Illustrated History of Furniture Part 19

In 1808 a designer and maker of furniture, George Smith by name, who held the appointment of "Upholder extraordinary to H.R.H. the Prince of Wales,"

and carried on business at "Princess" Street, Cavendish Square, produced a book of designs, 158 in number, published by "Wm. Taylor," of Holborn.

These include cornices, window drapery, bedsteads, tables, chairs, bookcases, commodes, and other furniture, the t.i.tles of some of which occur for about the first time in our vocabularies, having been adapted from the French. "Escritore, jardiniere, dejune tables, chiffoniers" (the spelling copied from Smith's book), all bear the impress of the pseudo-cla.s.sic taste; and his designs, some of which are reproduced, shew the fas.h.i.+on of our so-called artistic furniture in England at the time of the Regency. Mr. Smith, in the "Preliminary Remarks" prefacing the ill.u.s.trations, gives us an idea of the prevailing taste, which it is instructive to peruse, looking back now some three-quarters of a century:--

[Ill.u.s.tration: "Library Fauteuil." Reproduced from Smith's Book of Designs, published in 1804]

"The following practical observations on the various woods employed in cabinet work may be useful. Mahogany, when used in houses of consequence, should be confined to the parlour and the bedchamber floors. In furniture for these apartments the less inlay of other woods, the more chaste will be the style of work. If the wood be of a fine, compact, and bright quality, the ornaments may be carved clean in the mahogany. Where it may be requisite to make out panelling by an inlay of lines, let those lines be of bra.s.s or ebony. In drawing-rooms, boudoirs, ante-rooms, East and West India satin woods, rosewood, tulip wood, and the other varieties of woods brought from the East, may be used; with satin and light coloured woods the decorations may be of ebony or rosewood; with rosewood let the decorations be _ormolu_, and the inlay of bra.s.s. Bronze metal, though sometimes used with satin wood, has a cold and poor effect: it suits better on gilt work, and will answer well enough on mahogany."

[Ill.u.s.tration: "Parlor Chairs," Shewing the Inlay of Bra.s.s referred to.

From Smith's Book of Designs, published 1808.]

Amongst the designs published by him are some few of a subdued Gothic character; these are generally carved in light oak, or painted light stone colour, and have, in some cases, heraldic s.h.i.+elds, with crests and coats of arms picked out in colour. There are window seats painted to imitate marble, with the Roman or Greco-Roman ornaments painted green to represent bronze. The most un.o.bjectionable are mahogany with bronze green ornaments.

Of the furniture of this period there are several pieces in the Mansion House, in the City of London, which apparently was partly refurnished about the commencement of the century.

[Ill.u.s.tration: Bookcase. Design Published by T. Sheraton, June 12th, 1806. _Note_.--Very similar bookcases are in the London Mansion House.]

In the Court Room of the Skinners' Company there are tables which are now used' with extensions, so as to form a horseshoe table for committee meetings. They are good examples of the heavy and solid carving in mahogany, early in the century before the fas.h.i.+on had gone out of representing the heads and feet of animals in the designs of furniture.

These tables have ma.s.sive legs, with lion's heads and claws, carved with great skill and shewing much spirit, the wood being of the best quality and rich in color.

[Ill.u.s.tration: "Drawing Room Chairs in Profile." From G. Smith's Book, published 1808.]

Early Victorian.

In the work of the manufacturers just enumerated, may be traced the influence of the "Empire" style. With the restoration, however, of the Monarchy in France came the inevitable change in fas.h.i.+ons, and "_Le style de l'Empire_" was condemned. In its place came a revival of the Louis Quinze scrolls and curves, but with less character and restraint, until the style we know as "baroque," [19] or debased "rococo," came in. Ornament of a florid and incongruous character was lavished on decorative furniture, indicative of a taste for display rather than for appropriate enrichment.

It had been our English custom for some long period to take our fas.h.i.+ons from France, and, therefore, about the time of William IV. and during the early part of the present Queen's reign, the furniture for our best houses was designed and made in the French style. In the "Music" Room at Chatsworth are some chairs and footstools used at the time of the Coronation of William IV. and Queen Adelaide, which have quite the appearance of French furniture.

The old fas.h.i.+on of lining rooms with oak panelling, which has been noticed in an earlier chapter, had undergone a change which is worth recording. If the ill.u.s.tration of the Elizabethan oak panelling, as given in the English section of Chapter III., be referred to, it will be seen that the oak lining reaches from the floor to within about two or three feet of the cornice. Subsequently this panelling was divided into an upper and a lower part, the former commencing about the height of the back of an ordinary chair, a moulding or chair-rail forming a capping to the lower part. Then pictures came to be let into the panelling; and presently the upper part was discarded and the lower wainscoting remained, properly termed the Dado,[20] which we have seen revived both in wood and in various decorative materials of the present day. During the period we are now discussing, this arrangement lost favour in the eyes of our grandfathers, and the lowest member only was retained, which is now termed the "skirting board."

