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What comes to mind when you think of leather? It might be a grand library filled with mysterious leather-bound books, or a welcoming pair of armchairs in a suave gentlemen’s club. It could be the supple seats of an Italian sports car, or even the luggage rack on the Orient Express. All of these settings have one thing in common – luxury.
From upholstery to footwear, leather is everywhere you look. It’s not hard to see why; this natural material combines strength with suppleness, and a rich warmth with laid-back chic. Antique and vintage pieces are the most ethical way to bring leather into our homes, and they have the alluring character that only comes with the passage of time.
From hunter-gatherers to Milanese fashion houses
Leather's stoic popularity over millennia is remarkable. It was one of man’s earliest and most useful discoveries, with our ancestors using it to craft clothing and tents for shelter. Although its origins were primitive, by the time of the Roman Empire you only found leather in the wealthiest homes. Men lounged on leather-covered seating while women sat on bare stools; it was a status symbol, and so began its long-standing association with luxury.
Leather rose to new prominence in the Middle Ages, becoming the go-to material for dining chairs because of its low maintenance qualities. Another major change came with industrial revolution, when leather-making processes became much more streamlined.
Vegetable tanning had been the most prolific method for preserving leather since the ancient Greeks. It did the job just fine, but it didn’t create the same soft, supple feel we recognise today. In the middle of the 19th century, chrome tanning using chromium salt replaced vegetable tanning. This was a cheaper, more efficient approach, but it also created fine quality leather suitable for everything from shoes to sofas.
Why choose vintage leather?
Like so many natural materials, leather gets better with age. Although it’s durable and straightforward to care for, it takes on different qualities over time and develops a unique time-worn character.
Firstly, it will become softer and more malleable, which is why vintage leather upholstery can’t be beaten on comfort. Much like timber, it will also take on a gorgeous patina, telling a story that simply can’t be matched by a brand new piece. You’ll see a subtle lustre in heavily used spots, and a spectrum of shades that range from light, almost yellow-brown to rich mahogany. The finer the quality of the original hide and the sharper the expertise of the producer, the better leather ages.
Leather upholstery
Leather upholstery offers a winning combination of sophistication and luxurious comfort. There really is something for everyone, too, whether you consider yourself a 'leather person' or not.
For instance, the structured nature of a deep-buttoned Chesterfield means you can dress it up or down, whether the setting is a smart drawing room or a luxurious dressing room. The squat, squashy club chairs that originated in hazy private members clubs offer the perfect spot to relax and read a book in today’s home. Others covet the more streamlined proportions of 20th century leather chairs which - while the epitome of chic - don’t compromise on comfort.
It's not all about stately sofas or enveloping armchairs, either. Lightweight, portable campaign chairs often had seat and back panels made from leather. These versatile chairs are effective for creating an informal seating area and they lend themselves to smaller spaces.
Omersa for Liberty's
Back in the 1930s, a leather furniture-maker for Liberty’s - 'Old Bill' - made a footstool in the shape of a pig from leftover hides. This charming prototype proved so popular that the department store continued to make the pigs up until Old Bill retired.
Luckily that didn't mark the end for them, and the leather company Omersa agreed to continue production for Liberty's. They soon expanded to other animals like elephants and rhinos, reflecting how in demand these unique stools were. We have several Omersa stools in our collection, each with the individual character that comes from a life of love in different homes.
If smaller-scale leather appeals to you, footstools are an effective way to bring its resonant warmth into your interiors.
Decorating with leather
Leather has been synonymous with various interior design styles over the decades, from New York loft apartments to midwestern ranches. As a result, we sometimes hesitate to use it in other, less obvious settings. But every interior needs a little of this versatile material, and there are endless ways to use it.
In a maximalist country home, for instance, interspersing florals and stripes with leather pieces brings contrast and depth to the space. At the other end of the spectrum, minimalist contemporary homes need its rich tones for warmth and texture. Don't feel restricted to upholstery, either. Interior designers are looking to use leather in more and more innovative ways. Covering an entire wall in leather may feel intimidating, but using it for door panels, rugs or room dividers adds a new dimension to the space.
This material is particularly effective where you want an air of sophistication, like a study or library. In these rooms, look to leather-accented cabinetry, desk chairs, and lined bureaus to create an old-world setting for modern work life. To relax like the Romans, we would choose a luxurious leather daybed, occasional tables, and board games.
From large-scale upholstery to a simple wastepaper bin, leather remains a time-honoured design hero. Browse our lookbook for inspiration on decorating with vintage and antique leather pieces.
The art of collecting antiques is a diverse one, spanning everything from film memorabilia to 18th Century mahogany furniture. The areas that often fascinate the most are those that relate to the lives of everyday people - from their cooking and eating habits to their romantic lives. Apothecaries, with their promise to heal one’s aches and pains before the dawn of modern medicine, have left behind objects that offer a unique insight into the lives of our forebears.
