"the peak of its success the firm could act like a modern interior designer working with other specialists and undertake the supply of fully decorated and furnished rooms or whole houses, once the principal construction was done. Chippendale often took on large-scale commissions from aristocratic clients. Twenty-six of these commissions have been identified. Here furniture by Chippendale can still be seen. The locations include: Chippendale collaborated in furnishing interiors designed by Robert Adam and at Brocket Hall, Hertfordshire, and Melbourne House, London, for Lord Melbourne, with Sir William Chambers (c. 1772–75). Chippendale's ""Director"" was used by many other cabinet makers."
"first cabinet-maker to publish a book of his designs, titled ""The Gentleman and Cabinet Maker's Director"". Three editions were published, the first in 1754, followed by a virtual reprint in 1755, and finally a revised and enlarged edition in 1762, by which time Chippendale's illustrated designs began to show signs of Neoclassicism. Chippendale had considerable competition during his active years, most notably Ince and Mayhew. Chippendale was much more than just a cabinet maker, he was an interior designer who advised on other aspects of decor such as soft furnishings and even the colour a room should be painted. At"
"Kensington. Chippendale married Elizabeth Davis at Fulham Parish Church on 5 August 1777. He fathered three more children. In 1779 Chippendale moved to Hoxton where he died of tuberculosis and was buried at St Martin-in-the-Fields on 16 November 1779. There is a statue and memorial plaque dedicated to Chippendale outside The Old Grammar School Gallery in Manor Square, in his home town of Otley, near Leeds, Yorkshire. There is a full-size sculpted figure of Thomas Chippendale on the façade of the Victoria and Albert Museum, London. After working as a journeyman cabinet maker in London, in 1754, he became the"
"of imported Chinese porcelain were often mounted in ormolu (gilded bronze) rococo settings for display on tables or consoles in salons. Other craftsmen imitated the Japanese art of lacquered furniture, and produced commodes with Japanese motifs. British Rococo tended to be more restrained. Thomas Chippendale's furniture designs kept the curves and feel, but stopped short of the French heights of whimsy. The most successful exponent of British Rococo was probably Thomas Johnson, a gifted carver and furniture designer working in London in the mid-18th century. Elements of the ""Rocaille"" style appeared in the work of some French painters, including a"
"This most decorative of all types appears to have been popularized in England by the cavaliers who had been in exile with Charles II, and had become familiar with it in the north-western parts of the European continent. During the reign of William III and Mary II these charming forms degenerated into something much stiffer and more rectangular, with a solid, more or less fiddle-shaped splat and a cabriole leg with pad feet. The more ornamental examples had cane seats and ill-proportioned cane backs. From these forms was gradually developed the Chippendale chair, with its elaborately interlaced back, its graceful"
"British decorative arts. Around the mid-century many porcelain factories opened, including Bow in London, and in the provinces Lowestoft, Worcester, Royal Crown Derby, Liverpool, and Wedgwood, with Spode following in 1767. Most were started as small concerns, with some lasting only a few decades while others still survive today. By the end of the period British porcelain services were being commissioned by foreign royalty and the British manufacturers were especially adept at pursuing the rapidly expanding international middle-class market, developing bone china and transfer-printed wares as well as hand-painted true porcelain. The three leading furniture makers, Thomas Chippendale (1718–1779), Thomas"
"in detail than the Philadelphia rococo design from which he also drew inspiration, resulting in a style known as Connecticut Chippendale. The detail work on his furniture was also consistent and distinctive, with similar very highly detailed carvings on the ball and claw feet of his furniture, similar distinctive spiral rosettes, open fretwork, scrolled pediments, and other decorations. This makes his pieces identifiable, even though he did not sign them or apply a maker's mark. The quality of construction extended even to invisible parts of the furniture; interiors and undersides of drawers were finished just as meticulously as the exteriors,"
"Robert Manwaring Robert Manwaring was an English 18th century furniture designer and cabinet maker. The dates of his birth and death are unknown. He was a contemporary and imitator of Thomas Chippendale, and not the least considerable of his rivals. He prided himself upon work which he described as ""genteel"", and his speciality was chairs. He manifests the same surprising variations of quality that are noticed in the work of nearly all the English cabinet-makers of the second half of the 18th century, and while his best had an undeniable elegance, his worst was exceedingly bad: squat, ill-proportioned and confusing."
