Furniture: World Styles from Classical to Contemporary
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A glorious encyclopedia from expert Judith Miller, showcasing more than 3,000 years of design. From primitive pieces to elegant modernity, this definitive guide illustrates every style and form, with tips on how to recognise the key elements of each period. Featuring lavish, full-colour photographs throughout. Foreword by furniture designer and manufacturer David Linley. Judith is the ideal expert to guide both amateur and experienced collectors ...' Homes and Interiors
became increasingly popular in the early 19th century. Designed to stand in the middle of a room, this piece was intended to be seen from all angles. Consequently, the tessellated marquetry top is decorated on all sides, and the top even swivels. Placed over planks, which make up the top, the veneers include alternating petals of maple and mahogany. The outer border is crossbanded with tulipwood and encloses several thuyawood panels “inlaid” with trophies of Science, Painting, Gardening,
hardwoods and inlays. The Low Countries, in particular, produced exquisite floral marquetry. French boullework (see p.54) created a sumptuous decorative veneer for tables and cabinets using detailed brass and tortoiseshell marquetry. By the end of the century, French furniture design was highly influential. Louis XIV’s palace at Versailles set the style for the fashionable world. Changes in furniture style were avidly watched and interpreted by craftsmen in Great Britain and the rest of Europe.
mirrors, and guéridon tables that had a candlestand base supporting a marble top. Even large pier tables had carved and pierced frames that were gilded or painted in the Rococo style. In addition to pier mirrors or glasses placed over pier tables (see p.120), other mirrors were introduced that often contained colored panels of glass interspersed with the mirror glass. Chests of drawers ranged from the French commode to smaller pieces such as the cassettoncino, typically with three
the Low Countries. Chairs were similar to British designs, although the seat rails tended to be more serpentine in shape, and some chairs had a serpentine blocked seat rail with a shaped lower central section. Settees were also similar to British models, with high backs and wings with curved armrests, but stretchers remained fashionable well into the 1740s, unlike in Great Britain. SIGNATURE PIECE The bureau-cabinet, which developed in England around 1700, was common throughout much of the 18th
The sideboard table usually had a marble top, making it suitable for use in the dining room. If made with a wooden top, it also had a cover to protect it from wet objects. These tables were based on British furniture and were copied from imports or drawings. Dressing tables, which were also used for writing or reading, were closely related to British examples and rarely had the same arrangement of drawers as those originating from New England. The southern versions either had one long drawer at