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There is a wonderful team of people behind the scenes at Lorfords, many of which you don't get to see. What better way to introduce them than with their top picks in our Lorfords Christmas Gift Guide! From thoughtful gifts to extra seating, we're getting you ready for the festivities.
Toby Lorford, Director
Toby's top picks include a striking 19th Century Italian enfilade of a bold architectural design and a beautiful pair of 19th Century Tuscan wall sconces, decorated in traditional cream and gilt.
19th Century Italian Painted Enfilade
Pair of 19th Century Tuscan Wall Sconces
Alice Hagues, General Manager
Alice's top picks include a classic 1930's design Lloyd Loom sofa in original French grey paintwork and a stylish Modernist textile screen in the manner of Edward Bawden.
Carly Watkins, Marketing Manager
Carly's top picks include a large black-and-white image of a Roman emperor in the style of Timney Fowler and a pair of Art Deco armchairs which have recently been reupholstered in an attractive monochrome colour palette.
Large Contemporary Image of a Roman Emperor
Pair of French Art Deco Armchairs
Heidi Hadfield, Sales Manager and Accounts
Heidi's top picks include an iconic wicker Harley Davidson motorcycle designed by Tom Dixon and a charming pair of carved oak cherubs dating to circa 1880.
20th Century Tom Dixon Wicker Motorcycle
Pair of 19th Century Carved Cherubs
Robert Evans, Logistics Manager
Rob's top picks include a luxurious blue velvet armchair paired with the perfect Christmas afternoon set-up; a fabulous brass drinks trolley and a Parisian-style silverplate cocktail shaker.
Late 19th Century Blue Velvet Armchair
20th Century French Brass Drinks Trolley
Large Parisian Style Silverplate Cocktail Shaker
Jane Body, Sales
Jane's top picks include a comfortable English Country House chaise longue with hidden storage and a charming 20th Century feather-filled carpet cushion.
20th Century English Country House Chaise Longue
20th Century Feather Field Carpet Cushion
Tom Valentine, Sales
Tom's top picks include a wonderful untouched George III secretaire estate cupboard and a superb English club fender of large proportions.
George III Oak Secretaire Estate Cabinet
Large 19th Century Club Fender
Hattie Icke, Logistics Coordinator
Hattie's top picks include an original 19th Century French carpet sofa from the Napoleon III period and a charming pair of silverplate Mr and Mrs napkin rings in their original box.
19th Century French Carpet Sofa
Pair of 20th Century Madame and Monsieur Napkin Rings
Kate Williams, Sales and Stylist
Kate's top picks include a wonderfully shaped two-seat sofa featuring a scalloped back, enclosed sides and sloping armrests and a fabulous pair of 20th Century clam shells.
Pair of 20th Century Clam Shells
Eleanor Buonaparte, Dealer Liaison and Stock Coordinator
Eleanor's top picks include a 20th Century lacquer and gilt Chinese screen, depicting cranes and gold-painted bamboo to the reverse, and a stunning 19th Century drop-end red Chesterfield sofa.
20th Century Chinese Lacquer Screen
Stephanie Ashby, Photographer
Steph's top picks include a fine early 19th Century complete circular tree seat from the Regency period, and a late 20th Century print of Liz Hurley by John Stoddart which rests on a stylish lucite and brass display tripod with adjustable blocks.
Regency Circular Wrought Iron Tree Seat
20th Century French Lucite Easel
Late 20th Century Liz Hurley Print by John Stoddart
Sophie Jones, Marketing Assistant
Sophie's top picks include a 19th Century French chaise longue in pink velvet and a beautiful framed black and white French scenic wallpaper depicting an attractive lakeside scene.
19th Century Upholstered Pink Banquette
Piers Ingall, Stock Vetter
Piers' top picks include a fabulous pair of Italian marquetry and ormolu bedside tables and a truly outstanding 19th Century folk art diorama model of Tower Bridge, London.
Pair of Italian Marquetry Bedside Tables
19th Century Model of Tower Bridge
Dave Jeens, Restorer
Dave's top picks include a 20th Century coffee table with a drawer and its original key, a lovely example of an early 20th Century Edwardian elbow chair and a stylish 20th Century opaline glass table lamp.
Small 20th Century Coffee Table
Giant Mid-Century Style Opaline Glass Table Lamp
Jordan Anderson, Logistics
Jordan's top picks include an elegant French Meridienne sofa and in the spirit of the World Cup, a pair of 19th Century medici lions.
19th Century French Meridienne Sofa
19th Century Carved Pair Medici Lions
Chris Butterworth, Logistics
Chris' top picks include a lovely buttoned and tufted sofa of small proportions and a wonderful large-scale French zinc clock face in its original iron frame.
Small 19th Century Swedish Buttoned Sofa
French 20th Century Zinc Turret Clock Face
Cody Roberts, Logistics
Cody's top picks include a lovely English golden oak occasional table with a single drawer and a superb pair of French 18th Century Louis XV bergéres.
19th Century English Golden Oak Occasional Table
Pair of French 18th Century Louis XV Bergeres
The 20th Century was an era of innovation and flair in the lighting sphere. Two post-war periods saw an influx of new materials as well as a desire to move away from traditional designs. This was the age of the Sputnik pendant, stunning Murano glass lamps, and a host of other revolutionary lighting designs.
Humans and lighting
For most of our history, we relied upon daylight, moonlight, and dubious candles to get by. Gaslight arrived in the 19th Century, but it was reserved for commercial and industrial settings at first and had its fair share of drawbacks.
The greatest revolution in domestic lighting came in the 1870s. Joseph Swan and Thomas Edison invented the first commercially viable incandescent light bulbs. These offered a much cleaner and safer solution than gaslighting. The National Grid rose to the challenge of roll-out, and by the end of the 1930s the number of homes wired for electricity rose from 6% in 1919 to 2/3s.
The spread of electricity in the early 20th Century set the stage for some of the most ground-breaking lighting designs in history. Today, lighting is an essential element in the interior tapestry, both in form and function. Layers are key to this, and vintage lighting, with its brilliant spectrum of design styles, can fulfill any brief.
Vintage task lighting
Lighting, perhaps more than any other interior feature, will always need optimal function as well as good looks. A major functional breakthrough came in the development of task lighting in the early 20th Century. Task lighting is designed to aid specific activities, from reading to sewing. It encompasses floor lamps, table lamps, and desk lamps. The last of these has a particularly fascinating history.
Like all great designs, social context played a big role in the development of task lighting. An early entrepreneur in this field was Curt Fischer, who ran a German metal workshop. His company, Midgard, invented its first lights in 1919. These lamps were informed by an acute study of human behaviour. Midgard was deeply inspired by Bauhaus principles and vice versa. Throughout the 20s and 30s, the driving force behind task lighting was factories and workshops. As the 20th Century progressed, they found a whole new relevance through emerging corporate work culture.
