Furniture Commentary
Posted by Chris under Furniture Commentary on July 07, 2011
So, why do we prefer English antique furniture? There are a number of reasons, many of them relating to comparisons between English antiques and other traditions. The American tradition, for example, took shape out of English precedents—and, I think, never really blossomed to the same extent. Instead of taking root in an organic, artisanal tradition like English furniture, even fine American antiques tend to be machine-made, reflecting the difference between the old "mom and pop" model and mass production. Also in contrast to English counterparts, French and Continental furniture tends to allow for more ornate motifs—most notably, gilding:
Meanwhile, English furniture usually represents a kind of happy compromise between the complex and the simple. For example, during the Victorian period and before the Georgian period you're likely to find an explosion of carvings and designs, but still no gaudy colors:
Still, English furniture mostly consists of modest, elegant designs that privilege thick, shellacked finishes and hand-rubbed coats of wax. Colors are earthy but rich, while understatement prevails, so that even given a marquetry design, the complex inlays feature organic, muted colors and the architecture remains relatively basic:
In the English tradition, every element of complexity must be purchased with the addition of something simple. This lends English antiques a certain balance that I find extremely appealing. Apparently, millions of other Americans think so, too, because "mainstream" traditional or antique style American furniture is basically a copy of Georgian taste. Take this archetypal writing desk, for example:
The sheer familiarity of the design (plain rectangular shape, swan neck pulls, fluted corners, square tapered legs) speaks to how deeply the English furniture tradition has embedded itself in American taste. Georgian style is more or less the norm in offices all across the country, while foreignness or exoticism is almost always denoted by distinctly European designs like the above gilded table—not by the wholesome and familiar English tradition. So, in a paradoxical sense, English furniture is as American as it gets—or, to put it another way, we in fact prefer American furniture so much that we look to the English original.
Tags: none
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Posted by Chris under Furniture Commentary on June 23, 2011
They say the Devil is in the details. I tend to disagree. In pieces like this, the details announce impeccable craftsmanship, fine mimesis of the natural world, and symbolic meaning:
This is what we've lost with the decline of the furniture industry.
At one time, craftsmen and their clients participated in a certain tradition of meaningful artistic expression, a cultural consciousness that demanded aesthetic significance even from everyday objects. Yes, on the one hand, Victorian bookcases of this quality would have been limited to a privileged few, but on the other hand, we can say that even today's fine contemporary furniture bears the irreducible mark of stylized, mass reproducibility. We have passed from imitating "nature" to imitating the industrial process itself—with all the sterile angles and slight curves that postmodern furniture allows.
Wouldn't it be nice to have a bookcase like this, and to know that it is par for the course and not some exceptional rarity crafted over a century ago? I would like to see a return to this kind of masterful craftsmanship, to the art of rendering space in unique and emotionally significant ways—and trust me, I'm not just nerding out about this furniture (although that's part of it). Look at this drawer front, for example:
On it you can clearly see wheat paired with grapes (carved quite beautifully, at that). As a student of English poetry, I instantly recognize at least some of the meanings, here: wheat, the traditional symbol of death, but also (paradoxically) life and fertility. This is the kind of sly irony that you can expect from Victorian poetry, and here we see it in Victorian furniture, as well. And of course the grapes themselves bring their own, contrasting meaning: the fruit of wine, drink of the gods (especially Bacchus/Dionysus, who has always been linked to poetry and creativity). The meanings are numerous: death paired with life (a famous Victorian cliché), but also the notion of the harvest and thus of agrarian life, a culture that was already giving way toward modern industrialization even before the Victorian period, when the land-based nobility became the capitalist class, when the old ways gave way to the new, etc. Likewise, shortly thereafter England's long tradition of fine, hand-crafted furniture bottlenecked into the handful of dedicated hold-outs that we see today.
I don't pretend to hold some kind of scholarly knowledge about furniture, although I've learned my fair share here at English Classics. However, it is obvious that this bookcase at least exemplifies the aesthetic mentality of the day, providing some answers to the questions: what is art? and what is beauty? and how will we adapt these notions to the spaces that we live in? In my view, these are the questions that we should ask of our furniture.