What is an apothecary?
What was would be a better question, as despite their best efforts to brand themselves as pharmacies, the modern-day equivalent would shrink from the association.
The word apothecary comes from apotheca - a place where wine, spices and herbs were stored - and it first came into our language in the 13th Century. Somewhat confusingly, 'apothecary' refers both to the salesperson and to their shop. For a long time, apothecaries were lumped in with grocers, spicers, and all manner of merchants. They were simply another group trying to sell their wares.
Quack medicine
Medieval medicine was based, for the most part, on the supernatural and superstitious. Apothecaries would swear that concoctions such as ‘Oil of Scorpion’ or ‘Balsam of Life’ could cure anything from boils to baldness. Their medical advice revolved around 'humoral theory' - the idea that we have four liquid humours in the body, and when these are out of balance you get disease.
‘Oil of Earthworms’ is an infamous example, promising to fix all manner of joint issues like arthritis and rickets. As the name suggests, it involved boiling earthworms in olive oil to apply to affected areas. While the oil was helpful, the role of the earthworms is dubious at best. It is perhaps not surprising then, that apothecaries were accused of 'quack medicine.' This phrase comes from the Dutch word quacksalver, meaning someone who falsely claimed medical knowledge in order to sell their wares.
Royal recognition
The lucky break for these early chemists came in 1617. That was the year ‘The Worshipful Society of Apothecaries of London’ - tricky to squeeze onto a business card - was formally incorporated by royal charter. King James I not only recognised apothecaries but separated them from grocers and gave them a level of medical credibility. This royal approval was driven partly by King James I’s fondness for his own apothecary, and he wasn’t alone - Samuel Pepys writes of loyally following the instructions of his when struck by illness.
Apothecaries didn't stop there - in 1704 the society won a lawsuit against the Royal College of Physicians in the House of Lords. The ruling declared that apothecaries could prescribe and dispense medicines - a significant turning point for the group. The Apothecaries Act of 1815 then gave the society the right to carry out examinations and grant medical licenses in England and Wales.
While it’s easy to dismiss this early medical practice as nonsense, that would be an oversimplification. The trial and error during these centuries undoubtedly paved the way for later breakthroughs. Many of those who worked in the apothecary trade were earnest in their pursuit of cures, and closely involved with botany. For example, the apothecary society founded the Chelsea Physic Garden in 1673 for the purpose of growing medicinal plants. Some of the most awe-inspiring botanicals that decorate our walls today were by eminent apothecaries - including those of Basilius Besler.
Inside the apothecary
Window shopping
Before you even set foot inside one of these establishments, a rather unique window display might have caught your eye. The ‘chemist’s carboy’ became a must-have for apothecaries in the 18th and 19th centuries.
These voluptuous glass bottles, often with elaborate cut glass stoppers, boomed in popularity alongside advances in glass production. While they were similar to the vessels you'd see inside, carboys were purely for advertising purposes. The owner would fill them with brightly coloured liquids to mimic chemical solutions and indicate their trade.
Carboys are a popular collector's item today, and they make for majestic decorative pieces. Leave them empty or fill them with corks, and keep them in the window to really pay homage to the apothecary.
Cabinet of curiosities
Once inside the apothecary, cacophonous sound would greet you. The apothecary trade revolved around grinding, pulverising and stirring to create its potions and lotions. It’s no surprise, then, that one of the objects we commonly associate with medical history is the humble pestle and mortar. Still a stalwart of today’s country kitchen, these are as decorative as they are useful.
The apothecary himself would be stood behind a counter, likely with a set of measuring scales in front of him. Indeed, scales are so synonymous with the trade that a measuring system was named after them - ‘apothecaries’ weights and measures.’ Many of these T-shaped balancing systems survive today and they bring quirky character to a kitchen.
It’s not just the tools of the trade that appeal to collectors. Unique apothecary furniture is highly desirable for injecting personality into interiors. Apothecary cabinets seem to trap the magic of the trade in their many drawers, with the remains of old labels for all things weird and wonderful. Countertops pummelled by hard work, a deep-aged patina, and a curious history - what more could you want for a soulful interior? Use these as a decorative sideboard, or make use of the drawers in a painting or textiles studio.
Cupboards, too, were essential furniture for apothecaries. Some of these charming cabinets feature remains of old paint, while others are simple brown wood. All offer a welcome alternative to fitted kitchen or pantry cabinets.