The Anglepoise effect
The ergonomics behind early designs responded to common human problems. Slouching over a desk for long hours has long presented side effects. With their articulated arms bending – quite literally – to the user’s will, early task lights addressed this issue.
Despite plenty of experimentation during the early 20th Century, it was one George Carwardine who invented the desk lamp as we know it today. Far from a lighting designer by trade, Carwardine specialised in car engineering. Upon observing the suspension mechanisms in vehicles he worked on, Carwardine realised the same could work for lights.
By using a new sort of spring and pivoting arms, he achieved balance without the need for counterweights. He patented the new helical spring in 1932, but he chose to outsource production to the company that supplied his springs. So, Carwardine worked on new designs whilst Herbert Terry took over the manufacture, and the Terry Anglepoise lamp was born.
The first Anglepoise model, 1227, became available to the general public in 1935. The outbreak of WWII helped rather than hindered them, as they marketed it as the ideal blackout lamp for keeping light localised. Herbert Terry continued to adapt to the zeitgeist throughout the 20th Century. For example, during the 60s and 70s the company produced lamps in an array of vibrant shades.
Setting the standard
These early designers and manufacturers were so successful that most later desk lamps have looked very similar. Articulated lamps are still much sought-after, especially in the current mode of home working. It wasn’t always about creating the most focused light possible, as Hans-Agne Jakobsson proved. The renowned Swedish designer mastered anti-glare, diffused and muted lighting. We consider these same qualities indispensable in our interiors today.
Italian vintage lighting
Whether you’re looking for a workshop lamp or a statement chandelier, vintage lighting is such a large pool that you cannot go wrong. If you’re after artisanal beauty, there’s one country that gets it right every time. This feels like an apt moment to quote our interview with Toma Clark-Haines, the Antiques Diva. ‘Lighting is the jewellery of the room and sets the vibe of a space. When it comes to lighting, it’s got to be Italian.’
It's not hard to see why Toma covets Italian lighting. Italy was home to the likes of Gio Ponti and Gaetano Sciolari during the 20th Century. They also had one major asset when it came to lighting design: the glassmakers of Murano. When this stunning hand-blown glass met with stylish Mid Century forms, the result was breathtaking.
Successful designers such as Gino Sarfatti treated lighting as an art form, producing reams of lamps in his lifetime. You appreciate these pieces as an art form before even thinking of them as a light, but function was never sacrificed for style.
Lamps by the likes of Carlo Nason, the famed Murano glass artist, shatter the boundaries of traditional lighting. Colour is the most mesmerising feature in any Murano glass lamp, with a dazzling array of vibrant shades.
As always, Italian manufacturers played a key role alongside these individual designers. Mazzega, for instance, started out in 1946 and still operates today under the grandson of founder Angelo Vittorio Mazzega. The company, then and now, works with the very best international lighting designers – all in the medium of gorgeous Murano glass. When you hear Mazzega, their chandeliers made up of densely packed leaves of Murano glass often spring to mind.
Vintage lighting legends
Explosive talent ricocheted through Europe and America in this period and shook the design world. Interior rule books were torn up and rewritten more frequently than ever before. Again, more often than not the most iconic designs speak to their historical and social context. You can almost map social developments through just a few distinctive lights and their makers.
The Sputnik chandelier
The fabulous Sputnik chandelier was influenced by a fascination with all things space-related in the Mid Century. Its origin is disputed due to the many interpretations of this pendant light, but the very first came from Gino Sarfatti – the Italian modernist designer.
As with George Carwardine, Sarfatti was not a destined lighting designer. He was an aeronautical engineer by trade but seized the opportunity for extra income when his family fell on hard times. Sarfatti called his designs ‘rational’ lights, in reference to their efficiency and simple aesthetic.
The Sputnik, with its branches pointing in all directions, was a very successful experiment in directional light. Its metal form gives it an industrial edge, but it somehow feels glamorous at the same time. This seminal design is named after the Soviet Union’s first-ever satellite, launched in 1957. Sciolari was among the designers who designed their own version of this classic.
Singular design houses shifted seamlessly with changing tastes throughout the century. A good example is Maison Jansen, the Paris-based favourite of royals and elites. They spanned traditional Louis XVI, Art Deco, and modernism in over 100 years of operation. In the 70s, their iconic palm tree and ananas floor and table lamps revived Hollywood Regency glamour with brilliant results. These brass lamps with their natural themes are still in high demand today for bringing exotic luxury to a space.
Poul Henningsen
At the other end of the spectrum, the lighting designs of Poul Henningsen are the definition of Scandi restraint. The Danish designer's motivation was akin to that of the Arts & Crafts movement – to improve people’s lives through design. His three-tiered shade designs reduced glare and distributed a soft glow throughout the room.
His first pendant, the PH lamp, was produced in 1926 by Louis Poulson and met with global acclaim. Henningsen designed his first PH Artichoke for a modernist Copenhagen restaurant in 1958. This stylish spiky pendant remains a firm favourite amongst collectors.
Shop the look...
The 20th Century saw perhaps the most extensive and successful range of lighting designs in history. The lighting produced in this period is indispensable to our interiors, whatever your personal taste.
The designs covered in this article don’t even scratch the surface of vintage lighting. However, they do give some idea of its sheer quality and range. Shop all our 20th Century lighting on our website, as well as our whole collection of Mid Century design.
Spark your imagination with our lookbook, ‘Iconic retro lighting‘
Read more on lighting...
More than ever, we are recognising the value of our gardens as outdoor rooms. The nights are drawing in and the temperature is dropping, but that doesn’t mean we have to abandon the garden until next summer. Alongside modern inventions like the mighty patio heater, antique lanterns are a great way to create a cosy atmosphere
Let there be light
The role of lanterns throughout history is well-illustrated in books, folklore, and illustrations. They are one of the oldest forms of lighting in the world, with the first recorded lanterns dating to the Han Dynasty in ancient China.
From the lanterns sailors used in the 18th Century, lit by whale oil, to the electric ones used by police officers from the late 19th Century to fight crime in the dark, these versatile objects have long been indispensable to humans. Throughout their long history, lanterns have used animal fat, candles, oil, gas, and finally electricity.
Some antique lanterns originated in a street environment. Scotsman William Murdoch invented the coal-fuelled gaslight in 1802 to try and make street lighting more efficient. Five years later, London had its first gas-lit road – Pall Mall. These lanterns are often of good scale with a charming sense of history. Whether hung as a pendant or freestanding, street lanterns will bring authentic and unique character to a space.
Antique lanterns for every occasion
Despite immense technological advancement, antique lanterns remain very popular for both indoor and outdoor use. We may no longer rely on these primitive sources for light, as our ancestors did, but they are undeniably very stylish. Lanterns, as décor and as light sources, are perfect for creating an old-fashioned atmosphere.
No outdoor gathering works without some light to see each other by. Lanterns are ideal for creating light at all levels, without it feeling glaring. They come in all forms to suit your setting; they can hang on a chain, sit on the floor nestled by a table, or attach to a wall.
