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The British, as we are always told, are a reserved people. Along with fish and chips, our stiff upper lip is what we’re most famous for. I must admit that whenever I hear this, I have to remind myself that, within this sweeping statement, they’re talking about me. I don’t know about you but I’ve never considered myself the shy and retiring type, if anything, I’m a bit of a Cavalier. A what, I hear you ask. Let me explain. According to a particular school of thought, we Brits divide into two camps – Roundhead and Cavalier. Students of history will know that these were the opposing sides in the English Civil War – the Parliamentarians aka Roundheads were known for their spartan tastes – banning Christmas carols and anything that looked even remotely pleasurable while, on the other side, the Cavaliers revelled in all that life had to offer and showed it with their big hair, Saville Row tailored uniforms and their all-round flamboyance and love of the good things in life. We have a saying that if someone has a ‘cavalier attitude’ it means they don’t care (like that’s always a bad thing). If ever someone accuses you of that just tell them to stop being such a Roundhead.
Anyway, so the theory goes, these opposing traits have become key aspects of the British character, battling for supremacy in every walk of life like it’s 1642 all over again. As a design historian, one of the things I love is being able to make connections between man-made objects and the wider world. I think, down the centuries, this Roundhead versus Cavalier tension has played out in the way we decorate our homes. Roundheads are all about straight lines and classical order, while Cavaliers are more laissez-faire and letting things go curly. Normally it works pendulum style – think of the florid excesses of High Victorianism being stamped out by William Morris and his smock-wearing acolytes, or those ‘Form Follows Function’ Modernists showing Art Deco exactly what it could do with its decorative flourishes - but occasionally those two forces fight it out at the same time. With this in mind, this week we’re taking a look at the curious affair that was English Rococo.
Rococo, it’s a word you’ll have heard before but what exactly was it? Quite simply, the most self-consciously decorative – cavalier - of all decorative styles. Developed in Louis XIV’s (it was known as “the French taste” in this country) it was the dominant style in northern and central Europe during the first half of the 18th century, affecting all the arts from furniture to fashion and sculpture to ceramics. The word rococo actually began life as a term of ridicule in the 1790s, when the style was already dead and buried. It sounds Italian but actually derives from the French rocaille (pronounced 'rock-eye'), describing the shells and rocks which were used as decoration in shell-rooms and garden grottoes.
There’s nothing straight about Rococo, it’s all about the curve. Flowing lines became obligatory. Think twirly-whirly, think wedding cake decoration, sinuous C and S-scrolls, garlands, ribbons, shells and sea monsters. Familiar objects lose their well-known outlines and, to quote the Bard, suffer a sea-change, into something rich and strange. In Rococo’s surreal world everything swirls, moves and writhes. Designers plundered the natural world for inspiration; crabs, eels, and crustaceans happily rub along with seaweed, mermaids and river gods. Rococo’s essential motif was the cartouche – an amorphous, unformed shape that was somewhere between a jellyfish and the human ear, which could be moulded into any shape. From this basic motif the great French ornemanistes – like Nicolas Pineau, who could take a console table and turn it into an all singing, all dancing gilded extravaganza – produced their extraordinary designs.
Across the channel, the British were grinding their teeth. Paris was the undisputed centre of European fashion and the French luxury trades set trends for all the other European nations. Despite being almost constantly at war with France throughout the 18th century, those thrifty Anglo-Saxon Protestants still craved the exquisite sophistications of the enemy. Rococo arrived in England just at the point when things were getting more square and architectural. Since the 1720s when Lord Burlington had led a campaign to revive the classical splendours of Palladio and Inigo Jones, the Palladian movement had been the dominant force in design. The watchwords were symmetry and balance and, as styles go, it was sober and serious – Roundheaded, even. For some, Rococo’s arrival was looked upon rather like the arrival of a flu pandemic. Frothing with indignation, one commentator had this to say:
They heap cornices, columns, cascades, rushes and rocks in a confused manner, one upon another; and in some corner of this confused chaos, they will place a cupid in great fright, and crown the whole with a festoon of flowers.
