• Recently Written

  • 17th Century French Antiques
  • Antique 17th Century Jewellery, Embroidery, Fashion
  • 17th Century Silver, Clocks, Watches and Metalwork
  • 17th Century Silver and Clocks
  • 17th Century French Antique Glass, Porcelain, Silver
  • 17th Century Antique English and Dutch Porcelain
  • 17th Century Antique European and Chinese Porcelain and Pottery
  • 17th Century William and Mary Furniture
  • 17th Century Dutch and English Furniture
  • Auction Prices for Antique Trays, Mugs, Snuff Boxes

• Categories

  • 17th Century Antiques
  • Antique Collections and Galleries
  • Antique English Glass
  • ANTIQUE GLASS PAPERWEIGHTS
  • ANTIQUE OAK FURNITURE
  • Antique Walnut Chests of Drawers
  • ANTIQUE WALNUT FURNITURE
  • Antiques Guide
  • Auctions
  • Commodes and Tallboys
  • DELFT WARE
  • FURNITURE: SMALL PIECES
  • Mahogany Chests of Drawers
  • Mahogany Furniture
  • VICTORIAN FURNITURE

• Archives

  • September 2009
  • July 2009

• Blogroll

• Admin

  • Log in
  • Wordpress
  • XHTML

  Search

RSS

France
Meanwhile across the Channel, the French were enjoying an even more
glittering period under Louis XIV. As in England and Holland, the
exotic imports of the East India companies stimulated both household
and sartorial fashions and gave the French, in particular, a taste for
richly embroidered silks. Louis XIV himself had a huge band of em-
broiderers working for his entourage at Versailles, and anybody who
was anybody spent vast sums of money on lace and embroidery for their
clothes. Some even sent materials to China to be embroidered with
oriental motifs.
The chain-stitch embroidery known as tambour work, another Chinese
import, was a favourite occupation with French needlewomen from the
end of the 17th century, and the habit spread to othercountries, especially
England, in the mid-18th century. On the whole, the best French
embroidery was done by professionals. Many of these were Huguenots
and after the Revocation of the Edict of Nantes in 1695 a great number
ol them fled to England, Germany, Switzerland and Holland where they
soon set up successful workshops. Ironically, a proportion of their
embroideries found their way back to fiance
Louis XIV’s minister. Colbert, himself a mercer’s son. worked haul
to establish France’s pre-eminence on all fronts, and especially in the
textile industry. As well as encouraging French lace and tapestry he
helped to promote linen manufacture at Cambrai, Valenciennes, St
Quentin and Lille. Most important of all - for it was probably the most
successful - the silk industry of Lyons became supreme in the late 17th
century. The colourful garlands of flowers woven on rich cream grounds
were as luxurious as any embroidered materials, and they soon became
fashionable for the best-dressed people all over Europe.
Chintz made its first appearance in Europe around the turn of the
century and was immediately popular because of the brilliance and
fastness of its colours. From 1640 the supply of chintz became an im-
portant branch of the East India Company’s trade and by 1680 demand
was enormous. Prohibition of chintz imports by France in 1686 and Eng-
land in 1700 caused trade to fall but chintz still reached both countries
in substantial quantities. Before 1650 chintz was used only as a furnish-
ing fabric but by the 1670s it is frequently mentioned as a costume fabric.
One of the major influences exerted by East India Company imports
of printed cottons and chintzes was, surprisingly enough, on the wool
embroidered bed hangings so essential to keep out winter draughts in
northern Europe and America. Again, these were mainly the province
of the domestic embroideress, who worked the bed-curtains and
valences the pelmet-like hangings round the roof of a four-poster bed
in coloured crewel wools on a linen or cotton ground. Her designs for
these crewel or Jacobean embroideries, worked in long and short, chain
and stem stitches with French knots and a variety of fillings, were
frequently taken from oriental originals.
The Tree of Life pattern was much favoured. In this, a swirling tree
laden with improbable fruit and flowers springs from a rocky base.
Among and beneath its branches hover birds of paradise and all kinds
of animals - lions, squirrels, stags, rabbits and insects - which were
usua ly taken not from oriental sources but from the needlework pattern
books which had been in current use for most of the century.
America
In the late 17th century, life in the American colonies was beginning to
grow less spartan than it had been in the days of the early settlers, and
with increasing comfort came an emphasis on domestic embroidery.
American wool hangings were at first confined to repeating motifs
worked in a single colour, but by the end of the 17th century these had
progressed to colourful crewel embroideries similar to those made in
north rn Europe.
Embroidery
Americans, as well as Europeans, used knotted pile Turkey work for
covering cushions, chairs and other furniture in the late 17th century.
Carpets and rugs of Turkey work had originally been imported to
Europe from the Near East by the East India companies, and they soon
became popular for their hardwearing properties and colourfulness.
They were made by pulling wool through canvas or coarse linen stretched
on a loom and then cutting it to form a pile. The technique lent itself to
formal geometric designs and heraldic motifs in bright colours and was
soon made on a commercial scale in Europe. Like many professional
crafts, it was also done by persevering ladies at home, and in America
Turkey work was more often done domestically than by professionals.
Japanese Swords
Japanese swords made from about 1600 are known as ’shinto’ (new
swords), and most of the blades still in existence are shinto. This class of
swords includes the Katana, with a blade length of 53-76 cm (21-30 in),
and the wakizashi with a blade length between 30-60 cm (12-24 in).
Various knives and daggers such as yoroi-ioshi, a short fighting knife
used to pierce armour, were smaller versions of the swords.
The two swords of a samurai were called daisho; the katana, allowed
only to samurai, could be replaced with the shorter wakizashi and a
dagger, tanto or yoroi-toshi. On rare occasions members of other classes
could carry the short sword and dagger. Also, free peasants (goshi)
might carry swords at their own risk. The sword and dirk were carried in
the waist sash. Although the long hilt on Japanese swords allows two-
handed use they were usually used single-handed with a slashing action
rather than a thrust, though the point was used with daggers and knives.
Samurai women were not allowed to handle a sword, but they were
trained in the use of other weapons such as the halberd. Samurai
dominance over other classes was often despotic: sword blades were
tested on criminals and even passers-by as well as on iron bars and hay
bales.
All the famous swordsmiths were of samurai rank. Smiths were
regarded as artists rather than artisans, and founded dynasties and rival
schools of swordmakers, some of which lasted for centuries. The
Japanese also invested the sword with a religious quality - it was the
’soul of the samurai’. Japanese ideas about swords reflect the mixture of
Shinto, the indigenous beliefs, and imported Buddhist ideas: swords
were thought to have magical qualities, and to be made of the Five
Elements, earth, fire, water, wood and metal. Smiths tended to lead
moderate, even ascetic lives; forging was complex and took weeks of
skilful work.
The iron and steel from which the blades were made was obtained
from local supplies of ferrous ores and a ferruginous sand, although
from the 17th century some imported steel was used. There were two
basic methods for making blades, one for blades made only of steel, the
other for blades made of a combination of iron and steel.
In the first method two pieces of steel of different grades were placed
on tbp of each other and welded to form a billet. An iron bar was then
welded to this to act as a handle. The billet was then folded on itself,
welded again and hammered out to its original length. The whole process
was then repeated at least fifteen times. A special fire was used made from
a type of pine charcoal and before each firing a mixture of clay and straw-
ash was used to coat the blade, care being taken not to touch the metal
with the hands. Occasionally three or four of these billets would be
welded together and the above process repeated five times, producing
more than four million layers. This method was called muku-gitai or
muku-tsukuri (’pure forging’ or ‘unalloyed make’).
There were several methods of making blades from iron and steel but
they all consisted of a soft iron core enclosed by a piece or pieces of hard
steel. The core metal (shintetsu) was subjected to the folding and welding
process followed by hammering out some dozen times. The outer metal
(uwagane) was made from pieces of steel, from which the slag had been
removed, which were forged into a bar, notched, and then folded, welded
and reforged some 15 times. A common method of combining the two
was to form the uwagane into a V-shaped bar into which the shintetsu
was inserted and welded and the whole then put through the blade-
making process again.
Many of the blades of this period exhibited a wood-grain effect called
mokume made by one of two methods, hada-gitai and masume-tsukuri.
Both methods began with the finished billet and in the former method
the bar was randomly dented and gouged and then flattened by hammer-
ing or grinding so that the various layers of the bar were revealed. The
second method involved hammering the bar on its edge until it became
the face so revealing the layers of metal which look like wood-graining.
Since the makume effect disappeared on tempering it is not visible on
the tempered edge.
When forging the hard edge on a sword blade, an almost religious
ritual was followed. The smith and his assistant wore special robes
indicating their social rank; the smithy was locked and Shinto rites were
performed to make it into a shrine with plaited straw hangings and paper
flags to prevent the entry of evil spirits.
[To produce a hard edge on a sword blade it was covered with wet clay
in which a line was drawn about 12 mm (£ in) from the edge. The clay
was removed between the line and edge and the remainder allowed to
harden, the blade was then placed in the furnace and watched for the
right colour change. The blade was then removed, the clay taken off
and the blade quenched. This process produced a hardened, decorative
cutting edge (yahibd) with a milky white colour where the exposed steel
had crystallized.
ktharacteristic designs were used when drawing the line of the yahiba.
These included a jagged line signifying a horse’s tooth, and a stepped
line indicating a road up the mountains. These patterns (hamon) may
be used to date and value a sword and place it in its tradition or school.
The blade was sharpened and polished over several weeks to produce
a mirror finish. The effect of the repeated folding and welding of the

Tags: 17th century, 18th century, cambrai, chinese import, chintz, cotton, dagger, deco, dining tables midival style, doctors roll top desk, dome antique clock made in germany with stage coat, doric early victorian porcelain, dresden and volkstedt lady on piano, dresden semi-porcelain, dresser with claw foot and double doors, drop leaf hexagon table, drop-leaf console table french monks, dutch marquetry furniture, early georgian features, east india company, edgar brandt signature, egyption occassional table inlaid mother of pearl, embroideries, Embroidery, eminence, empire revival buffet, England, english gothic tudor, english china cabinets with desk 1900, english entry table, english grainger worcester marks, english oak square barley twist leg dining table, english tudor dining room furniture, entryway harp table, epoxy wood table inlay, etching glass stencils nudes, exotic imports, expensive czechoslovakia pottery, first appearance, fixing antique bowl cracks with milk, french cabriole leg writing table and antique, french claw table, french antique chairs in gold, french antique flowered mirror louis, french antique tub chairs, french boulle card table circa 1860, french buffet a deux corps, french country dining room furniture, french embroidery, french female artist allowed to wear mens clothes at , french kidney shaped dresser, french lace, french name, french potcupboards, french walnut two tier dumb waiter, french writing table, fretwork bible stand, furnish, furniture history periods elizabethan tables, furniture in british style, furniture made out of conduit, furniture maker elephant symbol, furniture names chest of drawers?, furniture oak "gentleman's dresser", furniture used in 19th century, gallery buthaud, gateleg tables oak value, georgian drop leaf writing bureau, georgian period antique doors, georgian pie crust pedestal end tables, german antique china cabinets, germany switzerland, ground, House, india companies, Jacobean, linen, louis xiv, majorelle chicoree, marjolic pottery value japan tea pot, mirror, needlework, northern Europe, ohibition, oriental motifs, pattern, period, province, revocation of the edict of nantes, roof, shinto, silk industry, Small, st quentin, steel, stitch embroidery, sword, Turkey, valenciennes, winter