Rain or shine
One thing that hasn’t changed since the 1700s is unpredictable weather conditions, so antique lanterns are often designed to resist the elements. Good materials include toleware, steel, aluminium, copper, and brass.
Meanwhile, antique storm lanterns have a wonderful industrial look and were literally designed to withstand the most extreme weather. Years of exposure to the elements can bring out a fabulous patina in these time-worn objects. Vivid verdigris, burnishing, and tarnishing only adds to their whimsical appeal.
Featured here is just a sample of our lanterns, so make sure you browse our whole collection online.
Read more on lighting...
Traditionalists have lamented the downfall of ‘brown’ furniture in popular taste for decades. But like all great things, antique dark wood is making a comeback – and for good reason.
What exactly is brown furniture?
19th Century burr walnut gueridon.
Even the name is unfair, and frankly lazy. Brown furniture implies plainness and drudgery, when in fact it encompasses a brilliant spectrum of pattern and colour. Usually, brown furniture refers to solid dark woods like walnut, mahogany, rosewood and teak. It can also apply to any wooden furniture that has been stained dark at some point in its life.
‘Brown’ is a weak adjective though. These quality woods often feature a whole rainbow of browns, but also red, yellow, and black hues. A beautifully figured burr walnut table looks totally different to a mellowed oak refectory table, for example. 'Brown’ sells both short.
The wood itself aside, we commonly associate brown furniture with a certain style too. The heavy-duty furniture that adorned your grandmother's home, polished twice daily and kept out of reach of grubby hands, might spring to mind.
But centuries of cabinet-making produced reams of dark wood furniture in different forms. From slender and elegant Edwardian cabinets to bold and expressive Regency tables, brown furniture critics unfairly lump a vast range of styles into one bracket.
Somewhere around the 70s, we started to turn on this furniture. The forward-thinking Mid Century Modern approach quickly made traditional antique furniture look tired and dated. Luckily, trends are always cyclical, and the brown furniture renaissance is finally here.
Why your interiors need dark wood
The main reason why you shouldn’t dismiss brown furniture is its quality. Genuine period furniture from the Victorian, Regency and Georgian eras reflects expert cabinet-making. Manufacturers like Holland & Sons and Gillows of Lancaster set a high standard for craftsmanship in their fields.
Even simple country antique furniture demonstrates impressive skill. The charming bobbin-turning on a side table or chair stiles from the pre-industrial era reflect hours of handiwork at the wooden lathe. Such features are remarkably popular in contemporary furniture right now, so sourcing an original - probably for cheaper - is a no-brainer.
The sturdy construction speaks for itself; antique wooden furniture has served its purpose for over 100 years. If you need extra bedroom storage, an English 18th Century commode, made from solid wood with spacious drawers and working handles, is going to do the job just fine. Dining tables that have endured perhaps thousands of different family dinners in their lifetime aren’t about to let you down now.
But the best word to describe what brown furniture bestows on an interior is gravitas. A tall Georgian chest on chest, with gleaming colour and graining and decorative brass handles, demands respect. It commands attention and authority in a room, seeming to draw all the other elements towards it. This is the power of traditional antique furniture. One or two imposing brown wood pieces will mature any interior, even the shiniest new build property.
Brown furniture myths
This sort of furniture can alienate people, feeling too stern or formal for their tastes. However, just because this furniture was designed for Georgian or Regency townhouses doesn't mean it won't look right anywhere else. Be imaginative with your styling and you can make antiques relevant for a 21st Century setting.
There is plenty of inspiration out there, as we increasingly see brown furniture in a diverse range of interiors. Majestic antiques are finding homes in contemporary flats, apartments and loft conversions. It all comes back to contrast, the greatest interior trick in the book.
We are not defined by one style. An antique mahogany dining table looks fantastic surrounded by abstract contemporary art, for instance. If you are limited on space, a well-chosen piece of antique dark wood furniture, like a walnut bookcase, instantly creates a mature space.
If your style is more modern, incorporate antique wood furniture sparingly and don’t fear juxtaposition. A tall mahogany cabinet in the same room as a glass and chrome coffee table adds depth and interest. Taking risks is essential for creating that friction that makes an interior successful. Equally, the Mid Century take on brown wood was all sleek lined and sculptural. A teak sideboard from this era will bring the same qualities as antique examples, just with a more contemporary feel.
The colour question
Dutch 18th Century commode.
For many, colour is a major consideration when it comes to choosing furniture. Those who aren’t a fan of colour in general tend to gravitate towards whitewashed interiors. Others will match their furniture colours to other interior elements like paint. Lots of us jump to paint a piece of brown furniture to make it fit into a wider scheme.
However, it is important to remember that brown IS a colour – it is not a blank canvas. Natural timber, beautifully aged and patinated, is one of the loveliest colours you can have in an interior. It also works well with a remarkable range of colours, patterns, and textures.
With light paint and minimalist furnishings, a mahogany commode in the living room will ground the scheme and add richness. Equally, brown furniture will look brilliant within a moody scheme paired with rich dark paint. Look at the dominant hues in the wood and use paint and soft furnishings to draw out those colours.
Breathe new life
Dark wood furniture was designed to be well used and well-loved, and this should still be our approach today. Keeping it in check just requires a little TLC, as our in-house restorer Dave explains.
Hopefully, we have convinced you to resist the urge to send that old chest of drawers you inherited to landfill or to paint over it. Instead, embrace its quality and natural aged colour and breathe new life into it.
Browse our antique cabinet furniture on our website, as well as our extensive collection of dining furniture. To find out more about creating sustainable interiors with antiques, read our latest article ‘Sustainable antiques for soulful homes.'
Arras iron furniture has captivated generations of outdoor lovers with its quality construction and decorative appeal. Over 100 years since the Usine Saint-Sauveur factory closed, we celebrate the enormous legacy of the Arras iron foundries.
You may have heard of the French town of Arras for plenty of reasons. Arras is the former capital of Artois in northern France, around an hour northeast of Paris. It was ravaged by violence, with several devastating battles taking place on Arras fields during both world wars. Indeed, in World War One the Arras foundries were forced to swap furniture for munitions. Going back further, the town has also been the site of peace. In 1482, King Louis XI of France and Archduke Maximilian I of Habsburg signed a peace treaty at Arras to end a complicated succession crisis.
Arras iron production
War and peace aside, this northern French town is also famous for producing beautiful wrought-iron garden furniture. Arras furniture as we know it today emerged in 1840. The Grassin-Baledans factory led the way in producing more artistic ironwork and garden furniture in particular. The other foundries soon followed suit, with St. Sauveur becoming the most iconic name associated with Arras iron.
During the 19th Century, the upper classes began to discover the benefits of outdoor living. In response, French towns and cities started establishing green spaces for leisure. Fountains, menageries, aviaries, and parks soon peppered the urban landscape. In particular, the expansion of the park system in Paris demanded new furniture for promenading ladies and gentlemen. This outdoor furniture needed to be light and moveable, but also stylish. The Arras foundries answered the call.