As we approach a period that our older contemporaries can remember, it is very interesting to turn over the leaves of the back numbers of such magazines and newspapers as treated of the Industrial Arts. The _Art Union_, which changed its t.i.tle to the _Art Journal_ in 1849, had then been in existence for about ten years, and had done good work in promoting the encouragement of Art and manufactures. The "Society of Arts" had been formed in London as long ago as 1756, and had given prizes for designs and methods of improving different processes of manufacture. Exhibitions of the specimens sent in for compet.i.tion for the awards were, and are still, held at their house in Adelphi Buildings. Old volumes of "Transactions of the Society" are quaint works of reference with regard to these exhibitions.

About 1840, Mr., afterwards Sir, Charles Barry, R.A., had designed and commenced the present, or, as it was then called, the New Palace of Westminster, and, following the Gothic character of the building, the furniture and fittings were naturally of a design to harmonize with what was then quite a departure from the heavy architectural taste of the day.

Mr. Barry was the first in this present century to leave the beaten track, although the Reform and Travellers' Clubs had already been designed by him on more cla.s.sic lines. The Speaker's chair in the House of Commons is evidently designed after one of the fifteenth century "canopied seats,"

which have been noticed and ill.u.s.trated in the second chapter; and the "linen scroll pattern" panels can be counted by the thousand in the Houses of Parliament and the different official residences which form part of the Palace. The character of the work is subdued and not flamboyant, is excellent in design and workmans.h.i.+p, and is highly creditable, when we take into consideration the very low state of Art in England fifty years ago.

This want of taste was very much discussed in the periodicals of the day, and, yielding to expressed public opinion, Government had in 1840-1 appointed a Select Committee to take into consideration the promotion of the fine Arts in the country, Mr. Charles Barry, Mr. Eastlake, and Sir Martin Shee, R.A., being amongst the witnesses examined. The report of this Committee, in 1841, contained the opinion "That such an important and National work as the erection of the two Houses of Parliament affords an opportunity which ought not to be neglected of encouraging, not only the higher, but every subordinate branch of fine Art in this country."

Mr. Augustus Welby Pugin was a well-known designer of the Gothic style of furniture of this time. Born in 1811, he had published in 1835 his "Designs for Gothic Furniture," and later his "Glossary of Ecclesiastical Ornament and Costume"; and by skilful application of his knowledge to the decorations of the different ecclesiastical buildings he designed, his reputation became established. One of his designs is here reproduced.

Pugin's work and reputation have survived, notwithstanding the furious opposition he met with at the time. In a review of one of his books, in the _Art Union_ of 1839, the following sentence completes the criticism:--"As it is a common occurrence in life to find genius mistaken for madness, so does it sometimes happen that a madman is mistaken for a genius. Mr. Welby Pugin has oftentimes appeared to us to be a case in point."

[Ill.u.s.tration: Prie-dieu, In Carved Oak, enriched with Painting and Gilding. Designed by Mr. Pugin, and manufactured by Mr. Crace, London.]

At this time furniture design and manufacture, as an Industrial Art in England, seems to have attracted no attention whatever. There are but few allusions to the design of decorative woodwork in the periodicals of the day; and the auctioneers' advertis.e.m.e.nts--with a few notable exceptions, like that of the Strawberry Hill Collection of Horace Walpole, gave no descriptions; no particular interest in the subject appears to have been manifested, save by a very limited number of the dilettanti, who, like Walpole, collected the curios and cabinets of two or three hundred years ago.

[Ill.u.s.tration: Secretaire And Bookcase, In Carved Oak, in the style of German Gothic. (_From Drawing by Professor Heideloff, Published in the "Art Union," 1816._)]

York House was redecorated and furnished about this time, and as it is described as "Excelling any other dwelling of its own cla.s.s in regal magnificence and vieing with the Royal Palaces of Europe," we may take note of an account of its re-equipment, written in 1841 for the _Art Journal_. This notice speaks little for the taste of the period, and less for the knowledge and grasp of the subject by the writer of an Art critique of the day:--"The furniture generally is of no particular style, but, on the whole, there is to be found a mingling of everything, in the best manner of the best epochs of taste." Writing further on of the ottoman couches, "causeuses," etc., the critic goes on to tell of an alteration in fas.h.i.+on which had evidently just taken place:--"Some of them, in place of plain or carved rosewood or mahogany, are ornamented in white enamel, with cla.s.sic subjects in bas-relief of perfect execution."

