"Elizabethan and Jacobean furniture Elizabethan furniture is the form which the Renaissance took in England in furniture and general ornament, and in furniture it is as distinctive a form as its French and Italian counterparts. For many years Gothic architecture had been moving toward the low lines of the Tudor style, somewhat impelled by the widespread effects of the Italian trecento. Yet the physical and mental insularity of England made absolute change a very slow process, and it was not entirely achieved during the reign of Elizabeth I. Thus instead of the exquisite lightness of the pointed and ogee arches,"
"Restoration style Restoration style, also known as Carolean style (from the Latin ""Carolus"" (Charles), refers to the decorative arts popular in England from the restoration of the monarchy in 1660 to the late 1680s after Charles II (reigned 1660–1685). The return of the king and his court from exile on the Continent led to the replacement of the Puritan severity of the Cromwellian style with a taste for magnificence and opulence and to the introduction of Dutch and French artistic influences. These are evident in furniture in the use of floral marquetry, walnut instead of oak, twisted turned supports and"
"William and Mary style What later came to be known as the William and Mary style is a furniture design common from 1700 to 1725 in the Netherlands, the Kingdom of England, the Kingdom of Scotland, and later, in England's American colonies. It was a transitional style between Mannerist furniture and Queen Anne furniture. Sturdy, emphasizing both straight lines and curves, and featuring elaborate carving and woodturning, the style was one of the first to imitate Asian design elements such as japanning. In 1688, James II of England was deposed by his daughter, Mary, and her husband, William of Orange,"
"Sheraton style Sheraton is a late 18th-century neoclassical English furniture style, in vogue ""ca"" 1785 - 1820, that was coined by 19th century collectors and dealers to credit furniture designer Thomas Sheraton, born in Stockton-on-Tees, England in 1751 and whose books, ""The Cabinet Dictionary"" (1803) of engraved designs and the ""Cabinet Maker's & Upholsterer's Drawing Book"" (1791) of furniture patterns exemplify this style. The Sheraton style was inspired by the Louis XVI style and features round tapered legs, fluting and most notably contrasting veneer inlays. Sheraton style furniture takes lightweight rectilinear forms, using satinwood, mahogany and tulipwood, sycamore and rosewood"
"was slow in arriving in England. Before entering the Rococo, British furniture for a time followed the neoclassical Palladian model under designer William Kent, who designed for Lord Burlington and other important patrons of the arts. Kent travelled to Italy with Lord Burlington between 1712 and 1720, and brought back many models and ideas from Palladio. He designed the furniture for Hampton Court Palace (1732), Lord Burlington's Chiswick House (1729), London, Thomas Coke's Holkham Hall, Norfolk, Robert Walpole's pile at Houghton, for Devonshire House in London, and at Rousham. Mahogany made its appearance in England in about 1720, and immediately"
"Turned chair Turned chairs — sometimes called thrown chairs or spindle chairs — represent a style of Elizabethan or Jacobean turned furniture that had a vogue in late 16th and early 17th century England, New England and Holland. (In turned furniture, the individual wooden spindles of the piece were made by shaping them with chisels and gouges while they were being spun (or turned) between the center points of a lathe. The workers subcontracted to the joiners, or carpenters, who made such furniture were termed ""turners"", or ""bodgers"", hence the surname Turner. Today, turned chairs — as well as various"
"England in the early 16th century with Flemish Calvinists fleeing religious persecution. Because many of these weavers settled in South-eastern England in Norwich the 14 extant 16th and 17th century carpets are sometimes referred to as ""Norwich carpets."" These works are either adaptations of Anatolian or Indo-Persian designs or employ Elizabethan-Jacobean scrolling vines and blossoms. All but one are dated or bear a coat of arms. Like the French, English weavers used the symmetrical knot. There are documented and surviving examples of carpets from three 18th-century manufactories: Exeter (1756–1761, owned by Claude Passavant, 3 extant carpets), Moorfields (1752–1806, owned by"
"furniture. The William and Mary style was a transitional style between Mannerist and Queen Anne furniture. The William and Mary style was very popular in Britain from 1700 to 1725, and in America until about 1735. It was largely supplanted in both nations by Queen Anne style furniture. Daniel Marot, a French Huguenot, was employed by King William and Queen Mary to design furniture for them, and became deeply influential on English, Scottish, and Welsh furniture during this period. Dutch furniture craftsman Gerrit Jensen was appointed royal Cabinet Maker to the king and queen, and a great many works of"