But we have seen today an increasing focus on cheap utility—regardless of socioeconomic context—and although this approach has its merits (namely affordability), it often suffers from a brand of minimalism that is aimed less at the efficient use of space and more at the least amount of effort. The same could be said of a great deal of postmodern architecture, which offers its own can of worms. So, antiques aren't just about nostalgia. They bring a certain level of history and humanity to the spaces that they occupy. They remind us that we are not alone on this long historical trajectory, and that at one point furniture was valued for its art as much as for its function. So, we can hope that this level of dedicated appreciation might return again—and in a lot of ways, it has, e.g. our line of reproduction furniture. However, there is still work to be done in the culture at large, and I guess that's why we're here.
Tags: victorian, bookcase, history
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Posted by Chris under Furniture Commentary on June 16, 2011
I've said it before and I'll say it again: the continued existence of the antique industry is by definition predicated on stagnation. Which is another way of saying: "They don't make 'em like they used to." Of course, this shouldn't surprise us: the divide between postmodernity and the modern era grows wider every day. It is becoming increasingly difficult for one generation to speak to the next: on top of the usual social and ideological differences between generations, we are now confronted with a deluge of new technologies and revolutionary ways of using them. Is Victorian furniture really any longer relevant to today's young professionals, who are turning in droves toward contemporary tastes and away from the venerable traditions of antique furniture? Is it possible to bridge the generational gap so that our industry can perpetuate itself?
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Tags: media, social, digital, culture, marketing
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Posted by Chris under Furniture Commentary on April 29, 2011
A while back, we wrote a post about a Pickfords, Ltd. sticker that we found on the back of an antique Welsh dresser. Today I photographed a gorgeous flame mahogany grandfather clock with an even older version of the Pickfords label:
Tags: pickfords, sticker
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Posted by Chris under Furniture Commentary on April 19, 2011
Most people love antiques. They're green, they're unique, they combine utility with art—they interrupt the dull monotony of everyday living simply by asserting themselves in space. Unique configurations. Unique materials. Distinct expressions of artisanal mastery. And for us, that's what it's really all about: working alongside the limits of beauty five days a week. A large part of this experience involves cultivating a taste for the business as well as for the beautiful pieces that we move in and out on a daily basis. But if you're on the outside looking in, it can often seem difficult to recognize quality when you see it, so to help, we've put together a list of some of our favorite pieces and explained why each piece made the list.
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Tags: bookcase, chest, marquetry, sideboard, sofa
3 comments.
Posted by Chris under Furniture Commentary on April 12, 2011
Photo: AP
As most people have heard, the British Royal Family (and many people across the globe) are preparing for a happy celebration in honor of Prince William and Kate Middleton's marriage ceremony on April 29. Of course, the newlyweds will no doubt receive a number of lovely and interesting gifts—but we would also wager that at least one or two pieces of fine furniture will be among them.
Why? Simple. Furniture and weddings have a long and colorful history together. Going back many centuries, it has been an English tradition (especially among the affluent) to offer specially commissioned furniture as wedding gifts. Usually these pieces feature some type of engraving or plaque featuring a pair of initials or names, or even a dedicatory poem. The styles and means of dedications vary quite widely; sometimes, the plaque simply says (for example), "For the marriage of John and Martha Smith." Other times, the piece contains carved motifs that suggest a marriage dedication without exactly making it explicit—thus illustrating the poetic side of traditional English furniture.
For example, we once found a Victorian oak sideboard that contained, among other things, a pair of images, one of a man and one of a woman:
We can't be certain, but each figure is holding a small cylindrical object to its chest, suggesting that they may be holding scrolls of paper. Perhaps they are wedding vows? We can be certain, however, that the two figures are shown in traditional, ceremonial poses.
