Series editors' preface - Wood Tools

chesterfields, chiffoniers, davenports and cosy
corners.
From the mid-century onwards there was a
growing variety of new and exciting furniture
designs that were not slavishly copying traditional
designs. This furniture, designed by
architects, craftsmen or artists was gradually
associated with the beginnings of the modern
style. North America and most European countries
were affected. In Britain the rise of ‘Art
Furniture’ was initially encouraged by designers
such as Bruce Talbert and E.W. Godwin,
whilst the craftsman–designer was represented
by Ernest Gimson, Lethaby and Barnsley. By
the end of the century, Voysey and Mackintosh
represented the new designers. In the United
States, Herter Brothers, Associated Artists and
Tiffany, Stickley and the Roycrofters, the
Greene Brothers, and a little later, Frank Lloyd
Wright all exemplified the new thinking.
In France the two schools of Paris (represented
by Guimard, Gaillard) and Nancy
(Galle, Majorelle) were style leaders by the end
of the century. In Belgium Van de Velde and
Horta were developing the Art Nouveau, whilst
in Austria, the Vienna Secession (Hoffman,
Moser, Olbrich, Loos, Wagner) were using
modern geometric shapes. In Germany the
Jugendstil was represented by Behrens, Endell,
Riemerschmid and Pankok. Other more exotic
designs were produced by Gaudi in Barcelona
and Carlo Bugatti in Italy.
Style and type of construction
The early nineteenth century is called the
Regency period in England or the Empire style
in France. The style of the period in both countries
aimed to adapt newly discovered archaeological
remains and the furniture therein to
represent their new society. In 1804 Baron
Denon published the results of his exploration
in Egypt following Napoleon’s campaign, and
this provided authentic sources for copying
models for the Egyptian craze that followed. In
addition to this style there was a taste for the
Oriental and Chinese in particular. To achieve
these effects the use of beech, turned and
painted to imitate bamboo, was common. The
use of lacquered or japanned panels in carcase
furniture was also part of the taste.
Regency furniture can be identified by dark,
glossy wood offset by brass inlay, trellis work
galleries, lion’s paw feet, masks, star-shaped
Furniture history 29
bolt heads and studs. Angularity of shapes was
often accentuated by reeding on chair legs and
cabinets as it was considered that ancient furniture
was nearly always angular.
Early Victorian furniture was characterized by
the revivals mentioned above but from the 1850s
onwards upholstered lounge suites were popular,
comprising: sofa, a pair of spoon-back chairs
and a number of smaller balloon-back side or
dining chairs. These remained available well into
the next century in one form or another.
High-quality cabinet work was produced
during the period and is evidenced in the international
exhibitions where countries and manufacturers
tried to outdo each other with the
spectacle of their products. However, it is as
well to remember that the exhibition pieces
were just that, and are not representative of the
productions made for the retail market.
In Germany and Austria, the rectangular,
plain, neo-classical style named Biedermeier
was popular. It had similarities with the more
academic classicism of Schinkel. The success of
the bentwood industry run by Thonet and others
is discussed below. It was not until the unification
of Germany in 1870 that the individual
states and their local traditions began to be
subsumed into a German style.
In France, the high-quality eighteenth century
traditions continued, with Paris remaining
the centre of the trade. Oak continued to be
used as a base timber for cabinets, whilst
beech was used for chair frames. There are
examples of drawer linings and chair frames
being made in walnut, but these are exceptions.
The French construction process continued
to use the goujon or peg that was used in
the eighteenth century though its use gradually
died out during the nineteenth century.
From the 1870s, attempts to influence furniture
design by the Aesthetic movement were
successful. The ideas taken from Japanese art
and design produced a lighter and more delicate
range of furniture. This was made by art
furniture-makers. E.W. Godwin was the most
important designer in this field, his productions
using carefully balanced components, combined
with Japanese materials such as stamped
leather and netsuke. They were often ebonized
and fitted with silver components. The
Japanese taste extended to poor copies of art
furniture, often comprising standard designs
embellished with fretwork. Far more successful