Antique apothecary bottles
Perhaps the most enduring legacy of apothecaries is the many bottles and jars that have lived to tell the tale. Glass was used for making apothecary bottles from the 1600s onwards. These range from clear glass, to humble brown, to azure blue. Apothecaries favoured coloured glass over clear to protect the contents from sunlight. They come in different shapes and sizes which can, to the discerning eye, give hints of their former purpose. For example, apothecaries used wide-necked bottles for syrups, so the stopper wouldn't stick to the viscous liquid. These are just a few examples of how yesterday's pragmatism has become today's beauty.
Collectors pore over the remains of labels, which were often a shimmering gold with black print. The idea of ornate medical bottles seems absurd today, but it indicates the pride and showmanship that accompanied this trade. These labels revealed the contents, usually in full or abbreviated Latin. A coveted example, such as ‘Oil of Earthworm’, is a momentous find for the serious collector. Apothecary travelling chests are also popular. These portable cabinets were the first aid kit of yesteryear, containing several bottles of solutions the traveller couldn't go without. They often had fine wood exteriors and plush silk or velvet interiors.
But the wonderful thing about apothecary antiques is that the mundane is often just as desirable as the historically significant. Fill a cluster of simple, aged apothecary bottles with garden flowers to bring whimsical charm to kitchen or bathroom shelves. Alternatively, go for the ‘en masse’ approach, with reams of apothecary bottles assembled on open shelving for dramatic impact.
Where did all the apothecaries go?
Apothecaries peaked in the 1700s, but soon gave way to Victorian chemists around the turn of the century. As medicine became a more serious discipline and industrial revolution transformed production, apothecaries faded into the history books. While 'Oil of Scorpion' may not be a go-to remedy in our local pharmacy - thankfully - we can still celebrate the charming relics of this bygone era.
Shop the look and browse our collection of apothecary antiques, from grand cabinets to humble jars, here.
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
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Heidi Hadfield, Accounts
Heidi's Top Picks
Robert Evans, Logistics Manager
Rob's Top Picks
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Carly Watkins, Marketing Manager
Carly's Top Picks
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Jane Body, Sales
Jane's Top Picks
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Hattie Icke, Logistics
Hattie's Top Picks
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Alice Hagues, Manager and Stylist
Alice's Top Picks
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Piers Ingall, Sales
Piers' Top Picks
Pair of 19th Century 'Bejewelled' Candlebras
Tom Valentine, Sales
Tom's Top Picks
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
Eleanor Buonaparte, Dealer Liaison and Stock Co-ordinator
Eleanor's Top Picks
French 19th Century Chandelier
Stephanie Ashby, Photographer
Steph's Top Picks
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
Sophie Jones, Marketing Assistant
Sophie's Top Picks
18th Century West Country Windsor Armchair
David Jeens, Restorer
Dave's Top Picks
Pair of Bristol Chemist Bottles
Cody Roberts, Logistics
Cody's Top Picks
Swedish 20th Century Pine Desk
Jordan Anderson, Logistics
Jordan's Top Picks
Large Mid 20th Century Terracotta Canova Lion
Chris Butterworth, Logistics
Chris' Top Picks
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.'
Antique and vintage pieces allow us to break free of the kitchen’s utilitarian confines. This hub of the home should reflect how we want to feel: relaxed and happy. Throw out the rulebook and use antique kitchen furniture and accents to create a bright, joyful space.
The kitchen is undoubtedly the hardest-working room in the home. Many of us learned this the hard way last year when we were plunged into lockdown for the first time. Not only are our kitchens the centre of cooking and eating, but they also serve - when required - as a makeshift home office, home school, or a space for new hobbies.
Our dependency on the kitchen for all this activity demands a design that can cope with the pressure. Indeed, it was the invention of new 'white goods' in the early 20th Century that led to the hassle-saving kitchen. When the dishwasher and the kitchen cooker arrived, so too emerged an emphasis on clean lines and efficiency. These practical kitchens were the precursor to the modern fitted kitchen.
However, the kitchen’s utilitarian focus can create a personality vacuum. What is it that makes so many kitchens today feel, well… the same? It’s the abundance of right-angles, uniform cabinetry, and neutral colour schemes. We tend to leave our self-expression to less-used rooms in our house. But if we spend so much time in this room, why not make it the most joyful place to be? The key to a new, more liberating design is to introduce a range of colours, textures and shapes. The best way to put some soul into your kitchen is through one-of-a-kind antique furniture and décor.
Antique kitchen cabinets
Domestic life has always demanded plenty of capable storage. From medieval trunks and chests, to the grand dressers in 18th Century interiors, to sleek Mid Century sideboards, we have a wide range of antique and vintage cabinetry at our disposal.
Kitchen revamps demand a major shift in mentality, particularly if you are avoiding the fitted cabinets route. For example, what is a kitchen island, actually? Could it not be an apothecary cabinet or a set of haberdashery drawers? Such storage furniture often provides ample drawers or cupboards, whilst bringing character and interest to a kitchen.