We sometimes find carvings that are more explicit, such as this carved panel from another Victorian sideboard, which appears to depict a man proposing to a woman (note the small object that he is proffering to her):
On a different note entirely, we recently came across a Samuel Wright grandfather clock engraved with a poem entitled "The Happy Marriage," by Sir Edward Moore. Ironically, the speaker of the poem describes his habit of extramarital entanglements and his wife's benign reaction to them as a component of their (un)happy marriage. So it isn't certain whether the clock was originally commissioned as a wedding piece, but it's certainly interesting to think about! Here's the clock in question:
We can also verify that giving furniture as a wedding gift is still a common practice: we've had a few commissions made ourselves! Whether William and Kate will have a piece commissioned, however, is another story entirely. In any case, we suspect that they already possess the finest furniture in England. After all, the world still refers to period furniture by the names of English monarchs (Georgian, Queen Anne, Victorian, etc.). Perhaps William and Kate will be the new William and Mary? Time will tell.
Tags: wedding, prince william, kate middleton, royal family
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Posted by Chris under Furniture Commentary on April 08, 2011
When we recently acquired this Samuel Wright grandfather clock, we were in for a fun surprise. The text on the door is an excerpt from Edward Moore's poem, "The Happy Marriage." Ironically, the speaker of the poem describes his habit of extramarital entanglements and his wife's benign reaction to them as a component of their (un)happy marriage. You wouldn't think that you'd want such a poem inscribed on the door of your grandfather clock; after 250 years, however, it has a certain charm, doesn't it? A mediocre poem from a similarly mediocre and obscure poet inscribed on the door of a superb clock crafted by a master of his trade. I'd have to say that the irony of the postmodern clock outpaces Moore's original! Here is the text of his poem:
How blest has my time been! what joys have I known,
Since wedlock's soft bondage made Jessy my own!
So joyful my heart is, so easy my chain,
That freedom is tasteless, and roving a pain.
Through walks grown with woodbines, as often we stray,
Around us our boys and girls frolic and play:
How pleasing their sport is! the wanton ones see,
And borrow their looks from my Jessy and me.
To try her sweet temper, ofttimes am I seen,
In revels all day with the nymphs on the green:
Though painful my absence, my doubts she beguiles,
And meets me at night with complacence and smiles.
What though on her cheeks the rose loses its hue,
Her wit and good humor bloom all the year through;
Time still, as he flies, adds increase to her truth,
And gives to her mind what he steals from her youth.
Ye shepherds so gay, who make love to ensnare,
And cheat, with false vows, the too credulous fair;
In search of true pleasure, how vainly you roam!
To hold it for life, you must find it at home.
Tags: edward moore, samuel wright, grandfather clock
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Posted by Chris under Furniture Commentary on March 29, 2011
Ever wonder why nice antiques are so hard to come by? People do all kinds of less-than-bright things to keep it that way, so to help you spot the problem before it starts, we've put together a list of what not to do...
1. Paint them.
2. Buy them at the "antiques" store.
3. Use them for beer pong.
4. Let your grandkids party in the antiques room.
5. Let your cat help with the restoration.
6. Attempt to move antique furniture without knowing how.
7. Forget where you put them (outside?!).
Tags: humor
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Posted by Chris under Furniture Commentary on March 01, 2011
Every morning that I come into the office, I sit down and read through our emails with a cup of hot, black coffee. This morning, I opened an email containing what looked like a photograph of avant-garde artwork. When you work in or run an online business, this is the sort of non sequitor that you come to expect when you look through your inbox. Business as usual. But what looked like an impressionist masterpiece was really just an exceptionally blurry secretary in a dim room.
Now, there are all kinds of photography tutorials out there that could amend this problem. However, there are a few additional things that you need to know before sending pictures to a dealer.
1. Ask yourself: what do I want the dealer to see? Is what I want them to see evident in the photograph? Honesty and clarity should be your rule of thumb.
2. Many people send emails containing pictures of items that they'd like to sell. However, even if you send detailed pictures, it is very unlikely that a dealer will be able to assess the value of your piece(s) without seeing them in person. They may be interested in purchasing your item(s) (if they're the type of dealer that buys from unsolicited offers), but they won't really know the value of your furniture until they see it in person. There are all kinds of details that you simply can't assess without physically inspecting every inch of the piece (what types of screws it has, whether it has dovetails, what the insides of the drawers look like, whether there is a maker's mark, etc.).
