"Consequently, recognisably ""Chippendale"" furniture was produced in Dublin, Philadelphia, Lisbon, Copenhagen and Hamburg. Catherine the Great and Louis XVI both possessed copies of the ""Director"" in its French edition. The Director shows four main styles: English with deep carving, elaborate French rococo in the style of Louis XV furniture, Chinese style with latticework and lacquer, and Gothic with pointed arches, quatrefoils and fret-worked legs. His favourite wood was mahogany; in seat furniture he always used solid wood rather than veneers. The workshop was continued by his son, Thomas Chippendale, the younger (1749–1822), who worked in the later Neoclassical and Regency"
"Thomas Chippendale Thomas Chippendale (1718 – 1779) was born in Otley in the West Riding of Yorkshire, England in June 1718. He became a cabinet-maker in London, designing furniture in the mid-Georgian, English Rococo, and Neoclassical styles. In 1754 he published a book of his designs, titled ""The Gentleman and Cabinet Maker's Director"", upon which success he became renowned. The designs are regarded as reflecting the current British fashion for furniture of that period and are today reproduced globally. He was buried 16 November 1779, according to the records of St Martin-in-the-Fields, in the cemetery since built upon by the"
"styles, ""the rather slick delicacy of Adam's final phase"", as Christopher Gilbert assessed it. A bankruptcy and sale of remaining stock in the St. Martin's Lane premises in 1804 did not conclude the firm's latest phase, as the younger Chippendale supplied furniture to Sir Richard Colt Hoare at Stourhead until 1820 (Edwards and Jourdain 1955: 88). Thomas Chippendale Thomas Chippendale (1718 – 1779) was born in Otley in the West Riding of Yorkshire, England in June 1718. He became a cabinet-maker in London, designing furniture in the mid-Georgian, English Rococo, and Neoclassical styles. In 1754 he published a book of"
"Thomas Chippendale, the younger Thomas Chippendale, the younger (1749–1822) was an English artist, furniture maker and designer, and the eldest of Thomas Chippendale's eleven children. He was devoted to his father and worked with Chippendale Senior until the later died in 1779. Thereafter he took over his father's business until Thomas Chippendale Jnr was obliged to close the doors on the family business. The Company, listed in Sheraton's ""The Cabinet Directory"" of 1803, went bankrupt in 1804 but was later re-established. Thomas Chippendale was also a member of the Society of Arts and exhibited his paintings at the Royal Academy"
"Chippendale Society The Chippendale Society is a registered charity in Britain, that works to preserve and promote the heritage of Thomas Chippendale, one of Britain's most notable furniture makers. The society was founded in 1965 in Otley in Yorkshire, England, Chippendale's home town. Its mission is to advance public education in the matter of British craftsmanship, specifically Georgian, and particularly that of Thomas Chippendale whose designs and methods are still employed today. The society, governed by a board of twelve trustees, owns a collection of Chippendale furniture and memorabilia, which is kept at Temple Newsam House in Leeds, and has"
"a press in the upper part of the central portion and drawers below. As a rule it was often of mahogany, but as satinwood and other previously scarce, fine-grained, foreign woods began to be obtainable in considerable quantities, many elaborately and even magnificently inlaid wardrobes were made. Where Chippendale and his school had carved, Sheraton, Hepplewhite and their contemporaries achieved their effects by the artistic employment of deftly contrasted and highly polished woods. The penultimate step in the evolution of the wardrobe was taken when the central doors, which had previously enclosed merely the upper part, were carried to the"
"access to other Chippendale collections, at Harewood House and Dumfries House. Chippendale furniture is highly valued; a padouk cabinet that was auctioned by Christies in 2008 sold for £2,729,250 (USD 5,324,763). In January 2013 the BBC produced a series entitled """"Carved With Love; The Genius of British Woodwork"""", the second episode of which featured Chippendale's life, work and influence. Chippendale Society The Chippendale Society is a registered charity in Britain, that works to preserve and promote the heritage of Thomas Chippendale, one of Britain's most notable furniture makers. The society was founded in 1965 in Otley in Yorkshire, England, Chippendale's"
"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"
"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"
"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"
"National Gallery. Chippendale furniture is highly valued; a padouk cabinet that came up for auction in 2008 sold for £2,729,250. Chippendale was born the only child of John Chippendale (1690–1768), joiner, and his first wife Mary (née Drake) (1693–1729). He received an elementary education at Prince Henry's Grammar School. The Chippendale family had long been in the wood working trades and so he probably received his basic training from his father, though it is believed that he was also trained by Richard Wood in York, before he moved to London. Wood later ordered eight copies of the ""Director"". On 19"
"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"
"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"
"Thomas Sheraton Thomas Sheraton (1751 – 22 October 1806) was a furniture designer, one of the ""big three"" English furniture makers of the 18th century, along with Thomas Chippendale and George Hepplewhite. Sheraton gave his name to a style of furniture characterized by a feminine refinement of late Georgian styles and became the most powerful source of inspiration behind the furniture of the late 18th century. Sheraton was born in Stockton-on-Tees, County Durham, England. He was apprenticed to a local cabinet maker and continued working as a journeyman cabinet maker until he moved to London in 1790, aged 39. There"