Diamond history of a different kind was also made in this century. In
I655 the Great Mogul diamond was discovered at the Gani mines in
India. It has been estimated that it weighed some 800 carats. Towards
the end of the century the Mogul sent the diamond to a Venetian cutter,
Sio Borgis, who unfortunately reduced the stone to 280 carats, a
fe for which he was punished by having all his property confis-
jlt is not known what became of this remainder of the diamond,
i first imitation diamonds were also made in this century although
t some uncertainty as to who first made them. George Ravenscroft,
r|of the Savoy Glass House in London is commonly credited with
covery, but Villiers in his Journal d’un Voyageur a Paris mentions
isieur d’Arre who was making counterfeit diamonds, emeralds,
rubies, and topazes before 1675 which was the date of Ravenscroft’s
disci very. His imitation was a ‘paste’ glass based on lead oxide, which
had a high refractive index and when cut looked like the genuine stone.
Ihe mitation was widely used following its discovery.
The new emphasis on stones rather than goldwork and enamel has,
how ever, had an unfortunate outcome: succeeding generations must have
cove ted the gems more than the settings, for relatively few pieces of good
17th century jewelry have survived the melting pot, compared with the
products of the previous century.
I namelling also flourished during this period, though in a different
style. Indeed some of the finest examples of this type of decoration are
to be round in the 17th century. The general trend was towards the use
of enamelling to enrich and enhance the settings of the stones themselves,
rather than to be an essential feature of the design. Watch and miniature
cases *are an obvious exception and it is in this form that the enameller
excelled. Early designs incorporate the moresque decoration so popular
during the previous century, combined with elaborately interlaced
Gold miniature case, enamelled in black
and while c.1620.
Jewelry
tendril scrolls and strapwork motifs, executed in light-coloured enamel
en silhouette against a dark background. Occasionally the effect was
reversed, a dark decoration against a light background, through the use
of niello. Perhaps the most important of all the designers of silhouette
enamels is JeanToutin, who was working in Chateaudun during the first
decades of the 17th century.
Designs for predominantly gem-set jewelry showed a departure, in
spirit and motifs, from the Mannerist style. The Baroque love of natural-
istic ornament evident in all the arts, especially ceramics and furniture,
was quickly adopted in jewelry as well. Brooches and pendants were
soon designed as elaborate foliate scrolls, buds and flowerheads, often
supporting several pear-shaped drops, the whole richly set with various
gems, often in pea pod-like settings. The reverse of the mount was
delicately engraved.
Enamelwork, too, found inspiration in leaves and flowers as a source
of decorative motifs. By the second half of the 18th century, designers
such as Petitot, Vauquer and Legare had perfected the technique
of painted enamel, where the medium is applied in the manner of paint
on to an enamelled ground of uniform colour, usually white though
occasionally pale blue, yellow or black. Through this technique, which
allows a far greater degree of delicacy than the more common champleve
process, flower designs achieved a naturalism and beauty hitherto un-
known and seldom rivalled. A further innovation was to model the
leaves and flowers in relief by building up contoured layers in the enamel
ground. In some instances, the ground was cut away leaving the enamelled
blooms alone, and thereby adding even greater realism.
This type of naturalistic flower decoration found its way on to most
items of jewelry, not only the pendants and watch cases already men-
tioned, but also rings, necklace links, earrings and the immensely
popular aigrette. This last jewel, a hair ornament which usually took the
form of a spray of flowers or feathers richly set with a cluster of stones,
seems to have been de rigeur at all ceremonial occasions. Sadly, few have
survived other than in engravings.
Yet another new enamelling technique called email en resille sur verre
was practised by some skilled French enamellers. After engraving a
design on glass, the cavities were lined with gold foil and filled with a
low melting point enamel. Because of difficulties in ensuring sufficient
heat to melt the enamel without cracking or melting the glass, the tech-
nique gradually lost favour. Miniature cases were sometimes decorated
in this way and some belts enamelled with hunting scenes are in the
Victoria and Albert Museum and the Wallace Collection.
In dress design, the profusion and mixture of patterns and motifs that
characterized the late 16th century were gradually abandoned for a
more luxurious and dignified style in rich silks and brocades exemplified
in the portraits by Van Dyck. The jewels themselves, rather than tending
to be lost among the plethora of decoration and ornament, as was the
case in the previous century, focused the attention glimmering with rich
colour. Many jewels were worn en parure, with matching brooch,
pendant and earrings.
An unusual and gloomy fashion was memento mori, which comple-
17th Century
merited the mourning jewelry popular since the 16th century. Fashion-
able mainly in England, they often consisted of coffin-shaped pendants
with a death’s head in enamel. One such pendant found at Torre Abbey,
Devon, has the cover of the coffin decorated with champlevk. enamel in
black while the coffin contains a white enamelled skeleton. Round the
sides is the inscription Through the Resurrection of Christe we be all
sanctified’. Such memento mori became memorials to the death of
specific people. A large number of such jewels, for instance, were made
to pommemorate the execution of Charles I.
England
After the accession of James I in 1603, embroidery in England continued
foqa while in Elizabethan styles. Spanish work was still popular, applique
waplin fashion and developed into stumpwork, while chinoiserie was in
vogue for a few years. Bird and flower motifs in petit point and appliqued
to the cloth were common decorations and designs were based mostly
on kcroll patterns sometimes with gold and silver thread couching
accompanying them. ‘Yellow silk’ embroidery evolved at this time and
cowjisted of padded panels with heraldic devices embroidered in yellow
ivory-coloured satin, which gave a quilted look when they were
fcd.
Id herbals were still widely used for design ideas as were such books
nsectorum by Thomas Moufet, published in 1607 and Simpson’s
FlAAers, Fruits, Birds and Beasts.
By the later years of the 17th century, the making of samplers had
become part of the needlework education of young girls, who would
often make several - perhaps a coloured sampler of stitches, motifs and
alphabets, a whitework sampler showing cut and drawn work and em-
broidery suitable for household linen, and finally an embroidered picture
sket in which she was able to display her most flamboyant skills.
I well into the 18th century samplers were a rich source of stitches
designs and in many cases they provide an impressive record of
ividual performance.
time, however, design books became more widely available and
adult embroideresses made samplers for their own use. Although
continued as part of the educational curriculum for girls they soon
e debased into exercises ‘in neatness and perseverance’. They
ed fewer and fewer different stitches until by the I9th century they
nearly always worked entirely in cross-stitch. As well as an alphabet
sometimes a child’s name, age and the date, they included motifs
as flowers, animals, houses and birds and, nearly always, a pious
. The whole picture - for this is what the sampler had become - was
ally surrounded by a decorative border and was clearly designed
framed and hung up for all to see.
e later 17th century in England was remarkable for its vibrant
Mid-17 th century motif popular on
embroidered curtains and hangings.
Embroidery
pictorial embroidery. The period after Charles II’s restoration in 1660
was one of unashamed luxury, colourful splendour and sensuous ex-
cesses of all kinds, and the extravagance of the time is reflected in the
array of late Stuart needlework pictures, mirror frames, caskets and
keepsakes which have survived to the present day. Some were em-
broidered in coloured silks in the flat, while others were done in three-
dimensional stumpwork, with figures, flowers, fruits and other motifs
raised and padded: details of costume-like collars and cuffs were fre-
quently semi-detached and made of needlepoint lace. Although many
of the designs were Biblical - the Finding of Moses, Esther and Ahasuerus
and the Judgement of Solomon were among the favourites - the figures
all wear elaborate Stuart costume. In the background fanciful castles,
huge caterpillars, birds, butterflies, cows, lions and flowers, mostly
taken from the popular design books of the time, jostle for space with
total disregard for the rules of proportion. Their colourful naivety is
charming, and the stitchery, often punctuated with sequins and seed
pearls, is breathtaking.
Pictorial panels, however embroidered, were put to a variety of uses.
Most frequently they were used to cover the wooden boxes which held
the owner’s jewelry and trinkets. The scenes around the sides of the box
were often from the life of a particular Biblical figure. In some cases the
edges of the panels are finished with braid or held with lacquer. The
inside of the door is usually decorated with highly formalized flower
motifs in laid work. Only the larger boxes were embroidered inside. A
particularly beautiful example, now in the Victoria and Albert Museum,
was made by Martha Edlin in 1671, when she was only 11, and shows the
Seven Virtues, Music and the Four Elements. The rest of her work made
as a child accompanies the box and it seems that box embroidery was the
first task set a child once she had mastered the basic techniques.
Embroidered mirror-frames are not uncommon, the motifs usually
comprising a figure, often cameoed, on each side of the mirror and the
rest of the frame filled with flowers, birds, insects and so on. Mirror-
frames in beadwork were also made.
Although leather and cloth bookbinding were becoming more com-
mon, embroidered binding remained popular until the end of Charles
II’s reign. Heraldic, floral and pictorial motifs were worked in petit
point on canvas, or chain and split stitches on silk, satin and velvet. A
large number of such books have survived, the most renowned being
those by the nuns of Little Gidding after 1650 and now in the British
Museum.

Tags: 16th century, ANTIQUES, Book, borgis, boy, century xix, century jewelry, cherry, counterfeit diamonds, decoration, Decorative, design, design books, diamond, diamond history, dinning tables with pullout leaves, domination furniture, drawer leaf table, dresden porcelain meissen style clocks, dresser, dressing table, drinking flasks, drop front desk french 1940s, drop front desk with brass deco on furniture queen anne, drop leaf buffet, drum table victorian, dutch dressing table, dutch modern corner cabinet, eagle above globe carving on chest of drawers, early georgian chairs, ebony hair receiver, edgar brandt settee, Embroidery, empire mahogany antique bureau, empire period / lebrun clock, empire porcelain 1960's trinket holder, enamel, enameller, english glazed pottery, english art nouveau furniture, english fold out table barley twist legs, english oil finish, european painted screen, examples of louis xiv furniture, factories 18th century, fake antigue mirror tray, famous antique pieces by theatrical creations, flat silver paint job, for sale antique italian used furnisher in los angeles , for sale eight curved mahogany chairs, francois linke buffet, french 19th century louis philippe drop leaf, french antique cherrywood round dropleaf table, french antique dining sets, french antique drop pull dresser knobs, french antique glass table, french antique upholstered chair pierced carved wood, french draw leaf table, french furniture mahogany finlandia, french narrow kitchen table, french oak dining room table from the 1930's, french porcelain collectors, french style chest of drawers with legs, french upholstery fabrics 1930s, french wood bottle, furniture, furniture plate that says made by john widdicomb, garment racks wardrobe racks sold in new orleans la dep, gateleg dining table rosewood, gateleg drop leaf william and mary table, gateleg table with drawer, gaudi bookcase, genuine stone, george jones" porcelain figures", george oakley furniture london, george two pedestal table, georges de feure chairs, german antique wood chair 1800's carved, german oak furniture, german table top patterns, Germany, gilded antique english pottery, GLASS, goldwork, great mogul, ingland, innovation, lacquer furniture, Legare, London, majolica fake jones, maple china cabinet and desk, marine toilet mid 19th century, marquetry ideas and decorations, medium, Ming, miniature case, needlework, ornament, piece, point, ravenscroft, reverse, rising, SIMPSON, stile queen anne, strapwork, style, technique, Thomas Moufet, time, unfortunate outcome, Van Dyck, victori, victoria and albert museum, virtues, Wallace Collection, Wellington

Watches
the improved accuracy warranted the addition of a minute hand, and
shortly after this a seconds hand.
Geneva was the centre for specialists in rock crystal cases for almost a
century. A particularly good example of such a watch, now in the
Metropolitan Museum of Art in New York, was made by Jean Rousseau
(1606-84), grandfather of Jean-Jacques Rousseau. The bottom as well
as the cover over the dial are in rock crystal carved into 12 foils converg-
ing on a central hollow. The frame is in gilt metal and the hand in the
form of a flower.
A variation on the design of rock crystal watches which also originated
in Geneva were the so-called ‘abbess watches’ made in the form of a cross
with the dial decorated with scenes from the life of Christ. Two examples
of these watches, one by Jean Rousseau and the other by David Rousseau,
are in the British Museum. The former watch employs a fusee with a
catgut line, while the other uses a chain instead. Rock crystal watch
cases were also made in the shape of flowers, particularly the tulip.
An unusual type of Genevese watch were those made in the shape of a
skull or emaciated head, which, it is said, were used by monks who
attached them to their rosary beads to remind them constantly of the
brevity of life. The skull case was hinged at the rear and opened along
the jaw-line. The oldest signed Geneva watch is just such a watch. It is
dated 1620 and was made by Martin Duboule (1583-1639). Jean
Rousseau also made skull-case watches.
During the 17th century brass and bronzework continued along the lines
established in the 16th century. Some beautiful brass alms-dishes in sheet
metalwork were being made, especially in the Low Countries, and also
items such as bedwarmers. These bedwarmers, first used in the 16th
century, were often made of copper; earlier specimens had wrought iron
handles, later superseded by wooden handles. The lids were decorated
by engraving, by repousse or by piercing, sometimes with erotic subjects.
There were, too, skimmers (perforated discs) of brass or copper, and
sometimes of tinned iron, used in the kitchen or dairy for operations
such as separating cream from milk, and brass chestnut roasters, in form
like little warming pans, with perforations all round. Similar objects in-
cluded saucepans, fish kettles, beer warmers, jugs, pails and innumerable
other artefacts, made either in copper or brass, and by sheet metalwork-
ing. These objects are usually quite functional and it is therefore often
impossible to judge from which country a specimen has originated or
what date should be assigned to it. They were used in most, if not all,
European countries and also in the USA. Most specimens that one is
likely to come across will probably be later rather than earlier in date.
Both copper and brass were used for curfews (from the French couvre-
feu - cover fire), which were used from early in the Middle Ages to cover
the embers of a fire overnight, to keep it smouldering. The curfew was a
me open at the back, so that it could be pushed against the wall
fireplace, and was fitted with a handle and usually decorated with
se.
and was noted for its brass chandeliers, of a type also made in
d. The usual pattern consisted of a large central brass ball from
scrolled arms radiated, carrying candle sockets at their extremities.
1, often in the form of a bird, was provided at the apex of the struc-
hich was sometimes suspended by an elaborate wrought iron
. These chandeliers were made by a combination of casting and
ork. In England they were most often used in churches and
buildings, whereas in Holland they were commonly found in
17 th and 18th-century toasting
forks; D) 17th-century toasting fork,
length 28 in; E) meat fork. 17 th century.
Domestic Metalwork
private houses. Excellent chandeliers were also made in Germany.
Bronzework more refined than the foregoing was also made during
the 17th century. In France, in the reign of Louis XIV it was used, to-
gether with mosaics and coloured stones, for the enrichment of furniture:
numerous examples are displayed in the Musee des Arts Decoratifs,
Paris. In Italy the many bronze artefacts of the time included candelabra
and a profusion of other small objects, with Rococo embellishments
replacing earlier decorative elements. In Spain the activity of bronze
founders was not great, but some objects, especially for ecclesiastical
use, were made.
Domestic ironwork in the 17th century was often attractive, as evident
from the many French examples at the Cluny Museum, Paris, outstand-
ing among which is a magnificent chandelier with heraldic embellish-
ments. In the Le Secq des Tournelles Museum, Rouen, is a fine wrought
iron lectern consisting of a triangular shaft with scrolled feet, and orna-
mented with scrolls and leaves. In Italy a splendid instance of how simple
forged shapes may be used to make a fine design (the very essence of
good blacksmithery) is a cresset of riveted construction on the Saminiati
Palace at Lucca. Comparable in conception, but considerably more
ornamented, are many cemetery crosses made in Germany and Austria
during the same century.
Apart from grand work, simple domestic ironwork at this time was
made all over Europe: things such as gridirons, trivets, toasting irons
and toasting forks, and so on. Sometimes they are completely functional,
but often they are decorated with pleasing and quite rich scrollwork. As
already remarked in the case of some copper and brasswork, it is often
impossible to judge precisely the country of origin or the date of any
given piece.
Continental centres for casting firebacks included Germany and
Holland and backs from these areas, imported into England from the
time of the accession of William and Mary in 1689, for a time almost
17th Century
completely eclipsed the English production. Dutch and German backs
are usually more finely cast than the English ones. They are not so thick
and are much more elaborate in design, some completely mannerist,
others Baroque. Moreover, their subject matter is more varied, em-
bracing, in particular, subjects from classical mythology, allegories of
virtues and ideas, and elaborate flower-pieces. French firebacks (and
firechceks for protecting the side walls of the fireplace) from Versailles
are} exhibited in the Musee des Arts Decoratifs, Paris: they depict the
crowned sun, a fleur-de-lys or a royal cipher, supported by sphinxes or
gnfbns (late 17th century) French backs were made into 18th century
and carried religious or secular scenes.
During the 17th century there was a considerable increase in the use
of lead cisterns in the courtyards and paved areas of houses. Cisterns had
been used since the previous century, but such early examples are of the
grili test rarity. The 17th century and later specimens are usually pleasing-
ly lloeco rated, a favourite scheme being an adaptation of framed strap-
work, with armorial bearings, flowers, cupids, dolphins, stags or
classical motifs; they nearly always bear a date. The usual type is box-
shaped, but cylindrical and semi-cylindrical types exist, though they are
scarcer. The sides and bottoms were cast and welded together, the
cylindrical ones being, of course, first curved. Lead pipes were also made
butl are now rare.
Relief-decorated pewter which originated in France in the second half
of the 16th century was continued by the pewterers of Nuremberg until
about 1670. Popular designs at the beginning of the 17th century included
small disc-shaped plates decorated with scenes from the Old Testament
Left: Rush and candle holder, late 17th
century, height H in; right: rush holder,
18th century, height 10 in.
Domestic Metalwork
such as the Resurrection and the Creation of Eve. These motifs were
replaced around 1635 by portraits of the Emperor seated on his horse
with portraits of the Electors around the edge of the plate.
By the early 17th century everyday pewterware was becoming more
widespread and plates, dishes and small mugs were being produced in
even greater quantities than were the large drinking mugs of the 16th
century. The earliest datable coherent group of English pewter was made
in the first two decades of this century and included wine cups, plates,
candlesticks and wine-tasters all relief-cast in vine and rose motifs.
Examples of notable English pewter from the second half of the century
are the broad-rimmed chargers, often with coats-of-arms engraved on
the rims. Another type of plate produced at the same time was the
reeded-edge plate made at first with a broad rim and from r.1670 with
normal or very narrow rims.
On the whole domestic pewter was never extensively decorated except
for a period from c. 1660-c. 1720 when what has been called ‘wriggle-
work’ was popular on tankards and plates. The softness of pewter does
not allow it to be finely engraved successfully, so instead the engraver
selected a tool with a narrow, chisel-like blade which was held at an angle
and pushed across the metal while rocking the blade from side to side
giving a zig-zag pattern.
Pewter is perhaps particularly identified today with tankards and
wine measures, not surprisingly, since it has been the metal of choice for
these utensils since the 16th century. The earliest datable tankards are
of the flat-lidded Stuart type made after 1685. Handles on flat-lidded
tankards varied but none of these became standard on the dome variety
which instead had a new type of handle with a ball appendage.
Examples of baluster wine measures date from before 1600. Most of
the earlier measures had thumbpieces of the ball-and-wedge type, while
those from c. 1600-c. 1670 had thumbpieces of the ‘hammerhead’ kind.
This in turn was superseded by the bud-and-wedge kind.
Throughout the 16th century there had been a gradual move away from
finely-worked gold and minute and elaborate enamelled figures, towards
a greater emphasis on gemstones themselves. The 17th century was to see
a consolidation of this trend which radically affected the history of
jewelry design. It was a movement echoed in all the decorative arts as
the elaboration and profusion of Mannerism gave way to the sustained
opulence and dignity of the Baroque.
Germany, torn by the Thirty Years’ War, ceased to be an arbiter of
taste. Rather it was France that was to set the standards in jewelry design
and dictate style and fashion.
Perhaps the most important influence on the period was the develop-
ment of lapidary skills, particularly with reference to diamonds, which
were being brought back in relatively large quantities through trade with
the East. The famous Golconda mines near Hyderabad in India, which
were opened at the beginning of the 17th century, were particularly im-
portant. Between the late 15th and early 17th centuries, lapidaries had
confined themselves to one of two styles: the “point” or writing diamond,
already described, and the “table”, where the top or point of the octa-
hedron is cut to form a square or rectangular plane, the other point being
cut to a similar but smaller shape, and the sides roughly faceted. Bj 1 Mil
riments in Holland had led to the development of the ‘rose7 diamond,
improvement on previous styles, which at last released much of
ie brilliance of the stone. In this cut, the flat-bottomed crystal has
?ave surface covered with 16 or 24 triangular facets. The work was
red by Cardinal Mazarin, a minister at the Court of Louis XIV;
seen diamonds from India which had been randomly faceted to
rem. Haws and how they scintillated. Realizing the potential, he
spoi sored a number of lapidaries to experiment with the idea.
The appearance of these new stones on the market created an imme-
diate and enormous demand for them, and gold and pearls, until then
the most precious materials known, were relegated to second place.
Coloured stones, too, benefited from the improvement in cutting tech-
niqi es, with the result that gems are rarely found en cabochon after the

