Newsletter 212 November 2018

The Furniture History Society Newsletter 212 November 2018

ntil the early modern period, coastal Trinity House. 1 They were lit by tallow Ulighting was haphazard at best and candles, primitive oil lamps or coal fires. non-existent at worst. Local shipping Coal fires were more visible than the hugged the shore, and in the daytime flicker of candles or lamps, but were not mariners could steer a course using groups without their drawbacks, ‘now shooting of cliff-top trees, prominent church spires up in high flames, again enveloped in and other characteristic features of the dense smoke, and never well seen when landscape. Navigating at night was most required’. 2 Furthermore, coal fires extremely hazardous, though efforts were were occasionally confused with the light made to provide some form of primitive of industrial installations such as lime lighting such as swape lights, where a kilns, luring ships to disaster. basket of lit fuel was swung from a pole at It was the poor condition of the upper a cliff edge or a fire burned in a brazier on Lowestoft lighthouse that finally a cliff top or on a purpose-built tower. galvanized Trinity House into taking However, as trade and shipping began to action. Lowestoft is situated on the proliferate, it became imperative to find a extreme easternmost point of the British more reliable method of marking Isles, and there had been a pair of leading dangerous shallows or reefs. lights here since 1609 , enabling the rapidly In 1776 , the Corporation of Trinity expanding coal traffic from the North East House of Deptford Strond, the English and to London to steer a course. They are Welsh lighthouse authority since 1566 , thought to be the first lighthouses erected embarked on a project to develop a new and managed by Trinity House. 3 The lighting system in which George Seddon failure of either of them, particularly the (c. 1727 –1801 ), cabinet-maker of upper light, was potentially serious for the Aldersgate Street, London, played an treacherous navigation of this part of the integral role. By this date, there were about coast, and it was decided to experiment twenty lighthouses round the English with reflector lights as a possible coast, though none round the coast of replacement for the coal fire. 4 Scotland. About half were owned and Two attempts had been made, managed by Trinity House, while the rest independent of Trinity House, to intensify were privately owned or leased from the feeble light of oil lamps by using

2 furniture history society newsletter, no. 212, november 2018 reflectors. In 1763 and 1764, Captain 18 inches away from the hexagonal William Hutchinson, Liverpool cylinder, well clear of the mirrored Dockmaster, installed reflector lights at reflecting surface. Oil was conveyed to it Leasowe and Hoylake lighthouses on the from a reservoir in the centre of the Wirral coast,5 while Ezekiel Walker, natural reflecting cylinder via six pipes that philosopher, designed reflector lights for passed through the intersections of each the privately owned Hunstanton segment of the hexagon. Set into the wheel lighthouse in early 1777.6 were a series of small tubes, each Both used conical-shaped reflectors in containing a cotton wick, the lower end of the form of a parabola, known to which soaked up the oil, referred to as concentrate the light source into a lamps or burners. Furthermore, the powerful straight beam, but in order to concept also included a new style of exploit this characteristic it was necessary lantern. Earlier lanterns generally had to place the light source in the focus of the thick masonry or timber mullions and parabola, well back from the mouth of the small latticed windows obscuring much of cone. However, the smoke from primitive the light within. In contrast to this, James oil lamps then in use quickly blackened designed a lantern using large plates of the surface, rendering the reflectors glass held in place by small section copper virtually useless. In an attempt to avoid glazing bars and covered by a pitched this, Hutchinson placed the burners clear copper roof, with a fan to allow dispersal of the mouth of the cone, while Walker of heat and smoke. It was described as ‘a used burners with very small wicks but glass lanthorn’, for the same reason the placed in the correct position. Although Great Exhibition building of 1851 was these solutions may have obviated the described as ‘the Crystal Palace’, to problem to some extent, the full potential emphasize the overall impression of of the parabolic reflector would have been lightness and airiness. The lantern was 7 largely lost. feet high and 6 feet in diameter.7 It must have been for this reason that At this period there were no specialist the Elder Brethren of Trinity House constructors of lighthouse equipment, and commissioned one of their own members, local artisans provided most Captain Michael James, to design a requirements, such as fire grates. Indeed, completely different apparatus from an entry in the cashbook for the period scratch. His concept involved a copper records payment of £55 1s 3d to Willson cylinder, 4 feet high and 3 feet in diameter, (sic), a smith, for a lantern to enclose the consisting of six rectangular panels Lowestoft reflector.8 However, it seems arranged as a hexagon. These panels were likely, given the novelty of the design, that covered with 4,000 pieces of mirror glass, Trinity House felt the need for something each an inch square. The light source came altogether more sophisticated, and turned from a circular hollow tube, or wheel as instead to George Seddon to make the it was usually referred to, placed about whole thing.