The Rococo first inveigled its way into England via the fashionable dining rooms of the aristocracy. Gastronomic success rested not only on the best ingredients, but also on the service, the convivial atmosphere, and the visual interest of the table and eating room. By the 1740s, the best dining tables were groaning with a prince's ransom of rococo silverware: a still-life centre piece or a branching epergne holding flowers and fruit surrounded by a flotilla of tureens, condiment sets and candelabra. The greatest Rococo silversmiths were Paul de Lamerie and Nicholas Crespin (who once found the perfect Rococo shape in a turtle’s shell and so mounted it in silver and turned it into a punch bowl) both of whom specialised in elaborate tableware that were swirling rocaille masterpieces, which must have ruined the taste of the soup for more Palladian-minded diners.
The outstanding English interpreter of Rococo was Matthew (or Matthias) Lock. He was a designer and cabinet-maker who had workshops in Tottenham Court Road but about whose life we know virtually nothing. Lock was an outstanding draftsman who, probably more than anyone else, understood the French style giving it his own, very English, twist. In his fantasy world – best seen on his mirror frames – a riotous assembly takes place; friendly goats confront surprised foxes; monkeys precariously perched monkeys blow bubbles; squirrels admire spring flowers; Chinaman in coolie hots and drooping moustaches cling to trees, the roots of which dissolve into icicles; all among a riot of fountains, shells and running water.
So did, England ‘go Rococo’? Well, for the answer to that, look around. Visit France, or southern Germany, or Austria or northern Italy and you’ll be tripping over Rococo palaces, churches and townhouses, try looking for the same in this country and your search will be in vain. The truth is Rococo made only a brief stay as a fashionable style and only touched the smart and the grand, even then, mostly in the form of small objects – vases, candlesticks, soup tureens, mirrors - rather than whole interiors.
As styles go, Rococo was elegant and charming but insubstantial. This was to sow the seeds of its downfall since it showed a lack of reverence for classical architecture which became unacceptable to the new generation of Rome-inspired architects, like Robert Adam who openly despised it. In fact, what was called Rococo in England bore little resemblance to the rich, creamy, wedding-cake heights it achieved in Europe. Done properly, Rococo was smart, urban and sophisticated it was also expensive and hard to master. Rococo designs demanded that each craftsman be also an outstanding artist as well. That was asking too much. John Betjeman, the great architectural historian, said that political history explains the style’s failure to launch. Because of the Civil War and gradual reform of Parliament, the aristocracy took a greater interest in politics here than on the Continent. Rococo required commitment and we were just too busy with other things. Perhaps it was a victory for the roundheads after all.
Styles never quite come to a full stop. In the early 19th Century the rococo impulse was revived under the flamboyant Prince Regent. Its last hurrah was at the turn of the century with Art Nouveau, when it made a flamboyant if brief return. While the austere geometry of modernism governed much of design thinking during the twentieth century, designers continually returned to organic, natural curves as a source of inspiration in the 1950s, and the psychedelic 1960s.
Fantastical, daring, highly decorative and never, ever sensible, it’s almost impossible not to be charmed by Rococo. There again, as a Cavalier, I suppose I would say that.
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.
Scottish Oak Daybed or Psychiatrist's Couch
Gustavian Period Bureau Cabinet
Omersa Leather Elephant Foot Stall
19th Century Gilt Convex Mirror with Eagle Crest
Pair of French Early 19th Century Botanical Engravings
Italian Round Silver Cocktail Tray
Collection of Nine British Tree Engravings
English Mahogany Wing Armchair
Early 20th Century Jali Screen
Large Dutch Still Life Oil on Canvas
Set of Five Mid Century Dining Chairs
19th Century Bavarian Painted Cupboard
Pair of 19th Century 'Bejewelled' Candlebras
Set of Five Danish 'Uncle Harald's' Trains
Large Barley Twist Waterfall Shelves
French 19th Century Chandelier
Original 1950's Route 66 Neon Café Sign
Original 1970's Gucci Light Sign
18th Century West Country Windsor Armchair
Pair of Bristol Chemist Bottles
Swedish 20th Century Pine Desk
Large Mid 20th Century Terracotta Canova Lion
As Valentine’s Day approaches, we unpack some of the history behind courtship, betrothal, and marriage. The spontaneity of romance has been lost to the current era of social distancing, but a measured approach to courtship was the norm for centuries. At its heart was one very practical consideration: the dowry.
As obvious as it seems today, the notion of marrying for love is a fairly new development. Writings on ‘the art of love’ date back to ancient Rome, but love was a distinct matter from marriage for a long time. If anything, families encouraged the couple to work towards an emotional connection once they had married. Husbands expected loyalty from their wives, whilst they would often pursue romantic relationships outside of marriage.