The usual constraint on any kitchen design is saving space. Antique storage keeps kitchen clutter out of sight and provides an interesting, decorative visual. A brightly painted folk art corner cupboard is a charming feature for any kitchen and won’t impose on the room. If you prefer a more polished look, mid-late 20th Century cabinetry was designed to improve our quality of life and be at once functional and aesthetic.
The antique and vintage cabinetry options are endless, and smart choices will allow you to combine utility and beauty.
Alternative dining furniture
Perhaps one of the more pleasant things to come out of lockdown has been the chance to sit down together for meals more often. A uniform set of chairs with a suitable table often works well, but uniformity doesn't have to mean mundanity. You can find wonderful antique and vintage dining sets that feel unique whilst serving your needs. Experiment with materials and think outside of the box.
The Mid Century and Mid Century Modern eras were all about improved living, and top designers in these years fused functionality with a stylish aesthetic. The wonderful vibrant orange polycarbonate and polished aluminium chairs by Kusch and Co featured in these images offer a lively yet practical option. Alternatively, there is nothing to stop you from combining a few styles around the table. Bring together benches and chairs that contrast yet complement one another for a welcoming dining space.
Antique kitchen lighting
Lighting is essential to a successful scheme in any room of the home and the kitchen is no different. Whether or not your kitchen is flooded with natural light, carefully placed lighting will make all the difference.
Levels are vital for creating a layered feel. You may have fitted spotlights, but a few noticeable light fittings are still important – not just for an additional light source, but for adding another layer to the decorative impact of the room. Industrial-style pendants over the dining table or kitchen counter are very on-trend, whilst a statement chandelier will make this busy heart of the home feel special.
Don’t save all of your most special antique and vintage lights for the living room – a well-lit kitchen will improve your daily living immensely. Pendant lights are always a wise choice for central spaces, but remember to draw attention to every corner with decorative floor lamps and wall lights.
Quirky antique and vintage décor
Because of the demands we place on our kitchen every day, valuables tend to be kept in safer areas. But, whilst we are championing bringing joy, it’s important to put your cherished things where you can see them.
When we interviewed Johnny Messum, founder of Messums Wiltshire, he emphasised the need to put artwork where it is truly appreciated. “Don’t put art in an obvious place, such as above the sofa – you will never see it. Put the work at a turning point, the wall in front of the door as you come in or the turn in the stairs. The bit by the fridge. These are the places you are more likely to look."
So, don’t shy away from styling your favourite set of prints in the kitchen – although perhaps place them far away from a temperamental blender. The same goes for decorative objects like glassware and collectibles. If small hands or paws are a concern, look above ground. Antique and vintage display furniture, such as shelves, baker’s racks and pedestals save space and draw attention to smaller treasures – without compromising the functionality of the kitchen.
Our collection of kitchen antiques includes cabinets, dining furniture, serveware and decorative pieces. Our lookbook, 'Kitchens with soul' is here to provide all the inspiration you need.
With its tall back and enclosing wings, the wingback armchair is a distinctive classic. It has established itself in the upholstered furniture lexicon with its offer of elegance and comfort. Whilst wingback armchairs now represent a timelessly stylish piece of furniture, their origins are very practical.
The ultimate fireside companion
Today, with our central heating and carpets, it is difficult to fathom quite how cold the old English home once was. 'Wings' were added to seating to protect the sitter from blustery draughts, as well as from stray embers and ashes that might spit out of the roaring fire.
The wingback still offers this protection, but there is clearly less need in today’s home. So why are these chairs still so prevalent in our interiors? Their stately yet enveloping form has made them a true stalwart of classic English furniture.
How did wingback armchairs emerge?
Simple beginnings
The first record of any sort of wingback chair was made in the 17th Century. At this time, its purpose was likely wholly utilitarian and these chairs were used for the aforementioned reasons. It was probably entirely wooden, perhaps with an added seat cushion for comfort. Indeed, the wingback armchair shares its wings, or ‘saddle cheeks,’ with the settle. Both variations were orientated around warmth and, of course, having a place to rest.
The Queen Anne heyday
During the Queen Anne years, the wingback evolved to become the classic English armchair we know today. Whilst Queen Anne only reigned from 1702 to 1714, the ‘Queen Anne’ style persevered for much of the first half of the 18th Century. This was the age of walnut and developing upholstery skills, which both elevated the wingback into something quite beautiful. Cabinet-makers combined these wings with the elegant new cabriole leg, with its curved knee and pad foot.
Interiors underwent a great deal of change during this period. As large-scale fireplaces and bigger windows emerged, there was a natural demand for furniture with similar proportions. Cabinet furniture became large and imposing and chairs had more generous proportions. Social change was underway too, and gatherings required plenty of sociable furniture. So, the wingback became the ultimate ‘easy chair’ during the Queen Anne years, and its use extended far beyond protection.