furniture history society newsletter, no. 212, november 2018 3 Seddon’s firm was the largest furniture oil will be equal to three chaldrons of coal. manufacturer in London during the last The whole is upwards of a ton weight. It has been lighted up several times, and the quarter of the eighteenth century. It effect is amazingly grand.11 operated out of a two-acre site in Aldersgate Street and employed 400 In the middle of June 1778, the whole ‘cabinet-makers, wood-carvers, gilders, thing was erected on a temporary scaffold mirror-workers, upholsterers, brass- close to the upper Lowestoft lighthouse founders […] and locksmiths’. There was and its coal fire for purposes of also a basement where mirrors were cast comparison, where it ‘was found to and polished.9 All this must have made answer beyond conception, exhibiting a George Seddon an attractive choice of globe of fire of a steady and most vivid 12 contractor, able to provide a variety of brightness’. In July, it was moved onto skills transferable to the lighthouse service. the lighthouse itself and could be seen Furthermore, it seems evident that he from a distance out to sea of 7 leagues contributed more to the new lighting (about 24 miles), whereas the range of the apparatus than merely building it from a coal light was less than 5 leagues (about 13 specification, because he was paid for 17½ miles). Such was the interest ‘experiments’ as well as ‘for making a generated that a full description, together reflector & lanthorn (and models thereof) with an illustration, appeared in Town and & fixing at Lowestoft’.10 Country Magazine for August 1778. It was The apparatus was complete by May written by Thomas Hunt, who was 1778 when the following notice appeared probably a Lowestoft resident. in the press: It seems that Seddon came to think of the reflecting apparatus as his personal A very ingenious contrivance has been achievement. At the end of 1778, a letter lately finished at a Cabinet-maker’s in Aldersgate Street, as a substitute for fire arrived at Trinity House from the office of placed on the top of a light-house: it the Attorney General to inform them ‘that consists of a large lanthorn, the frame- application has been made for a patent for work of which is made of iron and brass, a cylinder to multiply and reflect light, and covered with copper, over which is fixed a fane; the frame is glazed with which if not opposed will pass of course’. large panes of plate-glass. In the centre of Although Seddon is not mentioned by the lantern is a hollow cylinder, as a name, it seems inconceivable that it could reservoir for oil, which flows from thence through several horizontal tubes, which be anyone else. The Corporation’s solicitor support a circular one at mid-distance of was instructed ‘to take the proper the lantern and cylinder, in which last measures to oppose the said patent’.14 This tube are contained a great many burners: the front of the cylinder is covered with refers to what was called a caveat hearing, small square mirrors, fixed close to each whereby an objection could be lodged and other, by which means such magnificent the case heard by the Attorney General light is reflected as will (it is supposed) be who, in this instance, clearly came down in seen twenty miles at sea. A very considerable expence will be saved by the favour of Michael James and Trinity House above contrivance as, it is said, a gallon of and no more was heard of the patent.15

4 furniture history society newsletter, no. 212, november 2018 The lantern, reflector and wheel of lights at the Lowestoft upper light as installed in 1778 and illustrated in Town and Country Magazine

