DOI issue:
Nr. 332 (January 1925)
DOI article:Baxter, Leonora, R.: Art in everyday live
DOI Page / Citation link:https://doi.org/10.11588/diglit.19984#0085
mceRtiACionAL
shelf with two drawers. The pole between the doors slips
out so that the whole interior is unobstructed. The doors
are kept closed with a quaint lock and flat key, and all the
metal work of brass is delicately engraved with floriated
designs that are now scarcely visible. These cabinets are
rare and important specimens, and are in a remarkable
state of preservation. They stand six feet four inches in
height; width, three feet five inches; depth, one foot ten
inches, and are exhibited in the studio of Dudley James.
Occasionally one finds some of the treasures that
were stolen from the summer palace of the former
Chinese emperor during the Boxer uprising of 1900.
The illustration pictures one of a pair of porcelain placques
that thus fell into the hands of vandals and were later
acquired by Roland Moore. They are mounted upon
wooden frames, and are imperial Chien Lung pieces, period
°f I736-i7Q5. The decoration on eacli shows a large
Chinese character.
T^uncan Phyfe was very strongly under Sheraton and
J^J Directoire influence during his early days, and it was
not until about 1790 that he began to show decided
originality. From then until 1805 was his best period, and
his productions of that time are now only distinctly charm-
ing, but peculiarly adaptable to diversified surroundings.
By the way, it is interesting to recall that his first workshop
was on the present site of the Hudson Terminal. He worked
principally in mahogany and satinwood, and the master
dining table pictured here is of mahogany, darkened by
age and in perfect condition. It is exhibited among other
very rare things, in the New York shop of Fred J. Peters.
Each one of the three sections has drop leaves at the ends,
and is a complete table in itself. There are two extra
adjustable leaves, the same width as a section, and all put
together it measures up to banquet requirements. Used
separately, one can readily imagine many different and
delightful ways in which these tables would enhance the
beauty and comfort of a good interior. So far as we know
Phyfe made only four three-section tables. One of them
is in the American wing of the Metropolitan Museum.
rhe refectory table has come out of the past and
made an abiding place for itself in modern life. The
illustration fails to do justice to its subject, due to the
fact that time-worn carving and inlay do not photograph
well on a dark surface. This table is late sixteenth century,
made of walnut. The top if enriched by two squares of
intarsia and a becca di civetta edge, rubbed uneven in places
from much usage. The stretcher is elaborately carved and
fastened in with wooden pins. The ends show beautiful
workmanship and over all is the soft smoothness of finish
that only age can give. It is in the interesting studio of
Gino Corsani.
/n Italy can be found, as well as in New York,
any amount of cheap neoclassic furniture of the period
of 1780-1790, but pieces perfect in workmanship and
design, as the chair illustrated here, are extremely rare.
It is lacquered in gold and white and the winged sphinx-
arms show remarkable carving. This is one of a pair of
armchairs, and is to be seen in the studio of E. & H. de Frise.
January 1925 three forty-Jive
shelf with two drawers. The pole between the doors slips
out so that the whole interior is unobstructed. The doors
are kept closed with a quaint lock and flat key, and all the
metal work of brass is delicately engraved with floriated
designs that are now scarcely visible. These cabinets are
rare and important specimens, and are in a remarkable
state of preservation. They stand six feet four inches in
height; width, three feet five inches; depth, one foot ten
inches, and are exhibited in the studio of Dudley James.
Occasionally one finds some of the treasures that
were stolen from the summer palace of the former
Chinese emperor during the Boxer uprising of 1900.
The illustration pictures one of a pair of porcelain placques
that thus fell into the hands of vandals and were later
acquired by Roland Moore. They are mounted upon
wooden frames, and are imperial Chien Lung pieces, period
°f I736-i7Q5. The decoration on eacli shows a large
Chinese character.
T^uncan Phyfe was very strongly under Sheraton and
J^J Directoire influence during his early days, and it was
not until about 1790 that he began to show decided
originality. From then until 1805 was his best period, and
his productions of that time are now only distinctly charm-
ing, but peculiarly adaptable to diversified surroundings.
By the way, it is interesting to recall that his first workshop
was on the present site of the Hudson Terminal. He worked
principally in mahogany and satinwood, and the master
dining table pictured here is of mahogany, darkened by
age and in perfect condition. It is exhibited among other
very rare things, in the New York shop of Fred J. Peters.
Each one of the three sections has drop leaves at the ends,
and is a complete table in itself. There are two extra
adjustable leaves, the same width as a section, and all put
together it measures up to banquet requirements. Used
separately, one can readily imagine many different and
delightful ways in which these tables would enhance the
beauty and comfort of a good interior. So far as we know
Phyfe made only four three-section tables. One of them
is in the American wing of the Metropolitan Museum.
rhe refectory table has come out of the past and
made an abiding place for itself in modern life. The
illustration fails to do justice to its subject, due to the
fact that time-worn carving and inlay do not photograph
well on a dark surface. This table is late sixteenth century,
made of walnut. The top if enriched by two squares of
intarsia and a becca di civetta edge, rubbed uneven in places
from much usage. The stretcher is elaborately carved and
fastened in with wooden pins. The ends show beautiful
workmanship and over all is the soft smoothness of finish
that only age can give. It is in the interesting studio of
Gino Corsani.
/n Italy can be found, as well as in New York,
any amount of cheap neoclassic furniture of the period
of 1780-1790, but pieces perfect in workmanship and
design, as the chair illustrated here, are extremely rare.
It is lacquered in gold and white and the winged sphinx-
arms show remarkable carving. This is one of a pair of
armchairs, and is to be seen in the studio of E. & H. de Frise.
January 1925 three forty-Jive