The wingback armchair established
From Queen Anne thereafter, the wingback had firmly earned its place in the English home. Georgian interpretations used walnut and mahogany frames with tall, shaped backs and wings. Wingback armchairs also found their way across the pond to France and elsewhere in Europe. Wings were a natural adornment for French bergères, particularly the curvaceous feminine examples seen under Louis XV.
The early 19th Century brought about an upholstery revolution, which swept the wingback armchair along in its tide. Prolific makers of the period, such as Howard & Sons, produced their own examples of the style popularised by Queen Anne. Comfort became a keen priority in Victorian Britain, and the wingback developed a perfect combination of comfort and aesthetic. By the time the English country house style was truly codified a century or so later, the wingback was already a classic in its own right.
Mid Century modern armchairs
The remarkable thing about these chairs is their never-ending appeal. From their primitive beginnings for warding off draughts, wings still appealed to designers of the mid to late 20th Century. Indeed, many modern furniture companies still produce the style. Over the years, wingbacks have sported everything from velvet to leather coverings – depending on current fashions.
At the heart of this enduring appreciation is the organic shapely feel wings give to a chair. Post-war designers across Europe adapted the feature to suit their sleek and functional designs. For instance, in 1957, Ottorino Aloisio designed a wonderful wingback which was manufactured in Pier Luigi Colli’s workshop. This chair appears to have almost nothing in common with a classic Queen Anne wingback; it has a simplistic silhouette with a metal frame and ergonomic feel. And yet, wings are such a distinct feature that wingback armchairs from all walks of life feel related.
Antique wingbacks for the modern home
These chairs are high and mighty, yet also comforting and welcoming. As a result, wingbacks have a place in all interiors. Wings give a chair an automatic sense of structure and presence. Their shape means they look brilliant from any angle, with a particularly striking side profile. Angle one or two beside the fire or incorporate them into a suite for a full English drawing room feel. Wingbacks and Chesterfield sofas share a respected legacy and complement each other wonderfully. Camelback sofas are another great match for these armchairs, due to their common s-curve form.
All armchairs feel at home in the living room, but a wingback will accentuate any corner of your home. Their cosiness is perfect for a bedroom chair, or to welcome guests in a foyer or hallway. The high back, deep seat and wings of a classic wingback make it a supportive reading chair for the library or home office.
The wingback style has truly stood the test of time. With their charming utilitarian history, these armchairs somehow feel both timeless and contemporary. They will sit proudly within a range of interior schemes and offer an opportunity to combine their classic silhouette with vibrant fabrics of your choice. Pair extravagant colours with a neutral setting, or vice versa place a simple wingback in front of floral wallpaper or brightly painted wall.
Browse our collection of wingback furniture here, and all of our armchairs here.
Chippendale: the greatest cabinetmaker of all time? A sweeping statement, certainly, but not far-fetched. Thomas Chippendale is among the most important, recognised and emulated of any designer in British history.
Born in Otley in 1718, Yorkshire would remain significant to Chippendale for the rest of his life. We know little else about his early days and can only assume he arrived in London to pursue a cabinet-making apprenticeship. The rest is history, as the young man would go on to become a key player in a golden age of furniture design - the Georgian period.
The Gentleman and Cabinet-Maker's Director
Thomas Chippendale statue in Otley
Chippendale set up a workshop on the prolific St. Martin’s Lane and his business grew quickly. A major turning point came when he published a pattern book, The Gentleman and Cabinet-Maker’s Director, in 1754. Comprising 160 engraved plates, Chippendale presented the book as: 'The most Elegant and Useful Designs of Hous(e)hold Furniture.' This pattern book swiftly secured his reputation. Georgian England had a flourishing middle class who desired practical yet fashionable furnishings. Interiors were rapidly changing, and cabinet-makers were high in demand. Chippendale answered the call, and his Director served as a catalogue of sorts.
The Director covered everything from highly fantastical designs to essential 18th Century domestic furniture. Chippendale even included designs specifically for country craftsmen, hence the parallel ‘country Chippendale’ style that emerged. Indeed, The Gentleman and Cabinet-Maker’s Director was enormously well-received and ran to various editions. High levels of production ensured that it was distributed far and wide, catering to the upper and middle classes and providing a textbook for provincial carpenters.
This was a clever publicity move. As more and more copies of his book sold, Chippendale’s prowess became famous throughout the country. Hence, commissions flooded in from society's elites as everyone wanted a piece of this man's expertise.