The apparatus had a number of teething probably several reasons for this, one of problems, but these were quickly which may include his attempt to patent overcome and the design was successful the apparatus, but it is more likely that his enough to be used over the next decade, bill, for £580,17 must have seemed very during which period several other high, and at the time there was nothing lighthouses owned or managed by Trinity against which to compare this figure. House were converted. Nevertheless, Lowestoft low light, first lit in October Seddon was never again employed by 1779, was converted next, but this time Trinity House, though he later supplied a Trinity House employed James Lukin, a new table for the clerk’s writing room in London iron founder with works on the the Corporation’s London headquarters in south side of Blackfriars Bridge. While Water Lane which cost £3.16 There are Seddon was paid an inclusive sum,

furniture history society newsletter, no. 212, november 2018 5 Lukin’s costs were broken down. The air, producing a tenfold increase in the lantern, reflector and wheel of lights cost light obtainable from a single wick,22 while £103 14s,18 and the glass plates for the the glass chimney increased the draught lantern were ordered from the British Cast and drew off the smoke. This meant that Plate Glass Manufacturers at Ravenhead, the lamps could be placed at the correct Lancashire, at a cost of £13.19 Even though focal point within the parabolic cone the apparatus was smaller than that of the without blackening the reflecting surface, upper light, these figures must have been as well as hugely increasing the power of extremely appealing. As it turned out, the reflected light. As the nineteenth- Lukin was able to offer such a competitive century lighthouse engineer, Sir James price because he made the wheel out of tin Chance, put it: rather than copper, resulting in the drying the chimney that was essential to perfect of the wicks and the extinction of the combustion, served likewise the indispensable purpose of carrying off the flames. The melting point of tin is low and gaseous products, which in previous its thermal conductivity only about a forms of lamp, by tarnishing the surface seventh that of copper, so presumably the of a reflector, rendered its adoption quite futile.23 tin overheated and distorted, thus starving the wicks. Later wheels were again made Shortly thereafter, in 1788, Trinity House of copper. began a series of lighting experiments, However, Lukin continued to be eventually resulting in the replacement of employed by Trinity House, all the James/Seddon apparatus with manufacturing and fitting the parabolic reflectors. James/Seddon apparatus to the three The work of Trinity House in Caskets lighthouses off Alderney (1779), attempting to improve lighting before the Portland (1780), St Agnes Scilly (1782) and introduction of parabolic reflectors with to the three lighthouses built in 1784 at the Argand lamps, which remained standard Needles, Hurst and St Catherine’s Point on for well over half a century, even after the the Isle of Wight. invention of the Fresnel lens, has not been This first period of reflector lights lasted recognized until now, and neither has for about a decade, until a delegation of Seddon’s pivotal role in the first truly Elder Brethren went to France in 1787 to successful lighthouse reflector. inspect the lighthouses there, finding ‘the To a large extent this lack of recognition effect […] is infinitely superior to those at can be attributed to the historical present establish’d in any of our disciplinary categorizations that have lighthouses’.20 This was because the French hitherto persisted. On this analysis, had begun to use parabolic reflectors cabinet-making and the lighthouse service combined with the recently invented do not seem to go together. However, by Argand lamp, the most revolutionary studying the Trinity House archive and improvement in lamp design since ancient near-contemporary histories of Lowestoft, times.21 These lamps had a cylindrical particularly Edmund Gillingwater’s An wick, which provided a double current of historical account of the ancient town of

