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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.
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
In conversation with: Edward Bulmer
Eco-worrier, interior designer and founder of his eponymous natural paint brand
For 30 years, Edward Bulmer has worked in some of Britain’s finest buildings. As a leading interior designer, architectural historian and ‘colour expert’, he is renowned for restoring heritage buildings, and bringing his design ingenuity to the creation of modern living spaces surrounded by character.
Bulmer is an expert in conservation too. And it is this that motivates him. His years of interior and architectural experience have resulted in his creation of Edward Bulmer Paints, a natural paints brand that cares for the environment.
We joined Edward to talk about colour, his experience and passions. It has been a delight to gain insight into one of the most interesting interior design minds in the country.
You are first and foremost an interior designer. How do you feel that this experience set you up for adding paint-maker to your list of accomplishments?
“Really because first and foremost I am an eco-worrier. It pains me that interior design is so wasteful and disregarding of its impact on people and the planet.
I used to do my eco-worrying through charitable activity but realised that if I directed my energies to something I knew about from long experience, that I could make more difference. Modern paints are petro-chemical preparations. Our paints are plant-based preparations. Replace the former with the latter and you can have a major reduction in plastic pollution, carbon emissions and poor air quality.”
You mostly focus on historic home and heritage restoration projects. What fascinates you most about these buildings?
“All of life is there! They encapsulate the human endeavor of generations of occupants, craftsmen and designers. They are endlessly adaptable and repairable, so like antiques they are sustainable provided the associated energy use to maintain them is kept in check.”
Image by Lorfords Antiques
When you walk into a room, do you immediately understand what colours will work in that room, or is it a process that takes time and patience?
“On the whole, yes. I divide rooms between those of passage and those of dwelling. The former (halls, corridors, stairs, etc) were painted simply with ‘common’ colours in the past and I believe our default ‘evolutionary aesthetic’ is based on this – warm whites, greys, stones and pale pinks derived from earth pigments.
Rooms for dwelling would be treated more richly and fashionably with mineral pigments used to obtain stronger colours and wallpapers and fabrics introducing deeper hues.
Fundamentally though, colour is a preference but the tonality of the chosen colour is key and that is the service that I give and now our paint range provides.”
You work on stunning renovations of houses full of natural character. How do you recommend adding character to younger buildings – to a mid-century house in the country for example?
“Colour is the obvious answer – but it need not be wall colour – it can be on joinery or on pieces you acquire. Often the patina of an old painted or polished surface of an antique can punch above its weight in bringing your room a sense of calm and historic resonance.”
How challenging is it to design a modern / contemporary feel whilst retaining or adding character too?
“Anything is a challenge if you are trying too hard! Don’t be too self-conscious. Use and buy what you like, but if you are combining pieces look for a tonal unity and try to ensure a similar level of design quality and integrity.”
Do you have any favourite antiques pieces that you have placed recently?
“The last things I bought from Lorfords give me pleasure every day because I used them here at home rather than on a client project.
The first was a Louis XVI style writing table (see image below) with very chic geometrical marquetry and the second was a pair of large fluted Doric columns which now dress the frontispiece on the west façade of the house!”
Image by Paul Whitbread
Do you think that handcrafted British furniture is the future of interior design in this country?
“I sure hope so – whether new or old. For my work I have always sought to use native timber, traditional construction and the minimum of sheet material. But it is hard for cabinet makers to compete against producers who don’t do this because they can ‘outsource’ the polluting and exploitative effects of waste, poor labour conditions and manmade materials to offer us ‘cheap’ prices.
We are all culpable here! Recycling, repurposing, upcycling, antique collecting, bespoke commissioning would be the stuff of a bright future for interior design.”
You have spent years perfecting your very own plant-based paint. How did you feel when you were finally able to launch your paints onto the market?
“I started by using the paints on client projects with my own skilled painters. Gradually we launched to the wider market and realised that modern plastic paints had made builders and painters lazy with expectations of paint that were being met with a cocktail of petro-chemicals.
So we worked with our manufacturers to develop paints that could outperform modern paints but only require plant derivatives for their formulation. We have played a long game and that has worked in our favour as the market has professed ‘green’ credentials for longer than customers have really cared.
Now the worm is turning and the value of natural paint is being recognised as an easy win in reducing the carbon footprint and pollution impact of building projects. This month we open our first shop, though we continue to sell and supply our paints online, it will be great to have a place where customers and designers can come and see for themselves the revolution that is going on in house paint.”