The latest drama to capture the nation's attention, Bridgerton, revolves around the ‘marriage market’ in Regency England. The series lays bare the financial considerations that dictated courtship. This contrived dance is familiar to us from Jane Austen’s novels, and the fact that the author herself chose not to marry is significant. In an 1814 letter to her niece, she states: ‘nothing can be compared to the misery of being bound without Love. If his deficiencies of manner strike you more than all his good quality, give him up at once.’ Austen tries to save her niece from the fate many women faced at the time, including her fictional characters.
"The great virtue of parents is a great dowry." So said Horace, a Latin lyric poet and satirist living in ancient Rome in the 1st Century BC. His observation was accurate for its time; the best thing parents could provide for their daughter was financial backing. Britannica defines the dowry as, 'the money, goods, or estate that a woman brings to her husband or his family in marriage.' This package distinguished a potential bride from the rest and increased her chances of marrying into a high-status family.
For society's elites, marriage revolved around combining status and influence, and the dowry involved a large-scale transaction. It was, in essence, a practical safety net. When the dowry included properties, territories, and vast sums of money, the bride’s family needed to safeguard their assets. If relations soured between man and wife, the husband had to repay his wife's dowry so that her finances were left intact.
The unfortunate tale of King Louis VII illustrates the dowry's significance. When the French King married Eleanor of Aquitane, she provided the territory of Aquitane as part of her dowry. The relationship failed and the pair divorced in 1152. Eleanor moved on swiftly and married Henry Plantagenet, Duke of Normandy, just two months later. Plantagenet received Aquitane from Eleanor and went on to become King of England. Poor King Louis VII suddenly faced a formidable foreign power.
The long-held role of the dowry created dowry chests of all shapes, sizes, and designs. The allure of antiques is undoubtedly tied up in the personal histories they represent, and we are lucky that many of these boxes survive. These 'hope chests,' as they were also known, are a wonderful example of this. The boxes were designed to carry the bride's goods to her marital home. Some mothers would start prepping this box as soon as they had a daughter, to slowly build upon as the years went by. This might include silverware, jewellery, blankets and linens, kitchen items, and baby goods. The contents reflect the idea that a wife’s desirability came from her ability to run a household.
It was not all doom and gloom, and dowry chests were not without sentimental meaning. Much like wedding presents today, they were a way of helping a young couple set up their new household. To keep the contents sweet-smelling, cedar was the timber of choice for these coffers and it was widely available.
For the bride's family, sending their daughter off to her next chapter, these chests were a form of good wishes. For example, couples were commonly provided with linens and other cloth for use in case of troubled times. Because these often stayed rolled up in the chest and never used, an abundance of antique linens survives today.
So, the contents of these chests varied in value and significance depending on the parties involved. Nonetheless, the notion of providing a dowry chest of some sort was a given for most, and the practice was widespread. Examples survive from Central Europe, Asia, and Africa. Syrian chests inlaid with mother-of-pearl and raised up on bracket supports are particularly stunning examples.
Poorer families would not be handing over huge sums of money and acres of land, but they often still sent a dowry box. Indeed, the folk art tradition produced many charming marriage coffers. Local craftsmen often used pine due to its affordability and availability, and then painted them. The decorative painted designs which marked the occasion are what makes these boxes so magical.
The iconography painted onto dowry chests is full of symbolism. Sometimes this would include the initials of the betrothed, and/ or a date. On this charming 18th Century Scandinavian box, one set of initials and a date commemorate the nuptials. Goldfinches, doves, and orioles were popular for their connotations with fertility and prosperity.
Dowry chests speak to a long history of marriage and betrothal. To own one is to bring a piece of personal history and character into your home. Smaller folk art style pieces make for whimsical and highly decorative accents in the home. Larger blanket caddies and monumental dowry chests are fantastic statement pieces for storing today’s blankets and linens.
To explore antiques relating to love and marriage, visit our lookbook 'Under Lock and Key.'
'Work from home.’ It’s the phrase that has defined the last ten months or so of our lives. Whether or not home has always been the natural habitat for your work, many have rushed to transform part of their house into a workspace. The Lorfords collection is full of unique pieces that will bring your dream Mid Century Modern home office to life.
Studies show that the more personal control we have over our office space, the happier we are. The ability to get creative with our workspace and have our favourite furnishings close at hand is a silver lining of the current circumstances.