6 furniture history society newsletter, no. 212, november 2018 Lowestoft, in the County of Suffolk (1790), a 9 Sophie de la Roche, as cited in Martin Levy’s ODNB entry on the Seddon family. very different story can be told of the 10 Trinity House Cash Book in section entitled transfer of skill from cabinet-making to ‘Bankers Accounts’, 3 April 1779, op. cit. (see lighthouses. It also illustrates that the note 8). 11 Oxford Journal, 23 May 1778. lighthouse service was not simply confined 12 Town and Country Magazine, 10, August 1778, to the coast, but required resources drawn 406. 13 Trinity House Minutes of the By Board, 5 from the metropolitan centre. August 1778, LMA CLC/526/MS30010/016. julia elton 14 Trinity House Minutes of the By Board, 9 December 1778, ibid. 1 As listed in Joseph Cotton, Memoir on the 15 The mechanism for a caveat hearing was Origin and Incorporation of the Trinity House of described in ‘Report of the committee on the Deptford Strond (London, 1818), p. 77. Signet and Privy Seal Offices; with minutes of 2 David Stevenson, Lighthouses (1864), pp. 70– evidence and appendix’, London, 1849, pp. 71. vii–viii. 3 John Whormby, An account of the Corporation of 16 Trinity House Cash Book, 29 December 1779. Deptford Strond (1746, though not published 17 Trinity House Cash Book, in section entitled until 1861), p. 117; Cotton, op. cit. (see note 1), ‘Bankers Accounts’, 3 April 1779, op. cit. (see p. 141. note 8). 4 Minutes of the General Court of Trinity 18 Trinity House Minutes of the By Board, 16 House, 1 June 1776. London Metropolitan October 1779, op. cit. (see note 13). Archives, CLC/526/MS0004/012. 19 Trinity House Cash Book, 20 November 1779, 5 Philip Woodworth, A Brief Introduction to the op. cit. (see note 8). Microfilm Edition of the Hutchinson Journals 20 Trinity House Minutes of the By Board, 6 (n.d.), p. 4. Also, William Hutchinson, September 1787, LMA A treatise on practical seamanship (1777), CLC/526/MS30010/019. pp. 148–55. 21 W. T. O’Dea, The Social History of Lighting 6 William Richards, History of Lynn (1812), pp. (1958), p. 49. 208–09. 22 Ibid., p. 49. 7 Town and Country Magazine, 10, August 1778, 23 James Chance, ‘On Optical Apparatus used in 406. Lighthouses’, Minutes of Proceedings of the 8 Trinity House Cash Book in the section Institute of Civil Engineering, xxVI (London entitled ‘Bankers Accounts’, 5 September 1866–67), 464. 1778. LMA CLC/526/MS30032/015.

furniture history society newsletter, no. 212, november 2018 7 Society News

FHS Annual General to all those who have registered their attendance. Meeting brunswick room, Talks the guildhall, high st, bath The British and Irish Furniture Makers ba1 5aw Online (BIFMO) database is in the process of being enhanced with new information saturday 17 november 2018 and the Institute of Historical Research is 11.00 am–1.00 pm, tour at 2.15 developing an advanced search option to pm approx. allow for complex and detailed searches of The Annual General Meeting for the year the online resource. Dr Laurie Lindey will ending 30 June 2018 will be held in the update us both on the development of the Brunswick Room at the Guildhall, Bath. database and on ongoing research, which The AGM will start at 11.00 am (coffee will generate case studies, biographies and from 10.30 am). interactive material for publication on the Admission to the AGM is free, but all BIFMO database and website. members wishing to attend should notify Dr Jenny Saunt, who joined the V&A’s the Events Secretary at least seven days in Furniture, Textiles and Fashion advance. Further information about the Department in December, will give a brief day will be sent via email nearer the time update on her work in the new role of