Recognising Chippendale antiques
Master of all styles
Perhaps Chippendale’s most important skill was his adaptability. The 18th Century was an exciting period of developing styles and Chippendale acted as an incessant facilitator. He intercepted every new fashion and taste and swiftly made them his own. He is most noted for his anglicised take on the rococo style. Chippendale's British rococo furniture drew inspiration from French Louis XV femininity but insisted on a more English refinement. One of the most famous Chippendale chairs, the ribband back with its cupid’s bow cresting rail, demonstrates his mastery of this style. Remarkably, he spanned two vastly different styles during his career - rococo and neoclassicism - with ease.
Chippendale period mahogany bookcase
Everything Chippendale came across enchanted him. He experimented extensively with the chinoiserie and gothic styles in particular. Indeed, the Chinese Chippendale style was synonymous with chic in the 18th Century. This was a time when the western world found all things oriental fascinating, and Chippendale never let an opportunity pass. He expertly incorporated pagoda-style pediments, fretwork, and other intricacies into his designs. The Chinese Chippendale chair, with its lattice back and faux bamboo and lacquer structure, was intensely popular in its time and remains iconic today.
Chippendale was unrivalled when it came to chair backs, and he expressed the gothic taste with pointed arches and s-shaped curves. Whatever he turned his hand to, he tapped its beauty and executed the designs with grace.
Chippendale's patrons
It wasn't long before Chippendale's reputation preceded him, and he received no shortage of high-profile commissions. In the late 1750s, the 5th Earl of Dumfries needed to furnish the majestic Dumfries House. He really wanted to impress; the Earl was heirless and needed to attract a new bride. Upon a visit to Chippendale's store on St. Martin's Lane, the Earl fell in love with the craftsman's work. He ended up ordering in one of the largest collections of Chippendale furniture on record, much of which still resides in Dumfries House today.
In 1767, he received a huge commission to furnish Harewood House. Returning to his roots, the neoclassical interiors of this Yorkshire house are some of Chippendale's very best work. Chippendale held the hand of his patrons right through the process. Surviving invoices for his project at Nostell Priory charge for everything from large-scale furniture to a chopping block. Indeed, when we think of Chippendale we often think of his most grandiose work. However, evidence and anecdotes suggest that the more mundane aspects of furnishing an interior were not beneath him. Remarkably, the cabinet-maker never received a royal warrant for his work - unlike some of his competitors.
Marquetry writing table, designed by Chippendale for Harewood House
A formidable legacy
Chippendale furniture has a classic elegance that we never tire of and will surely grace our interiors for more centuries to come. His furniture appeals to period and more contemporary schemes alike. His legacy lives on in every ribbon-carved chair and camelback sofa. It is also in the details, like his preference for a ball-and-claw foot or a set of glazed astragal doors. Period Chippendale furniture commands high prices today, but there are plenty of replica examples and pieces in his style. This is no bad thing, so long as you know what you are getting and it is well-made.
Statues in his hometown of Otley and on the facade of the V&A museum recognise Chippendale's extensive contributions. In so many ways, the craftsman encapsulates why antique furniture is so desirable. His work reflects a period of true excellence in pre-industrial cabinet-making, when the individual held a close relationship with a piece right through from its conception to its placement in a home.
To learn more about Chippendale's era, read our article: 'Spotlight on: Georgian furniture.'
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 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.
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.
Whilst revolution brewed, a majestic furniture style emerged in France. Louis XVI and his infamous wife, Marie Antoinette, oversaw a period of design that is still coveted today.
The Bourbon Dynasty
Louis XVI was the last of the Bourbon monarchs. He reigned from 1760 to 1789, ascending to the throne at just 20. Indecision and weakness of character plagued the King, who never quite lived up to the legacy of his ancestors.
Louis Seize was married to Marie Antoinette in order to assert diplomatic links with Austria. What the King lacked, the Queen made up for in many ways. She was the last Queen of France, and Marie Antoinette is remembered for her headstrong and extravagant ways.
The reigns of his predecessors were characterised by their own design preferences. The intention of his great-grandfather Louis XIV was simple: splendid, extravagant furnishings that reflected the monarchy in all its glory. Known as, 'The Sun King,' the sun was the royal emblem and the dominating principle of this reign was brilliance.
His grandfather, Louis XV, embraced the Rococo style and his furniture embodies femininity, comfort, and curving lines. Due to his string of mistresses, he asked for shorter chair armrests to accommodate their full skirts.
Whilst each King Louis had their own personal taste, certain pieces of furniture defined the whole dynasty. Furniture for specific functions became popular; Louis XIV introduced the commode and popularised writing desks and console tables. His reign was the apogee of giltwood furniture and his successors kept such features in their own design.
Looming tensions
In order to discuss Louis XVI design, we must delve into the socio-political tensions of his reign.
The King's life ended at the guillotine, accused of treason. Marie Antoinette's lavish tastes provoked the public and she met the same fate as her husband.