3. Be courteous. Practice the golden rule by being upfront about your intentions, and don't send what may be an unwanted email. Save yourself potentially wasted time and effort by checking to see if the dealer actually buys from customers, or if they provide appraisal services (which should cost hundreds of dollars in most cases). If they don't have any information on their website, try giving them a call, or send an email asking if they would be interested in helping you out before you send pictures. Also, consider that viruses frequently spread through emails and attachments, so many dealers simply won't read your email or look at your attachment out of security concerns; businesses are pretty big targets for malicious jerks, so help dealers and yourself by giving them a head's up! This level of courtesy may actually trigger a more sympathetic response in the dealer, prompting them to help you more than they otherwise would.
We hope that we've answered some of your potential concerns, but as always, feel free to leave any questions in the comments section below!
Tags: tips, online furniture
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Posted by Chris under Furniture Commentary on February 26, 2011
This is an old topic of debate and I wager that the discussion will never end. However, if you're in the market for quality furniture, you definitely want to know where you stand before settling on a purchase. As with most topics, misinformation is all too common, so I want to clarify a few things. First:
"Veneer" does not necessarily mean "bad."
We cannot emphasize this strongly enough! While I can understand concerns about veneer and preferences for solid wood, it is important to keep in mind the difference between quality veneers and cheap cabinetry. Veneers aren't something that Asian furniture manufacturers invented when they flooded the world with crappy furniture; to the contrary, veneers derive from an old and venerable furniture-making tradition. Back in the Georgian period and beyond, for instance, veneered furniture was considered higher quality, since it took more skill to carefully arrange the expensive veneers over solid wood than it did to slap a few boards together and call it furniture (which still holds true). Cabinetmakers began to use veneers as a way to develop their craft, allowing them to employ a greater variety of techniques using a wider selection of rare wood types, which were so expensive and uncommon—even for the finest furniture—that they were only available in veneers. Even today, the most exquisite wood can only be found in veneers, including burl walnut and flame mahogany. Finally, "inlays" are actually a type of veneer, so if you're looking at anything with wood inlays, you're looking at veneers.
Here are just two examples of high quality veneers over solid wood:
As you can see, the above flame mahogany and satinwood credenza is
not some cheap, Indonesian-made throwaway. Likewise, the obscene variety of exquisite inlays in the above marquetry chest indicate only the finest quality. I may be tooting my own horn at this point, but I want to illustrate not only that 1) veneers can be high-quality, especially in English-made furniture, but also that 2)
some techniques and wood types can only be employed by using veneers. If a veneer splits or cracks, don't blame veneers as such: blame the manufacturer! Veneers as a technique and a material are no more culpable for bad industry practices than solid wood is when wood splits or cracks. Which brings me to my next point:
All solid wood eventually warps, splits, and cracks!
There is even a name for this phenomenon: "age splits" (the idea being that the wood in quality furniture won't split until it has aged). This is why many cabinetmakers, including our own, offer the option of medium-density fiberboard (MDF), which is stronger, denser, and heavier than solid wood—and which also never warps, splits, or cracks. Solid wood, however, has the advantage of being a little easier to repair in the event that a piece sustains damage. Even so, solid wood and veneers are not mutually exclusive categories, so you will often see, as in our own furniture, that solid wood pieces are overlaid with fine veneers. This gives the cabinetmaker much more flexibility with the design and construction, opening up new possibilities for inlays, banding, and other techniques. In all likelihood, furniture that is purely solid wood with no veneers or inlays whatsoever will be rustic or country style, since formal furniture long ago adapted motifs of inlay and banding that are now irreducibly part of the formal furniture tradition.
So, if you're in the market for reproduction or antique furniture, we hope that you can now go forth into the world with good information. Just remember that if you ever touch on a controversy like the one that has erupted on the topic of solid wood and veneered furniture, you probably want to do some research before buying. After all, if you wind up moving or re-arranging your furniture collection, you may want to sell a few of your own pieces. We hope that we've at least cleared up this little impasse for you, but if you have any other questions, please feel free to leave them in the comments section below!
Tags: veneer, solid wood, tips
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