Tags: 16th century, antique, apex, Arts, back, baluster, bird, brevity, British, bronze, candelabra, classical mythology, david rousseau, Decorative, des, design, Domestic, drawing design for roll top victorian desk, drop leaf dining table lyre base, drop leaf narrow table, drop leaf table with turned legs along with rush seat c, duboule, duncan phyfe buffet, duncan phyfe dressing table, duncan phyfe federal style sofa art deco neo classic, early corner cabinets, early georgian oak furniture, ebay victorian cabriole legs for chair, elm consol table chineses, empire chair reproduction claw foot, empire chairs with lions paw brass feet, empire drop leaf pedestal table, english jeweller marks gold, english antique breakfast table schotlands, english drop leaf table 1800's, english ironstone pottery ltd., enrichment, examples of british and french antique furniture, Excellent, extendable table cabinet, extending georgian candlestick, fashion, figurines antique 1920 1940 women, fireplace, flanders die design furniture, flatware chest with shallow drawers, fluted louis 16th leg, foldable antique occassional tables, france faiance, francois-regnault nitot gold hooped earrings, free art-deco cloud backed armchair plans, french napoleon iii period kingwood and ormolu sevres, french crest of napoleon tray, french ebonised and boulle serpentine secretaire- chif, french fluted leg desk, french fruitwood table heart shaped cutouts, french furniture periods and pieces, french style diningroomtable, french wall bread cabinet, furniture, furniture cabinet 40" spanish, fusee, games chairs french 1920, gateleg mahogany drop leaf dining table, gaudi cabinet maker, gebruder thonet antique chairs, geneva watch, george grainger worcester japan scene tray, george iii welsh dresser, george jones american ceramic decorator, george jones and sons china, german vintage linen press cupboard, Germany, gether, half, Holland, jean jacques rousseau, jean rousseau, lids, life of christ, low countries, mahogany, mahogony antique legs, mahogony round tilt up table 1930s, majorelle stand, make your own anquite picture frames, maker and designer, marinot signature, marjorelle furniture, meat, metropolitan museum of art, middle ages, Museum, Nuremberg, pattern, period, pewter, Queen Anne, repousse, rock crystal, rosary beads, sheet metalwork, skimmers, struc, time, to, type, uk, Versailles, XIV

Colonial silver
Early American silver shows all the influence of the immigrants’ mother
countries, particularly England and Holland. The first indigenous silver
industry arose between 1634 and 1650 in Boston and the early styles
reflected those current in London in the years 1629 to 1641. Typical
decorations of mid-17th century colonial silver include matting, beading
and foliate-chased stems. Lacking hallmarks this early silver needs a
detailed analysis of style to be dated correctly.
Probably the first silversmith in Boston was John Hull (1624-83), but
it was Robert Sanderson (1608-93) who was responsible for establishing
the Boston silver industry. Hull and Sanderson had opened a standard
Mint in Boston by 1652 where they produced the well-known pine and
oaktree shillings and sixpences. The first presentation church silver by
these two smiths was produced in 1659 and are important examples of
early colonial style displaying real craftsmanship. Collectable silver
from this period includes the silver spoons produced by John Hull and
John Coney (1655-1722), which have oval bowls and handles that are
either trend-shaped or straight and rectangular with initials engraved
on the underside.
The first metalrolling machine appeared in 1692, which meant that
silver could now be rolled from ingots. Since this invention reduced the
time needed to fashion a piece of silver, prices fell and demand rose. The
arrival of the metalrolling machine also gave impetus to a form of
decoration known as cut-card work, which had been known in England
since at least the middle of the century. The early technique consisted of
soldering cut-out patterns, often leaves or strapwork, to plain surfaces.
A later development involved the use of several leaves instead of a single
one, whilst towards the end of the 17th century the decoration was
applied in more than one layer.
Until the turn of the 16th century clockmaking in England had not been
widespread. At the beginning of the 17th century there emerged the
characteristic English lantern clock. Made of brass, it was weight
driven, with a verge and balance foliot rather than a bar foliot. This was
to remain virtually unchanged until about 1660 when the latter was
slowly replaced by the short pendulum.
Ajdevelopment of the Joseph Zech clock of the 15th century was the
square or hexagonal table clocks which were becoming common in the
firsiklecades of the 17th century. Like the drum-type clock this clock
had the dial uppermost, but it also had a striking mechanism. Made in
brass gilt with silver chapter rings, the square clocks usually stood on
foulrifeet and the hexagonal ones on three, the feet tend to be claw-shaped
and the hammers often appear in the form of grotesque animal heads.
Jother clock popular in the early 17th century was the miniature
ir or tabernacle clock. These were similar to the lantern clock except
I they have a spring-barrel, fusee and gut instead of a pulley, wheel
ope. 17th century examples have brass wheels instead of the earlier
stewones.
The introduction of the use of the pendulum revolutionized clock-
making. The first practical application was to a clock made in Holland
by Salomon Coster in 1657 to designs by Christian Huygens. It was now
possible to achieve a far higher standard of timekeeping. Portable spring-
driven clocks made by Coster at this time were enclosed in wooden cases,
the dials covered in velvet upon which a gilded or silvered chapter
jrominently appeared. France adopted a similar style, while clocks
this device were introduced into England during 1658 by the
lantccl family.
first English bracket clocks also date from 1658 and were only
in and around London for the first 25 years or so. Architectural-
>racket clocks were popular from 1660-75 and the earliest examples
had either plain matted dials, or dials engraved with tulip flowers. The
mak r’s name was engraved on the dial plate below the chapter ring.
Bracket clocks often had alarum devices and sometimes a calendar
aper urc. From 1670 a different kind of case appeared with a handle on
top and the pediment gradually gave way to a dome-shaped top.
An unusual form of bracket clock which first appeared not long after
the invention of the pendulum was the ‘night clock’. It had no hands
having instead a revolving dial with the numbers carved through it:
a light placed inside the clock enabled the numbers to be read at night.
The introduction of the spring-driven pendulum clock into England
heralded the Golden Age for English clockmakers. The main factors
contributing to this being the upsurge of awakened interest in the new
ideas and concepts carried back to England by Charles II, returning
from his exile on the Continent, combined with the many advances made
in the field of mathematics which enabled further technological progress
Left: Longcase clock, John Knibb,
Oxford, c.1680; right: longcase clock,
Thomas Tampion. London, c.1685.
Clocks
and the masterly skills of such clockmakers as Edward East, Daniel
Quare, Joseph Knibb and George Graham.
Thomas Tompion was one of the greatest clockmakers of all time.
Born at Northill in Bedfordshire he was admitted to the Clockmakers’
Company in 1671. In 1676 he was commissioned to make the two main
clocks for the Octagon Room at the Royal Greenwich Observatory.
In 1671 William Clements produced a clock with a new escapement -
the anchor or recoil escapement. It is generally accepted that its invention
should be accredited to Dr Robert Hooke( 1635-1703). With this escape-
ment the short bob pendulum, as used with the verge escapement, could
be abandoned and a longer pendulum with a heavier bob could be
introduced. The weights of the weight-driven pendulum clocks were by
now encased in a slender wooden trunk, standing upon a wooden plinth
so it needed but a slight modification to make the trunk sufficiently wide
to accommodate the arc of the swing of the long seconds pendulum.
This combination of anchor escapement and seconds pendulum became
and remained the standard design for English longcase or coffin clocks
as they were initially called.
Bracket clock dftdmovement, Joseph
Knibb, London]Al670-75.
Bracket clock, fohn Fromanleel, London,
About the turn of the century case styles altered dramatically. The drum
shape favoured by the Germans gave way to the oval, round, square and
more exotic form cases such as stars, crosses, shells, flowers and birds.
Casemaking had now become the task of the lapidist, enameller and a
little later the gold and silversmiths. Apart from the cloisonne and
champleve work already seen on dials and cases, there now appeared
other forms of enamelwork. Beautiful examples can be seen with scenes
painted in enamel. It is generally acknowledged that the fine enamel
work of this period was never surpassed.
This type of enamel painting, in which pictures are painted in colours
using metallic oxides on a white background enamel, seems to have been
originated by Jean Toutin (1578-1644) of Chateaudun in France. It is
not known how or when enamel painting began in Geneva. Jean Petitot
(1607-91) acquired a wide reputation there (even as discoverer of the
method) but this may have been due more to his renown as a miniature
enamel painter. While the origins of the industry in Geneva are obscure,
it was the Huaud family who raised Geneva to the level of Blois. Pierre
I luaud (b. 1612) painted his first watches around mid-century and passed
the craft on to his three sons. A characteristic of Huaud watches is
enamelling on the dial as well as on the bottom of the case.
Tile relatively fragile enamelled eases necessitated some form of pro-
tection. Originally made of stiffened leather, by mid-century these outer
cases were of metal covered with leather, shagreen, tortoiseshcll and
often decorated with pique work. Perversely the inner case became
plainer with the outer case receiving more attention. Although there
continued to be made some highly decorative cases, towards the middle
oft he century there was introduced in England a simple watch with both
outer and inner silver cases completely devoid of any form of embellish-
ment. This innovation is generally attributed to firstly the Puritan
influence and then to the introduction of the pocketed waistcoat.
Tlie lead in the field of watchmaking had initially been held by the
German makers, but at a time when watches were regarded not as serious
timekeepers but merely beautiful baubles, the French with their natural
flair Iftr artistic work rapidly overtook and passed them. The English
makers, although somewhat tardy in the 16th century, were to dominate
in the 17th with what in modern parlance would be described as a tech-
nical breakthrough. This was the successful application of the balance
spring to a watch by Thomas Tompion in 1675. There are several
claimants to the invention of this device, but in this particular watch by
Tompion tribute is paid to Robert Hooke as the inventor. Although the
use of a balance spring did not solve all the problems that needed to be
overcome before the watch became a precision timekeeper it most
certainly did change its role. Cases became much plainer and simpler:
Verge escapement mechanism for a watch.
The horizontal wheel is the balance, the
lower, toothed one, the escape wheel.