Arras iron production relied on hand-forging and hand-riveting, as welding didn’t yet exist. Their great innovation was a ‘demi tube’ method of iron extrusion, which used one curved half of a hollow iron tube. This method allowed them to get more iron per square metre than using flat iron. It also benefitted their designs, with the tubing creating a rounded finish. This encouraged surface water to run off, preventing rust. Iron furniture with rounded edges is also much more comfortable than flat iron. These important breakthroughs distinguished Arras iron from the crowd.
This iron garden furniture was far more durable than was standard for the time. But it wasn’t all utilitarian; Arras pieces are among the most beautiful iron furniture ever made. Soon, their furniture was cropping up in public and private spaces throughout France. It filled the patios and lawns of the wealthy classes, as well as the communal parks.
Identifying the Arras style
Outdoor living was still a bit of a novelty back in the 19th Century, so Arras iron had a ready market for their furniture. Over a century later we are now saturated with garden furniture options, yet genuine and reproduction Arras pieces are still highly sought-after. So, how has this style weathered the test of time?
Arras iron’s combination of durability and decorative impact was a winning formula from the start. These principles are more important than ever when it comes to choosing furniture today. Their iconic look will never fall from fashion, it seems. We recognise Arras pieces for their pronounced scroll forms, often featuring on armrests and table bases. Their designs have a very organic quality and the iron seems to flow almost seamlessly. The foundries used slatted seats and backs with gentle curving frames and outscrolled top rails.
When it comes to identifying an Arras piece, the feet are the best place to start. In fact, they are one of the only ways you can date their furniture. The foundry used ever-stylish lion’s paw feet up until 1900 when they swapped them out for the iconic horse’s hooves. These hooves were only introduced to lower production costs, but they quickly became a defining part of Arras style.
However, between them, the foundries produced a wide range of designs during their production years and you may have a genuine Arras piece without the features mentioned above. The only way to know for sure is some sort of branding. You may come across a small brass plaque bearing the maker's mark, such as ‘Usine St. Sauveur.’ On other examples, you might spot a factory name cast into the design itself, although it might be buried under layers of paint!
A formidable legacy
Arras iron furniture expertly blends outdoors and indoors. Their fine quality means that Arras pieces should last for generations, whatever the weather. Yet, they also exhibit the decorative quality usually reserved for our interiors. Their whimsical form and flowing lines give them an elegance rarely seen in garden furniture. And it's not just furniture they are known for, but other outdoor iron pieces too. Indeed, their tiered plant stand has become a favourite style in the gardening world.
Antique Arras pieces have occupied many many homes and gardens in their life. Years of painting and re-painting give their tables and chairs a beautifully layered texture and patina. Suitable for indoor or outdoor spaces, Arras furniture is well worth the investment.
You can browse the Arras furniture we have in stock on our website. For more French antiques, read our latest articles on bistro furniture and collecting confit pots.
Our extensive garden antiques collection includes planters, tables, seating and other ornaments.
The relationship between humankind and our fellow species has long influenced design. Lion’s paw feet adorn furniture from a range of historical periods. These charming feet are not only decorative but also full of symbolism.
The king of beasts
The lion’s symbolic power has resonated with countless generations of royalty and aristocracy. Since the ancient world, humans have revered the lion as a symbol of strength, majesty, courage, and fortitude.
The earliest examples of paw feet on furniture survive from ancient Egyptian tombs. The Egyptians believed that strength could be conveyed from the animal represented on a chair to the person sitting in it. As a result, they raised a lion’s paw on a plinth base. This ‘drum base’ separated the paw from the dirty floor so that a seamless transfer of power could occur.
Lion iconography permeated throughout the ancient world, with the Assyrians, Greeks, and Romans all following suit. The Romans commonly terminated a single-based table with a lion’s leg and paw feet, hence they acquired the name monopodium foot. Of course, there's an irony in the fact that Roman emperors commonly kept these majestic beasts in captivity or used them for entertainment.
It was these classical beginnings that saw lion’s paw feet appear again and again from the Renaissance onwards, as designers embraced antiquity.
Lion's paw feet in antique furniture
Different periods have favoured various animal feet according to their design aims. We see the prolific ball and claw feet, pad feet, and hoof feet at different points. But the distinctive lion’s paw has been revived particularly extensively, and this popularity is worth exploring.
During the 18th Century, a groundswell against the heavy and imposing furniture of William and Mary prompted a change. In the Queen Anne period, furniture became far more graceful and refined. An interest in classical themes naturally emerged and, because of the prominence of animalistic imagery in antiquity, it wasn’t long before animal feet appeared on English furniture.
Excellence in cabinet-making during the Georgian period did great justice to the lion’s paw foot. Chippendale himself was a great fan of terminating chairs and other pieces with the monopodium foot. The transition between the Georgian and Regency period, when furniture became larger and more extravagant, demonstrates the versatility of the lion’s paw.
Regency heyday
The Regency was an eclectic melting pot of influences and ideals. The Prince Regent oversaw a period of design that combined antiquity with new exotic timbers and oriental influences. And yet, despite this influx of new styles, the lion’s paw survived. In fact, the Regency represents its heyday in English furniture.
Paw feet were a natural accent for the extravagant furniture that decked out Regency homes. Regency designers sought to revive Greco-Roman models in a more exact manner than ever before. They even produced tripod stands and tables in the ancient Roman style, with the classic monopodium foot.
In particular, one of the most well-known Regency designers, Thomas Hope, wholeheartedly embraced the lion's paw. Inspired by his Grand Tour travels, he terminated everything from vases to cabinets with lion's paw feet.
The symbol of Empire
The lion’s intrinsic qualities of strength and majesty, and more controversially pride and wrath, saw it adopted again and again by leaders. Most notably, French Empire furniture portrays lion’s paw feet on a majority of pieces. During the Empire, Napoleon imposed a near-total centralisation of the arts. His designers made furniture that was large and simple- reflecting the supposed dignity of his reign- but adorned with symbolic motifs.
Ormolu mounts referenced antiquity and the lion's paw adorned the bottom of all sorts of pieces, often gilded for impact. For Napoleon, the lion was an obvious choice. His grip on power was tenuous and based entirely on military victories, so he channelled the power of the king of beasts just as his Egyptian ancestors had.
Adaptations of the lion's paw
As we have seen, the lion’s paw survived numerous periods and its presence spread far and wide. But this does not mean we see the same paw again and again. In fact, the monopodium foot changed dramatically over the centuries. We see primitive versions in early examples, where knowledge of the actual anatomy of the lion was often limited. In simpler countryside furniture, the foot is also carved in low relief and you may not notice the paws until closer inspection.
