International studio (82.1925)

mceRHACionAL

work, ribbon work, shells
and leaves forming a con-
glomerate whole with the
undulating top in a fashion
that went out by 1745. A
portly look marks the broad
-sweep of the arms with their
ample curve. The width of
the seat and the solidity of
the legs with their carved
acanthus on hips and ball
and claw terminals combine
to place it as a chair made
for a country squire's. In
the town house, the Geor-
gians aimed at a certain
French likeness of appear-
ance more suited to the
superficial existence than
the fashion of the town.
The ribbon work may well
have been copied from the
furniture designs published
by J. Berain of Paris in
1663.

Figure two.—Once a
part of the now disbanded
Gilbert collection of Balti-
more, this commode is a
thoroughly Georgian adap-
tation of French stvle done

in rosewood about 1745 and illustrating the
effective manner in which Chippendale
stimulated the elaborate French ormolu,
using wood as a medium, achieving a very
satisfying result.

Figure three.—Some of these stands
were marvels of intricacy but fortunately
over-ornamentation led a precarious exist-
ence when contrasted with well designed
pieces similar to this occasional table with its
gallery around the edge as a protection for
the valuable bit of china for whose display
it was fashioned. Many of these as well as
tip-top tables and glass door cabinets, were
needed by the Georgians to hold the count-
less objets d'art with which they cluttered
their rooms. The galleries were made of three
thin layers of wood of different cross grain-
ing glued together for strength. The Adam
knife case does not belong with the table.

Figure four.—The tip-top table shown
was bought directly from England by the
present owner, Adrian F. Wellens, but is
exceptional only for the vine carving.

Figure five.—Of the
same type is this pole screen.

The ever popular tripod feet
being easily susceptible to
breakage, they were in some
cases reinforced with iron
braces. Chippendale seldom
permitted this, as he con-
tended that if properly cut
with the grain of the wood
there was a minimum of
danger from breakage. Both
of these tripods have notice-
ably long, graceful curves.

Figure six—Another of
the Gilbert collection, alto-
gether a hybrid and as such
very entertaining, this two-
back walnut settee with
its unusual head rest is
strongly Dutch in character.
The Hollanders were origin-
ally influenced by the Chi-
nese designs which their
early eastern traders brought
back. The bird claw and
ball foot so frequently used
by the Chippendales has its
origin in the dragon claw
holding a pearl—a design to

FIGURE FIVE. FIRE SCREEN

thirty

OCTOBER I925