Tags: 16th century, 18th century, acrylic powder pigment, century, charles ii, Christian Huygens, clock, clockmaking, Collectable, colonial style, craftsmanship, current, decoration, development, display cabinet roll top desk, draw leaf table carved, draw leaf table mechanism, drawleaf mahogany dining tables and chairs, dresser with lyre mirror, dressing table small space, drop leaf mahogany dining tables for sale, drop leaf trestle table, duncan fife couches + duck motif, duncan phyfe drop leaf table markings, dutch inlay, dutch marquetry display cabinet, early chippendale tiger maple slant-front desk, early empire antique tables, early nineteenth century furniture england, earrings know as fishwives, eighteenth century scandinavian chairs, elegant settees at foot of bed, elizabethan revival furniture, ellison glass works, emile galle foot lamps examples, empire desk with claw feet, empire furniture co, enamelling glass, English, english delftware puzzle jug, english elizabethan and 19th century revival styles d, english ironstone table wear, english secretary regency, english tudor settle chairs, epoxy, examples art deco today, examples century, expensive antiques dragon figure, features of development of furnitures of germany, federal dresser walnut, foliate, french country antique bed side tables, french furniture antiques 19th. c, french furniture periods, french porcelain antique candle snuffers, french provincial furniture, french rococo style lyre back chairs, french style gateleg dining tables, french wooden plate rack vintage, furniture - french foot, furniture walnut tables, gateleg drop leaf table 17th century oak and walnut, gateleg storaged, gateshead 1914, gentleman's dresser walnut, gentleman's dresser walnut veneer, georgian reproduction pedestal coffee table, georgian sheffie ld war mer, georgian side table marble top, german 1930 furniture, german made display cabinet, german wooden inlay art, hallmarks, hexagonal, impetus, influence, introduction, John Coney, john hull, John Knibb, Lacking, Lantern, mahogeny wood drop leaf dining room table, mahogny plate rack, makers stamps, marble top antique washstands, marquetry nest of tables, Ming, oaktree, oval, period, piece, presentation, robert sanderson, Salomon Coster, shillings, silver industry, silver prices, silver spoons, silversmith, single one, strapwork, Thomas Tampion, time, whilst

France
Glassmaking was introduced into Gaul under Roman occupation and
post Roman-period glass closely resembles the greenish and yellow-
brownish objects found elsewhere. During the 12lh century, glazier
settlements were in existence in the region of Poitou and immigrant
glassmakers gathered, intermarried and created future generations of
glaciers. Analogous with Bohemia, the feudal system encouraged the
setting up of glasshouses in the forest regions, in Provence and Normandy.
By 1490 the French glassmakers had obtained the right to style them-
sel|fes gentilhommes verriers, a title applying equally to the real and
impoverished nobility turned glassmaker. Numerous Huguenot nobles
adopted glassmaking and in 1746 forty of these Gascon gentilhommes
vemers perished on the gallows for their beliefs in the principles of the
relrarmation. Rare surviving 16th-century goblets and chalices show
atjmctive enamelling and a style of design which is clearly Venetian-
influenced.
In the 1660s, one of the most able French glassmakers, Bernard Perrot
(ofrerrotto) inherited the monopoly for supplying glass in the Loire
area and the work produced at his Orleans glasshouse is both charming
anal original. A large number of mould blown beakers, flasks and scent
bottles were made in transparent and opaque white, blue and amber glass,
showing recurring motifs of hearts, fleurs-de-lys, small figures and sun
or moon faces. Perrot also produced an attractive marbled glass and in
1662 developed a process for casting; about that time he began to use
anthracite fuel for his furnaces.
it vastly different glass concept is expressed in the so-called verre file
demevers. This refers to miniature models and grotesques of religious
or comic character, made at the lamp by provincial glass enamellers
from the late 16th century onward. Nevers figurines are made from
hollow blown, very thin glass threads (verre /rise), usually wired with
copper and placed on a stand of verre file or arranged in groups. Domestic
glass was largely imported from the Lowlands, England and Bohemia
and not until 1764, when the glasshouse of Sainte-Anne at Baccarat was
established by the Bishop of Metz, was a French glass industry founded.
17th century, gold and silversmiths began to turn
to less decorative styles than they had used in the preceding century. At
firifi sight it seems logical to assume that this was the result of growing
Protestant taste following the Reformation and the polarization of
religious attitudes with the counter-Reformations of the 16th century,
buf this does not seem to have been the reason. Instead, the plainer style
was being evolved for people who were chary of spending too much
money on the fashioning of plate, over and above the cost of the material,
lest it soon would have to be melted again for cash. The Thirty Years’
War in Germany of 1618-48, the Civil War in England in the 1640s and
the Fronde in France of 1647-53 made people shrink from commission-
ing expensively decorated plate in large parts of Europe.
Only Holland, at this time triumphant in having liberated herself
from Spain - which now began to decline in power - and expanding her
empire overseas, enjoyed a confident prosperity. Throwing off the
Mannerist grotesques of the 16th century, a new Dutch style of silver-
Above: Apostle spoon, St James the
ware arose, a style of sinuous fluidity and erotic sensuousness, most
characterized by the use of various flowing marine motifs, whose chief
exponents were members of the van Vianen family of silversmiths of
Utrecht and their pupils. This molten, ‘auricular’ style, as it became
known, spread to Germany and to English court circles before the Civil
War. It was followed in Holland by an expression of the prevalent in-
terest in botanical studies in a profusion of embossed flowers, often
tulips. This style, too, was taken to England, at the restoration of Charles
II in 1660. Dutch interest in pictorial representation showed itself in
embossed and engraved plaques and dishes with a religious or classical
theme, following engravings of paintings by 17th century artists.
The middle years of the 17th century saw the introduction to Europe of
new tastes in drinking; chocolate, coffee and tea brought from overseas,
cooled white wine and hot punches all led to the invention of vessels for
their service. Ever since the first years of the century there had been in-
creasing contact with the Far East, following the establishment of
trading companies by the maritime nations of Europe. A lightening of
Baroque European taste came about, by means of pseudo-Indian,
Chinese or Japanese decoration, called chinoiserie, regardless of its exact
provenance. Chinoiserie entered all branches of the decorative arts and,
with fluctuations in popularity, remained there. Temporarily submerged
by the Neo-classical movement of the second half of the 18th century, it
was revived again, in an altered form, in the 19th century.
The second half of the 17th century saw the gradual spread of a ‘politer
way of living’. It now became the custom to use forks at every course in
a meal. Previously, two-pronged ’sucket’ forks had been used for sweet-
meats at banquets, but the rest of the meal had always been eaten with
a spoon and fingers. Changed methods of cooking and changed menus
encouraged the idea - which came from Italy - of using forks all the time
and this made ewers and basins unnecessary, although their decorative
function continued.
Snrbng lead glass was now developed, which displaced both the fragile
and highly prized Venetian goblet and the silver wine cup. Glass was
preferred because it did not affect the taste of wine, as did silver. Beer was
drunk out of tankards in northern countries and the Scandinavian
tankard mounted on three feet was popular. Plain beakers were also used
for drinking and the Dutch type of beaker was taken to New England and
used in some Non-Conformist churches as a communion cup. flagons
were used lor serving beer and wine and the pattern, like an extended
tankard without a lip, was common lor both secular and ecclesiastical
purposes.
Greater prosperity led lo a proliferation of silver objects being made
m Europe and in America, and quantities of teapots, kettles and kettle
stands, tea caddies, coffee and chocolate pots, sugar boxes ami creamers,
waters, salvers and trays were needed for the less formal and more in-
timate gatherings preferred in the early 18th century. On the dining
table would now be placed small, individual salts, casters for spices and
sugar, candlesticks, tureens and sauceboats. At the end of the 17th
century, sauces were served cold and piquant: double lipped, two-
handled sauceboats were put directly on the table. Later, sauces were
served hot and so sauceboats were raised off the table on a base or on
three feet, so that the polished surface would not be scorched.
Heavy drinking habits called for wine coolers and occasional wine
fountains. On the centre of the table would be placed an epergne, an
arrangement of branches holding assorted sweetmeats in a number of
baskets or on small trays.
The dressing tables and writing desks of the wealthy all over Europe
and America were graced with toilet sets, ink stands and tapersticks.
Silver furniture may still be seen at Rosenborg Castle and at various
places in Germany, although all the French examples have perished.
The Huguenot Silversmiths
from the 1660s and all through the lXih century the encouragement
given by French royal patronage to the arts led to French taste dominat-
ing Europe. Reference has already been made to the disappearance of
French silver of the period. In 1683. Louis XIV revoked the Edict of
Nantes, which since I 598 had guaranteed freedom of worship in fiance.
This led to a consequent exodus of Huguenot workers, chiefly from the
French provinces, into the Protestant countries of Europe, where the
extreme elegance and sober and refined monumentality of French
classical Baroque taste was assimilated.
In England, the fusion of native and Huguenot taste made this the
period of, perhaps, the country’s greatest glory in silversmithing. The
fusion of styles took nearly a generation, the two styles existing side by
side for a while. English goldsmiths carried on with their plain styles
which relied for their effect on proportion and surface quality; Hugue-
nots livened their work with their cast and engraved ornament. At the
same lime however some Huguenots adopted the simple fnglish style,
while a small group of English smiths quickly adopted and mastered
Huguenot styles. Notable among this last group were George and
Above: 17th-century table candlesticks,
top: Amsterdam 1642; bottom left: Delft
1652; bottom right: Montpelier 1695 96.
Francis Garthorne and Benjamin Pyne. Second generation Huguenots,
such as Paul de Lamerie (1688-1751), were capable of producing work
of the greatest distinction and simplicity, in which the shape itself con-
stituted decoration enough. They also made pieces in silver-gilt of the
utmost elaboration, with cast and applied decoration, skilfully conceived
and modelled in the highest sculptural tradition. The beauty of English
plate at this time was further enhanced by engraving and flat chasing.
The Huguenot immigrants also widened the range of English silver,
for French eating and drinking customs at this time were somewhat
different from the English. Among others, the Huguenots introduced
the tall helmet-shaped ewer, the pilgrim bottle, the soup tureen and the
ecuelle, a Hat, covered bowl with ear-like handles.

Tags: ", a j mott foundry wrought iron patterns 1920 era, amber glass, antic pewter stamps, antique brass inlaid dining table, antique twisted leg drop leaf table, antique washstands with fitted holes for the bowls, antique 16thc tudor chairs furniture, antique asian chests on stands kem weber design, antique barley twist furniture, antique card table with ship and water design, antique century two tier silver tray, antique chair maple leaf carving, antique chest of drawers with spindle legs, antique craftsman jointer, antique embroidered settee, antique empire chairs, antique engraved glass patterns, antique floral ewers, antique french wardrobes, antique french narrow side tables, antique furniture with carved lions heads, antique inlaid marquetry tables with claw feet, antique klismos chair, antique louis viii furniture, antique mirrored pedestal side table, antique rectangular drop leaf table, antique roll top table sheffield casters, antique settee with mother-of-pearl inlay, antique spanish pottery lobed rim, antique table dragon legs, antique table with round hole, antique wooden bridge tilt table, antiqued mirror console table, armchair furniture turkey tail, art deco ladies ceramic ornament, art deco cabinets and chests, art deco porcelain italian, art deco wood dressers, art nouveau built in furniture, austro-hungarian furniture, beakers, berkey and gay gateleg table, bernard gay furniture, blue and white dinner service english patterns, comic character, curved drawers, existence, feudal system, forest regions, future generations, glass ornament liquid inside reacts to heat from you to, glass table with large casters, glass threads, glasshouse, glassmakers, glassmaking, glazier, grotesques, large chest of drawers, leather top desks, leonard candlesticks, liege antique furniture, louis the sixteenth antique furniture, louis x1v desk, louis xv decorateur, magiolini furniture, mahogany serving tables english design, Orleans, relrarmation, roman occupation, roman period, sel