"1660, the product of immigrant Dutch 'inlayers', whose craft traditions owed a lot to Antwerp. Panels of elaborately scrolling ""seaweed"" marquetry of box or holly contrasting with walnut appeared on table tops, cabinets, and long-case clocks. At the end of the 17th century, a new influx of French Huguenot craftsmen went to London, but marquetry in England had little appeal in the anti-French, more Chinese-inspired high-style English furniture (mis-called 'Queen Anne') after ""ca"" 1720. Marquetry was revived as a vehicle of Neoclassicism and a 'French taste' in London furniture, starting in the late 1760s. Cabinet-makers associated with London-made marquetry furniture,"
"widely accepted during the reigns of William (d. 1702) and Mary (d. 1694), initially jointly and then after Mary's death, of William alone. The William and Mary style was influenced by recent French furniture traditions, which in turn were influenced by Italian Baroque furniture designs. William and Mary style furniture emphasized unity, so that all elements contributed to an overall shape or look. It also featured high relief carving, strong curves, and elaborate woodturning. Despite these elements, the style was fairly squat, heavy-looking, and obviously sturdy. Straight lines are common. Paint, stains, or different kind of wood were used to"
"Glastonbury chair Glastonbury chair is a nineteenth-century term for an earlier wooden chair, usually of oak, possibly based on a chair made for Richard Whiting, the last Abbot of Glastonbury, England. The Glastonbury chair was known to exist since the Early Middle Ages, but seems to have disappeared from use in part of the Later Middle Ages; it re-emerged in use in Italy by the fifteenth century AD. In England it was made originally from a description brought back from Rome in 1504 by Abbot Richard Beere to Glastonbury Abbey, and was produced for or by John Arthur Thorne, a"
"Louis XV furniture The furniture of the Louis XV period (1715-1774) is characterized by curved forms, lightness, comfort and asymmetry; it replaced the more formal, boxlike and massive furniture of the Style Louis XIV. It employed marquetry, using inlays of exotic woods of different colors, as well as ivory and mother of pearl. The style had three distinct periods. During the early years (1715-1730), called the Regency, when the King was too young to rule, furniture followed the massive, geometric Style Louis XIV style. From 1730 until about 1750, the period known as the first style, it was much more"
"the reign of William III of England (1689-1702), but the term predominantly describes decorative styles from the mid-1720s to around 1760, although Queen Anne reigned earlier (1702-1714). ""The name 'Queen Anne' was first applied to the style more than a century after it was fashionable."" The use of Queen Anne styles in America, beginning in the 1720s and 1730s, coincided with new colonial prosperity and increased immigration of skilled British craftsmen to the colonies. Some elements of the Queen Anne style remain popular in modern furniture production. Curved lines, in feet, legs, arms, crest rails, and pediments, along with restrained"
"Percy Macquoid Percy Thomas MacQuoid (January 1852 – 20 March 1925) was a British theatrical designer and a collector and connoisseur of English furniture, and the author of articles, largely for ""Country Life"", and of four books on the history of English furniture, the first major survey of the subject, which have been reprinted and are still of use today: ""The Age of Oak"", ""The Age of Walnut"", ""The Age of Mahogany"" and ""The Age of Satinwood"", ending his surveys about the year 1800. These terms, particularly the first three, have become the standard terms for referring to these different"
"became popular for furniture, along with walnut wood. The Rococo began to make an appearance in England between 1740 and 1750. The furniture of Thomas Chippendale was the closest to the Rococo style, In 1754 he published ""Gentleman's and Cabinet-makers' directory"", a catalog of designs for rococo, ""chinoiserie"" and even Gothic furniture, which achieved wide popularity, going through three editions. Unlike French designers, Chippendale did not employ marquetry or inlays in his furniture. The predominant designer of inlaid furniture were Vile and Cob, the cabinet-makers for King George III. Another important figure in British furniture was Thomas Johnson, who in"
"in backs, and yoke-shaped crests became common. The William and Mary style has long been overshadowed in both the United Kingdom and United States by the far more popular styles which came after it. Few reproductions of the furniture may be found today. However, numerous examples of William and Mary style furniture can still widely be found in British rural homes. William and Mary style What later came to be known as the William and Mary style is a furniture design common from 1700 to 1725 in the Netherlands, the Kingdom of England, the Kingdom of Scotland, and later, in"