"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"
"Staffordshire dogs on the shelves in the library, two tables that flank the front windows, a sofa with a spindle-back settee of the 1810 era, and a rocker called a comb-back Windsor constructed of pine. A bow-front chest and desk, made of Hepplewhite from New England sits in the corner of the living room. On the mantle is an oil painting of Mrs. Thomas Plater, née Mary Louise Bugg, Mr. Plater, and Jr.'s grandmother. Several chairs, spread about the room, date to the time the Prices occupied the house. Against the wall is a three-tier table constructed of Chippendale, with"
"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"
"to several European herbaria to examine similar material. This helped him prepare a technical note, Herbarium Specimens of Eucalyptus Photographed in Europe as well as a record of those who had collected the material. Chippendale contributed to a steady stream of books either alone or as a collaborator, including: ""Eucalyptus Buds and Fruit; Illustrations of the Buds and Fruits of the Genus the List of Authentic Specimens from Which the Drawings Were Made"" (1968), ""Eucalypts"" (1969), ""The Forest Trees of Australia"" (1970), ""Australian Rain Forest Trees"" (1970), ""Wildflowers of the Australian Capital Territory"" (1972, with wife Thelma) and ""Eucalypts of"
"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"
"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"
"painting of Lord Byron. The furniture in this room is the finest antiques in the house. Against the wall is a Maryland sideboard, Sheraton in style. A corner cabinet nearby is made of mahogany and pine. It was 18th century Chippendale and comes from the estate of Lord Thomas Fairfax of Virginia. The dining table is designed from two card tables and is Victorian mahogany. The rug on which the dining table and chairs is a turn of the century one. In the kitchen and breakfast area, most of the furniture originated from New England. Against the back wall is"
"of Arts between 1784 and 1801. Thomas Chippendale, the younger Thomas Chippendale, the younger (1749–1822) was an English artist, furniture maker and designer, and the eldest of Thomas Chippendale's eleven children. He was devoted to his father and worked with Chippendale Senior until the later died in 1779. Thereafter he took over his father's business until Thomas Chippendale Jnr was obliged to close the doors on the family business. The Company, listed in Sheraton's ""The Cabinet Directory"" of 1803, went bankrupt in 1804 but was later re-established. Thomas Chippendale was also a member of the Society of Arts and exhibited"
"location of his new fort of deposit. Although he said that the site was ‘proper enough’ for a post, his men thought the location too accessible to the enemy. It was surrounded by small knolls and was susceptible to have the supply of water cut off because the fresh spring that issued nearby was about 100 feet distant"". In 1872 timber in the remaining woods consisted of “seven species of Oaks, Sugar maple, Slippery Elm, Beech Black Walnut, Shagbark Hickory, Buckeye, Trembling Aspen (Populus temmuloides), Mulberries, Flowering Dogwood, Crabapple, Honey Locust and Pawpaw.” Describing the gravel and sand knolls, “Between"
"George Chippendale George Chippendale (18 April 1921 – 16 February 2010) was an Australian botanist and a strong proponent of growing Australian Native plants. As well as a career in botany, he also taught his love of botany to all who would listen through talks to children, special interest groups, walks on Canberra'a Black Mountain and more recently through the U3A (University of the Third Age), both in class and online. He knew the value of planting local native plants in gardens as they would survive local conditions and save water. Chippendale was born in Sydney, Australia, the eldest of"
"its timber. The woodland, originally predominantly oak and birch, was managed by coppicing for both timber and charcoal, the latter supplying the smelting kilns of the local lead industry. Historical records show that the site has been woodland since at least the early 16th century, and one large oak, the ""Bishop Oak"", is thought to be around 400 years old. The woodland cover is very variable, being dependent on the soil and drainage. In wetter areas, alder, ""Alnus glutinosa"", is dominant, over a ground cover that includes soft rush, ""Juncus effusus"", meadowsweet, ""Filipendula ulmaria"", and tufted hair-grass, ""Deschampsia cespitosa"". In"
"supported by cased oak beams, white stucco walls and numerous four-centred arch openings. The main feature of the room is a massive fireplace built of carved Madison sandstone. Many of the rooms contained vaulted ceiling and the hallway ceilings were typically varied combinations of different sizes of intersecting vaults. An unusual octagonal circular stairway leads from the second floor to the third. The house was furnished with many antiques such as Kurdistan rugs, William and Mary highback chairs, Flemish tapestries, a Queen Anne bookcase (c. 1719), and a Chippendale chest (c. 1780). Most of the antiques were imported. The fashion"
"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."
"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"
"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"
"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"
"managed to provide goods of economic worth. The coppices were used to provide timber, charcoal, oak bark, and small wood whilst the commons and pastureland were used for grazing and as a source of turf and firewood. Oak standards would have yielded timber for ship construction at the Royal Dockyard at Deptford, established in 1513, whilst the oak bark was taken to Bermondsey for leather making. Here it was boiled to extract tannins for use in the tanning process. Oak and hornbeam were coppiced every 10-20 years to provide wood for charcoal. The charcoal burning took place in conical kilns"
"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,"
"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"