The Netherlands
Roman, Merovingian and the common Waldglas produced into the 15th
century in the Netherlands differed little from glass found or produced
elsewhere in Europe. Ihe uses of these glass objects were in the first
instance domestic   flasks, bottles, drinking cups and a limited quantity
Glass
of window glass were 15th century products. By the 17th century the
applied blobs found on Rhenish beakers had developed into the fashion-
able raspberry prunt, a clever idea which allows a firm grip on a slippery
glass. The Krautstrunk (cabbage stalk), a large beaker covered with
pointed prunts, and the Passglas, a tall beaker ringed with applied trails
of glass at measured distances and passed around the company with each
man emptying the glass to the next ring, enjoyed great popularity.
Flemish 17th century still-life painters have provided an exemplary
record of glass forms which were in popular use. Venetian and Altarist
glassmakers brought with them all the important developments of their
native industry. The elegant flute glass with a short baluster stem is
certainly Venetian in origin, but this does not quite apply to that most
famous of Rhenish drinking glasses, the roemer, although a related form
may be seen in the sketches (1667/72) accompanying John Greene’s
orders for Murano glass.
The roemer developed from a prunted beaker into a goblet with a
large ovoid-shaped bowl, hollow crylindrical stem set with raspberry
prunts, and a spreading foot of spirally wound glass. The early accidental
pale green tint was deliberately retained, and an outsize version often
appeared as an imposing table centrepiece.
The most notable glass centres were Antwerp, Liege, Brussels,
Beauwelz, s’Hertogenbosch and Middleburgh. We know that glass-
makers joined these centres not only from Italy, but also from France
and Germany. Netherland factories became so prolific that at one stage
glass was exported to Venice. In 1585, Antwerp was taken by Spain, but
the centres at Liege and Brussels carried on.
Towards the late 17th century glass decoration assumes a new per-
spective with the emergence of outstanding engraving and cutting tech-
niques exploited with brilliant ingenuity by Dutch craftsmen. Italian
inspired engraving techniques seem at first somewhat stiff and unyielding,
especially on portrait glasses made to order, but a cursive, calligraphic
engraved decoration does appear to have been a purely Netherland
technique. The innovation of accomplishing a design in the technique
of diamond stippling in the manner of mezzotint engraving produced
an effect of exquisite beauty hitherto unknown in glass decoration.
These supreme Dutch glass artists were mainly well-to-do amateurs
who frequently signed their work with initials or full name and this,
perhaps coupled with some engraved verses, brings a personal charm to
this group of Dutch glass. A number of these engravers were women.
Anna Roemers Visscher (1583 -1651) of Amsterdam introduced fruit,
plant and insect forms into the calligraphic design, in the best manner
of still-life painting. She is also one of the earliest stipple engravers we
know of: one of her glasses incorporating cherries is dated 1664. Anna’s
sister, Maria Tesselschade Roemers Visscher (1595-1649), and Anna
Maria Schurman (1607-78) worked in a similar style. The giant roemer
was admirably suited for this type of decoration, which was frequently
of a commemorative nature. The best known of these calligraphic
engravers is probably Willem Jacob van Heemskerk (1613-92), a
wealthy cloth merchant.
Fruiting vines, flowers and figures of dancing peasants in the Italian
engraving technique were a speciality of Willem Moleyser. The globular
lOng-necked Dutch bottle was greatly favoured by engravers, and
u|as made in green and blue, as well as in a colourless metal. The
best known stipple engravers are Frans Greenwood (1680-1761) of
Dordrecht, and David Wolff (1732-98).
England
Mil 632, a patent was granted to Sir Robert Mansell (1573-1656), a
dynamic personality who, in spite of fierce competition and countless
deliberately engineered setbacks which lost him a fortune, succeeded in
trie establishment of a commercial glass industry. In 1615, the famous
‘Proclamation Touching Glasses’ prohibited the use of wood fuel, and
trie necessity of utilizing coal effectively created a large industry in the
Tyneside region, and brought about the evolution of crystal glass. By
the mid-17th century a bottle industry had emerged, and at the end of the
century the onion shape replaced the shaft and globe model. A 100 or
so (years later the bottle neck had grown taller, the shoulder less pro-
nounced, and we see the development of the shape we know today.
Bottles with applied glass seals bearing names, initials, crests and dates
are desirable collectors’ items. One of the earliest intact specimens is the
Northampton Museum shaft and globe model, dated 1657.
“the first Charter granted to the Company of Glaziers (The Glass
Sellers’ Company) by Charles I in 1635 was revived in 1664, as the
Worshipful Company of Glass Sellers.
By 1660, the monopoly had passed from Mansell to Charles Villiers,
Duke of Buckingham (1627-88), who made great efforts to improve trade
and started a mirror production at his Vauxhall plate glasshouse. The
famous Exeter and Scudamore flutes are attributed to Buckingham’s
workshops, and it seems that his glass was good, if of rather thin metal.
| The increasing demand for glass, which caused a ban on Venetian
imports to be lifted, encouraged the Glass Sellers’ Company in their
researches for a more durable and resistant glass metal. The consequence
wajs the flint (lead) glass developed by George Ravenscroft (1618-81),
drizzling, a defect due to excessive alkaline content and resulting in
deterioration and eventual disintegration of the glass, was not entirely
overcome until about 1685, but Ravenscroft, who had established his
glasshouse at the Savoy in 1673, was in May 1674 granted a seven-year
patent to manufacture his crystal glass produced by the addition of oxide
ofllead. An experimental glassworks at Henley-on-Thames was sub-
sequently set up and by June 1676 the Glass Sellers’Company announced
that most of the faults had been eliminated. In 1677 Ravenscroft pro-
claimed his success by applying the Raven’s Head Seal to his finest
specimens. At its best, his glass was of heavy metal with excellent re-
fractive properties, of clear and watery limpidity, fusing at a lower tem-
perature than the Venetian cristallo and without the brittle surface
hardness. Decorative effects were achieved by gadrooning, vertical
ribbing, nipped diamond waies’ and attractive rope handles applied to
ewers, posset pots, flasks, roemers and so on.
While bottles were probably among the first objects ever made in glass,
it]Was not until the 17th century that sturdy bottles, comparable to more
modern bottles, were made in England. There is some doubt about who
Jacobite glass with drawn trumpet and
tear drop in the stem.
first made them, for although Henry Holden and John Colnett took out
a patent in 1662 claiming that they had ‘invented and attained unto the
perfection of making glass bottles’, a petition was raised against the
patent on the grounds that Colnett had made such bottles some 30 years
earlier for Sir Kenelm Digby who in turn was the inventor. Whatever
the truth, Kenelm has gone down in history as the inventor of the glass
wine bottle, although again it is not certain when he did so, for no bottles
earlier than 20 years after Kenelm was supposed to have made them
(f.1630) have been found yet.
The earliest surviving bottles are two that were found in London and
have been tentatively dated around 1657. A third bottle, actually dated
1657 is in the County Museum, Northampton. Bottles of the second half
of this century bear a seal showing the owner’s initials or name and
sometimes a place name and date. The seal takes the form of a raised
disc about 3 cm (1 in) in diameter and made by dropping a blob of
molten glass on to the body which was then impressed with a metal die.
Seal bottles from this period are rare and most are well-known. In
1949 a list of such bottles then known was compiled. Thirty-eight whole
bottles are recorded plus a number of seals by themselves. Today the
number is probably over 100 and the recent upsurge in bottle-collecting
means that the collector stands a reasonable chance of coming across a
seal bottle.
Seal bottles are divided into two groups: those made for innkeepers
and those for private use. The two can be distinguished by the innkeeper’s
use of his inn sign on the seal instead of the crest and coat-of-arms on
private bottles. Towards the end of the century, private bottles began
to be marked with the name of the drink they contained and were given
handles in imitation of their earthenware counterparts.
Early wine-glasses are of several designs, most of them interpretations
of Venetian soda-glass which was more delicate. As a result, styles are
simple and sturdy. From 1676-95 two basic types of stem are found, the
hollow or solid knop stems and the quatrefoil stems. The former are
short, with hollow-blown ear-shaped knops, ribbed or plain with collars,
though these were soon found to be too delicate and were replaced with
solid knops. Quatrefoil knop stems were made by pinching a largish ball
knop into four projections with a special pair of tongs. Baluster stems
appeared about 1690 and were probably the natural evolution of the
urn-shaped knop, which in turn grew out of the simple pear shape. Some
examples have a wide angular knop between the stem and the bowl.
It seems likely that the first decanters appeared about 1690 and may
have evolved from wide-mouthed bottles blown from soda-glass that
had been used for decanting from at least the 1660s. Quart-size bottles
of this kind were among the first objects to be made by Ravenscroft from
flint-glass.

Tags: 15th century, a wall hanging sign frame using plaster of paris, american art deco streamline asymmetrical chest, anitque chair with side drawer, Anna Maria Schurman, antigue silver candelabra, antique 1920's dining set, antique bentwood chairs austria vienna, antique birdseye maple dresser, antique buffet manufacturer +identification, antique bureau, antique cabriole leg pattern, antique carriage clock value, antique chair oak jacobean bobbin, antique chairs vienna, antique chairs with lion head carved in arms, antique china ashets - shakespeare, antique chinese table battle scene, antique coalport figural in stoneware, antique coffee spoons made in italy, antique dining room table with pull out leaves, antique drop leaf table and 4 chairs, antique french table extending cabriole, antique french wood bottle, antique furniture, antique gilt tables, antique horse hair sofa, antique hot water plate warmer, antique lamp nude man, antique large rectangular wooden bowl, antique mahogany wardrobe with mirror +identification, antique oak boudoir rocking chair, antique pedestal tables, antique round table with lion head legs, antique settee with a half back, antique sevres chamber pot, antique soap dish ceramic top and carved metal stand, antique two tier tables, antique wooden hall dressers, antique wooden tables with brass inlay, antiques dutch bible 17 th century, antwerp, arita kakiemon, art deco dining set birdseye maple, arts and crafts furniture "sideboards", baluster, beaker, beakers, beauty, black louis the 15th dining chairs, blobs, Bottles, Buckingham, century products, clever idea, colour, design, diamond, drinking cups, drinking glasses, exemplary record, firm grip, first instance, George Ravenscroft, glass makers, glass objects, glassmakers, ingenuity, innovation, inventor, Jacob van Heemskerk, lion claw foot, Maria Tesselschade, merovingian, Ming, Netherland, painting, period, porcelain, shaft, technique, Willem, window glass

‘The Rose’ factory was in operation from 1662-1775, and their blue-
and-white plates painted with scenes from the New Testament made a
welcome change from the masses of Delft inspired by Far Eastern
porcelain.
It was the Delft potters who first introduced the five-piece garnitures,
intended for the decoration of high chimney-pieces or the tops of cup-
boards. The set comprised three covered jars, of Chinese form, and two
beakers, with flaring mouths. This form was quickly taken up by the
Chinese potters when producing wares for the European market and
later produced by several 18th century European factories.
It is impossible to discuss Dutch tin-glazed wares without referring to
the prolific manufacture of wall-tiles. Those made during the 17th century
were usually quite thick and decorated in colour with fruit and flowers
with distinctive corner motifs. Tiles of the late 17th century and early
18th century were only about 6 mm (i in) thick and 12.5 cm (5 in) square,
and favoured Biblical illustrations, ships, sea-monsters, mounted
warriors or men-at-arms, sometimes inspired by well-known engravings,
painted in either blue, manganese-purple or a combination of both.
There is quite a lucrative business in Holland today in the manufacture
of ’tiles for the tourist’, often deliberately ‘crazed’ to suggest age.
The Dutch imported great quantities of English salt-glazed stonewares
and cream-coloured earthenwares, which were usually left in an un-
decorated state, ready for enamel decoration to be added on arrival in
Holland. There was also a small production of poor quality creamware
made in Holland for the home market, but few factories could compete
with the quality and low cost of the English exports.
English Delftware
The term English Delftware is rather an inappropriate one, since Flemish
potters were producing tin-glazed earthenware first in Norwich, East
Anglia, and later in London by about 1570 - nearly half a century before
Delft achieved fame. The production of Jacob Jansen (or Johnson), and
other Flemish potters, centred first around Aldgate, in London, neigh-
bouring Southwark becoming a further popular area in the early 17th
century. Lambeth, Brislington, Bristol, Wincanton, Liverpool, Lan-
caster, Glasgow and Dublin were all to become well-known centres of
production. All were noticeably within easy reach of the coast, enabling
the Accessary Cornish tin to be transported by sea. Recent excavations
of me early sites have made attributions to specific areas more accurate
tha n! has formerly been possible.
1 1 ates or dishes decorated with paintings of reigning English monarchs
ery popular with collectors but are also very expensive to acquire,
datable wares are ideal indicators to the forms of border decoration
lies, and so forth, in vogue at a certain period, but the facial likeness
e characters could hardly have met with the approval of the indi-
ls. The majority of the dishes made before the end of the 17th
cerjtjbry had a clear glaze applied to the reverse, to economize on tin, and
the yt usually had a small undercut foot-rim, which would retain a cord
foi hanging purposes. The popular term ‘blue-dash chargers’ refers to
iht blue painted strokes around the rim. ‘Dish’ would in most cases be a
m< re accurate description than ‘charger’.
” he early English and Flemish potters were actively engaged in making
a \ ariety of wares for the use of the apothecary, including wet and dry
driig-pots and pill-slabs. The simply decorated ointment-pots could well
have been made in either the Low Countries or England.
‘ “he popularity of the tulip, and its association with Holland, is seen
on njany dishes made in the last quarter of the 17th century, the style of
pa rting often having much in common with the early Isnik dishes of
Tu f. :ey. Unlike most of the Continental faience potters, the British
counterpart used only high-temperature colours - blue, green, man-
gai (ise-purple, yellow and sometimes a poor quality red.
i unong the most desirable British tin-glazed wares are teawares,
wh ch are extremely rare; flower-bricks, a brick-shaped vessel with
penfprated top; puzzle-jugs, with fretted designs around the neck. The
wares illustrating Lunardi’s balloon ascent of 1784, which took place
doorfields, near the Lambeth factory, are among the class of pieces
ght by today’s collectors, even when in poor condition.
The Potteries’
Di ej to the fragile nature of the material and the consequent difficulties
ansportation by road, the early potter catered primarily for his
diate neighbourhood. But by the middle of the 17th century, the
we now know as Stoke-on-Trent, in Staffordshire, had become
nized as an important pottery centre, with Burslem known as the
her of the Potteries’ or sometimes the ‘Butter-pot Town’, due to the
production of red earthenware jars made for the local farmers for
to market. These same potters could, when the
ion arose, produce what might well be termed ‘English Peasant-
ry’, dishes or drinking vessels which were decorated by trailing
pfslips of contrasting colour on to the body of the unfired ware, their
igns appearing at times to have been suggested by contemporary
lework.
ares of a similar type were also made at Wrotham, in Kent, and in
ondon area, where the decoration often included such pious in-
tions as ‘Watch and Pray’. All these low-fired earthenwares were
red with a thick lead-glaze, which often had disastrous effects upon
ealth of the potter,
Earthenware dish by Thomas Toft.
Highly decorated 17th-century
Coromandel lacquer cabinet mounted on a
carved and silvered gesso stand.
Ceramics
Salt-glazed stontware jug by John Dwight.
Painted Tyrolean bridal bed, inscribed
with the bride name and the date of the
wedding 1771.
for the production of salt-glazed stoneware or ‘Stoneware vulgarly
called Cologne Ware’. Dwight’s main production was of German style
wine bottles made to the order of specific inns. There is little doubt that
he was also occupied in carrying out experiments concerned with the
manufacture of Chinese-type porcelain, which at that time was still only
being produced in the Far East. Some of his fine mugs of about 1680 are
so finely potted, that despite being made of stoneware, they do show a
slight amount of translucency by transmitted light.
Two further important potters working in England during the late
17th century were John and David Elers, born in Utrecht and Amster-
dam. They claimed they acquired their knowledge concerning stoneware
while on the Continent of Europe. The name of Elers is best associated
with high quality red stoneware, which they may have been making while
working for Dwight at Fulham, but which they were definitely producing
at Bradwell Wood, Staffordshire, from about 1693.
German Stoneware and Faience
The most colourful of all German stonewares are the early 17th century
tankards made at Kreussen. They are of a dark-brown salt-glaze,
decorated with brightly painted enamel figures of the Apostles, the
planets, the Electors of the Empire, or hunting-scenes, the decoration
has a great deal in common with that seen on the contemporary glass
made in both Germany and Bohemia. A further form peculiar to the
Kreussen potters is a square or octagonal flask with a metal screw-
stopper (Schraubftashen). In the latter part of the 17th century Freiberg,
in Saxony, was producing a class of stoneware decorated with hand-
carved patterns, sometimes picked out with black, white, red or blue
enamel colours, often so geometrically precise that the designs were
rather dull.
The manufacture of salt-glazed stoneware has continued in Germany
to the present time, but usually confined to these made from a grey-
bodied clay, decorated with a very bright high-temperature blue. Early
German stoneware did not normally bear a recognized factory-mark and
collectors should note that the mark of an impressed jug within a triangle
denotes the work of S. M. Gerz I, who only started making such pieces
in 1857.
Apart from the tiles made from the beginning of the 16th century by
the German stove-maker Hafner, very little use appears to have been
made of tin-glaze and it was early in the 17th century before Hamburg
became well-known as a faience centre, specializing in blue-painted jugs
decorated with the heraldic arms of well-known local families. Their
dishes were invariably painted in imitation of Chinese blue-and-white
porcelain of the Wan Li period (1573-1619).
By the third quarter of the 17th century faience was being made in
both Hanau and Frankfurt of a quality to rival the Delftware of Holland,
both often using an additional clear lead-glaze to achieve a brilliance
akin to that of porcelain. Hanau and Frankfurt faience was sometimes
used by well-known outside decorators (Hausmaler) as a ground for
fine enamel painting. From the mid-17th century until at least the second
quarter of the 18th century, the work of fine painters such as Schaper,
Faber, Rossler, Helmhack, Heel and Schmidt, may often be recognized.
In the 16th century ihe secrets ol’ Venetian glassmaking were reaching
the countries of northern Europe as some of the craftsmen of Murano
managed to escape the restrictions of the Venetian authorities. By the
middle of the 17th century other countries were beginning to develop
their own national styles and this was most apparent in Germany and
Bohemia where a combination of fine artistic style and technical innova-
tions led to their wares being the most sought after in Europe.
Cutting and engraving is Bohemia’s great contribution to glass art.
Ihe revival of this craft is attributed to Caspar Lehman (1570 1622).
lapidary to the art-loving Rudolf II at the court of Prague. Visiting Italian
artisans recalled the work of Cellini with their artefacts in rock crystal
and precious stones, and Lehman was inspired to transfer rock crystal
cutting techniques to the medium of glass. The brittle Venetian soda
glass was quite unsuitable for lapidary work, and it is a remarkable
achievement that Lehman did succeed in his objective although a robust
potash-lime glass was not developed in Bohemia until about 1671). A
splendid armorial beaker of 1605 showing allegorical figures engraved
in a broad stylized fashion at the Industrial Art Museum of Prague is the
only piece signed by Lehman’s hand. The Victoria and Albert Museum
is in possession of an engraved panel attributed to this artist. In 1609
Lehman was granted a monopoly for glass engraving which passed to
his pupil George Schwanhardt (1601 67), who left Prague for Nurem-
berg during the Thirty Years’ War.
Aj talented school of glass engravers sprang up in Nuremberg with
Schwanhardt’s sons George and Henry. H. W. Schmidt and Hermann
Schwinger (1640 S3) as some of the most gifted. The finest engraving is
usually applied to the typical Niirnberg Deckelpokal, a tall covered
goblet of thinnish metal wkh a knopped or hollow baluster stem, or
both, interspersed by several pairs of flat collars or mereses, an un-
mistakable feature. Signatures of engravers are frequently present.
Johann Schaper (1621-70), a Nuremberg decorator of both glass and
china, produced work in a different genre but of equally high standard.
His distinctive technique consisted of delicate enamelling in Schwarzlot
ol landscapes and figures in black or sepia, often seen on glasses so much
his own that they are called Schaper glasses cylindrical beakers on
three flattened ball feet. The same medium is employed by Ignaz Preissler
(r. 1675 1733) who, together with his son. worked for a rich Bohemian
landowner. Count Kolovrat. Preissler, however, already expressed the
Rococo taste of his period with chinoiserie motifs set within garlands
and foliage, hunting scenes and vivacious small figures.