At the other end of the scale, as cabinet-making techniques advanced, lion's paws developed life-like clarity. As a result, paws emphasised individual toes and sometimes even had claws. Often, cabriole legs blend seamlessly into the paw and create the impression of an entire leg. In other examples, you simply see a lion’s paws projecting from the bottom of a piece of case furniture. The claws were sometimes shown gripping a ball, as the prolific ball and claw foot merged with the lion's paw.
The lion’s paw generally became bigger and more imposing over time, reflecting growing empires and increasing skill.
The lion's legacy
Paw feet are full of history and symbolic might. Not only did they have a huge presence in French and English furniture, but also throughout Europe and in Asia. These feet were so appealing that they even appear on sleek Mid Century furniture designed by the likes of Maison Jansen.
Paw feet give a piece of furniture a finished feel and demonstrate skilled cabinet-making. They are one of the many fantastic features that elevate antique furniture above any modern examples. Browse all the lion's paw feet in our collection here.
"The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art." During the lockdown, we spoke to Countess Alexandra Tolstoy about her cottage in Oxfordshire, home-schooling, and how she reflects her Russian roots in her interiors.
Q: How are you finding home-schooling your children? Have you got any tips or tricks?
A: I can’t say I love it! My children go to French schools, but my French is only GCSE standard, so it’s a huge struggle helping my older son to read Rabelais and Moliere- not to mention binary long division! We never seem to get everything done but I often read out loud to my children. Recently it’s been King Solomon's Mines, The Arabian Nights, and the Narnia series. I hope this is giving them another layer of education that can’t be found at school. I also make sure they go outside every day. We are lucky to be in lockdown in our cottage so they can whizz around on their bikes or go up into the woods and make camps.
Q: You grew up in the Somerset countryside but spent long periods in Moscow and London. Do you feel most at home in the city or the countryside?
A: I love both equally. People often assume I prefer the countryside but I adore the city- both London and Moscow- and couldn’t live without it. I need the inspiration and creativity that I find from being with others and I’m not a solitary person!
As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting.
Q: Your cottage in Oxfordshire is the definition of Cotswolds charm. How do you go about decorating a smaller space?
A: I think, contrary to common belief, small spaces can (and for me should!) be full of layers and details. I always try and be authentic and respectful to the building I’m decorating. As our cottage is early 18th Century, I took it back to its roots by lime plastering all the walls. This gives it a simple white background for all the Staffordshire, lustreware and oak furniture that I love collecting. All the children sleep in one room- I just found extra narrow Victorian brass beds on Ebay!
Q: How is the cottage coping with the demands of serving as a family home during lockdown?
A: It’s amazing, rather like a tardis! I have an outside office that my son has made into his classroom. The younger two don't have many live lessons, so I work with them at the kitchen table a lot whilst cooking and trying to do my own work. I love the feeling of spilling from inside to outside and they run in and out all day long (bringing far too much mud in!). We brought minimal clothes so I’m constantly washing, but we don’t have a problem with storage. The children are very good about playing with their Lego in a small space in front of the fire.
It’s lovely that we’ve been able to spend so much time here, it's usually a holiday rental and we spend a maximum of two weeks here at a time. I’ve loved watching the winter months go by and having fires every day.
Q: How are your Russian roots reflected in your interiors?
A: I think they are reflected most in our London home. The house is full of rich colours, painted Eastern European antique furniture, and lots of layers of textiles and folk art. We have icons, of course, and lots of touches of gilt that probably reflect Russian churches. I love embroidery and have collected beautiful silk Uzbek chopans (coats) on my travels that hang in my bedroom. I suppose it’s an eclectic mix of all my life- Russian, English and Central Asian.
Q: Your style has a folkloric feel which we love, where does this stem from?
A: I suppose from my travels. I spent many months riding through remote Russian villages in Siberia and southern Russia. I was enchanted by the colourful, whimsical wooden houses with their huge stoves and intricately carved windows. They were like something straight out of the pages of Pushkin’s fairytales. But I also think my English family has influenced me. My mother is one of seven children, and they were brought up to do everything by hand- knitting, sewing, smocking, embroidery, painting etc. They all grow their own vegetables and are great cooks, with a love of the land and traditions. I experienced this from early childhood and it has definitely been a great influence.
I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: You have faced many challenges in recent years, where do you turn to for comfort and joy?
A: I am Russian Orthodox and my faith has given me a lot of strength. I think I also built resilience through travelling. I had to be so independent and overcome many obstacles alone, which has served me in good stead. From an early age, I also read and read romantic 19th Century European literature, which I believe gave me the imagination and scope to see past my own experiences. I encourage my children to read above everything else because that was the greatest gift my father gave me.
Q: The Christie's sale of the contents of your London home was a breath-taking reflection of the interiors, designed by Colefax and Fowler. What piece were you saddest to see go?
A: I was very sad to lose a wooden model of the Sergiev Posad Monastery, the oldest monastery in Russia, as this was a personal belonging. But overall I wasn’t sad at all- these are only things and it was liberating to realise I could let go and our lives have only moved onwards and upwards.
Q: Are you a minimalist or a maximalist at heart?
A: A maximalist for sure!!!!!
Q: You have a distinctive sense of style, and The Tolstoy Edit is a hive of inspiration. Do you consider yourself a trend-setter?
A: Oh no! I don’t like trends and don’t follow them myself. I think if you like something, you like it- irrespective of the era. Fortunately, I know exactly what I like and these days I don’t feel like I make huge mistakes, but that took many years to hone!
Q: Your love of horse-riding is well-known, has this been a passion since childhood?
A: I did love ponies in my childhood but my passion is more about travelling in these wild places- horses are the most wonderful way to see unspoilt corners of the world.
Q: What is your favourite room in the home? Why?
A: I think it has to be the kitchen. I adore entertaining and baking and everything seems to happen there. I’m a sociable person so the pandemic has been testing. I adore having people over for dinner and making an occasion of anything and everything!
Q: What is your ultimate comfort food dish?
A: Hmm, it probably has to be my freshly baked carrot and walnut cake!
Read all of our Q&As on L-Shaped.
At the start of 2021, Lorfords Contemporary launched its first collaborative collection with the renowned interior design company Turner Pocock.
This relationship, however, goes back much further. Toby Lorford has worked with Bunny Turner and Emma Pocock for years with fantastic results. Their combined expertise has allowed them to design and craft bespoke furniture to meet a range of client desires.
This meeting of creative minds has culminated in a wonderful collection of upholstered furniture. The Turner Pocock x Lorfords Contemporary collection offers immaculate design and superior comfort. The pieces combine Turner Pocock’s signature aesthetic with Lorfords’ expertise in traditional luxury furniture.
Quintessential English upholstery
As interior design increasingly blurs the boundaries between town and country, traditional and contemporary, this new collection offers the very best of all worlds. Each piece reflects a lengthy product development process and the end result is a refined take on British luxury furniture.
Turner Pocock’s unique approach brings delicate details and precise lines to this collection. Meanwhile, Lorfords Contemporary offers their expert understanding of English upholstery. Each piece reflects the time-honoured techniques behind it and prioritises excellent quality. These methods include hand-tied springs, meticulous stitching, and luscious feather-and-down cushioning. This handmade approach means that you can treasure Lorfords' pieces for years to come.
