TO THIS…………..IN ABOUT 8 WEEKS! Please call and see our superb new modern premises full of quality Antique Victorian and Edwardian Period Furniture
Its been all go this week, work has started on the ground floor. The walls were dismantled and the plasterers have almost finished. 29 days till the BIG MOVE………………
We are slowly progressing at the new premises, the first floor is almost complete now. Its almost time for the decorator and carpets
Mahogany is From the 1720s Mahogany became one of the most fashionable woods in furniture making. In 1721 the Naval Stores Act in England was passed which resulted in the removal of taxation on the import duty of mahogany, although as it was still expensive to import mahogany it was only used on the finest pieces. Imported from Jamacia, Cuba and Honduras, at its peak in 1788 more than 30,000 tons of mahogany were imported into England and Wales. The earliest to be imported was ‘spanish mahogany’ which was known for its striaght-grain and lack of figure; it was mostly used in carving. From 1750 the Cuban variety rose in popularity as it was highly figured and good for veneers. ‘Baywood’ which is another variation of mahogany from Honduras became fashionable and known for its light colour and weight and its used as drawer linings in better quality furniture. A strong, dense wood, mahogany varies in colour depending on its region but tends to range from medium brown to deep red-brown in colour with black specks of open grain.
Walnut is a softwood,walnut allowed for greater flexibility and more elaborate carving when it was introduced into furniture-making from c.1660 onwards; it became the wood of choice in both the William and Mary era (1689-1702) and during the reign of Queen Anne (1702-14). Walnut was often used as a veneer whereby thin sheets of wood would be glued to the carcase surface in order to show off its striking figure.
Oak is In English furniture history, the Medieval era until c.1660 is commonly known as the ‘age of oak’. Oak furniture can be identified by its attractive grain and typically dates from this earlier period. An oak trunk is quartered and cut along the lines of the medullary rays in the wood which produces an open-grained silvery pattern that is always much lighter than the base colour. In later pieces oak was used for drawer linings on the best quality furniture.
Satinwood is easy to identify as it shimmers like satin especially when highly polished. Imported from the West Indies from 1760 and from the East Indies from 1780 both types are yellow and honey-coloured although the former gives off a stronger shine due to its clear close-grains. Satinwood is particularly associated with the Thomas Sheraton Period.
Rosewood- Rosewood rose in popularity during the Regency period. Imported from India and Brazil it is often used for veneers as it has strong contrasts of light and dark. Look for dark streaks that are almost inky blotches when trying to identify rosewood
KINGWOOD & TULIPWOOD
Kingwood & Tulipwood is Imported from Brazil, kingwood receives its name from the royal purple hue of its grain and was often used for veneers and in cross-banded borders in the late eighteenth century. Also from Brazil, tulipwood is used in veneers and was very fashionable during the Regency period
Boxwood is a whitish-yellow wood with no real figure, often used as inlay on satinwood, rosewood and mahogany.
François Linke was born in Pankraz in Bohemia and was celebrated by the French as one of the greatest ébénistes of meubles de style at the turn of the century. He began his apprenticeship with a Bohemian master at the age of thirteen. Four years later, he toured Austria, settling and working in Vienna for two years. By 1875 he had arrived in Paris, where he seems to have been associated with Zwiener.
By 1881, Linke established his own small workshop at 170 rue du Faubourg St. Antoine. Taking 18th century styles as his starting point and adapting earlier styles to contemporary taste, Linke produced fine quality furniture, steadily expanding his business during the next 20 years. He firmly established his reputation after receiving a gold medal at the Paris Universal Exhibition of 1900 for his extraordinary Grand Bureau. He continued to use international fairs as a means of exploring new markets, exhibiting at the 1904 World’s Fair in St. Louis, the Liege in Belgium and the 1908 Franco-British exhibition in London.