One of the biggest challenges of staying at home has been drawing a line between work time and our personal lives. This gives you all the more reason to invest in your office space and create an environment you want to spend all day in, before returning to those parts of your home that you associate with relaxing.
Calm, uncluttered surroundings encourage efficiency and productivity. This can be difficult to achieve at home, but by dedicating a space for work you are halfway there, and Mid Century Modern design will do the rest.
It can be easy to feel as though you are ‘playing office’ whilst working from home, so it’s important to get creative with your space and invest in it. Stylish and useful furniture is conducive to your productivity, as well as your happiness.
Media and popular culture have made Mid Century design an object of fascination. From the smooth teak and glass of the Mad Men office to the contemporary prints and low chairs of Miranda Priestley’s office in The Devil Wears Prada, the understated glamour of a Mid Century Modern office is well-known.
The post-war period was a new age of prosperity, and many migrated to urban and suburban areas. After the horrors of war, there was a desire for more human, organic and natural design. Inspiration was sought from America and Scandinavia, and designers eagerly embraced new materials like plywood and plastic. Manufacturers had machinery and mass production at their disposal, so luckily many fantastic pieces survive today.
Furnishing newly built homes and smaller living spaces saw design take on new priorities, and functionality was a top priority. Designers didn’t skimp on style, however, and the iconic designs they brought to life have timeless appeal.
Designers of the Mid Century Modern period wanted to make furniture accessible to everyone, not just the very wealthy. The contributors to this new democratic style were many, including Arne Jacobsen and Harry Bertoia. Ray and Charles Eames were the design power couple of their day, and it's their executive desk that graces Don Draper's office in Mad Men.
Far from dull, design in this period was full of juxtapositions. Designs were extremely varied, and you might struggle to spot what a marshmallow sofa and a teak sideboard have in common. However, there were certain principles that united these designers in their plight: fine craftsmanship, quality, and chic style.
The straight-lined silhouettes of Mid Century Modern furniture make it the perfect choice for an office. Manufacturers of the period, such as Herman Miller, focussed in on office furniture and produced desks, chairs, and savvy storage solutions. George Nelson was a key mover and shaker in Mid Century Modern design. His iconic Storagewall design captured attention far and wide and he is credited with designing the first L-Shaped desk.
There’s more to working life than a desk and a chair. Nobody wants to work amongst empty cups of tea and a teetering stack of paperwork, but many of us do. It may be a cliché, but it’s difficult to argue with the concept of ‘tidy desk, tidy mind.’
It's often unrealistic to reimagine a whole room of the home in one style, but a few key pieces will transform a space. Credenzas and sideboards were already furniture stalwarts, but they were revolutionised in this period. Fitting unobtrusively against the wall, they provide storage and a surface for display. Most importantly, a sideboard or low cabinet means you can keep stress-inducing clutter out of sight.
When it comes to designing an office space, the mood can tend towards the clinical. Mid Century Modern is the perfect antidote to monotony because designers reinterpreted basic furniture with innovation and creative flair. Designers made chairs that were lower and broader, often supported on splayed UFO-style legs. They made many office-style chairs, with reclining and swivel functions. You've got your pick when it comes to desk chairs and should indulge in a big upholstered armchair for when you need a break.
Lighting was the major triumph of Mid Century design, and designs are famous and sought-after today. From practical floor lamps to Sciolari's spectacular sputnik light, lighting is the ultimate flourish for a 20th Century home office. Maison Charles’ iconic palm standard lamps demonstrate how natural forms were embraced in this period, and they make a great statement in an office setting.
20th Century design was far from solely utilitarian. Designs from this period were full of creative flair, and this should be reflected in a Mid Century Modern office. This was the heyday of faux tortoiseshell, glass, contrasting woods, bright colour, and abstract art. Adorn a brass and glass coffee table with a lucite magazine holder, or fabulous colourful glasswork by Val Saint Lambert.
There’s no point in working in a space that won’t inspire creativity and progress. Surround yourself with fabulous contemporary art and sculpture that makes you feel content and calm. Colour and character are key to boosting your mood in a long working day. This was an age of bold and pioneering design, and by surrounding yourself with examples of it you encourage the same in your work endeavours.
Whatever your personal style, there is something to love in this spectacular period of design. Mid Century Modern pieces have the power to transform a space into the perfect home office. For further inspiration, have a browse of our lookbook: Office Envy.