The royal couple was not ignorant of the angry masses, but their efforts to appease them were minimal. Pattern and design in furniture made use of the natural grain of the wood in an effort to identify with starving Parisians. The King once wore a peasant hat to sit for a portrait in an attempt to show solidarity, but the seeds of resentment were already firmly sown in the French people.
Louis XVI inherited financial problems and exacerbated them with his careless spending. Heavy taxation further alienated the people, particularly as the Queen ordered vast amounts of furnishings. Legend says Marie Antoinette once responded to news that the people had no bread with the classic remark, 'let them eat cake.'
When the monarchy was overthrown, royals and nobles had to forfeit their luxuries, and swathes of furniture from this period were lost. Therefore, a period Louis XVI piece prompts real excitement both for its beauty and historical context.
Louis XVI style
Design under Louis Seize was a mixture of continuity and innovation. The relationship between France and the classical world evolved over time and French neoclassicism was particularly aligned with the English style. English influence during this period is clear in the use of mahogany for chair backs and veneers.
Furniture design under Louis XVI consolidated previous eras in many ways. There was no dramatic overhaul or principled u-turn, but the changes transformed French furniture into a force of beauty. Louis XVI furniture is more angular than earlier periods, with straight lines and geometric patterns. Restrained, short tapering legs replaced the cabriole style associated with Louis XV.
Neoclassical influence already existed in France, known as goût grec or ‘Greek taste.’ The discovery of Pompeii and Herculaneum fuelled enthusiasm for this new architectural style. Marie Antoinette constantly commissioned pieces in this style for her quarters at Versailles. The classical influence was expressed through motifs as well as shape. Louis XVI pieces exhibit plenty of carved friezes, cornucopia, egg and dart, and oak and laurel leaf.
However, this was still the opulent French monarchy. Bronze fittings adorned almost every piece of furniture and ormolu mounts were common. Marquetry evolved away from florals and towards the geometric, so lots of beautiful games tables emerged. The commode, ushered in under Louis XIV, remained iconic under his great-grandson.
Louis XVI designers
Louis XVI’s reign is often considered the golden age of cabinet-making. Marie Antoinette imported many designers from Germany and Holland. The Queen's Austrian roots had a clear influence on design and these individuals outshone their French counterparts.
Jean-Henri Riesener held royal patronage from 1771 and is one of the most prolific designers of the time. He preferred exotic, luxurious materials for marquetry and ornamentation. His works feature gilded lacquer, mother-of-pearl and gilded ormolu mounts.
18th Century French furniture would not have reached its full potential without Georges Jacob. Jacob began working in the style of Louis XV, but swiftly adopted the style of the new King. This latter period is when his innovative designs reached their peak.
Georges Jacob's motif of triangles with rosettes adorn the joints between the arms and backs of chairs. In the late Louis XVI period, Jacob decorated the square section at the top of chair legs with daisies or small suns. This master cabinet-maker pioneered circular seat frames and spiral armrests, which became distinctive features of this period. His patrons included Marie Antoinette and the Prince of Wales.
The legacy of Louis Seize
Louis XVI furniture reflects a truly special period of design. Although his reign lasted just under 30 years, its influence on design continued into the Empire period. This period remains one of the most widely emulated furniture styles.
This style has charmed collectors for centuries and it's not difficult to see why. Whether you are looking for a few antiques to compliment a contemporary scheme, or want to perfect a period home, Louis XVI is the pinnacle of French design.
Louis XVI furniture suits modern interiors because of its simple elegance. Don't be afraid to mix ornate French furniture with modern art and sculpture, there is no need to stay in the confines of one style!
We have a large collection of Louis XVI pieces here at Lorfords. This was the heyday of iconic antiques, including the bureau plat, stunning armoires, and elegant giltwood chairs. Browse these pieces and more in our Tetbury showroom and hangars at Babdown Airfield.
For a taste of the Louis XVI style, visit our lookbook, 'The Last King,' to browse a selection of our pieces.
The Regency was the pinnacle of British sophistication and a pivotal period in design. It was a time of fascinating architecture and elegant furniture, but the influences in this period were far from straightforward.
The Prince Regent
At the heart of the Regency was the Prince Regent himself. In 1810, George III became seriously ill and was deemed mentally unfit to rule. The Regency Act was passed the following year, which allowed his son to rule on his behalf. Technically speaking, this period is the nine years that George IV was Regent. 1820, the Prince Regent became George IV and King in his own right.
But in reality, Regency style and design was more enduring and covered more or less the first 30 years of the 19th Century. Nonetheless, it is rightly seen as a reflection of the character of the Prince Regent. He reacted against the frugality of his upbringing under his father, George III, with extravagance. George IV was seen as a hedonistic and gluttonous young man, ridiculed by cartoonists at the time.