Your paint is made from natural raw materials that are responsibly sourced and you have made your manufacturing process as eco-friendly as it can possibly be. Your passion for protecting our environment is a wonderful thing. What top three tips can you share for those of us who would like to create a more sustainable interior without breaking the bank?
- Do it once and do it well.
- Ask your supplier to take responsibility for their packaging.
- Always ask for the ingredients/materials used in what you are buying and ensure the principle of repairability that antiques have.
If you can pick a favourite colour out of your collection, which would it be and why?
“Aquatic is a great example of a colour that has weight and drama. It hovers between blue and green, providing a great backdrop for all sorts of pieces.”
Image by Lorfords Antiques
Where do you take your inspiration from?
“The long history of paint making. With the exception of the last 100 years, we have used natural materials for 40,000 years. The basic 12 earth and mineral pigments we use have been known about for millennia. They are as useful today as they have always been and my work as an interior designer leads me to concentrate on colours that I believe work as part of successful productions, rather than seeking to be the main event.”
What are your predictions for the future colour mixes over the next 12-24 months?
“As you will gather I believe that what goes around comes around. I do think that good mid to deep tonal browns may have a resurgence. They can create atmosphere, straddle the urban/rural divide and flatter your furnishings.”
Do you have any tips for bringing light into a room and at the same time, attempting to create an opulent feel?
Insert a Venetian window! Like this one at Lorfords for instance, or any ornamental reclaimed window.
Join Edward Bulmer on his Create Academy course
Edward Bulmer has teamed up with lifestyle learning platform Create Academy to launch a course on colour, teaching you how to achieve harmony and cohesion throughout any interior scheme. We have secured L-Shaped readers with 15% off the course ‘A guide to pigments, paints and palettes’ at createacademy.com. Use code ‘LORFORDS15’ when booking.
Leading image: credit Andrew Crowley
Edward Bulmer has poured over 30 years of experience into every tin, creating beautiful colours backed up by ecological principles.
The plant-based recipes offer more than just a colour choice; the paints are highly breathable, healthy with no harmful VOCs or microplastics.
Historically resonant yet robust for modern living, these pigment rich paints give outstanding coverage. They are easy to apply and create an unrivalled finish.
Beautifully, breathable colours are backed up by ecological principles which are kind to both people and planet.
All the paints are freshly mixed to order and delivered directly to your door. New flagship store open from 9th May at 194, Ebury St, SW1W 8UP
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.'
"I'm looking for drama in my interiors. That means pieces with great shapes, rich textures, and patina, patina, patina!" This week, we chat to none other than The Antiques Diva herself, Toma Clark-Haines.
Q: The antiques industry has rapidly evolved during the pandemic. What key lessons have you taken away?
A: People do business with people. The world may have gone virtual, but buyers want to connect with the people behind the brands and customer interaction is more important than ever. One of the things we teach in our Antique Dealer Training and Mentoring Program is that dealers need to be the face of their brand in order to connect with their buyers. The connection is important. As a result, video content is key- especially when working with the American market. We work with dealers to develop a video content strategy that connects with their target audience.
Early in the pandemic, I made the bold move to share my personal diary during quarantine on republicoftoma.com. In my blog posts, I spoke about day-to-day life in quarantine. I was vulnerable, open, and real. I confessed the struggles I was going through being alone in lockdown in Italy. It seemed a strange "marketing move," but my business doing antique buying tours has been really disrupted, so I needed to find a way to stay relevant. I stayed relevant by being real. I discussed what was going on in my life at the time.
Also, I pivoted The Antiques Diva to incorporate virtual tours, long-distance buying and selling services, brand-coaching, and more. When you can't go outside, you go in. I started painting again and will be launching a fabric collection in June 2021 at High Point Market. One of the most important lessons I've learned has been about supply and demand. Between Brexit and the pandemic, there is a shortage of inventory on the market. Brits are having problems securing inventory from France because the French are having problems securing inventory from house clearings due to Covid restrictions. Auction houses are experiencing higher volumes of traffic and prices are surging.
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Your finger is always on the pulse when it comes to interior trends, are you predicting any revivals in the near future?
A: Asian antiques are killing it right now. With Brits facing difficulties sourcing antiques on the continent, and normal trade routes drying up during the pandemic, our British buyers are relying upon Antiques Diva Asia to bring South East Asian Antiques into Europe. We are watching a global movement of inventory in a different fashion to previous years. For three years I've been predicting this will be the trend, and based upon sales my predictions have finally come true. Combine Brexit sourcing difficulties with a pandemic that doesn't allow people to travel and we've all got island fever! Americans have been embracing this wanderlust vibe for the last several years. Buying exotic touches from faraway places allows us to travel in our own homes.