Tags: 16th century, 18th century, adjustable silver candlesticks, antic black italian furniture, antique table cupboard drawer on casters, antique "drum table" drawers, antique architectural mouldings mahogany, antique black lacquer chair mother of pearl inlay, antique bombe chest dutch, antique carved furniture photos expensive, antique chinese porcelain serving tray, antique chinese brass dragon pots, antique chippendale scrolled feet six leg table, antique cracked imari, antique dining table narrow, antique dining table with leaf and drop down walnut ova, antique dragon carved tables, antique drop leaf table with spindle legs, antique dumb waiter cutlery drawer, antique english blue transfer print dishes, antique folding oak desk 2 drawers, antique gate leg table quarter cut oak, antique hepplewhite leaf table, antique iron sewing table, antique lion tripod table, antique lowback dressing table chair, antique mahogany round table 5 legs, antique markings czechoslovakia, antique military dresser trunk, antique oak china cabinet with lion head design, antique oak drop leaf tables "turn", antique paw foot furniture, antique portuguese flatware, antique pressed glass punch bowls, antique round barley twist coffee table, antique side chair, antique side table pictures, antique six legged coffee table, antique sofa table with splayed legs and brass castors , antique square tables that sit low, antique table heavy carvings', antique table leaves slide out, antique tilt top table claw feet, antique victorian incense holder woman figurine with me, antique victorian large floor mirror seat, antique walnut dresser, antique walnut shaped pocket watch, antique wash dining room maple, antique. wood, arm chair, art deco barware, art deco patterns for glass platters, arts and crafts cigarette dispenser, baroque metalchamber pot, beakers, biblical illustrations, black lacquer and mother of pearl inlay display cabinet, chimney pieces, cm 5, Delft, EARTHENWARE, east anglia, eastern porcelain, enamel decoration, England, engravings, european factories, half a century, high, Industrial, inlay, London, lucrative business, manganese, men at arms, name, new testament, njany, ntique buffet folds out to table, popularity, Potteries, potters, PRESS, quality, sea monsters, Staffordshire, victoria and albert museum, wall tiles, wares

Elaborate as these palatial interiors may have been with their halls
and state rooms sparkling with gilt mirrors and silver, the Baroque style
Right: William wid Mary upholstered
settee; far right: William and Mary
centre table.
Altoough many original pottery forms were produced in Japan as early
as the 2nd millenium B.C., it is the later red-clay haniwa burial figures
of about A.I). 300 fit 10 which present-day collectors of bar Eastern
cen mics find entrancing. Their figures of humans, animals or buildings
wer slplaced upon the large burial mound, showing at times a distinct
resc mblance to those made by primitive tribes of Africa. T’ien-ch’i 1621-27.
I bp growing popularity of the ‘Tea Ceremony’ (chanoyu) gradually
cha iced from an aid to meditation to a cultured social habit, and by the
I Ml century notable ‘tea-masters’ were in need of the various utensils
inv( lved. No ordinary tablewares would suffice, they demanded only
tho e considered aesthetically suitable for such a dignified ceremony.
Cer ain areas and potters are today recognized as being outstanding for
the -.reat ion of these essential wares, where perfection was not necessarily
a requirement. I he province of Bi/en produced wares of heavy, coarse
bro vnish-red stoneware during the I 7th century. The similar coarse and Shun-chih 1644-61
par i illy glazed stonewares of Iga and Shigaraki were also in demand.
V p ires of this type are not always readily accepted by today’s European
cen mic collectors as having any aesthetic appeal, whereas the finer
brown-glazed stonewares made in the Satsuma province during the 17th
and 8th centuries can more readily be appreciated as fine examples of
the I ipanese potter’s art. Perhaps the best known of all Japanese tea-
war ;i are those of low-fired earthenware, known as ‘Raku’, a form of
ware made by a generation of potters dating back to the early Ifith
cen ury. Especially beautiful are the hand-moulded forms with soft
lace tier-like glazes in black, red or yellow.
II was only during the latter part of the 19th century that Western
scho ars began seriously to seek knowledge of the comparatively short
history of Japanese porcelain. There appears to be little doubt that
porcelain similar to that produced in neighbouring China for so many
cen i ries was not made in quantity until about 1620. It was made in a
tow i now known as Arita, which is where the necessary deposits of clay
wer; first located; it is still a source of ceramic materials today.
L Uring the last decade documents have come to light confirming the
nan k of Ri Sampei as the Korean potter responsible for the beginnings
of ]>0rcelain manufacture in Japan. He worked at Tangudani (The
Val ey of the Long-nosed Goblins), near Arita, in the province of Hizen.
1 be earliest Japanese porcelain had much in common with contem-
porary Korean wares, decorated in undergla/.e-blue or covered with a
celadon glaze, occasionally left in the white. Ihe time was ripe in Japan
for he creation of line porcelains, not only to meet the demands of the
Iocs 1 lords, but also to provide wares for the Dutch East India Company.
During the troubled times in China in the mid-17th century, this com-
pany relied for trade primarily on the porcelains of Japan, though these
weie very costly in comparison with the wares of China.
I was during the second half of the 17th century that the potter
Sakaida ‘Kakiemon’ introduced a distinctive style of polychrome enamel
decoration, which was later imitated by many major European factories.
He was born Sakaida Kizaiemon in 1596 and it is said that he acquired
the name ‘Kakiemon’ from the persimmon red colour of the overglaze
he used, the Japanese word for persimmon being kaki. Kakiemon is
thought to be the first Japanese potter to apply successfully overglaze
enamels to porcelain. In marked contrast to the Chinese style of decora-
tion which covered whole surfaces, Kakiemon made use of the Japanese
style of simplicity and open spaces called yamato-e. He was the first
potter to use this style. Kakiemon’s patterns, in light and delicate lines
often with no obvious outline, usually covered one third to a half of the
surface area providing a beautiful contrast with the white porcelain.
The wares can be recognized by a line of iron red glazing around the rim
and called kuchi-beni.
Kakiemon’s principal colours were of course the soft red persimmon
as well as an azure blue, while pale yellow, purple, lavender blue, green
and black were supplementary colours used only sparingly. Black or red
is used to outline red and yellow areas. Unlike Iinari wares which were
for everyday use, Kakiemon’s porcelains were of the highest quality and
even the clay he used was superior to that used for Imari.
It was only in the second half of the 17th century that Kakiemon wares
were exported to Europe via the Dutch settlement at Nagasaki. Collec-
tions of Kakiemon wares are still to be found throughout Europe. His
wares were also popular with the Japanese themselves, as a result of
which copies were being produced by about 1672. Most of these were
made at Artia and Kutani and are often difficult to distinguish from the
originals except that they lack the milk white bodies of the originals.
The most exclusive Japanese porcelain was produced for the daimyo
Nabeshima, the feudal Lord of the Arita region. Since these wares were
made for the daimyo or his friends and never made for the commercial
market, they were unknown to the West until some pieces appeared at
the Paris International Exposition in 1867. It seems probable that the first
kiln was started in 1628, though it produced wares of little importance.
In 1675 the kilns were moved to a site at Okawachi north of Arita.
Older Nabeshima ware is considered to be the best porcelain ever to
appear in Japan, the pure white body having a bluish tinge. Standards
of production were high and only some ten per cent of the wares was
considered perfect enough to be saved. The early Nabeshima work was
blue and white, while later, celadons were also produced. Unique to
Nabeshima ware amongst the ceramics of Japan is that the decoration
of each piece in a set is reproduced exactly and would appear to have
been printed on. In fact the potters first sketched the design on a piece
of paper with charcoal, then placed the paper on the plate and rubbed
until the pattern had been transferred. After repeating the process on
each piece the outlines were drawn in cobalt and the piece fired.
The Netherlands
There appears to be good evidence that Italian-type maiolica was being
produced in Bruges during the 15th century, but no examples of this
work appear to have survived or can be clearly identified. By the begin-
ning of the 16th century there is ample proof that Italian potters were
established in Antwerp, a centre which was to become the ‘nursery’
potters who were to take the craft to other European areas,
is very difficult for anyone other than the specialist to identify the
rarfe Netherlandish wares made in Italian styles. The colours often
ar harsher and the painting cruder - this is certainly so with the
erp copies of the Urbino ‘grotesques’ painted on a white ground,
e end of the 16th century Antwerp had ceased to be a pottery centre
y importance, but knowledge of the technique survived, resulting in
thejdity of Delft becoming one of the most prolific centres for the manu-
fac lire of the so-called ‘Delftware’ for at least one hundred years.
De ftware
It vt’as not until 1609 that Holland, together with six other provinces of
No’thern Netherlands, first became independent of Flanders and the
Di cliy of Burgundy. This date roughly coincides with the period when
the country first became acquainted with vast quantities of Chinese hard-
pas t; porcelain, which was being imported by vessels of the Dutch East
inc ia Company. These were the wares which were going to inspire the
Ditch potters in their endeavours to create similar wares in their tin-
gla ted earthenware. Their pottery became finer. They endeavoured to
co\ e r completely all surfaces with a fine white glaze, and their cobalt blue
pai Hing was finely applied in the Wan Li porcelain style. Usually, a
sec and clear glaze was applied, at a separate firing, over the tin and
decoration, to impart a porcellanous brilliance.
)Blft was ideally situated as a trading centre for this new industry.
Ws terways were readily available, giving access to the sea-routes for the
importing of raw materials and exporting of the finished wares. The
inc uktry was given a further boost during the third quarter of the 17th
cei tiiry, when there was a decline in the Dutch brewing industry, due
to :©mpetition from England. Many breweries were vacated, only to be
spt ddily taken over as premises by ‘Delftware’ potters, who in many
ins ances adopted the name of the former occupier. This resulted in such
po teries as ‘The Golden Flowerpot’, ‘The Rose’, ‘The Hatchet’ and
“lie Peacock”.
like the English potters engaged in the making of tin-glazed earthen-
the Dutch usually marked their wares with registered factory-
s. However, the marks of the finest potters can often be seen on
inferior 19th century wares, the most common being the ‘AK’
ogram of Adrianus Kocks, who was working at ‘The Greek A’
bry from about 1686.
he earliest occupant of ‘The Greek A’ factory was Samuel van
Eeh 10m, whose ‘SVE’ monogram can sometimes be seen on beautiful
ret ipductions of Chinese porcelain made between 1674-86. The
dei K ration of the finest Delft can often be recognized by their use of a
y painted manganese-purple or dark blue outline to the design, into
h the paler colour-washes are added - a technique called trek, which
ely used elsewhere.
nhorn’s successor at ‘The Greek A’ factory, Adrianus Kocks, is
prAbably the name most commonly associated with the finest Delftware.
Hip best known works are the large sets, as designed by the Dutch court
an tiitect, Daniel Marot. These include the pagoda-like tulip-vases, and
were intended for the apartments of Queen Mary II in the Water-Gallery
at Hampton Court. Similar sets can be seen at Chatsworth, the stately
home of the Duke of Devonshire in Derbyshire, and at Dyrham Park,
Gloucester, maintained by the English National Trust.
Porcelain, such as the Dutch were importing from Japan, also inspired
other fine potters, including Rochus Hoppesteyn, who was working at
The Young Moor’s Head’ in about 1690. Wares bearing the initials
‘RHS’ were often further decorated with gold, a rich red pigment and a
bright green enamel. Probably one of the most common, yet genuine,
marks seen on Dutch Delftware is that of a stylized bird’s claw, used
originally from 1662 by Cornelius van der Hoeve, who produced some
good wares in the Chinese manner. The wares made from the late 18th
century until the factory closed in 1850 are very poor quality in every
respect.