Are you a minimalist or a maximalist at heart? Both approaches create stunning interiors, but this year we're making the case for a maximalist Christmas. It certainly hasn’t been an easy ride, so embrace the festive season in all its visual glory.
There is a good reason why many of us have fixated on what this season will entail this year, and what we can and can’t do. Whether you start Christmas planning in August or dread the whole affair, it’s one of life's consistencies. Although it’s a different festive season this year, the period still offers some guarantees and one of the best of these is bringing your home to life.
Christmas can feel prescribed in today's society, and we are compelled to follow all manner of conventions. But in fact, Christmas has transformed over the centuries and taken on many different guises- even the religious meaning came later than the first festive celebrations.
In medieval England Christmas didn’t revolve around just one day; it was a full twelve days of celebrating up until 'twelfth night' on January 6th. After a pretty miserable year, why not make this festive season last? Savvy decorating choices will see the cheer through into January so you can keep the winter blues at bay.
In a couple of days, the Earth will be tilted further away from the sun than at any other point in the year. The winter solstice is how Christmas celebrations began, in eager anticipation of the sun's return. The solstice may be the shortest and darkest day of the year, but it is also the beginning of a new chapter. This moment has special relevance this year, as we look forward to better times.
Whilst the solstice has been somewhat lost in Christmas celebrations today, it was quite crucial for the holiday’s development. The Roman festival of Saturnalia was a hedonistic spree of celebrations leading up to this event. Take note from the ancient Norsemen of Scandinavia, who celebrated ‘Yule’ from the solstice all the way through January, while the yule log burned to symbolise the return of light.
Queen Victoria’s reputation does not immediately bring to mind joyous festivities. But in fact, it was the innovations of the Victorians that led to the Christmas we know and love today. From the beginning to the end of the 19th Century, Christmas transformed from a lowkey event to the biggest celebration of the year.
The Victorians believed in the importance of celebrating Christmas with family, which is a concept we all hold close to our hearts today. Many of our favourite traditions stem from the royal couple themselves, Victoria and Albert. Prince Albert's childhood in Germany had a big influence on the British Christmas, and he popularised the indoor Christmas tree. An illustration of the royal family gathered around their tree appeared in the Illustrated London News in 1848, and a Christmas tree has been integral to Christmas ever since.
This period also introduced the sending of Christmas cards to friends and acquaintances, as well as the joyous Christmas cracker with its novelties and gifts inside. So, perhaps raise a glass to Queen Victoria this Christmas?
There’s plenty of inspiration to draw from tradition and how Christmas has been celebrated over the centuries. This year, take only what you love from this and make the rest your own. Whether you can be with loved ones, or it's a quiet affair this year, surround yourself with your favourite things and give them a bit of a festive revamp.
Breaking the rules has long been a part of Christmas tradition. This time of year has a rich history of reversing social hierarchies, and it was once known as the season of 'misrule.' The violation of social conventions got a bit out of hand at one point, and the Victorians stepped in to bring about more order. The concept of reversal still manifests today, as officers of the British Army wait on their soldiers on Christmas Day. We're not advocating that your children become the boss this year, but do embrace doing things differently.
We all have our guilty pleasures. That piece that’s a bit kitsch, a bit out there… but we love it all the same. This year we haven’t been entertaining and Christmas guests are going to be limited, but there is a silver lining to these circumstances. Christmas is often a time of immense stress, no matter how organised you are. Let go of the considerations that come with entertaining this year. Fuel your nostalgia at Christmastime, and let festive cheer reign unshackled.
Mismatching design is full of character and that eccentric antique you keep tucked away in the attic is ready to have its day. Yes to red and green, if you love the colours, but also yes to yellow, blue, orange, and purple. Etiquette and convention are not on the menu for this Christmas period.
With limited events to attend this festive season, we must bring the party to us. There is no better time of year to embrace opulent home furnishings. Put beautiful gilded furniture in the spotlight, and make sure everyone has a comfortable seat. Get inventive with the furniture you see every day; sideboards present the perfect worktop for creating a wintery scene which will keep you cheerful until the Spring.
Christmas is brought to life through light, and you simply can't have enough candles. We stock antique candelabra, wall sconces, and candlesticks so that you can create an enchanting atmosphere at home. Bring the Christmas sparkle with your own unique take on decorations, such as a glass witches ball. Heavy and shining with rich history and tradition, these decorations are a fitting accessory to a maximalist Christmas.