Lorfords Contemporary are always reassessing how to incorporate new sustainable materials whilst preserving traditional upholstery techniques. Using only high-quality materials and supporting the local economy are top priorities. The frame of each piece is made from locally grown beech or oak, whilst the brass castors are crafted in Devon.
"Sustainable luxury has always been fundamental to my vision for Lorfords Contemporary. I have long been an admirer of Turner Pocock’s unique aesthetic which interprets contemporary designs with a resolute determination to ensure they maintain the level of luxury and comfort of a timeless classic. It has been inspiring (and a lot of fun!) to work together to create this collection." Toby Lorford
Some of our favourite pieces...
TP Modern Sofa
This large contemporary sofa will take pride of place in any sitting room with its luxurious, deeply cushioned seat and back.
TP End of Bed Bench
Modern design and traditional upholstery processes inform this versatile bench. The refined frame detailing is complemented by a hand-stitched cushion, finished with an understated decorative banding around the base.
TP Ottoman with Skirt
Elegant and beautifully crafted ottoman, with turned oak legs and finished with a simple flat skirt. Hand-stitching throughout the top surface is detailed and functional. This piece embraces the style and ethos of traditional upholstery.
Shop the full collection at lorfords.com. Find out more about Bunny Turner and Emma Pocock in our Q&A.
As rattan enjoys another heyday, we explore the appeal of wicker furniture and how to style it in your home. Indoors or out, in small doses or entire schemes, this versatile material continues to permeate our interiors for good reason.
The rattan advantage
Rattan has been harvested throughout history in the tropical jungles of Australia, Africa, and Asia because it is both strong and malleable. A member of the palm family, this trailing vine plant takes the form of a long and thin stem that grows tall. In fact, it is very sustainable, being the quickest developing tropical wood and taking only 5-7 years to renew.
Rattan is similar to bamboo, but crucial differences make the former easier to work with. Whist the bamboo stem is hollow, rattan stems are dense through to their core. Bamboo is certainly strong, but it is more likely to crack and split under pressure. The outer core of the rattan stem is one of the hardest plant materials in the world, yet it is soft and porous inside. The ecological prowess of this plant and its pliant qualities help to explain its popularity throughout history.
Wicker throughout the ages
Rattan and steel drinks trolley, designed by Raoul Guys.
Talking about rattan and wicker can cause confusion. Wicker refers to the process of weaving raw materials to create an object, and it is one of the oldest methods of furniture-making. Wickerwork was integral to the formation of civilisation, from China to Egypt. Basketware was the main outlet, and beautiful examples survive from ancient communities. The Egyptian craft inspired the Romans, who adopted wicker as their own and spread it throughout their Empire. In these early stages, wickerwork in lots of countries often relied on weaker materials like rush and palm. It wasn't until the 'Age of Exploration' in the 15th Century that a far more suitable material began to spread around the world.
By the 17th Century, wickerwork in Northern Europe increasingly began to resemble what we see today. Wicker was particularly popular for cribs, bassinets, and other such baby items. Over the next two centuries, rising trade with Asia brought rattan to the West. This brought Europe and America a new, stronger material for wickerwork and the desire for a tropical look and feel became more popular. The Victorians were particularly enamoured with this material, considering it exotic but just about civilised and refined enough for their tastes. Rattan furniture was then imported from Britain's colonies in the Far East during the late 19th and early 20th Centuries. It boomed considerably in America, with the Wakefield Company and Haywood Brothers & Company offering large-scale manufacture of rattan furniture. Our love affair with woven furnishings was in full swing.
Mid Century meets rattan
Pair of French Mid Century rattan and wrought-iron armchairs.
Like other 70s trends, rattan has resurged with a vengeance in the 21st Century. We see its prevalence on the antiques and vintage market, but also in modern homeware and garden stores. Rattan use has varied greatly depending on periods and styles, proving its adaptability. We owe much to Mid Century designers for redefining the use of the material in design. In the late 40s and 50s, the world was still reeling from war and there was a desire for furnishings that reflected a more casual lifestyle.
Rattan was utilitarian, comfortable, and aesthetically pleasing. Suddenly, it was everywhere and it stood for stylish and understated sophistication. Designers and collectors realised that rattan, far from being dated, was actually very well-suited to modern life. Paul Frankl was one of the first major designers to experiment with the plant in modern design. Frankl used rattan for his sleek Art Deco designs, and it was a perfect complement to his ergonomic shapes.
In the later 20th Century, the likes of Gabriella Crespi proved that woven furniture could be both functional and glamorous. The iconic Italian designer drew her inspiration from the Far East and combined rattan and bamboo with everything from tubular steel to African red marble.
The 80s came and a demand for more high-tech design left rattan in the shadows again. But this certainly wouldn’t be the last time we saw it…
Styling wicker furniture
Wicker furniture is in the midst of another zenith, and this time it might just be here to stay. Indeed, following the latest hit BBC drama, The Serpent, searches for rattan furniture have surged along with other 1970s trends. As its popularity continues to endure, open-mindedness is key to styling rattan in your home.
Whenever wicker has fallen from favour, it has been unfairly associated with dated décor and clichéd garden furniture. But it is far from boring, and far from passé. On a practical level, rattan is breathable, comfortable, and easy to clean. But it is also a versatile visual treat. Woven furniture can be used in whole suites, or just use a couple of one-off pieces to bring texture and interest. Rattan is a natural partner for everything from dark wood, to bold modern light fittings, to polished brass. As a result, it looks at home in every room. Elegant wicker pieces are your trusty design saviour, whether you are looking for bathroom shelves or a drinks trolley for the home office.
There's also a presumption that rattan only suits a fresh white minimalist scheme. Not so; the natural patina of the wickerwork sings against punchy paint colours and vibrant accessories. It works wonderfully with bohemian or shabby chic styles, but there are also Mid Century examples that gave rattan a smart, sleek-lined facelift. From the sprawling country pile to the minimalist townhouse, a scattering of wicker is welcome in any style of interior. Of course, the qualities and look of wicker furniture make it well-suited to outdoor spaces too. Combine rattan with bright textiles in a conservatory or patio setting to welcome in the Spring.
To view our collection of rattan furniture and accessories, click here.
The 18th Century writer Savary des Brulons described marquetry as 'paintings in wood.' He refers to the process of creating a decorative image by applying thin pieces of wood over the surface of an object. This intricate process can transform a piece of furniture into a masterpiece.
The Italians were the first to use marquetry in the 13th Century, but the Dutch perfected and spread the art throughout Europe. The first English examples arrived in the Stuart period and it was in full swing by the late 17th Century. Over in France, Louis XIV was keen not to miss out on this new European trend, ordered a Marqueters Guild be set up in 1743.