"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"
"political caricatures, but designed ceilings, chimney pieces, mirror frames, girandoles, decorative panels and other furnishing accessories, He engraved many of Thomas Chippendale's designs for ""The Gentleman and Cabinet-Maker's Director"" (plates dated 1753 and 1754, and plates in the second edition, 1762), and sold his own productions over the counter. The first publication which can be attributed to him with certainty is a colored caricature, ""The Cricket Players of Europe"" (1741). In 1754, with a partner, Edwards, he issued ""A New Book of Chinese Designs"", which was intended to minister to the passing craze for furniture and household decorations in the"
"of their employees William France and John Bradburne. William Vile William Vile (c. 1700 – September 1767) was an English cabinetmaker. Vile was one of the best English cabinetmakers of the Early Georgian Period (1745-1780) only overshadowed by Thomas Chippendale of the Late Georgian Period (1750-1830). Vilé was amongst a handful of London based cabinetmakers such as William Bradshaw, John Cobb and John Gumley. Their standard of craftsmanship has been virtually unchallenged until the late 20th Century British Craft Revival with makers such as John Makepeace and his lesser known apprentice Andrew Whateley demonstrating unrivalled craftsmanship. William Vile went into"
"of Chinese design principles falls within mainstream chinoiserie. Chinoiserie media included ""japanned"" ware imitations of lacquer and painted tin (tôle) ware that imitated japanning, early painted wallpapers in sheets, after engravings by Jean-Baptiste Pillement, and ceramic figurines and table ornaments. In the 17th and 18th centuries Europeans began to manufacture furniture that imitated Chinese lacquer furniture. It was frequently decorated with ebony and ivory or Chinese motifs such as pagodas. Thomas Chippendale helped to popularize the production of Chinoiserie furniture with the publication of his design book ""The Gentleman and Cabinet-maker's Director: Being a large Collection of the Most Elegant"
"direction. At the time Chippendale was under great financial strain and found credit hard to secure which may explain his request for a cash advance. The looking-glass was used for two mirror-lined recesses flanking the chimney-piece in the salon at Kenwood. The elaborate carved and gilt frames were made by William France in 1769–70 at a cost of £149 8s.0d.; he also supplied the pair of sofas which originally stood against the dado in each alcove. Apart from being Cabinet makers and Upholsterers from 1765 the France family were also the Royal undertakers and a list of these Royal family"
"as a collection in the Gillow Museum in the Judges' Lodgings, Lancaster. The furniture can also be seen in houses open to the public such as Tatton Park. The Gillow archives are one of the largest and longest collection of records of any cabinet-maker to have survived. The Gillow pattern book was never published, while Thomas Chippendale's published his pattern book in 1754, Hepplewhite (posthumously) in 1788 and Sheraton in 1791; Gillows would supply pieces in any of these styles. The archive includes their sketches and detailed estimates written in a phonetic north country English. Between 1731 and 1850 about"
"type of chair back, popular for a few years in the middle of the 18th century, consisting of a series of interlaced circles. Much of his work has been attributed to Thomas Chippendale, and it is certain that one derived many ideas from the other, but which was the originator and which the copyist is by no means clear. He died in 1754, when, on 8 October, his apprentice was handed over to his widow Elizabeth, who continued his business in his name. Henry Copeland Henry Copeland, aka Henry Copland, (c. 1710 – 1754) was an 18th-century English cabinetmaker and"
"Revolution. The house was built by James Paine for Sir Rowland Winn 4th Bart on the site of a 12th-century priory dedicated to Saint Oswald. Robert Adam was commissioned to design additional wings, only one of which was completed, and complete the state rooms. Adam added a double staircase to the front of the house, and designed buildings on the estate, including the stable block. Nostell Priory is home to a large collection of Chippendale furniture, all made for the house. Thomas Chippendale was born in Otley in 1718 and had workshops in St Martins Lane, London. The Nostell Priory"
"at his London house in Charles Street, Mayfair. France also supplied furniture and fittings to Lord Mansfield. for Kenwood, Hampstead. These commissions are known because the bills have survived and much of the work was in association with the great Scottish Architect and furniture designer Robert Adam. An interesting series of documents were preserved amongst Lord Mansfield’s papers with regard to the construction of the majestic salon at Kenwood by Robert Adam. Thomas Chippendale was contracted to supply a sequence of looking-glass plates, the frames of which were made by William France to Adam’s design. Chippendale obviously encountered difficulty in"