Natural decoration also serves as a wonderful accent to your favourite antiques. Garland your statues and sculptures, and fill glass vessels with pine cones and oranges. The fireplace forms the focal point for festivities and offers plenty of scope for creative decoration. Layer the mantelpiece with holly and ivy, and quirky antiques. Browse our fireside furniture to bring this spot to life.
Tablescapes offer one of the greatest creative opportunities at Christmastime. This is where you can afford the most artistic license and think outside the box to bring your table to life. Antiques are the perfect antidote to the ‘norm.’
Often, there is great pressure to colour coordinate at Christmas. Throw out the rulebook and combine all your favourite tableware and glassware. Use urns and vases to create wonderful, unusual centrepieces that will have everyone in awe. If you love it, it works.
Trust our one-of-a-kind antiques to bring your home to life this season and all year round. If you're keeping it lowkey this year and plan to come back with a bang in 2021, it's never too early to prepare!
For a little added inspiration, visit our lookbook "Merry and Bright."
Merry Christmas, from the whole team at Lorfords Antiques!
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.
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.
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.
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!
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.
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.
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.
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.
Now is the time to embrace folk art and primitive furniture. It's been a very strange year, and we have all lived simpler lifestyles. Folk art represents community, utilitarianism, and simple joys- concepts we can all focus on as we move forward.
Folk art is an umbrella term for a wide range of objects that were made in rural communities before the dawn of mass production. There were no rules; local craftsmen made objects and pieces of furniture for a purpose and to please. The genre can include carved animals and human figures, quirky trade signs, charming country furniture, and a host of other unique pieces.
Some pieces are instantly recognisable, such as Welsh stick back chairs. Pieces like these became ingrained in local tradition and are popular with collectors today.
This rural furniture often exhibits interesting carpentry techniques, such as dovetail and mortise-and-tenon joints. Because of the rustic assembly, makers almost always chose to paint the finished product.
Folk art was only coined as a genre when the Arts and Crafts movement began to gather momentum in the 19th Century. William Morris, who spearheaded Arts and Crafts, defined folk art as, 'anything exhibiting cultural heritage in a non-elitist, primitive or homemade style.'
Morris was inspired by the legacy of this genre in his own approach to design. Both styles value the individual craftsman and utilitarian furniture, albeit Arts and Crafts consciously rather than out of necessity.
Arts and Crafts was a reaction against mass production and the industrial revolution, whilst folk art preceded these changes. There were no machines and every piece of furniture was handmade for purpose.
Folk art was a personal craft, so no two pieces are quite the same. Because pieces were designed to meet a particular need, the maker could adapt to taste and requirements.
Farmers often used their dormant months to make furniture. They would construct chairs, tables and whatever was needed for their family, but also for the wider community. Rural areas were always a few years behind the furniture trends of the big cities, but sometimes a carpenter would make a copy of a popular style. The main difference was that country craftsmen would always make use of local woods, such as birch and pine. Meanwhile, the cities were importing more exotic timbers.
Despite the individual nature of this craft, there are a few traits that distinguish the genre. Folk art pieces often exhibit brightly coloured and vibrant painted decoration. The subject matter is usually a simple and naive portrayal of recognisable objects. Apart from anything else, these painted scenes were a form of communication within a largely illiterate society.
Scandinavia had a particularly strong culture of communal eating and drinking, and people made objects for dining. Meanwhile, you see many candlesticks made in England and other areas of Europe, as candles were the main form of lighting in the 17th and 18th Centuries.
Some pieces of primitive furniture are more decorative in nature. Many objects were made as a marriage token for newlyweds, demonstrating the strong community element of this furniture.
A charming example of this tradition is the marriage coffer; a decorative box presented to a newlywed couple. The folk art tradition also produced endearing love tokens, and collectors covet Welsh carved spoons for their romantic history. Much of the appeal of folk art antiques comes from the personal histories they represent.
For a genre of art that was only properly acknowledged in the 19th Century, it's safe to say that folk art is getting some overdue appreciation right now. In 2014, Tate Britain hosted an exhibition dedicated to British folk art to draw attention to this neglected area of art history.
The exhibition celebrated everything from Toby jugs to ships' figureheads. Tate Britain described such pieces as, 'often humble but always remarkable,' which encapsulates this genre perfectly.
Antiques have started appealing to a wider market, particularly young people. For a younger generation, folk art furniture and decor represents something that is both sustainable and personal. The desire for something quirky, something a little bit different, is driving modern interior design today and folk and primitive art is a wonderful way to achieve this.