Tags: "vitrine table" antique, 16th century, 17th centary victorian pocket apron, 17th century, 17th century pottery vase, 17th furniture example, 1800's walnut linen presses, 18th century chipendale drop leaf dining room table, 18th century english porcelain figure, 18th century mahogany serving trays, 1920's louis the fifthtenth dining room table, 1920's louis xiv walnut dining room table, 1930s dresser with inlay, 1935 art deco console cocktail cabinet, 1940 chair and desk combination, 19th century antiques, 2-tier round table with pedestal leg, aesthetic appeal, antique 3 tier telescopic dumb waiter, antique 5 leg table and oak dining chairs, antique bulbous leg table, antique candle snuffers, antique carved hardwood bedside commode stand, antique chinese bedside tables, antique chinese carved elaborate, antique chippendale couch model 1550, antique clawfoot table, antique commodes chair woven back, antique dining room bureaus mahagony, antique five leg oak square table, antique french dining chairs marked made in italy, antique germany hoover, antique glass hair receiver, antique italian four post bed, antique lion furniture, antique metal vase shaped antique lamp, antique occasional folding table oak ivory ires, antique pressed/etched platinum lined dinnerware, antique queen victoria ladies writing desk seven drawer, antique sevres french porcelain, antique tea table with slide out trays, antique velvet arm charis, antiques leather with brass travelling chest, apostle spoon sheffield england, Arita, art deco ceramic horse, art deco chest with radio, art deco upholstered chairs, art nouveau furniture leg, Artia, austrian porcelain makers, barley twist oak tables, baroque style, burial mound, clay haniwa, Company, curved back chair c 1930, czechoslovakian vintage porcelain table lamps, daimyo, decade, decoration, Di, dice black wedgwood, dining round leg tables leaf art-deco, Dutch, EARTHENWARE, English, english furniture antique trestle gate leg table, english ironstone england, expensive mahogany desk, french made mechnical timepieces, george ii figured walnut card table, glazes, Holland, how to repair bun legs of pedestal table, inlaid wood art deco table, japanese tea, Kakiemon, lyre back arm chair, majolica hanging planters, oak leaf carved campaign table, old drop leaf gateleg occasional table, one hundred years, overglaze, piece, potters, red clay, Sampei, second hand welsh dressers, shigaraki, stoneware, Tangudani, tea ceremony, tribes of africa, uk glass candlestick, upholstered settee, william and mary

The United Netherlands the expanded enterprises of the Dutch East
India company brought wealth to the rising class ot maritime merchants,
who patronized painters, silversmiths and furniture craftsmen. Dutch
17tl century interiors were lively and colourful, decorated with checker-
board marble floors, tapestries, portrait paintings, chandeliers and
uphplstered furniture. Furniture was gilded, crisply carved, painted,
lacquered in the oriental manner, and faced with figured veneers. Portu-
gue e and Spanish Baroque influence inspired boldly turned legs and
upri dils, scrolled feet and caned backs and seats. The tall, straight backs
of sjttles, chairs and daybeds, painted black or gilt, or plain walnut,
wer i richly carved with Flemish strapwork, putti and grotesques.
Tie naturalism of the Dutch 17th century still-life school, and of
scul )tor Artus Quellin, was reflected in floral marquetry and inlay
compositions executed by craftsmen such as Jan van Vlekeren and Dirk
van Rijswijk of Amsterdam.
An influx of craftsmen from Germany and Belgium popularized
Top: Leather studded side chair.
Centre: Early oak armchair with sturdy
turned posts and plank seat.
Bottom: Charles II walnut stool with
upholstered seat.
Furniture
expensive furniture of ebony; witwerkers worked in soft white deal and
pine, producing painted pieces for less wealthy purchasers. The tall,
double-doored kas often had a flat, bold cornice and arched panels
separated by pilasters or twisted columns. Tables stood on tapering or
spiral-turned legs often with the curves of the apron echoed in the
stretchers.
The designs of Daniel Marot, who became Minister of Works to
William of Orange after leaving France, popularized ornamented volutes,
strapwork and grotesques, and features such as curved chair backs,
diagonal stretchers and tapering legs.
Of enormous influence to the Dutch and English furniture crafts at
this time were the rare and highly fashionable foreign specimens brought
from the Orient in East India Company cargoes. In both countries,
oriental cabinets raised on silvered or gilt stands displayed porcelain
treasures, and lacquered furniture was especially sought after.
Known in the Orient since the last centuries B.C., lacquer was used to
cover boxes, leather armour, bows, chests, household utensils, baskets,
earthenware, incense-burners and furniture. The grey resinous sap of
the Rhus vernicifera tree, urushi in Japanese or ch’i-ichou in Chinese, was
utilized because it hardens, develops a gloss and turns black upon expo-
sure to air. Dyes were added to produce coloured lacquer, and the puri-
fied urushi was applied in about 30 separate coats.
Various lacquer treatments were used including ‘Coromandel’ lacquer,
with incised and coloured designs; raised designs with mountainous
landscapes; mother-of-pearl inlay; and Japanese maki’e, in which the
design was formed of sprinkled gold particles on a black ground.
Imported screens were cut up and inserted into European cabinets,
secretaires, mirrors and tables, often with total disregard for the cohesion
of the oriental scheme. In Amsterdam, before 1610, a guild of Dutch
lacquerworkers existed, and pieces were made at about the same time in
London and Copenhagen. Although the craft suffered a decline in the
mid-17th century, it became increasingly popular in England after the
publication in 1688 of Stalker and Parker’s Treatise of Japanning,
Varnishing, and Guilding which provided essential information for
professionals. Publications in the following century raised the craft to a
level of a fashionable pastime in England, inspiring accomplished ladies
to entertain themselves at lacquer-making parties.
Foreign influences permeated England after the Restoration. Early in
the century heavy oak pieces still persisted. Jacobean gate-leg and draw
tables, presses, benches and chests were ornamented with carved
Renaissance foliage and mouldings, grotesques, strapwork and spindles
and bosses. Chests-of-drawers, faced with geometric panels which were
ornamented with ebony mouldings as well as mother-of-pearl inlay,
appeared about the middle of the 18th century.
The widescale rebuilding programme that followed the Great Fire of
London of 1668 made great use of walnut, and also popularized the
classical interior architectural style introduced to England by Inigo
Jones (1573-1652) after the example of the Italian Renaissance architect
Andrea Palladio. The Flemish style carvings of Grinling Gibbons
(1648-1720), appointed Grand Carver to Charles II, initiated a school
of highly delicate and realistic carvings, decorated tables and picture
Iran es such as those in the Carved Room at Petworth House, Sussex,
with putti, fruits, flowers, vegetables and birds.
T ie accession of William and Mary in 1689 brought Dutch craftsmen
to I ngland. Carved black, gilt and occasionally silvered chairs and day-
bed! reflected the Flemish Baroque style, as did the rectangular forms,
marquetry and figured veneers, spiral-turned legs and curved stretchers
of cabinets, stands and tables. An intricate, lacy form of marquetry
kno vn as ’seaweed’ developed in England, possibly from the examples
in tortoiseshell and metal of Andre Charles Boulle.
R chly hung state beds, such as the one at Knole in Sevenoaks, Kent,
witl fabric woven with silver threads, were the prized features of the
best 17th century manor houses. They were draped with silks, damasks,
brocades, crewel embroidery, mohair and gold cords and fringes.
T ie production of long-case clocks also became an increasingly
imp irtant industry in England. As in Dutch examples, they were often
enlivened with colourful floral marquetry and small classical or twisted
coli mns on the hoods, and were frequently used to display pieces of
orie ital porcelain.
The accessories that made life comfortable in European courts, cities
and provinces filtered very slowly across the Atlantic, where architcc-
tura and decorative styles emerged in much simplified forms often
decades after they had dictated European fashion.
S nail houses, generally with a maximum of two rooms and a large
fireplace, were standard in the colonial settlements of the American east
coast until after the mid-17th century. Sparsely furnished, these homes
reflected the austere conservatism of religious emigres, such as the
Purjtans, and the simple lifestyle of a settlement economy. The essential
fun iture they contained was serviceable, sturdy and simple, although
free uently colourfully painted.
The northern Baroque idiom surfaced in North America in about
167 i. Until then colonial furniture continued to be made in the Renais-
sance style, based on Dutch, German, English or French prototypes,
acc( rding to the ethnic character of the region in which it was produced.
Joining and turning were used for construction: as in Europe, oak pre-
dominated, but pine, maple and cherry were sometimes used. Chests
fori led of six planks and painted with stripes existed side by side with
more solidly joined panel-and-frame examples, the latter carved with
ang icized classical ornament, such as pilasters and arches, or lunettes
enclosing broad acanthus leaves. This ornament showed regional
variations.
Bjulbous, fluted baluster uprights, showing the influence of Hans
Vricdman de Vries, appeared on presses and court cupboards in the
Eng ish Jacobean manner with knob pulls, ‘ebonized” spindles and
bos: es, chequered inlay, colourful paint and carved figures. Toward the
end of the century walnut gained favour, and veneers and dove-tails,
togi trier with new pieces such as chests-of-drawers, were introduced.
himigrants and imports took the primarily Flemish William and
Ma y Baroque style to America through English intermediaries.
American highboys, lowboys and tables were veneered simply with rich
Top: William and Mary table with
drawers, continuous curving stretcher and
turned legs; bottom: Queen Anne
walnut bureau cabinet.
walnut burls. European forms including cabinets with convex top
drawers and arched panels, and tables and flat-topped highboys with
curved stretchers and aprons were adopted, as were carvings of Flemish-
style strapwork on day-beds and chairs.
Germany also received the Baroque late in the century, but there the
style became rigid rather than relaxed. The small courts of Germany’s
many principalities translated the already exaggerated ceremonial
Baroque in dazzling statements of pomp and grandeur. Yielding to
Italian influence and then to the example of Versailles during the first
half of the 18th century, court rivalries inspired palaces such as Pommers-
felden, Charlottenburg and Belvedere, on which state rooms and suites
were lavishly decorated with mirrors, marquetry panels and collections
of porcelain.
Engravings of court interiors and furniture designs by Paul Decker,
J. J. Schiibler, Joseph Furttenbach and Friederich Unteutsch, circulated
widely along with pattern-books of designs showing the French influence
of Daniel Marot, Berain and le Pautre. Unteutsch’s Knorpelwerk, de-
signs of masks and other ornaments disseminated a taste for soft, earlike
forms. Especially successful in silver, this ‘auricular’ ornament was also
carved on walnut chairs and cupboards. Engraved and embossed silver
furniture was made in Augsburg and Nuremberg, where collectors’
cabinets, with miniature drawers and architectural details, were executed
in silver, gold, painted glass, boxwood, ivory and precious stones. In
Eger, now part of Czechoslovakia, similarly rich cabinets were faced
with mythological or Biblical scenes, executed in wood and intarsia in
low relief.
For the Brandenburg court, Gerard Dagly produced a refined
imitation of ornamental lacquer on various grounds, those on white
suggesting oriental porcelain.

Tags: " tea table" marquetry inlay, "aaron burr desk", "epoxy resin" varnish "oil painting", *on company antique sofa table, 1700 antique new england country chest, 1700's drop-leaf wooden table, 1700s century, 17th c oak trestle base refectory table, 17th century, 17th century folding chair europe, 1800's furniture by philadelphia chippendale cabinet ma, 18th century, 18th century bird's eye maple bed, 18th century french directoire furniture paw feet, 18th century round tables, 18th century storage boxes on legs, 18th century tin glazed sale, 1930's folding wood card table, 1940 ceramic busts, 1940's metal drop leaf table w/ drawer, 19th century dragons in marquetry, 19th century tallboy, 8 drawer victorian mahogany coffee table, 80 year old round oak claw table antique, antique drop leaf inlay sofa table, antique hexagonal card table, antique japanese meiji cabinet, antique oak drop leaf table, antique upholstered armchairs, baluster, Centre, Chairs, checker board, chesterfield table victoria antique, chinese coffee tables with mother of pearl inlays, classifying tables dropleaf gateleg, COURT, Crafts, data base, Decorative, dictionary stand antique, dining chairs leather seat round lyre back, dining tables from italy, diot art nouveau, dirk van, dutch east india, dutch east india company, English, english furniture, expensive antique mahoganhy chairs, figured veneers, french 19th century antique furniture for sale, furniture craftsmen, furniture furniture, gebruder thonet antique bentwood chairs, grotesques, how to build a three tier table, http://antcollectors.com/tag/art-deco-dresser-inlaid-wo, hyalith glass, iberian earrings antique spain, influx, Jacobean, jacobean furniture, jacobian chests, kidney desk, kraak porcelain, late 1800s claw foot round dining table, leather top inlay antique dressing table, lions head on side tables, london silversmiths 1758, mahogany queen anne 6 legged gate table, marble coffee table with brass legs for sale los angele, marble floors, marquetry and inlay, metal, minister of works, montgomery wards antique wardrobe dresser mirrored door, mother of pearl wall art - antique black, myott son & co hanley, myott swing time 1880, oak carved + drop leaf + gateleg + table, old french +designs fabrics louis 14th sofa, oriental manner, pastime, petworth house, photos oval drop leaf dining table gateleg, Portrait, portrait paintings, scrolled feet, seat bottom, sliding leaf card tables, stand, straight backs, twist, veneer, verlys hallmark, wealth, why are there so few chippendale tea tables, wrought iron chairs scroll design who made them in usa