Linke’s highly original designs sprang from the Régence and Rococo styles but were imbued with something quite new – Rococo curves were laden with gilt-bronze sculptural mounts in the tradition of A.-C. Boulle (1642-1732) or Charles Cressent (1685-1758). Stylistically, the new designs still adhered to the Rococo; the novelty, however, was Linke’s fusion of the Rococo with the liveliness and the fluidity of the ‘art nouveau’. The Revue called Linke’s creations entierement nouveau, and continued to say that ‘Linke’s stand is the biggest show in the history of art furniture in the year 1900…’ The mounts, or rather sculpture, were characteristic of the finest pieces from the Linke workshops. The most original designs were almost certainly created in collaboration with the enigmatic sculptor Léon Messagé, who excelled in creating lively, high relief, allegorical figures recalling the styles of Boucher and Falconet.
Linke’s greatest successes were achieved during the years after 1900 and up to the beginning of World War I. He opened a showroom in the fashionable Place Vendôme and business flourished until World War II, although the popularity of the ancien régime styles already started to decline. Linke died at the venerable age of 91.
Extensive renovations taking place at our new modern two storey showroom, quality antiques will be on display from the 1st December 2013. We would like to welcome new and existing customers when we officially open. Please check our website www.christiandaviesantiques.co.uk for further details
We have finally purchased our new premises and will be moving out of the Antique Centre on the 30th November 2013. We are going to be situated on the services of junction 4 on the M65 (five minutes from junction 30 on the M6). Our new modern two storey showroom is currently undergoing renovation and re-decoration which all the family are currently helping do…….(even Christian!) We will be fully open and available to visit by appointment from the 1st December 2013.
Another style of furnishing that’s often associated with the name of Chippendale is the so-called “Chinese Chippendale” or Chinoiserie, which remained immensely popular, especially for bedrooms, despite the rise of Neoclassicism. Japanning, or painted decoration sometimes imitating lacquer, became the last word in chic.
While he based his work upon the general Queen Anne and Georgian characteristics of sober design and thoroughly fine construction, retaining many of the early 18th-century details, Chippendale introduced many other forms. Though collectors identify his name with the extensive variety of chair designs—from geometrical to Chinese, lattice, or sumptuously carved and interlaced forms, his workshop’s output also included desks, mirror frames, hanging bookshelves, settees, china cabinets and bookcases–featuring fretted cornices and latticework glazed doors–and tables with delicately fretted galleries and distinctive cluster-column legs of Gothic inspiration.
A bonheur du jour (in French, bonheur de jour, meaning “daytime delight”) is a type of lady’s writing desk. It was introduced in Paris by one of the interior decorators and purveyors of fashionable novelties called marchands merciers about 1760, and speedily became intensely fashionable. The bonheur du jour is always very light and graceful, with a decorated back, since it often did not stand against the wall (meuble meublant) but was moved about the room (meuble volant); its special characteristic is a raised back, which may form a little cabinet or a nest of drawers, or open shelves, which might be closed with a tambour may simply be fitted with a mirror. The top, often surrounded with a chased and gilded bronze gallery, serves for placing small ornaments. Beneath the writing surface there is usually a single drawer, often neatly fitted for toiletries or writing supplies. Early examples were raised on slender cabriole legs; under the influence of neoclassicism, examples made after about 1775 had straight, tapering legs. The marchand-mercier Simon-Philippe Poirier had the idea of mounting bonheurs du jour with specially-made plaques of Sevres porcelain that he commissioned and for which he had a monopoly; the earliest Sèvres-mounted bonheur du jours are datable from the marks under their plaques to 1766-67. The choicer examples of the time are inlaid with marquetry or panels of Oriental lacquer, banded with exotic woods, with gilt-bronze mounts.
A partners desk is an antique desk form which is basically two pedestal desks constructed from the start as one large desk joined at the front, for two users working while facing each other. The spelling of the term is irregular, with partner’s desk and partners’ desk being common variants.
This piece of furniture was first conceived in the United Kingdom to accommodate the work of banking partners. These gentlemen were usually senior bank officials who wished to work together while keeping the convenience and the prestige of a pedestal desk. It was an adaptation of the earlier and sometimes larger library desk, found in the libraries of the mansions of the gentry and the nobility.
Most partners desks made in the 19th century were built of high quality woods such as oak, mahogany or walnut and finished with tooled leather inserts on top and brass fittings all around. Many reproductions have been made in the 20th century.