"tables of the 16th and 17th century were typically made of oak. Gateleg table A gateleg table is a type of furniture first introduced in England in the 16th century. The table top has a fixed section and one or two hinged leaves, which, when not in use, fold down below the fixed section to hang vertically. As such, gateleg tables are a subset of the type known as a dropleaf. The hinged section, or flap, was supported on pivoted legs joined at the top and bottom by stretchers constituting a gate. Large flaps had two supports, which had the"
"Modern Gothic style Modern Gothic, also known as Reformed Gothic, was an Aesthetic Movement style of the 1860s and 1870s in architecture, furniture and decorative arts, that was popular in Great Britain and the United States. A rebellion against the excessive ornament of Second Empire and Rococo Revival furniture, it advocated simplicity and honesty of construction, and ornament derived from nature. Unlike the Gothic Revival, it sought not to copy Gothic designs, but to adapt them, abstract them, and apply them to new forms. The style's leading advocates were English designers Christopher Dresser and Charles Eastlake. Eastlake's ""Hints on Household"
"the period 1712–1760. (The reign of Queen Anne lasted from 1702 to 1712, but the Queen Anne furniture period is generally considered to continue until 1760, although imitations have, of course, endured to later periods.) The Queen Anne cabriole leg chair typically had a back with hoop design and a vase shaped splat; it also typically had a bun or pad foot. (An alternate design of a ""Queen Anne chair"" consisted of a Chinese style, which had flat cresting, vertical back edges and a leg that was also cabriole style.) A subsequent evolution of the cabriole leg in England occurred"
"Gillows of Lancaster and London Gillows of Lancaster and London, also known as Gillow & Co., was an English furniture making firm based in Lancaster, Lancashire, and in London. It was founded around in Lancaster in about 1730 by Robert Gillow (1704–1772). Gillows was owned by the family until 1814 when it was taken over by Redmayne, Whiteside, and Ferguson; they continued to use the Gillow name. Gillows furniture was a byword for quality, and other designers used Gillows to manufacture their furniture. Gillows furniture is referred to by Jane Austen, Thackeray and the first Lord Lytton, and in one"
"lacquer (Japanning), blue and white decoration on ceramics, flat-chased scenes of Chinese-style figures and landscapes on silver and new forms of silver as teapots, as well as colourful Indian-style crewelwork bed-hangings and curtains. Other developments in the Restoration period were the emergence of the English glass industry, following the invention of lead glass by George Ravenscroft around 1676, and the manufacture of slipware by Thomas Toft. After the accession of William III and Mary II in 1689, Restoration style was superseded by William and Mary style. Restoration style Restoration style, also known as Carolean style (from the Latin ""Carolus"" (Charles),"
"gilded bronze around the top. Other small consoles featured discreet marquetry of ebony, rosewood, tinted beech, and ash wood. A variety of smaller, more portable tables, also appeared, made either by ""menuisiers"" of sculpted wood or by ""ébénistes"" with inlaid marquetry of exotic woods and materials. These included tables for playing cards, tables for writing, and ""tables de toilette"", or dressing tables, which were usually of a simple form covered with fabric with embroidered designs or with lace. During the late reign of Louis XVI, between 1780 and 1790, the British custom of having a round dining room table permanently"
"gilded Baroque designs that frequently incorporated a profusion of vegetal and scrolling ornament. Starting in the eighteenth century, furniture designs began to develop more rapidly. Although there were some styles that belonged primarily to one nation, such as Palladianism in Great Britain or Louis Quinze in French furniture, others, such as the Rococo and Neoclassicism were perpetuated throughout Western Europe. During the eighteenth century, the fashion was set in England by the French art. In the beginning of the century Boulle cabinets were at the peak of their popularity and Louis XIV was reigning in France. In this era, most"
"the early 18th century, when a return to the simpler forms of the earliest work became fashionable. The accession of William III and Mary II following the Glorious Revolution of 1688 triggered another change in needlework fashions. Associations of stumpwork with the reign of the deposed Stuarts combined with Mary's Dutch taste ushered in new styles influenced by Indian chintzes. From the 1690s, household furnishings such as chair covers and firescreens were the focus of embroidery in the home. In the Georgian era, canvaswork was popular for chair coverings, footstools, screens and card tables. Embroidered pictures and upholstery both reflected"
"them. Research continues on this as on other aspects of the find, but the evidence initially suggests a date in the period 600-650, or 600-630. There is an object identified as a ""standard"", as at Sutton Hoo, but of a different type, and there is a folding stool of a type often seen in royal portraits in Early Medieval manuscripts (like a ""curule seat"") that is a unique find in England, and was probably imported. The quality of the locally made objects, and the presence of imported luxury items such as the Coptic bowl and flagon, appear to point to"