The Guildhall, Bath

8 furniture history society newsletter, no. 212, november 2018 Curatorial Research Fellow, which was created with support of the Oliver Ford Trust and focuses on British furniture of the long eighteenth century. Matt Thompson, Head Collections Curator, English Heritage, will speak on ‘English Heritage: From Rutupiae to Rembrandt. An Introduction to the Scope and Scale of the National Heritage Collection’. Leela Meinertas, Curator, V&A, will speak on displays she has organized at the V&A of drawings by Thomas Chippendale, in celebration of his 300th anniversary. Tickets for a cold buffet lunch with a Circular table of black Ashford marble, inlaid glass of wine should be booked at least with specimens of Derbyshire marble, designed by J. Randall and made by Samuel seven days in advance. Birley for the London International The meeting will be followed by a Exhibition 1862 private, furniture-orientated tour at the Holburne Museum, led by their Russia and the United States, illustrating Decorative Arts Curator Catrin Jones. The recent acquisitions for museum collections tour is free, but members must register and exciting discoveries on the their attendance at least seven days in international art market. There will be a advance with the Events Secretary. demonstration of pietre dure materials and techniques by Florentine-trained Thomas Greenaway. The event coincides with new The 43rd Annual publication and exhibition projects from Symposium: Pietre Dure Washington DC and London, and coincides with the British Royal Collections the wallace collection, Trust exhibition at the Queen’s Gallery, manchester square, london which includes Russian hardstones. w1u 3bn ticket prices: £55 members, £30 saturday 30 march 2019 members under 30 years, £70 10.00 am–5.00 pm non-members The Annual Symposium in 2019 will focus Tickets to the Symposium will go online on pietre dure. Organized in association in February 2019. with the Rosalinde and Arthur Gilbert A detailed programme for the day, Collection at the V&A, it will bring including details of the additional events together an impressive line-up of organized by the V&A, will be available on international scholars, who will share fresh the website in the New Year research from Britain, India, Italy, Spain, (www.furniturehistorysociety.org). furniture history society newsletter, no. 212, november 2018 9 Volunteer required Early Career To coincide with a recruitment drive and Development, New York the launch of new subscription features on Early Career Development, New York, is the Furniture History Society website, the currently looking for an aspiring young Society would like to recruit a volunteer to professional with special interest in assist with extending and improving its furniture history, furniture-making or the online presence and use of social media. If decorative arts, to help organize the you would be willing to help manage and Society’s ECD events in New York. If you curate the contents of FHS Twitter and or someone you know might be interested Instagram accounts, please contact FHS and would like more information, please Website Officer, Megan Wheeler, contact Grants Secretary, Jill Bace, [email protected] [email protected]

10 furniture history society newsletter, no. 212, november 2018 A Tribute

john h. bryan, junior (1936–2018) [John Bryan] is credited with having raised hundreds of millions of dollars for John Bryan was well known to many philanthropic projects including members of the Furniture History Society. Millennium Park and the Modern Wing of the Art Institute, renovations to Chicago’s The former CEO of Sara Lee Corporation, Lyric Opera House and Orchestra Hall and and one of Chicago’s leading patrons of protecting Ludwig Mies van der Rohe’s the arts, he served as a Trustee of the Art landmark Farnsworth House. Institute of Chicago for over thirty-five In September 2007, the FHS enjoyed a years, and as Chair from 1999 to 2006. In legendary tour of the Bryans’ wonderful addition, he was an active supporter of Crab Tree Farm at Lake Bluff. In addition Departments of European Decorative Arts to the eighteenth-century English (as Chair), Textiles, American Art, and furniture, paintings and works of art that Architecture and Design. John and his wife filled David Adler’s Blair House where Neville endowed positions in the the Bryans lived, buildings around the Architecture and Design department, property contained careful accumulations established an endowment for acquisitions of beautifully displayed American Arts & in the European Decorative Arts Crafts material, and British design, ‘from Department, and established an Pugin to Mackintosh’, as well as the work endowment at the School of the Art of contemporary makers such as John Institute of Chicago. As the Chicago Sun Makepeace. John Bryan contributed to the Times recorded (4 October 2018): British Galleries at the V&A, funded, and

