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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.
No point in British history had such a profound and lasting impact on furniture design as the Georgian period. Let's take a closer look at this towering legacy.
Georgian England
The Georgian period counts for over a century of English history. Four consecutive George’s were on the throne, and it was a time of relative stability.
Beginning with George I and ending with George IV, Georgian England encompassed a wide range of design styles. The enduring legacy, however, is one of sturdy and high-quality furniture that exudes elegance.
There’s a certain vitality to the Georgian period, reflected in its furniture and other antiques. Democracy was growing and it was a time of relative peace and prosperity. This was the era when games tables came to the fore, and interiors revolved around entertaining. Grand homes, such as Chiswick House, needed furnishings for entertaining guests for days at a time. Pieces had to be functional, but also on-trend, and cabinet-makers delivered to that brief.
The ‘early Georgian’ period refers to the reigns of George I and George II. Under George I, the elegant furniture of Queen Anne continued, whilst Rococo style flourished under George II.
The ‘late Georgian’ period correlates with George III, who reigned from 1760 to 1820. This was the heyday of Chippendale, Hepplewhite and Sheraton and neoclassicism took off. George IV, as Prince Regent, reigned on behalf of his father for the last nine years before taking over as King.
George IV pioneered the well-known Regency style. Our previous blog explored the Regency in-depth, so we will focus on the prior period in this article.
The mahogany revolution
Georgian furniture did not just make use of mahogany as a material- the timber dictated design in this period. This exotic wood was not a new discovery; designers had long admired it and used it for the finest of pieces.
The timber of choice up until this point was walnut, but several factors side-lined it in favour of mahogany. England had been heavily reliant on France for importing walnut, until France banned its export in 1720. Shortly after, in 1721, Sir Robert Walpole as British Prime Minister lifted the tax on mahogany.
Thus, the mahogany revolution began, offering an indispensable resource to the cabinet-makers of the 18th Century. The timber was sourced mostly from Jamaica at first, and then Honduras.
This wood was durable and tough, with a very fine grain that resisted scratches and bumps. Mahogany blended seamlessly with ornament and lent itself well to the elegance that defined this period of furniture design.
Mahogany wasn't the only exotic timber coveted in this period; designers also exalted the boldly striped figuring of rosewood and satinwood.
The Georgian protagonists
Both the excellence of furniture in this period as well as its varying styles are down to the master cabinet-makers of Georgian England.
The Georgian period saw a growth of the middle and lower upper class in England. This created a thirst for possessions and furniture, which provided a strong market for the cabinet-maker. And what an era for cabinet-making it was!
Chippendale's era
Thomas Chippendale was the first on the Georgian furniture scene in London, the centre of high society. Entrepreneurial by nature, he is widely regarded as one of the finest furniture designers in English history. In 1754, he found some fame with The Gentleman and Cabinet- Maker's Dictionary. With numerous reprints and editions, this pattern book was sourced by fellow cabinet-makers, architects and noble gentleman.
Chippendale was a man who found inspiration and wonder in everything he saw. He drew upon French Rococo style, more classic French style, the Gothic and the Chinese. The Chippendale legacy is aligned with English Rococo style, though he spanned so many styles with ease. William Kent was another designer who enthusiastically embraced Rococo as well as Palladianism.
Chippendale catered to swelling demand for functional yet stylish furniture. He accepted commissions to provide interiors totally in the Chippendale style for wealthy households. Chippendale pieces are famous; the camelback sofa, ribbonback chairs, and shell and acanthus decoration feature heavily. Collectors exalt his chairs, sofas, mirrors, and serving tables as some of the finest furniture in the world. He was known for bold brass hardware, fretwork moulding and cabriole legs with ball and claw feet.
‘Country Chippendale’ and ‘Irish Chippendale’ emerged in the second half of the 18th Century. Rural craftsmen emulated his designs, using native woods rather than mahogany. These are wonderful pieces in their own right, but the quality does not compare with his original designs.
Neoclassicism
Where Chippendale pushed the boundaries, experimenting with new fashions, other designers brought furniture back to basics. Hepplewhite and Sheraton later joined Chippendale as key players in the furniture design of this period. The combined influence of these three men upon English furniture was nothing short of monumental.
As we move into the mid-late Georgian period, neoclassicism begins to dominate furniture design. These designers were of the 'Grand Tour' generation and drew inspiration from Greek antiquity. Robert Adams was undoubtedly the most significant proponent of English neoclassicism. Along with his brother James, the Adams' personal take on Palladian architecture and furniture sent shockwaves through design circles.
Chippendale became aware that change was underfoot, and so he took neoclassicism and ran with it. Some of his greatest successes were in this later period, and the neoclassical Harewood House is still home to some of his best furniture designs.
However, neoclassicism was Hepplewhite and Sheraton's guiding principle from the outset. Despite his huge legacy, George Hepplewhite the man is something of a mystery. He died in 1786, leaving his estate and business to his widow, Alice Hepplewhite. Alice carried on under her own name: A. Hepplewhite & Co. It was his widow who published The Cabinet-Maker and Upholster's Guide in 1788. This book would catapult Hepplewhite to the centre of furniture design.
Hepplewhite pieces draw upon French neoclassicism under Louis XV and Louis XVI. This pair of French salon chairs exhibit his style perfectly.