The concept of The Grand Tour and broadening one's horizons was long gone. Britain was suffering a trade blockade due to its war with France, so young men wined and dined in London’s most prestigious venues. The ‘dandy’ emerged, and these men modelled themselves on the styles of the Prince Regent.
Yet, even more so than food and women, George’s great passion in life was building, designing and collecting. The Prince Regent spent the first few years of his reign commissioning vast amounts of furniture. The interests of the Regent, as well as the wider context of the Napoleonic wars, help us to make sense of the paradoxes of Regency style.
The eccentric Royal Pavilion in Brighton, as well the Prince’s city residence Carlton House, were two iconic expressions of Regency style.
Empire style
Regency coincided with Empire style across the channel in France. Napoleon’s successful campaigns in Egypt meant that Egyptian motifs frequented French furniture. The Prince Regent wanted to match, if not surpass, the architecture and design of his rival.
Neoclassical design was very much in vogue already, but Regency designers followed classical precedent in a far more prescriptive sense. They did away with the fussy ornamentation of Adam style and stayed true to classic simplicity of form.
Exact copies of ancient Greek, Roman and Egyptian pieces were made and classical motifs were incorporated into Regency furniture. Regency brings to mind heavy wood and this was certainly the heyday of mahogany and rosewood. There was a newfound appreciation for surface and beautiful patinas, particularly the bold figuring of exotic timbers.
Regency prioritised straight elegant lines and beautiful sabre or concave legs. The period did away with marquetry and intricate carving, preferring brass metalwork for ornamentation.
But no single set of characteristics can define Regency. In fact, it was a melting pot of foreign and home influences. It was refined British elegance juxtaposed against extravagance. Many styles were revived or imported. There is undoubtedly a strong oriental influence in Regency furniture. Chinoiserie and japanning were popular, Indian styles were copied and bamboo surged.
The Regency architects
So, who were the main players in this design revolution?
The strong classical influence on the Regency period was fuelled by new publications about classical art and architecture. Thomas Hope published Household Furniture and Interior Decoration in 1807, which was full of classical designs inspired by his extensive travels. The ideas in this book would have a profound influence on Regency style.
Hope wasn't alone, though. The architect Henry Holland sent designers to Rome to make drawings of classical objects. These were published in the book, Etchings of Ancient Ornamental Architecture, in 1799-80. Thomas Sheraton’s Cabinet Dictionary of 1803 shows Grecian couches, which introduced the daybed into Regency Britain. Animal motifs and ‘sabre’ design legs were engraved in this book- features that would become the distinctive characteristics of Regency furniture.
It is impossible to mention Regency without the name John Nash. Nash was court architect to George IV and their visions were very much aligned. With his remodelling of the Royal Pavilion in Brighton, Nash realised the Prince Regent’s dream of a lavish palace in the oriental style. This extraordinary building is clearly influenced by Indian and Chinese styles. Nash was also the brains behind modern day Regent Street and the terraces of Regent’s Park.
Furniture manufacturers of the time were eager to embrace this new style. Renowned cabinet makers Gillows led the charge, incorporating Regency traits including lion paws and reeded carving into their finely crafted pieces.
The Regency legacy
Furniture from this period is highly sought after and has a lasting legacy. Regency chairs are particularly renowned, with their crested rails, low curved backs, brass inlay and sabre legs. By the end of the period, cotton or linen upholstery became the norm and chintz flourished. The Prince Regent loved dining in style and prioritised these spaces in his homes. Because of this opulent attitude to dining, you can discover wonderful sets of Regency dining chairs.
Furniture companies began making lots of tables made for specific purposes. For example, extendable tables, nests of tables, kidney tables, sofa tables and side tables were all produced throughout the period. Regency tables are often round and pedestal bases with tripod legs are common.
However, it wasn't all about furniture and mirrors were a significant feature of Regency style. Circular convex mirrors were particularly prominent in this age, copied from France and seen as a symbol of wealth. These mirrors were supposedly put in dining rooms so that butlers could keep an eye on the progression of guests through each course. Indeed, convex mirrors were so popular in Regency England that they are the only type of mirror to be listed in the mirror section of Sheraton's Cabinet Dictionary. However, you also find beautiful overmantle mirrors from the Regency age.
Regency style has lasting attraction. It is full of unique features and yet still inherently classic. As a result, the architecture and design of this period is very influential and reflects socio-political movements.
The Lorfords collection 
Regency furniture is a delight to have in your home and new pieces are always coming through the doors here at Lorfords. Come and visit us in our hangars at Babdown Airfield and our Tetbury shop to see these pieces in all their glory.
Visit our lookbook, 'Regency flair,' to browse some of the Regency furniture we house.