Marrow Scoops

George III marrow scoop by J. and J. Perkins, London, 1796 George III plain marrow scoop, engraved with a crest, probably by Christopher Haines, Dublin, circa 1785

Mugs

George II large plain cylindrical mug on circular moulded foot and with boldly modelled scroll handle, engraved with a monogram, by Edward Lothian, Edinburgh, 1742, 25 oz, 6} in high

Two plain George III mugs, each of shaped outline on circular moulded base with double scroll handles and slightly flaring lips, engraved with a monogram, by Patrick Robertson, Edinburgh, 1775, 18 oz 5 dwt, 3J in and

4J in high

Mustard Pots

George III mustard pot, London, 1802, 4 oz

Oval mustard pot engraved with drapery festoons and a monogram, and pierced above with slits and circles, with domed cover and reeded scroll handle, with glass liner, by Robert Hennell, 1788, 3 oz 5 dwt

Early Victorian cylindrical mustard pot with pierced body and initialled cover with flower finial, leafy handle, by Elizabeth Eaton, 1847, 5 oz 6 dwt, 3} in high

Large early George III vasc-shaped mustard pot with pedestal foot, London, circa 1762, 7 oz 10 dwt

Salvers

James II plain circular salver on central spreading foot, the salver with moulded reeded border, engraved with a later monogram, maker’s mark WE mulled above and below, 1688, 16 oz 8 dwt, 10} in diameter

George II circular salver on four foliage scroll feet, the shaped moulded border decorated at intervals with shells and foliage, the centre chased with a band of scrolls, trelliswork and flowers and engraved with a

coat-of-arms in rococo cartouche, by John Robinson, 1745, 64 oz, 1 ft 4 in diameter

George I small plain salver on bracket feet with incurved corners and moulded border, the centre engraved with a

coat-of-arms, maker’s mark missing, 1724, 16 oz 18 dwt, 8J in

square 273 0

George III plain circular salver on three bracket feet, the border stamped with a band of laurel between two beaded bands and the centre engraved with a monogram within flower sprays, by Robert Jones, 1779, 27 oz,

1 ft diameter 252 0

George III circular small salver on three hoof feet with shaped shell and scroll border, the centre chased with a broad band of birds, pagodas and scrolls, engraved with a crest, by Richard Rugg, 1767, 12 oz 9 dwt, 8 in

diameter 60 18

Suits

Set of six George III silver-gilt circular salt cellars, each on three lion’s mask and paw feet with applied shields, with partly fluted bodies and chevron patterned borders, on circular plinths with bracket feet and similar

borders, engraved with a coat-of-arms and motto, by D. Scott and B. Smith, 1803, 97 oz 1,202 0

Sly circular silver-gilt salt cellars with gadrooned borders and open wirework sides, each with circular cut-glass bowl, maker’s mark C.C, 1806, in fitted wood case, 16 oz 8 dwt 420 0

Four circular salt cellars each on three mask feet, the bombe sides chased with flowers and foliage on a matted ground, engraved with a crest and motto, maker’s mark CP., perhaps for Charles Plumley, 1819 and

1821, 22 oz 94 10

Pair of plain boat-shaped salt cellars on collet bases and with reeded rims, engraved with a crest, by Samuel Hcnnell, 1800, 4 oz 17 dwt 55 0

Pair of George III two-handled boat-shaped salt cellars, each on oval moulded foot with reeded borders and loop handles, one salt cellar with partition, by Robert Sharp, 1788, with a pair of old English salt shovels,

1793, 9 oz 18 dwt 39 18

Sauceboats

Pair of George II plain oval sauceboats, each on three paw feet with moulded scrolls above, the shaped rim chased with a narrow band of wave ornament, flowers and scrolls, with double scroll handle capped by a leaf,

engraved with a monogram, by Robert Lowe, Edinburgh, 1748, 14 oz 4 dwt 800 0

Pair of George 11 plain sauceboats, each on three hoof feet with shaped rims and double scrolled handles, engraved with initials, by Bennett Bradshaw & Co, 1740, 15 oz 5 dwt 441 0

George II plain sauccboat on three hoof feet with gadrooned rim and rising scroll handle capped with a leaf, maker’s mark illegible, 1754, 13 oz 1 dwt 120 15

Plain large sauceboat on three shell feet with scalloped rim and rising double scroll handle, engraved with a crest, probably 1758, 12 oz 4 dwt 65 0

Snuff Boxes—See Small Decorative Antiques

Sugar Basins—Sec Baskets—Sugar

Tapersticks—See Candlesticks Tankards

Queen Anne cylindrical tankard and cover on fluted low domed base with a moulded rib round the body and scroll handle, the stepped domed cover chased with bands of flutes and punched motifs, with openwork scroll

thumbpiece, the front engraved with a strapwork and scrolling cartouche enclosing a later applied medallion, by Isaac Dighton, 1703, 31 oz, 7J in high

Charles II cylindrical tankard and cover on reeded foot, the raised cover with corkscrew thumbpiece, chased in the Chinese taste with figures, exotic birds and plants and engraved with a coat-of-arms in plume mantling,

maker’s mark R in script, pellet below, 1677, 19 oz 12 dwt, 6 in high

George II plain tankard of shaped outline on circular moulded foot with a rib round the body, double scroll handle and openwork scroll thumbpiece to the domed cover, engraved with a monogram in a scroll and foliage

cartouche, by Wililam Grundy, 1756, 30 oz, 8 in high

George III plain cylindrical tankard and cover on spreading base with a moulded band around the body, the domed cover with pierced scrollwork thumbpiece, by S. Godbehere and E. Wigan, 1786, 24 oz, 7| in high

Tea Caddies

Set of two George II silver-gilt tea caddies and an oval sugar box each of inverted pear shape, the foot chased with panels of scalework and flowers, the body chased with foliage and flutes, and repousse with

sunflowers, roses and other flowers, the domed cover similarly chased with bud finial, engraved twice with a coat-of-arms within chased rococo surrounds and with two crests, by William Grundy, 1744, 44 oz, 7} in high

George III oval tea caddy with shaped domed cover, urn finial and beaded borders, engraved with two bands of wrigglcwork enclosing quatrefoils and two oval cartouches enclosing a coat-of-arms and monogram, by

Hester Bateman, 1790, 10 oz 1 dwt

George III shaped oval tea caddy, the body bright-cut with formal floral borders, engraved twice with an initial, the domed cover with similar border and urn finial, with original key, by Joseph Scammell, 1791, gross

weight 12 oz 10 dwt

Plain oval tea caddy, the raised hinged cover with urn finial, engraved with a crest, maker’s mark JS in script, perhaps for John Sanders, 1794, 10 oz 15 dwt, 5 J in high

Tea and Coffee Services

George III tea and coffee service comprising compressed spherical teapot, sugar basin and cream jug, oval tea-kettle, stand and lamp and vase-shaped coffee pot, stand and lamp, each piece on rim foot and with high

collar, the stands on

four reeded scroll feet, engraved with a crest and coronet, by William Burwash, 1812, gross weight 143 oz 900 0

George III parcel-gilt tea service comprising teapot, sugar basin, and cream jug, each on circular ovolo foot and with ovolo rim applied with silver-gilt satyr’s masks entwined with snakes, the teapot with gilt foliage

spout and ivory handle terminating in a satyr’s mask and a winged monster, the slightly domed cover with baluster finial engraved with a rosette, the basin and cream jug with gilt double serpent loop handles, engraved

with a coronet, motto and initial, by Paul Storr, the teapot and cream jug, 1812, the sugar basin, 1813, 69 oz 787 10

George III tea and coffee service comprising circular teapot, pear-shaped coffee pot, two-handled sugar basin and cream jug, each on circular foot chased with flowers, scrolls and shellwork on a matted ground and

engraved with a crest and monogram, the tea and coffee pots with curved spouts and twig finial to the domed cover, the sugar basin and cream jug with scroll caryatid figure handles, by Thomas Wallis and Jonathan

Haync, 1817, gross weight 89 oz 588 0

Victorian tea and coffee service richly decorated with flowers, fruit and foliage, scrolls and cartouche panels, by J. Muir-hcad & Son, Glasgow, 1861, 70 oz 400 0

Teapots and Stands

George I plain octagonal pear-shaped teapot on rim foot with

curved spout and baluster finial to the domed cover, by Joseph

Ward, 1717, gross weight 13 oz 9 dwt 2,600 0

George II bullet-shaped teapot on circular moulded foot, the curved spout with stylized foliage base, the shoulder and flat cover chased with strapwork, shells and scrolls, engraved with a vacant baroque cartouche, the

scroll wood handle capped with silver leaf, by Sampson Bennett, Exeter, 1759, gross weight 14 oz 1 dwt 682 10

George I plain circular teapot stand on four bracket feet with moulded border, the reverse engraved with initials, maker’s mark indistinct, 1718, 6 oz 15 dwt, 6 in diameter 315 0

George III oval teapot on moulded foot with straight spout, centrally domed cover and beaded borders, engraved with a crest and motto and later monogram, maker’s mark, perhaps S.W. for Samuel Wood, 1785, gross

weight 14 oz 16 dwt 126 0

George III circular teapot of plain design, London, 1808, 21 oz        108 0

Early Victorian teapot, plain compressed melon-shaped body, fluted curved spout, melon finial and loop handle, on four anthemion feet, by Joseph and Albert Savory, 1843, gross weight 26 oz 1 dwt, 6} in high 95 0

George III teapot of compressed circular form, the matt ground chased with upright acanthus leaves and a girdle of lozenge and foliated motifs, a melon knop to the cover, by Peter and William Bateman, London, 1805,

19 oz 60 0

Trays

George III two-handled oval tray on four gadrooned feet, die

SOME AUCTION ROOM PRICES : 1969-70

fluted out-curved border with gadrooned rim and with gadrooned and foliage handles, engraved with a coat-of-arms within plume mantling, by Thomas Hannam and John Crouch, 1801, 89 oz, 1 ft 9J in wide Early

Victorian two-handled oval tea tray engraved with armorials, leafage and flowers, applied scroll border with flowers and beads, similar handles and four pierced panel feet, by E. E. J. and W. Barnard, 1840, 736″ oz 17

dwt, 2 ft 4 in wide

George II snuffer tray of hourglass shape on four shell and hoof feet, with scalloped edge and double scroll handle, engraved with a monogram in scrolling foliage cartouche, by William Cafe, 1757, 7 oz 12 dwt, 7} in

wide

Vinaigrettes—Sec Small Decorative Antiques

Waiters

George II shaped circular waiter on three bracket and scroll feet, the outcurved fluted border with shaped rim, engraved with a narrow band of beads with foliage at intervals, the centre with a crest in a foliage

cartouche, by S. Herbert & Co, 1 757, 6 oz 18 dwt, 6} in diameter

George III small circular waiter on hoof feet with shell and scroll border, the centre chased with a band of flowers, by Ebenezer Coker, 1760, 8 oz 17 dwt, 7} in diameter

Circular waiter on claw-and-ball feet, chased later with flowers, scrolls and wave ornament and engraved with the royal crown and cypher of William IV and a monogram, by R. Jones and J. Schofield, 1776, 7 oz 17

dwt, 7 in diameter

Wine Coolers

Pair of George III campagna-shaped wine coolers on circular feet chased with a band of quatrefoils and acanthus foliage, the bodies fluted below and with entwined vine tendril handles, extending below the lip with

everted ovolo border, engraved twice with an initial, by Paul Storr, 1817, 137 oz, 104 in high

Pair of Victorian wine coolers and liners with plain fluted campagna-shaped bodies, shaped gadroon-knopped stems and shaped circular bases, by John S. Hunt, 1855, 178 oz 18 dwt, 12J in high

Tags: a pair of some chinese console table carving of chinese, american art nouveau dining room set, animal motifs in caucasian rugs, antique "square oak table" 5 legs with built-in pop-up , antique bed end table attached englis, antique bed warmer, antique black marquetry furniture, antique bureau handles, antique carved oak trestle tables, antique china sets - shakespeare, antique claw foot & head oak tables, antique clawfoot victorian pedestal table, antique desks and lion's head, antique dining plates, antique drop leaf harp pedastal table, antique empire captains desk, antique end table leather top, antique english oak dining chair with overlay detail on, antique english pembroke table, antique european pine meat larder, antique expensive french delicately carved sofa set, antique folding wooden 2 seat chair, antique french directoire small round table with marque, antique french figurens, antique furniture makers new orleans egg, antique hand carved arm chair down filled 1920 chair, antique harp back chair, antique japan flatware brass with wood handles, antique kommode, antique lalique lamps, antique lion foot tea table, antique lion head dining room, antique louix the xvi round dining set, antique mahogany small regency bureau, antique maple writing table, antique mother of pearl coffee table, antique oak 1920 bowed dresser, antique old fold up table that folds into a 2 level tab, antique oval rockers, antique parlor table/glass ball & claw feet, antique pedestal drum table 2 drawer, antique plates shapes, antique porclean chicken with h and a small h on bottom, antique pottery with carved pictures made in greece, antique sheffield silver candlesticks, antique table eagle legs, antique table with lion paw legs, antique tankards, antique tea caddy value oriental, antique v czechoslovakia china, antique victorian pedestal mahogany sideboard, antique walnut barley sugar leg tea table, antique walnut dresser with mirror, antique white glazed dressers, antique wooden hope chest with brass + square nails, ANTIQUES, antiques buffet 1914, antiques date introduction of mark "made in france", apothecary chest medicine chest old shop display units , arc length of octagon encircled, arched glass and oak dining furniture, arita hallmark, armchair nineteenth century denmark, art of upholstery frames, art deco commode inlaid, art deco dressing table plans, art deco plastic furniture paris, art nouveau japanese furniture, AUCTION, ball and claw octagon 8 seater dining table, baluster, band, barker brothers white provincial furniture, base, bible cupboard, black over red antique drop leaf table, blown glass in central ohio, blue and white antique dinner services, candlestick, central, changing horses, coat of arms, coffee, crest, drapery, ft diameter, hennell, hester bateman, high, john robinson, maker, paul storr, rib, S. Godbehere, teapot, thumbpiece