"House in England. They appear to come from China, and India in the case of one of the Hermitage services. In the 18th century services continued to be made, with both the Rococo and Neoclassical styles lending themselves well to dressing plate. By the mid-century the large service was falling somewhat out of fashion, and fewer were made. The depiction of the toilette in William Hogarth's """" (1743), with a mirror larger than in any surviving example, is disapproving, and one of many satirical accounts and caricatures. At the same time the development of dressing tables with integral mirrors, and"
"been used by leading officials as symbols of authority. In the 19th century, eminent names were attached to individual chairs, and their stylistic variants, which had been passed down through some of the ""Mayflower families"". Turned chair Turned chairs — sometimes called thrown chairs or spindle chairs — represent a style of Elizabethan or Jacobean turned furniture that had a vogue in late 16th and early 17th century England, New England and Holland. (In turned furniture, the individual wooden spindles of the piece were made by shaping them with chisels and gouges while they were being spun (or turned) between"
"monarchy, first being used on furniture such as the cocuswood cabinet on stand which bears the cipher of Queen Henrietta Maria, constructed in c.1661-65, and now at Windsor Castle. Early oyster veneered cabinets were invariably in cocus or kingwood. Contemporary longcase clock cases were similarly veneered. By around the early 1670s softer and more cheaply available woods such as olive and walnut began to be used for oyster veneering, the fashion for such furniture becoming widespread and also spreading to Holland by around the mid-1670s. Oyster veneering fell out of fashion from c.1710. The chest illustrated here, if it is"
"last leading furniture designer for Louis XVI, Georges Jacob, formed a new firm with his two brothers, and, between 1796 and 1803, became the most prominent designer of the later neoclassical period. He made an effort to find classical forms that were more authentic. The type of Greek chair called the ""klismos"" became especially popular; Jacob produced a variety of neoclassical divans and stools, as well as the ""Lit de Repos"", or day bed, which appeared in Jacques-Louis David's portrait of Madame Recamier. Another popular form was the folding stool, modeled after those that were used in Roman army encampments."
"or other church furnishings. Secular examples, now known mostly just from contemporary inventories, included various types of garments, horse-trappings, book covers and decorative hangings. Opus Anglicanum was usually embroidered on linen or, later, velvet, in split stitch and couching with silk and gold or silver-gilt thread. Gold-wound thread, pearls and jewels are all mentioned in inventory descriptions. Although often associated with nunneries, by the time of Henry III (reg. 1216–72), who purchased a number of items for use within his own court and for diplomatic gifting, the bulk of production was in lay workshops, mainly centred on London. The names"
"Service of Her Majesty Queen Anne"". One minor side-effect of Thackeray's novel and of Norman Shaw's freehand picturesque vernacular Renaissance survives to this day. When, in the early 1870s, Chinese-inspired Early Georgian furniture on cabriole legs, featuring smooth expanses of walnut, and chairs with flowing lines and slat backs began to be looked for in out-of-the-way curio shops (Macquoid 1904), the style was mis-attributed to the reign of Queen Anne, and the ""Queen Anne"" misnomer has stuck to this day, in American as well as English furniture-style designations. (Even the most stylish and up-to-date furnishings of the historical reign of"
"Knole Settee The Knole settee (sometimes known as the Knole Sofa) was made in the 17th century. It is housed at Knole in Kent, a house owned by the Sackville-Wests since 1605 but now in the care of the National Trust. It was originally used not as comfortable sofa but as a formal throne on which the monarch would have sat to receive visitors. It features adjustable side arms and considerable depth of seating, it usually has exposed wooden finials at the rear corner tops, and some exposed wood may be present on the otherwise arms. The arms, more correctly"
"gesso furniture by Moore can be linked to surviving bills receipted by James Moore and John Belchier, 1722-26. The succeeding royal cabinet-maker, Benjamin Goodison, trained in Moore's workshop. James Moore (furniture designer) ïJames Moore (c. 1670 - October 1726) was an 18th-century cabinet maker in London who worked for George I. He was in partnership with John Gumley from 1714. As royal cabinet-maker he supplied walnut and mahogany furniture for the royal household, the royal yacht, and the king's servants and mistresses, as well as the rich gilt gesso furniture for which he is best known but which constituted a"