"designs and variants of them through the 19th and 20th centuries. George Hepplewhite George Hepplewhite (1727? – 21 June 1786) was a cabinetmaker. He is regarded as having been one of the ""big three"" English furniture makers of the 18th century, along with Thomas Sheraton and Thomas Chippendale. There are no pieces of furniture made by Hepplewhite or his firm known to exist but he gave his name to a distinctive style of light, elegant furniture that was fashionable between about 1775 and 1800 and reproductions of his designs continued through the following centuries. One characteristic that is seen in"
"into the bush to collect specimens, he found time to write and publish some 25 papers, one of which was of considerable economic importance to the region, Topfeed; the fodder trees and shrubs of Central Australia. In 1961 Chippendale and family, travelling to visit family in Sydney, were involved in a car accident near Maryborough, Queensland resulting in the loss of his wife and youngest daughter. He suffered many broken bones, but signed himself out of hospital to return to Alice Springs to care for his three elder children. Chippendale married Thelma (13 February 1921 - 22 August 2011), in"
"Henry Copeland Henry Copeland, aka Henry Copland, (c. 1710 – 1754) was an 18th-century English cabinetmaker and furniture designer. In partnership with Mathias Locke during the mid-18th century in London, they produced many furniture designs in the Rococo Furniture Style. However both men worked for Thomas Chippendale the elder and many of their designs appear, without acknowledgement, in his book of designs, ""The Gentleman and Cabinet Makers Director"", published two years later. However a study of the original drawings suggests that they may have actively collaborated with Chippendale on his book. Copeland appears to have been the first manufacturing cabinetmaker"
"building and operating textile mills. The Connecticut Valley (Wethersfield, East Windsor, and Colchester) was a center of cabinetmaking and furniture construction in the latter half of the 18th century. Beginning in the Queen Anne style, by the end of the period the furniture had evolved into four distinct variations of the Chippendale style; that of Eliphalet Chapin, one of the masters of the craft, who tended to produce pieces which were more compact and chunky in appearance, incorporating some of the Philadelphia rococo style without as much fussiness; that of the Colchester/Norwich area, exemplified by Samuel Loomis, as well as"
"is an established programme of restoring rooms back to known previous configurations, reversing the numerous intrusive installations and modifications that took place during the building's ""art museum"" phase. There are substantial holdings of fine and decorative art which are designated by the Department of Culture, Media and Sport (DCMS) as being of national significance. Of most significant historical and cultural interest is the Chippendale Society collection of Chippendale works that are on permanent loan. Temple Newsam House is one of Leeds Museums and Galleries sites, and has an international reputation for scholarship and research, unusual in a local authority museum"
"Royal Bank. He purchased Leoni's grand house near London, Moor Park, for which he ordered a set of Gobelins tapestry hangings with medallions by François Boucher and a long suite of seat furniture to match, for which Robert Adam provided designs: they are among the earliest English neoclassical furniture. Other new furnishings, for Aske and for Sir Lawrence's magnificently appointed London house at 19 Arlington Street, were supplied by Thomas Chippendale (1763–66), and Chippendale's rivals, the royal cabinet-makers William Vile and John Cobb, and Samuel Norman (Gilbert). A pair of marquetry commodes in the French taste by a French cabinet-maker"
"extended throughout the Northern Territory. He made many trips into the bush with colleagues and assistants to collect plant specimens. These specimens were the basis for the present Northern Territory Herbarium. As an avid plant specimen collector and describer, George had more than eight plants named after him including: ""Acacia chippendalei, Bassia chippendalei, Corymbia chippendalei, Levenhookia chippendalei, Minuria chippendalei, Ptilotus chippendalei, Sesbania chippendalei"" and Solanum chippendalei. Chippendale's work was aimed at benefiting the pastoral industry, and he secured a special knowledge of the dry country in the Southern half of the Northern Territory. Despite a fourth child and many trips"
"the sale of the business in 1915, and Ms Eschenhagen mortgaged Chippendale and had the architect of the original house, GMH Addison, design the large boarding house extension to the rear of the property. It is thought the front northern addition to the house was also completed at this time. In 1915 the property was leased to Grace Tate who ran the property as a boarding house. Ms Tate held a lease on Chippendale, including the boarding house extension, at least until 1929. In the same year, the boarding house extensions were added. Ms Eschenhagen also had architect Thomas Ramsay"