Hepplewhite was the 'master of the sideboard,' and his designs were light, well-proportioned and beautifully polished. You might recognise them for their splayed feet and stunning inlay decorations.
Sheraton, the final Georgian master
Chippendale and Hepplewhite had passed on before Thomas Sheraton arrived on the London furniture scene in 1790. He very much continued in Hepplewhite's vein, and the beholder can confuse the two men's pieces. However, Sheraton pieces went the extra mile when it came to refinement. Known for his rectilinear shapes and often opting for straight or tapering legs, Sheraton used neoclassical motifs such as reeding and rosettes.
And so, as the Georgian period came to an end, Hepplewhite and Sheraton finished up on a neoclassical note. Their ornament was in contrasting woods and beautiful inlaid decoration. Hence, in the evolution of the Georgian period, you witness a trajectory that builds up to extravagant heights before cooling down to simpler designs.
Georgian antiques
Despite the multitude of styles in this period, the majority had durability and beauty in common. For this reason, Georgian antiques have survived in high numbers and are still very desirable.
It was a widely emulated style for many years, particularly in the 19th Century. Although reproductions are still covetable in their own right, look out for the differences.
England and France revived Georgian design in the 20th Century, as the English Country House style emerged. Over in America, the Georgian legacy gave rise to Federal style. This is fashion that has truly stood the test of time and continues to influence interior design trends to this day.
Georgian tables, chairs, lighting, and cabinets adapt easily to the modern home. The pieces are unobtrusive and showcase the finest craftsmanship.
Lorfords is home to lovely Georgian pieces, which will ease seamlessly into your interior. Browse our lookbook ‘Georgian Golden Age' to breathe new life into your home.
When rumours of an impending lockdown were circulating back in March, office workers everywhere were hauling technical equipment home. As restrictions ease, it seems that the option to work from home will be part of our lives for the foreseeable future. Spending time curating your perfect home office is well worth it, for the sake of comfort and style.
Home office through history
Office life has been ingrained into modern society for decades and is a part of our culture. However, prior to the industrial revolution it was the norm to work from home. Humanity has always had some version of this concept, from medieval merchants operating from home, to women in post-World War II Britain who began the industry of in-home sales.
Indeed, working life was redefined by the success of Brownie Wise’s Patio Parties in the 1940s and 50s. Working in sales for Stanley Home, Brownie saw an opportunity for selling Tupperware by bringing women together in a social capacity.
There is a plethora of antique furnishings dedicated to working, reading and writing. Despite modern technology, the office doesn’t have to strike a jarring contrast with the rest of your home. The highly efficient laptop you work from may not resonate with the 18th or 19th Century study, but your desk and décor certainly can.
Oasis of peace
When the country was instructed to work from home if possible, there were some happy novelties- namely endless cups of tea and waking up ten minutes before your first meeting of the day. But then Zoom calls became exhausting, interrupted by children or pets, and the home WiFi cracked under the pressure. The line between working life and free time became increasingly blurred.
Love it or loathe it, working from home for lots of professions is going to remain prominent. Creating the perfect home office space is vital for the most productive and aesthetic work environment. A study ought to provide an oasis of calm amidst the chaos. Technical equipment is the interior designer’s worst nightmare and the key to reconciling cables and screens with attractive furnishings is storage and clever use of space.
A handsome secretaire can ease all your work-from-home woes. Introduced in the late 18th Century, these enclosed cabinets became a staple for middle-class homes. The secretaire, which translates literally as ‘writing desk,’ keeps your unruly paperwork, many notes-to-self and quirky possessions safe and out of sight. Archival boxes serve a similar purpose and will keep your desk clutter-free.
Just as important as an attractive, practical desk is the accompanying seat. Long days sat at the computer cry out for a good chair. A finely crafted antique chair will give you the support you need to get through a lengthy meeting or project at your desk. In addition to a desk chair, a good library chair is perfect for the coffee break or a morning meeting.
Office envy
We have been given unprecedented insight into each other’s homes during this period, seeing our colleagues in a more personal light. On a video call, it seems as though people compete for the most extravagant house plant, the most diverse and
thoroughly stocked bookshelves or the finest painting in their background.
Excess decoration is often a distraction in an office environment. However, some décor is necessary and a good clock is a must for counting down the minutes until your next tea break. The odd attractive painting, sculpture or vase is worth including to provide something pleasing to the eye when you’re on your eighth Zoom call of the day. In the midst of a long working day, a few memoirs from travels and adventures can help to keep you motivated for your next trip.
The home office should have several sources of light; a desk light is vital and a floor lamp a pleasant decorative addition. A Maison Jansen palm standard light in the corner of the room will out-shine even the most over the top house plants.
Take a break
Necessities aside, why not put a daybed in for when the constant stream of video
conferencing gets overwhelming? Lorfords even offer a bed for your (very small) dog or cat, so that they don't miss out.
Consider investing in a drinks trolley to keep nearby, Mad Men style, so that your 5pm drink comes that bit faster. Alternatively, stay true to the sober Victorian beginnings of the bar cart and use it to keep a constant stream of tea going.
Visit our new lookbook, ‘Curate the perfect antique home office’ to browse the pieces featured.