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Walnut and burr walnut veneer side chair attributed to Giles Grendey, London, c. 1740 (Art Institute of Chicago) Ornamentation is minimal, in contrast to earlier 17th-century and William and Mary styles, which prominently featured inlay, figured veneers, paint, and carving. The cabriole leg is the "most recognizable element" of Queen Anne ...
This rare armchair, crafted in the mid-1700s, fetched a jaw-dropping £20,400 (about $25,609) at a 2006 auction due to its intricate carvings, rarity, and historical significance. Featuring a high ...
He was in business in the late 18th century at the Haymarket in London. [2] He manifests the same surprising variations of quality that are noticed in the work of nearly all the English cabinet-makers of the second half of the 18th century, and while his best had an undeniable elegance, his worst was terrible: squat, ill-proportioned and confusing.
He is regarded as having been one of the "big three" English furniture makers of the 18th century, along with Thomas Sheraton and Thomas Chippendale. There are no pieces of furniture made by Hepplewhite or his firm known to exist but he gave his name to a distinctive style of light, elegant furniture that was fashionable between about 1775 and ...
In the metropolitan culture of France, French furniture, connoting Parisian furniture, embodies one of the mainstreams of design in the decorative arts of Europe, extending its influence from Spain to Sweden and Russia, from the late seventeenth century to the last craft traditions in workshops like Jacques-Emile Ruhlmann, which came to an end only with the Second World War.
With the death of Louis XV on May 10, 1774, his grandson Louis XVI became King of France at age twenty. The new king had little interest in the arts, but his wife, Marie-Antoinette, and her brothers-in-law, the Comte de Provence (the future Louis XVIII) and the Comte d'Artois (the future Charles X), were deeply interested in the arts, gave their protection to artists, and ordered large amounts ...