In Britain, its popularity would ebb and flow but England's love affair with neoclassicism produced some particularly stunning examples. Thomas Chippendale, along with his force of about 50 artisans, was an undisputed master of marquetry.
He collaborated with Robert Adam on the interiors of Harewood House, which still holds brilliant examples of his furniture. Chippendale's Diana and Minerva commode is particularly famous and featured beautifully intricate marquetry on a satinwood ground. His marquetry writing desk, now housed at Temple Newsham, is perhaps one of the most important pieces in English furniture history.
Exquisite cabinet-making
Very thin layers were key, so craftsmen often used veneers or very thin sheets of material like hardwood. Having planned a design, they would then cut these layers into the necessary shapes and glue them to the surface. With painstaking care, this would bring the desired pattern to life. Most impressively, cabinet-makers carried out this complex and technical process by hand for centuries.
Using a variety of different woods was key to colour differentiation and creating a striking decorative effect. Cabinet-makers favoured maple, oak, mahogany, and satinwood for their rich and varied hues. Walnut often formed the background, because its richness allowed the lighter woods to stand out.
Marquetry created a range of imagery, from foliate borders to whimsical pastoral scenes. Generally, floral marquetry represents an earlier period and arabesque a later period. Floral involves acanthus foliate decoration, vines, flowers, and sometimes birds. Arabesque, or seaweed marquetry, generally only used two kinds of wood- holly for the decoration and walnut for the background. This method relied not so much on colour but on extremely fine scrollwork and other controlled decoration.
There is sometimes confusion between 'marquetry,' 'inlay,' and 'boulle.' The results can look very similar, but marquetry does not rely at all on the surface to form the desired image. Inlays use a recess in the surface to input another material, such as bone.
Andre-Charles Boulle, a prolific cabinet-maker in the court of Louis XIV, created 'boulle marquetry.' This technique achieved even more elaborate decoration out of brass, tortoise-shell, mother-of-pearl, and other inlays.
Marquetry naturally evolved as more materials and tools became available, but its decorative power has never truly fallen from fashion. Today, carpenters and furniture designers draw on legendary examples from the likes of Chippendale to create modern masterpieces.
View some fine marquetry pieces from our collection here.
'Work from home.’ It’s the phrase that has defined the last ten months or so of our lives. Whether or not home has always been the natural habitat for your work, many have rushed to transform part of their house into a workspace. The Lorfords collection is full of unique pieces that will bring your dream Mid Century Modern home office to life.
The psychology of our interiors
Studies show that the more personal control we have over our office space, the happier we are. The ability to get creative with our workspace and have our favourite furnishings close at hand is a silver lining of the current circumstances.
One of the biggest challenges of staying at home has been drawing a line between work time and our personal lives. This gives you all the more reason to invest in your office space and create an environment you want to spend all day in, before returning to those parts of your home that you associate with relaxing.
Calm, uncluttered surroundings encourage efficiency and productivity. This can be difficult to achieve at home, but by dedicating a space for work you are halfway there, and Mid Century Modern design will do the rest.
It can be easy to feel as though you are ‘playing office’ whilst working from home, so it’s important to get creative with your space and invest in it. Stylish and useful furniture is conducive to your productivity, as well as your happiness.
A la mode
Media and popular culture have made Mid Century design an object of fascination. From the smooth teak and glass of the Mad Men office to the contemporary prints and low chairs of Miranda Priestley’s office in The Devil Wears Prada, the understated glamour of a Mid Century Modern office is well-known.
The post-war period was a new age of prosperity, and many migrated to urban and suburban areas. After the horrors of war, there was a desire for more human, organic and natural design. Inspiration was sought from America and Scandinavia, and designers eagerly embraced new materials like plywood and plastic. Manufacturers had machinery and mass production at their disposal, so luckily many fantastic pieces survive today.
Furnishing newly built homes and smaller living spaces saw design take on new priorities, and functionality was a top priority. Designers didn’t skimp on style, however, and the iconic designs they brought to life have timeless appeal.
Mid Century designers
Designers of the Mid Century Modern period wanted to make furniture accessible to everyone, not just the very wealthy. The contributors to this new democratic style were many, including Arne Jacobsen and Harry Bertoia. Ray and Charles Eames were the design power couple of their day, and it's their executive desk that graces Don Draper's office in Mad Men.
Far from dull, design in this period was full of juxtapositions. Designs were extremely varied, and you might struggle to spot what a marshmallow sofa and a teak sideboard have in common. However, there were certain principles that united these designers in their plight: fine craftsmanship, quality, and chic style.
The straight-lined silhouettes of Mid Century Modern furniture make it the perfect choice for an office. Manufacturers of the period, such as Herman Miller, focussed in on office furniture and produced desks, chairs, and savvy storage solutions. George Nelson was a key mover and shaker in Mid Century Modern design. His iconic Storagewall design captured attention far and wide and he is credited with designing the first L-Shaped desk.
Redefine 'office'
There’s more to working life than a desk and a chair. Nobody wants to work amongst empty cups of tea and a teetering stack of paperwork, but many of us do. It may be a cliché, but it’s difficult to argue with the concept of ‘tidy desk, tidy mind.’
It's often unrealistic to reimagine a whole room of the home in one style, but a few key pieces will transform a space. Credenzas and sideboards were already furniture stalwarts, but they were revolutionised in this period. Fitting unobtrusively against the wall, they provide storage and a surface for display. Most importantly, a sideboard or low cabinet means you can keep stress-inducing clutter out of sight.
When it comes to designing an office space, the mood can tend towards the clinical. Mid Century Modern is the perfect antidote to monotony because designers reinterpreted basic furniture with innovation and creative flair. Designers made chairs that were lower and broader, often supported on splayed UFO-style legs. They made many office-style chairs, with reclining and swivel functions. You've got your pick when it comes to desk chairs and should indulge in a big upholstered armchair for when you need a break.
Lighting was the major triumph of Mid Century design, and designs are famous and sought-after today. From practical floor lamps to Sciolari's spectacular sputnik light, lighting is the ultimate flourish for a 20th Century home office. Maison Charles’ iconic palm standard lamps demonstrate how natural forms were embraced in this period, and they make a great statement in an office setting.
Punchy Mid Century modern accents
20th Century design was far from solely utilitarian. Designs from this period were full of creative flair, and this should be reflected in a Mid Century Modern office. This was the heyday of faux tortoiseshell, glass, contrasting woods, bright colour, and abstract art. Adorn a brass and glass coffee table with a lucite magazine holder, or fabulous colourful glasswork by Val Saint Lambert.
There’s no point in working in a space that won’t inspire creativity and progress. Surround yourself with fabulous contemporary art and sculpture that makes you feel content and calm. Colour and character are key to boosting your mood in a long working day. This was an age of bold and pioneering design, and by surrounding yourself with examples of it you encourage the same in your work endeavours.
Whatever your personal style, there is something to love in this spectacular period of design. Mid Century Modern pieces have the power to transform a space into the perfect home office. For further inspiration, have a browse of our lookbook: Office Envy.
