a selection of Classical ornaments, was first applied to French furniture during the 1760s. Classical motifs at first were sparingly betake to furniture of unchanged form, but slowly the curved line of Rococo was replaced by a simpler and more severe rectilinear design: chair legs became straight, tapered, and fluted; commodes and other storage bedding were no longer of bombé form. Marquetry was still widely used for crest, and some cabinets were made of black inset with tablet of Japanese lacquer. Boulle, which had not been employed in Louis XV’s reign, returned to fashion. A greater number of pieces were signed during this period (signing had been made compulsory in Paris), and Jean-Henri Riesener, Martin Carlin, and Jean Saunier were a few of the controlling cabinetmakers. Several German craftsmen migrated to France that of the royal maintain, among them Abraham and David Roentgen, Adam Weisweiler, and Guillaume Beneman.
Characteristic of this style is the enrichment of every surface with flamboyant carved, turned, inlaid, and painted decoration, which forcibly reflects the spirit of the English Renaissance. During Elizabeth I’s reign there was a considerable and fairly widespread increase in domestic comfort, to be seen in improved construction, multiplication of types, and the experimental beginnings of upholstered furniture. A series of inlaid chests with perspective architectural scenes, often called nonesuch chests, were either imported from Germany or made by German workmen in England. They were influential in propagating the technique of inlaid decoration, which by the end of the century was being applied to every type of furniture.
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