Towards the close of the period embraced by the limits of this chapter, the eminent firm of Jackson and Graham were making headway, a French designer named Prignot being of considerable a.s.sistance in establis.h.i.+ng their reputation for taste; and in the Exhibition which was soon to take place, this firm took a very prominent position. Collinson and Lock, who have recently acquired this firm's premises and business, were both brought up in the house as young men, and left some thirty odd years ago for Herrings, of Fleet Street, whom they succeeded about 1870.

Another well-known decorator who designed and manufactured furniture of good quality was Leonard William Collmann, first of Bouverie Street and later of George Street, Portman Square. He was a pupil of Sydney Smirke, R.A. (who designed and built the Carlton and the Conservative Clubs), and was himself an excellent draughtsman, and carried out the decoration and furnis.h.i.+ng of many public buildings, London clubs, and mansions of the n.o.bility and gentry. His son is at present Director of Decorations to Her Majesty at Windsor Castle. Collmann's designs were occasionally Gothic, but generally cla.s.sic.

There is evidence of the want of interest in the subject of furniture in the auctioneers' catalogues of the day. By the courtesy of Messrs.

Christie and Manson, the writer has had access to the records of this old firm, and two or three instances of sales of furniture may be given. While the catalogues of the Picture sales of 1830-40 were printed on paper of quarto size, and the subjects described at length, those of "Furniture"

are of the old-fas.h.i.+oned small octavo size, resembling the catalogue of a small country auctioneer of the present day, and the printed descriptions rarely exceed a single line. The prices very rarely amount to more than 10; the whole proceeds of a day's sale were often less than 100, and sometimes did not reach 50. At the sale of "Rosslyn House," Hampstead, in 1830, a mansion of considerable importance, the highest-priced article was "A capital maghogany pedestal sideboard, with hot closet, cellaret, 2 plate drawers, and fluted legs," which brought 32. At the sale of the property of "A man of Fas.h.i.+on," "a marqueterie cabinet, inlaid with trophies, the panels of Sevres china, mounted in ormolu," sold for twenty-five guineas; and a "Reisener (_sic_) table, beautifully inlaid with flowers, and drawers," which appears to have been reserved at nine guineas, was bought in at eight-and-a-half guineas. Frequenters of Christie's of the present day who have seen such furniture realize as many pounds as the s.h.i.+llings included in such sums, will appreciate the enormously increased value of really good old French furniture.

Perhaps the most noticeable comparison between the present day and that of half-a-century ago may be made in reading through the prices of the great sale at Stowe House, in 1848, when the financial difficulties of the Duke of Buckingham caused the sale by auction which lasted thirty-seven days, and realised upwards of 71,000, the proceeds of the furniture amounting to 27,152. We have seen in the notice of French furniture that armoires by Boule have, during the past few years, brought from 4,000 to 6,000 each under the hammer, and the want of appreciation of this work, probably the most artistic ever produced by designer and craftsman, is sufficiently exemplified by the statement that at the Stowe sale two of Boule's famous armoires, of similar proportions to those in the Hamilton Palace and Jones Collections, were sold for 21 and 19 8s. 6d. respectively.

We are accustomed now to see the bids at Christie's advance by guineas, by fives and by tens; and it is amusing to read in these old catalogues of marqueterie tables, satin wood cabinets, rosewood pier tables, and other articles of "ornamental furniture," as it was termed, being knocked down to Town and Emanuel, Webb, Morant, Hitchc.o.c.k, Raldock, Forrest, Redfearn, Litchfield (the writer's father), and others who were the buyers and regular attendants at "Christie's" (afterwards Christie and Manson) of 1830 to 1845, for such sums as 6s., 15s., and occasionally 10 or 15.

A single quotation is given, but many such are to be found:--Sale on February 25th and 26th, 1841. Lot 31. "A small oval table, with a piece of Sevres porcelain painted with flowers. 6s."

It is pleasant to remember, as some exception to this general want of interest in the subject, that in 1843 there was held at Gore House, Kensington, then the fas.h.i.+onable residence of Lady Blessington, an exhibition of old furniture; and a series of lectures, ill.u.s.trated by the contributions, was given by Mr., now Sir, J.C. Robinson. The Venetian State chair, ill.u.s.trated on p. 57, was amongst the examples lent by the Queen on that occasion. Specimens of Boule's work and some good pieces of Italian Renaissance were also exhibited.