We have spent more time in our homes than ever before this year. Naturally, this comes with a heightened awareness of our interiors. Primitive design is a wonderful antidote to the complexity and pressures of modern life, and it blends in particularly well in a contemporary interior.
Stripped back folk art furniture looks charming in a rustic country kitchen, whilst some of the brightly painted pieces bring a pop of colour. This design is far from restrictive in terms of choice; benches, chairs, and stools of all shapes and sizes will meet the requirements for your space.
Don't stop at furniture and consider the wide range of decorative pieces that can liven up your interior. Folk art paintings are particularly charming, as well as tapestries, painted screens, and carved figures.
Folk art furniture is primitive, unpretentious, and often tells a wonderful story. It connects us to our ancestors and country in a deeply personal and accessible way.
The Lorfords lookbook, 'Our Rural Forebears,' shows how you can unlock your interiors through primitive design.
Gustavian style flourished in Sweden during the 18th Century. Inspired by the neoclassical French style, Sweden became major players in Europe’s age of elegance.
When discussing Gustavian design, the individual behind the name matters. King Gustav III reigned from 1772 to 1792 and oversaw and encouraged the flourishing of the arts.
The King was shot at a masquerade ball in 1792 and died a short while later. This event inspired Verdi’s opera Un Ballo in Maschera.
Although he was loved by some and hated by others, King Gustav’s role in the Swedish Enlightenment is clear. He was an educated and cultured man who welcomed artists and writers to court. Despite the pressures he faced at home and abroad, his reign saw huge advancements in art, literature and design.
Gustavian design fuses foreign influence with long-standing Scandinavian ideals.
In France, Louis XVI reigned during one of the most significant periods of French furniture design. His style was more refined than his predecessors, but maintained the opulence and grandeur. King Gustav spent a crucial period of time in Paris and at the royal palace in Versailles. This experience left him determined to make Stockholm the ‘Paris of the North.’
Today, Swedish design is generally associated with minimalism and muted colours. Much of Gustavian style did display these trends, but period pieces can actually be very splendid.
The entertainment rooms in palaces and noble houses during this period were full of gilded furniture and grand mirrors. At a glance, you might be in a French 18th Century palace.
Across Europe, design was influenced by the discovery of Pompeii and Herculaneum in the early 18th Century. Artistic concepts were completely overhauled by the exposure of this clean-lined elegance.
At Stockholm Palace, you can view King Gustav’s Museum of Antiquities to get a sense of his fascination with the classical. The museum displays a large collection of sculptures which the King brought back from his ‘grand tour’ around Italy.
The Pompeian style is evident in Gustav’s Pavilion at Haga Park. The interiors of the Pavilion feature marble columns and rich detail. King Gustav commissioned Louis Masreliez for the design, who went on to define the style of the period.
The impact of neoclassicism is clear in Gustavian furniture. The pieces are architectural in form and display symmetry, columns and carved detailing. The classical inspired Swedish furniture's trademark restraint, as it moved on from the elaborate rococo period.
Despite all of these influences, Swedish style is inherently… well, Swedish.
French 18th Century design had a huge impact on King Gustav, but the Gustavian interpretation was more refined. In fact, Gustavian furniture is a loyal tribute to Swedish ideals.
Swedish winters are long and dark, which still shapes their interior design to this day. The priority has always been to bring light into rooms, through pastel colour palettes, giltwood and plenty of mirrors.
Although the décor in palaces and noble houses was grand, Gustavian style became more homespun as it spread throughout Sweden. Often the carved frames of chairs and sofas were left exposed and the furniture was painted. Local woods were used such as oak, beech and pine.
Although Gustavian designs were simple, they were well-executed and designed for their purpose. Function was a priority and lots of corner cabinets and console tables emerged.
Shape and detail helps to identify the Gustavian: bonnet topped cupboards; barrel-backed chairs; fluted legs and carved decoration to name a few. Some of the most distinctive carved motifs are guilloche (woven circles), rosettes and scallop detailing.
So, why does this style have such a profound influence?
Even the most modern furniture store, IKEA, draws upon its Gustavian heritage. Interior designers constantly source antique and reproduction Gustavian pieces to transform homes with Swedish style.
The most obvious reason is that Gustavian furniture is easy to live with. It is equally suited to a grand London townhouse, a country cottage, a chalet or a villa. Curved lines and carved motifs make these pieces decorative, but the silhouettes and paintwork are simple.