Speaking of homes, we are selling more practical items. Tables, chairs, sofas, side tables, and even armoires. Remember when armoires were all the rage? And then dropped out of fashion with the advent of the flat-screen TV? Well, they are back as people are seeking storage spaces, particularly for their home office. Tables that can be converted into desks have also been big sellers. Art sales have also increased significantly... perhaps we're all tired of looking at the same four walls?
In these times, dealers need to think smart. They have to be strategic. I often speak about the gentrification of antiques. What's on the market at a lower price point? Antiques dealers are the arbiters of style- what they sell, interior designers buy, and home décor trends emerge.
Q: Furnishing an interior, especially from scratch, can be daunting. Where should you start?
A: In the last 20 years, I've moved eight times within four countries. I always start with the lighting in a new home. 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. From lighting, I then look at pieces with fabulous lines. In love- as well as in antiques- opposites attract. I love a low-slung sofa combined with sexy legs on a French bergère, or the long voluptuous lines of a chaise longue. I'm looking for drama in my interiors, and that means pieces with great shapes, rich textures, and patina, patina, patina!
I always start with the lighting in a new home. 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.
Q: The Antiques Diva is more or less global and pre-pandemic you travelled a lot. What made you settle in Venice?
A: Love. No, not a man. Venice itself. I fell in love with Venice. When I was a child I dreamt of Venice. I had a black and white swimming suit I would wear standing in my bathtub with a yellow broom and I would swish the water and pretend I was a gondolier. When I first moved from America to Europe 20+ years ago, I visited Venice and was disappointed. It was crowded and hot and I hated it. Years later I returned for work with The Antiques Diva & Co and made Venetian friends. They let me inside Venice. The real Venice. There are two Venices. The city the tourists know and the city that lays beyond. Venice is like an onion- you have to peel back the layers to get to the core of the city. I liked the adventure of peeling back the layers.
When I divorced, I found myself frequently going to Venice because it made me happy. I would wander the canals and alleys and get so lost. In getting lost I found myself again. I was living in Berlin at the time and realized that because my job was global, so long as I had a laptop and a plane ticket I could live anywhere. Moving to Venice was the best decision of my life.
Q: When did your passion for antiques start?
My parents didn't have much money, but my mom had great style. She would scour the flea markets, thrift stores, and second-hand markets for fabulous finds from the past. One of her most prized possessions was the silver her grandparents- my great-grandparents- brought with them on the boat when they moved from England to America. I joke I was born with a silver spoon in my mouth- literally. We used the "good silver" every day because my mom's dad always said that there is no silver polish like the patina of daily use. My mom was a second-generation American. Meanwhile, my father's family fought in the Revolutionary War.
I moved to Europe 20+ years ago- first to Paris, then Amsterdam, then to Berlin, before moving to Venice three years ago - I brought the family silver with me and continue to use it every day. I've always seen antiques as another way of travelling; they take you on a voyage to other times and other places.
When I was young I would go with mom to garage sales and she would give me four quarters- $1- to spend. I was rich. For four quarters I could buy a Barbie doll, or a fantastic REAL teapot to play tea party with. I realised at a young age that you could get more for your money at garage sales. I never understood why I would buy new when there were such fabulous treasures for a $1. And more to the point- I could sell what I bought at a garage sale for the same price I paid! If I bought a new Barbie it immediately lost value and had the same value as the used one I purchased.
When I moved to Paris in my 20s with my then-husband, it was second nature to shop the brocantes and vide-greniers. I decorated my fifth-floor walk-up apartment with Paris flea market treasures. I was hooked. Bitten by the fleas.
Q: What prompted you to start your podcast, The Business of Antiques?
When people ask me what I do, I say "I'm in the business of antiques." My company, The Antiques Diva & Co, has always had a mission: to make antiques fun, sexy, modern, relevant, accessible, and PROFITABLE. Most of our clients in America are trade clients and buying for re-sell. If my clients sell well, they buy well, so I began giving clients tips on how to increase their sales. I realised quickly that most people who go into antiques go into the profession because they love antiques- NOT because they understand how to run a successful business.
I launched my Antique Dealer Training and Mentoring Program as well as our Antiques Diva marketing services. We help dealers to build websites, create marketing templates, and offer social media services. We introduce dealers to potential buyers to help them be more successful in their business. The podcast was developed to continue to support our audience and help them to make antiques more profitable.
Q: How do you unwind when you're not running your Antiques Diva Empire?