"Matthias Lock Matthias Lock was an English 18th century furniture designer and cabinet-maker. The dates of his birth and death are unknown; but he was a disciple of Thomas Chippendale, and subsequently of the Adams, and was possibly in partnership with Henry Copeland. During the greater part of his life he belonged to that flamboyant school which derived its inspiration from Louis XV models; but when he fell under the influence of Robert Adam he absorbed his manner so completely that it is often difficult to distinguish between them, just as it is sometimes easy to confound Locks work with"
"principle. The companions of his youth were the companions of his manhood. He never lost a friend by insincerity nor made one by deception. His domestic virtues were truly exemplary and while they served to endear the remembrances they embitter the loss of him to all his numerous friends and connections. John and Elizabeth Cadwalader built a city house on 2nd between Spruce & Union (now Delancey) Streets in Philadelphia in 1770, and commissioned suites of furniture from cabinetmakers such as Thomas Affleck and Benjamin Randolph. Surviving pieces are among the finest and best-documented Philadelphia Chippendale furniture ever made.""Colonial Grandeur"
"Baroque and Rococo German palaces, and in tile panels at Aranjuez near Madrid. Thomas Chippendale's mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, ""c."" 1753–70. Sober ""homages"" to early Xing scholars' furnishings were also naturalized, as the ""tang"" evolved into a mid-Georgian side table and squared slat-back armchairs that suited English gentlemen as well as Chinese scholars. Not every adaptation of Chinese design principles falls within mainstream ""chinoiserie"". Chinoiserie media included imitations of lacquer and painted tin (tôle) ware that imitated japanning, early painted wallpapers in sheets, and ceramic figurines and table ornaments. Small"
"William Vile William Vile (c. 1700 – September 1767) was an English cabinetmaker. Vile was one of the best English cabinetmakers of the Early Georgian Period (1745-1780) only overshadowed by Thomas Chippendale of the Late Georgian Period (1750-1830). Vilé was amongst a handful of London based cabinetmakers such as William Bradshaw, John Cobb and John Gumley. Their standard of craftsmanship has been virtually unchallenged until the late 20th Century British Craft Revival with makers such as John Makepeace and his lesser known apprentice Andrew Whateley demonstrating unrivalled craftsmanship. William Vile went into partnership with John Cobb in 1750 until he"
"two of his five daughters. Ashley Tisdale and Jennifer Tisdale are his cousins. Popeil is noted for marketing and in some cases inventing a wide variety of products. Among the better known and more successful are the Chop-O-Matic hand food processor (""Ladies and gentlemen, I'm going to show you the greatest kitchen appliance ever made ... All your onions chopped to perfection without shedding a single tear.""), the Dial-O-Matic successor to the Veg-O-Matic (""Slice a tomato so thin it only has one side.""), and the Ronco Pocket Fisherman. Popeil is also well known for his housewares inventions like his Giant"
"George Hepplewhite George Hepplewhite (1727? – 21 June 1786) was a cabinetmaker. He is regarded as having been one of the ""big three"" English furniture makers of the 18th century, along with Thomas Sheraton and Thomas Chippendale. There are no pieces of furniture made by Hepplewhite or his firm known to exist but he gave his name to a distinctive style of light, elegant furniture that was fashionable between about 1775 and 1800 and reproductions of his designs continued through the following centuries. One characteristic that is seen in many of his designs is a shield-shaped chair back, where an"
"May 1748 he married Catherine Redshaw at St George's Chapel, Mayfair and they had five boys and four girls. In 1749 Chippendale rented a modest house in Conduit Court, near Covent Garden. In 1752 he moved to Somerset Court, off the Strand. In 1754 Chippendale moved to 60–62 St Martin's Lane in London, where for the next 60 years the family business operated until 1813 when his son, Thomas Chippendale (Junior), was evicted for bankruptcy. In 1754 he also went into partnership with James Rannie, a wealthy Scottish merchant, who put money into the business at the same time as"
"the weaker efforts of Chippendale. Thus from being extravagantly rococo he progressed to a simple ordered classicism. His published designs are not equal to his original drawings, many of which are preserved in the Victoria and Albert Museum, South Kensington, while the pieces themselves are often bolder and more solid than is suggested by the authors representations of them. He was a clever craftsman and holds a distinct place among the minor furniture designers of the second half of the 18th century. Among his works, some of which were issued in conjunction with Copeland, are: ""A New Drawing Book of"