There is also a certain magical quality to Gustavian period and style pieces. Furniture with its original paint gives a lovely fairy-tale finish, especially in a muted colour palette. It's feminine, but not overtly so. Gustavian pieces were often fairly small and mobile and they were meant to accentuate a space, not dominate it. This is a versatile style as a result, whether it's used in small doses or as an entire decorative scheme.
No Gustavian interior is complete without the iconic Swedish Mora clock, which is a piece as rich in history as it is beautiful. Mora clocks are a testament to community craftsmanship. In the early 18th Century, the town of Mora suffered a bad drought and many people fled to Stockholm. Here they would learn new skills and trades, including clock-making.
Upon their return to Mora, a local industry started as families worked together to manufacture these iconic clocks. Mora clocks radiate the quiet peace and grandeur of Gustavian style and have a beautifully rounded shape. A Swedish Mora Clock is often the finishing touch in a Gustavian inspired setting.
Gustavian furniture has a valuable place at Lorfords and Swedish pieces are always coming through our doors.
Browse Gustavian daybeds, sofas, chairs, Mora clocks and other antiques on our website or come and see them in person.
Our two hangars at Babdown Airfield and showroom in Tetbury give Gustavian pieces the space and context they need to do them justice.
Visit our lookbook, ‘Swedish Enlightenment,’ to view our selection of Gustavian furniture.
With a fresh lick of paint on the walls of his empty flat, Toby Lorford tells how he began the process of furnishing it for an extended period of home living and working. It needed to feel like home for both him and Kate as soon as possible…
At the end of the first week, we had our blank canvas. The main living room had an unusual yet beautiful floor, and the walls and ceiling were coated in Edward Bulmer’s Fair White, the cleanest of the whites and a great ‘fresh’ backdrop as Kate needed a section of the room for a studio - and there would be plenty of colour to come! The bedroom hadn’t yielded such lovely floorboards, and so we plumped for a very pale grey that was left-over from one of the many Battersea Decorative Fair floors… there was just enough lurking to offset the Jonquil we chose for the walls. A calm, warm pink from Bulmer that has enough boyishness in it to be a great bedroom choice… if you like pink that is!
The bedroom was particularly small for two clothing addicts – so whilst we delighted in getting the mattress off the floor and a temporary headboard hung, the solution to getting it furnished was never going to be ‘off the shelf’ – so we turned our attention to the living room and clothes remained in bags and storage for another week…
I happen to be the son of an antiquarian book dealer. They are a rare breed, eccentric for sure and completely obsessive. I inherited a little of that, and books and bookcases are at the centre of a home for me. So, whilst Kate was wondering what we might be able to sit on, my preoccupations were entirely on which bookcase would be right and which wall it would take pride of place on! Whilst the paint on the walls was still drying, eight sections of a long-coveted Regency bookcase from our antiques hangars made their way up the impossible staircase. With a selection of our art and interiors collection back on display, I could finally sit (on the floor!) and relax.
This was the first of three anchors around which the room would be built. The second was the dining table. A couple of years back we acquired a special re-edition Saarinen tulip table – and this is the love of Kate’s life. Its presence was non-negotiable, and it had no option but to sit square in front of the sash window. I love the contrast of traditional and contemporary, the sleek and simple lines of the table framed by pine shutters and painted panelling wouldn’t fail to look great.
The final key piece was which large-scale piece of art we would choose. I wanted discreet areas of the room to have quite different ‘feels’ to them – and I love large scale in smaller spaces… hence the bookcase! Well placed, scale pieces can make a room feel much larger yet draw a space together to maintain a sense of intimacy. The bookcase and an old preparatory study of Kate’s worked perfectly together. Not only does it bring a sense of drama and movement to the room, it gave us a superb colour palette for the fabrics and dressing the rest of the room.
In previous homes, I have championed the visual thrill of juxtaposition and clash… With just one room to live in, we wanted variety – though it was obvious as time progressed that we both wanted a form of retreat also – a safe and welcoming space rather than a stark gallery of treasures.
Peonies in sunlight… you just can’t help but be uplifted!
I marvel at the beauty of a bookcase turned display piece… but for me, there is nothing more beautiful than a bookcase being used for its original purpose. Books are our memories, our knowledge and our promise of future discoveries. What better to be the focal point of the room in these times?
The hand of the painter and the process of time.