A great many of the older Club houses of London were built and furnished between 1813 and 1851, the Guards' being of the earlier date, and the Army and Navy of the latter; and during the intervening thirty odd years the United Service, Travellers', Union, United University, Athenaeum, Oriental, Wyndham, Oxford and Cambridge, Reform, Carlton, Garrick, Conservative, and some others were erected and fitted up. Many of these still retain much of the furniture of Gillows, Seddons, and some of the other manufacturers of the time whose work has been alluded to, and these are favourable examples of the best kind of cabinet work done in England during the reign of George IV., William IV., and that of the early part of Queen Victoria. It is worth recording, too, that during this period, steam power, which had been first applied to machinery about 1815, came into more general use in the manufacture of furniture, and with its adoption there seems to have been a gradual abandonment of the apprentices.h.i.+p system in the factories and workshops of our country; and the present "piece work" arrangement, which had obtained more or less since the English cabinet makers had brought out their "Book of Prices" some years previously, became generally the custom of the trade, in place of the older "day work" of a former generation.

[Ill.u.s.tration: Cradle, In Boxwood, for H.M. the Queen. Designed and Carved by H. Rogers, London.]

In France the success of national exhibitions had become a.s.sured, the exhibitors having increased from only 110 when the first experiment was tried in 1798, by leaps and bounds, until at the eleventh exhibition, in 1849, there were 4,494 entries. The _Art Journal_ of that year gives us a good ill.u.s.trated notice of some of the exhibits, and devotes an article to pointing out the advantages to be gained by something of the kind taking place in England.

From 1827 onwards we had established local exhibitions in Dublin, Leeds, and Manchester. The first time a special building was devoted to exhibition of manufactures was at Birmingham in 1849; and from the ill.u.s.trated review of this in the _Art Journal_ one can see there was a desire on the part of our designers and manufacturers to strike out in new directions and make progress.

We are able to reproduce some of the designs of furniture of this period; and in the cradle, designed and carved in Turkey-boxwood, for the Queen, by Mr. Harry Rogers, we have a fine piece of work, which would not have disgraced the latter period of the Renaissance. Indeed, Mr. Rogers was a very notable designer and carver of this time; he had introduced his famous boxwood carvings about seven years previously.

[Ill.u.s.tration: Design for a Tea Caddy, By J. Strudwick, for Inlaying and Ivory. Published as one of the "Original Designs for Manufacturers" in _Art Journal_, 1829.]

The cradle was also, by the Queen's command, sent to the Exhibition, and it may be worth while quoting the artist's description of the carving:--"In making the design for the cradle it was my intention that the entire object should symbolize the union of the Royal Houses of England with that of Saxe-Coburg and Gothe, and, with this view, I arranged that one end should exhibit the Arms and national motto of England, and the other those of H.R.H. Prince Albert. The inscription, 'Anno, 1850,' was placed between the dolphins by Her Majesty's special command."

[Ill.u.s.tration: Design for One of the Wings of a Sideboard, By W. Holmes.

Exhibited at the "Society of Art" in 1818, and published by the _Art Journal_ in 1829.]

In a criticism of this excellent specimen of work, the _Art Journal_ of the time said:--"We believe the cradle to be one of the most important examples of the art of wood carving ever executed in this country."

Rogers was also a writer of considerable ability on the styles of ornament; and there are several contributions from his pen to the periodicals of the day, besides designs which were published in the _Art Journal_ under the heading of "Original Designs for Manufacturers." These articles appeared occasionally, and contained many excellent suggestions for manufacturers and carvers, amongst others, the drawings of H.

Fitzcook, one of whose designs for a work table we are able to reproduce.

Other more or less constant contributors of original designs for furniture were J. Strudwick and W. Holmes, a design from the pencil of each of whom is given.

[Ill.u.s.tration: Design for a Work Table, By H. Fitzcook. Published as one of the "Original Designs for Manufacturers" in the _Art Journal_, 1850.]

But though here and there in England good designers came to the front, as a general rule the art of design in furniture and decorative woodwork was at a very low ebb about this time.

In furniture, straight lines and simple curves may be plain and uninteresting, but they are by no means so objectionable as the over ornamentation of the debased rococo style, which obtained in this country about forty years ago; and if the scrolls and flowers, the sh.e.l.ls and rockwork, which ornamented mirror frames, sideboard backs, sofas, and chairs, were debased in style, even when carefully carved in wood, the effect was infinitely worse when, for the sake of economy, as was the case with the houses of the middle cla.s.ses, this elaborate and laboured enrichment was executed in the fas.h.i.+onable stucco of the day.

Large mirrors, with gilt frames of this material, held the places of honour on the marble chimney piece, and on the console, or pier table, which was also of gilt stucco, with a marble slab. The cheffonier, with its shelves having scroll supports like an elaborate S, and a mirror at the back, with a scrolled frame, was a favourite article of furniture.

Carpets were badly designed, and loud and vulgar in colouring; chairs, on account of the shape and ornament in vogue, were unfitted for their purpose, on account of the wood being cut across the grain; the fire-screen, in a carved rosewood frame, contained the caricature, in needlework, of a spaniel, or a family group of the time, ugly enough to be in keeping with its surroundings.