Furniture and Furnishings

Furniture and Furnishings 3(1+2)

Lesson 02: Furniture Style

Georgian

1. Queen Anne, were not popular rulers and their immediate courts had little influence on the English way of life.
2. Georgian has divided into 3 types:
   1. Early Georgian – 1714 – 1750
   2. Middle Georgian – 1750 – 1770
   3. Late Georgian – 1770 – 1810

1. Early Georgian (1714 – 1750):
   1. The furniture became somewhat heavier and was decorated with more elaborated finer proportions and more subtle lines.
   2. The furniture designs of Kent period is generally considered the transitional one between England’s “Age of walnut” and “Age of mahogany”.
   3. Furniture had architectural features meant to harmonize with the doors, windows, walls and pediments of the Palladian mansions.
   4. Rich, elegant fabrics were still used, but prints gained in favour.




2. Middle Georgian (1750 – 1770):
   1. Rococo was at the height of its popularity in France.
   2. Thomas Chippendale is a renowned furniture designer as well as a master craftsman.
   3. Chippendale was a good businessman and enjoyed an admirable rapport with his clients.
   4. The Chippendale style has a masculine quality combined with a graceful elegance.
   5. The proportions are comfortable and the design is sturdy without being too heavy.
   6. Rococo themes were used in heavily carved small tables, sconces, mirrors and other small pieces.
   7. The interest in lacquered furniture which had been so popular earlier in this century was renewed.


3. Late Georgian (1770 – 1810):
   1. The late Georgian period probably represents the zenith of the “Golden Age” of English interior design.
   2. Mahogany was still used but the trend towards lighter colours and more exotic grain patterns resulted in the use of a wide variety of woods such as satinwood, rose wood, hare wood, tulip wood and holly.
   3. Instead of an emphasis on carving as a decorative medium, constrasting veneers were used in many ways.
   4. Grain patterns were selected and arranged to lend their intrinsic beauty.
   5. Inlay, gilding and painted decorations were also favored means of decoration.

Robert Adem (1728-1792):

1. He gave the strongest force in the application of classical themes to furniture design.
2. The furniture that he designed to blend with his interiors clearly reflected his architectural stylesand the work of Adam is noted for classic simplicity.
3. He had a remarkable ability to use the motifs and themes found in Roman stucco work in light and delicate ornamentation. He also used festoons, garlands and trails of vine.
4. Adam’s work with its fine proportions and delicate ornamentation was a source of inspiration for other designers.

Grorge Hepplewhite (1780):

1. The style is delicate, light and refined.
2. The contours of the style are essential rectilinear, but Hepplewhite used more curved lines in the basic formsthan did other designers of the time.
3. The best examples of Hepplewhite designs were chairs and small pieces, such as pie tables, dressing tables, commodes and screens.
4. The open backs of the chairs and the settees were almost always shaped in curves to form shield, hearts or ovals.
5. Many of the chairs back were intricate compositions of curving lines.
6. Some of the heart-shaped backs give a rather sentimental, feminine flavor to the designs.
7. The arm supports for the chairs were usually curved. The chests of drawers and sideboards sometimes had bow or serpentine fronts.
8. Curved lines were also introduced in oval table tops & semicircular commodes.
9. The fine proportions of the Hepplewhite style and the lightness and simplicity of his design have made it favorite with those who prefer a graceful style with a simple elegance.

Thomas Sheration (1751-1806):

1. Sheraton’s designs interpreting the neoclassic trends were unsurpassed for their excellent proportion, line, balance and exquisite ornamentation.
2. The designs showed originality and a usually keen awareness of beautiful lines.
3. The basic forms were generally rectilinear with emphasis on the vertical line.
4. Straight lines were incorporated in a somewhat subtle manner with convex corners on side boards, gently curved arms on chairs, elongated curves in chairs and backs.
5. Marquentry and painted decorations were used. He also liked gilding. Sometimes painted medallions or panels showing classical motifs or figures were used as decoration.