Pre-Covid I would have said hopping on a plane and going someplace warm and sunny, with a good book and a great spa. Post-Covid, it's simpler times. I live in Venice, so I take long walks in the fog in the early morning. I am learning Italian and take classes four days a week. My mouth is learning the acrobatics required to pronounce those Rs! I love to cook and always set a gorgeous table (even when dining for one). I read and write a lot!
I've been fortunate because even though gyms are closed throughout Italy due to Covid, my gym allows you to book private sessions so you have the entire gym to yourself and your trainer. I have weekly calls with my dear friend Gail McLeod- our head Antiques Diva agent in the UK and founder of Antique News and Fairs. Somehow, when you talk to a friend you feel like anything is possible. Friends and cats! Those are great solutions for unwinding. I have two cats named Fortuny and FIorella, and they are the naughtiest kittens in Venice- but also the most fun. I've trained them to walk on leashes so they go with me on my strolls. One of the nicest things about Venice at this time is that I have the city to myself. It's a magical experience to be alone in Venice.
Q: What's your favourite location for an Antiques Diva buying tour?
Ooo la la. That's got to be the most difficult question I am asked. I LOVE all my tour countries. It's got to be France. Paris prices are at rock bottom at the moment. Provence is always king... or shall I say, Le Roi! Britain also delights because of the wide variety of inventory. Many British dealers have become dear friends and understand the American market so well- even better than the Americans. I love Chaing Mai Thailand for sourcing antiques and Bali is also beyond wonderful. Mamma Mia... did I forget Sweden? How can you ask me to choose? This is like asking a mother to choose her favorite child.
Q: Do you ever get creative or writer's block?
This past year I took a break from blogging on antiquesdiva.com for exactly that reason. During the pandemic, I lost my vision and needed time to think about where we were going next as a company. I took the decision to take a step back from blogging for antiques and focus on blogging on my website for our parent company republicoftoma.com. Only now, one year into the pandemic, do I feel like I'm getting my groove back! In general, my solution for writer's block is to do something else entirely to "forget" about what I'm trying to do. Once I stop forcing it, the words come naturally.
My favourite thing is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat, with the most gorgeous ormolu mounts with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What's your most treasured antique?
I mentioned my great-grandparents' silver earlier. My house is positively filled with antiques. But my favourite piece is my desk. It's a desk for a Diva- a French 18th Century marquetry bureau plat with the most gorgeous ormolu mounts, with the faces of women on all four corners. It's feminine yet powerful and reminds me of one of my favorite quotes by Yasmin Mogahed. “Being both soft and strong is a combination very few have mastered.” It also reminds me of how I want to run my business and what type of CEO I want to be.
Q: What would our readers be surprised to learn about you?
I only pretend to be a Diva. Really I am a farm girl. Growing up, I lived on a ranch 30 miles from the nearest town. I learned to drive a pickup truck when I was 12 and a tractor when I was 14. I love adventure and I love horses, but I don't ride dressage- I ride Western. Although I once played polo in Buenos Aires, and it gave me a new respect for the thighs of English-style riders! I've played polo in Buenos Aires and jumped out of aeroplanes. I've gone elephant trekking in Myanmar and learned to steer my own elephant. Contrary to what you might expect, guiding an elephant is NOTHING like guiding a horse!!!
Q: What's your go-to comfort food dish?
Mamma Mia. I may live in Italy, and I may have attended cookery school in Paris in my 20's, but when it comes to comfort food I am a true American. I am a rancher's daughter. Give me a really rare steak and fries any day and you've got a very happy girl!
Q: What has been your best lockdown purchase?
A: Okay this question makes me realise I've been seriously remiss. I don't think I've made any indulgences (other than too much wine) in more than a year. Come to think of it, my wine cellar may be the benefactor of my best lockdown purchases. I decided mid-Covid life is too short to drink bad wine. After our first lockdown ended in the summer, I went to my favourite wine shop in Venice- Cantine del Vino già Schiavi- and informed them I needed to learn about wine. Rather than me choosing the wines, I asked them to prepare some palette teasers for me. The next day they delivered 36 bottles, each with a special nuance I need to taste. I'm working my way through their recommendations in a self-study wine course.
Q: What makes your house your home?
A: I fill my house with objects from my travels. The word 'souvenir' in French means 'travel memories.' And that's what you will find in my home. Memories. Memories of places visited, people whose lives have intersected with mine. The architecture of life. My house becomes a home when it's filled with living things- my cats, plants, friends, family, and laughter. My home is about long dinners and late nights. Lazy mornings in bed. The smell of coffee in the morning.
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.