No point in British history had such a profound and lasting impact on furniture design as the Georgian period. Let's take a closer look at this towering legacy.
Georgian England
The Georgian period counts for over a century of English history. Four consecutive George’s were on the throne, and it was a time of relative stability.
Beginning with George I and ending with George IV, Georgian England encompassed a wide range of design styles. The enduring legacy, however, is one of sturdy and high-quality furniture that exudes elegance.
There’s a certain vitality to the Georgian period, reflected in its furniture and other antiques. Democracy was growing and it was a time of relative peace and prosperity. This was the era when games tables came to the fore, and interiors revolved around entertaining. Grand homes, such as Chiswick House, needed furnishings for entertaining guests for days at a time. Pieces had to be functional, but also on-trend, and cabinet-makers delivered to that brief.
The ‘early Georgian’ period refers to the reigns of George I and George II. Under George I, the elegant furniture of Queen Anne continued, whilst Rococo style flourished under George II.
The ‘late Georgian’ period correlates with George III, who reigned from 1760 to 1820. This was the heyday of Chippendale, Hepplewhite and Sheraton and neoclassicism took off. George IV, as Prince Regent, reigned on behalf of his father for the last nine years before taking over as King.
George IV pioneered the well-known Regency style. Our previous blog explored the Regency in-depth, so we will focus on the prior period in this article.
The mahogany revolution
Georgian furniture did not just make use of mahogany as a material- the timber dictated design in this period. This exotic wood was not a new discovery; designers had long admired it and used it for the finest of pieces.
The timber of choice up until this point was walnut, but several factors side-lined it in favour of mahogany. England had been heavily reliant on France for importing walnut, until France banned its export in 1720. Shortly after, in 1721, Sir Robert Walpole as British Prime Minister lifted the tax on mahogany.
Thus, the mahogany revolution began, offering an indispensable resource to the cabinet-makers of the 18th Century. The timber was sourced mostly from Jamaica at first, and then Honduras.
This wood was durable and tough, with a very fine grain that resisted scratches and bumps. Mahogany blended seamlessly with ornament and lent itself well to the elegance that defined this period of furniture design.
Mahogany wasn't the only exotic timber coveted in this period; designers also exalted the boldly striped figuring of rosewood and satinwood.
The Georgian protagonists
Both the excellence of furniture in this period as well as its varying styles are down to the master cabinet-makers of Georgian England.
The Georgian period saw a growth of the middle and lower upper class in England. This created a thirst for possessions and furniture, which provided a strong market for the cabinet-maker. And what an era for cabinet-making it was!
Chippendale's era
Thomas Chippendale was the first on the Georgian furniture scene in London, the centre of high society. Entrepreneurial by nature, he is widely regarded as one of the finest furniture designers in English history. In 1754, he found some fame with The Gentleman and Cabinet- Maker's Dictionary. With numerous reprints and editions, this pattern book was sourced by fellow cabinet-makers, architects and noble gentleman.
Chippendale was a man who found inspiration and wonder in everything he saw. He drew upon French Rococo style, more classic French style, the Gothic and the Chinese. The Chippendale legacy is aligned with English Rococo style, though he spanned so many styles with ease. William Kent was another designer who enthusiastically embraced Rococo as well as Palladianism.
Chippendale catered to swelling demand for functional yet stylish furniture. He accepted commissions to provide interiors totally in the Chippendale style for wealthy households. Chippendale pieces are famous; the camelback sofa, ribbonback chairs, and shell and acanthus decoration feature heavily. Collectors exalt his chairs, sofas, mirrors, and serving tables as some of the finest furniture in the world. He was known for bold brass hardware, fretwork moulding and cabriole legs with ball and claw feet.
‘Country Chippendale’ and ‘Irish Chippendale’ emerged in the second half of the 18th Century. Rural craftsmen emulated his designs, using native woods rather than mahogany. These are wonderful pieces in their own right, but the quality does not compare with his original designs.
Neoclassicism
Where Chippendale pushed the boundaries, experimenting with new fashions, other designers brought furniture back to basics. Hepplewhite and Sheraton later joined Chippendale as key players in the furniture design of this period. The combined influence of these three men upon English furniture was nothing short of monumental.
As we move into the mid-late Georgian period, neoclassicism begins to dominate furniture design. These designers were of the 'Grand Tour' generation and drew inspiration from Greek antiquity. Robert Adams was undoubtedly the most significant proponent of English neoclassicism. Along with his brother James, the Adams' personal take on Palladian architecture and furniture sent shockwaves through design circles.
Chippendale became aware that change was underfoot, and so he took neoclassicism and ran with it. Some of his greatest successes were in this later period, and the neoclassical Harewood House is still home to some of his best furniture designs.
However, neoclassicism was Hepplewhite and Sheraton's guiding principle from the outset. Despite his huge legacy, George Hepplewhite the man is something of a mystery. He died in 1786, leaving his estate and business to his widow, Alice Hepplewhite. Alice carried on under her own name: A. Hepplewhite & Co. It was his widow who published The Cabinet-Maker and Upholster's Guide in 1788. This book would catapult Hepplewhite to the centre of furniture design.
Hepplewhite pieces draw upon French neoclassicism under Louis XV and Louis XVI. This pair of French salon chairs exhibit his style perfectly.
Hepplewhite was the 'master of the sideboard,' and his designs were light, well-proportioned and beautifully polished. You might recognise them for their splayed feet and stunning inlay decorations.
Sheraton, the final Georgian master
Chippendale and Hepplewhite had passed on before Thomas Sheraton arrived on the London furniture scene in 1790. He very much continued in Hepplewhite's vein, and the beholder can confuse the two men's pieces. However, Sheraton pieces went the extra mile when it came to refinement. Known for his rectilinear shapes and often opting for straight or tapering legs, Sheraton used neoclassical motifs such as reeding and rosettes.
And so, as the Georgian period came to an end, Hepplewhite and Sheraton finished up on a neoclassical note. Their ornament was in contrasting woods and beautiful inlaid decoration. Hence, in the evolution of the Georgian period, you witness a trajectory that builds up to extravagant heights before cooling down to simpler designs.
Georgian antiques
Despite the multitude of styles in this period, the majority had durability and beauty in common. For this reason, Georgian antiques have survived in high numbers and are still very desirable.
It was a widely emulated style for many years, particularly in the 19th Century. Although reproductions are still covetable in their own right, look out for the differences.
England and France revived Georgian design in the 20th Century, as the English Country House style emerged. Over in America, the Georgian legacy gave rise to Federal style. This is fashion that has truly stood the test of time and continues to influence interior design trends to this day.
Georgian tables, chairs, lighting, and cabinets adapt easily to the modern home. The pieces are unobtrusive and showcase the finest craftsmanship.
Lorfords is home to lovely Georgian pieces, which will ease seamlessly into your interior. Browse our lookbook ‘Georgian Golden Age' to breathe new life into your home.