furniture history society newsletter, no. 212, november 2018 11 therefore made possible, the Belinda But for all his public achievements, it is Gentle Metalwork gallery at the V&A, and John himself who will be longest supported the FHS Fiftieth Anniversary remembered by those who had the appeal. privilege to know him, whether discussing In ‘retirement’, John was enthusiastically civil rights over a whisky at The energetic in continuing to publish and Connaught (a very fond personal support volumes on aspects of the memory), aspects of the museum world, decorative arts. Contributions include Eloy his latest acquisition during long walks Koldeweij, The English Candlestick: 500 Years around Crab Tree Farm, or simply in the Development of the English Base-metal benefiting from the sheer quiet wisdom of Candlestick 1425–1925 (1999 ), followed by his experience. John Bryan was always Linda Parry et al., Arts and Crafts Rugs for discreet with his opinions, and open to Craftsman Interiors (2010 ), Karen those who sought his wise counsel, given Livingstone, The Bookplates and Badges of with deep thought and generosity. The C.F.A. Voysey (2011 ) and Adam Bowett world has lost a great patron, and many of (ed.), 100 British Chairs (2015 ). Ongoing us have lost a true mentor. But the loss is projects include an exhibition of dated greatest of all for his family, to whom we objects, in conjunction with the Yale Center extend heartfelt sympathy. for British Art, and a major survey of the martin p. levy collector Percival Griffiths.

12 furniture history society newsletter, no. 212, november 2018 Future Society Events

Bookings or less. In all other cases, cancellations will be accepted up to seven days before the For places on visits, please apply to the date of a visit, but refunds will be subject Events Secretary, Beatrice Goddard, tel. to a £10.00 deduction for administrative 07775 907390, with a separate cheque for costs. Please note that in the rare instances each event, using the enclosed booking where members cannot pay until the day form. Where possible, joining instructions of a visit, they will still be charged the full will be dispatched by email, so please amount for the day if cancelling less than remember to provide your email address seven days before the visit, or if they fail to if you have one. There is no need to send attend. This is necessary as the Society has an SAE if you provide a clearly written usually paid in advance for a certain email address. number of members to participate in, for Applications should only be made by example, a tour/lunch. Separate members who intend to take part in the arrangements are made for study whole programme. No one can apply for weekends and foreign tours, and terms are more than one place unless they hold a clearly stated on the printed details in each joint membership, and each applicant case. should be identified by name. If you wish to be placed on the waiting list, please Spring Study Weekend to enclose a telephone number where you can be reached. Please note that a closing Kent date for applications for visits is printed in friday 17 may–sunday 19 may the Newsletter. Applications made after the 2019 closing date will be accepted only if space This Spring Study Weekend will be led by is still available. Members are reminded Dr Tessa Murdoch, Deputy Keeper of the that places are not allocated on a first Department of Sculpture, Metalwork, come, first served basis, but that all Ceramics and Glass of the Victoria & applications are equally considered Albert Museum. following the closing date. We shall be staying at the Canterbury Please note the Events email address: Cathedral Lodge Hotel, situated in the [email protected] beautiful grounds of the cathedral and where we will be having dinner on the Cancellations first night. Highlights of the weekend will Please note that no refunds will be given include a visit to Penshurst Place. The for cancellations for events costing £10.00 Queen Elizabeth Room, named after

furniture history society newsletter, no. 212, november 2018 13 The Queen Elizabeth I bed, Penshurst Place, which featured in the V&A exhibition in 2010, Baroque 1620–1800: Style in the Age of Magnificence

Queen Elizabeth I, who often held Deanery, as well as of St John’s Hospital, audience there during her many visits, has an almshouse near the cathedral. The a remarkable display of early eighteenth- weekend will also include dinner on century upholstered furniture. Saturday night at a private home with an inherited collection of English furniture We will have a private tour of Canterbury and textiles. Our hosts are keen members Cathedral, Archives and of the Irish Georgian Society. On the Sunday, we will conclude the weekend with a visit to the Maidstone Carriage Museum and several churches. limit: 20 closing date for applications: friday 8 february 2019 Application forms will be available later in the year. Please contact the Events Secretary to express interest.

14 furniture history society newsletter, no. 212, november 2018 Occasional and Overseas Visits

Visit to Freemasons’ Hall nineteenth-century masonic thrones held in the museum and will have the 60 great queen street, covent opportunity to view the ceremonial areas garden, london wc2b 5az with the curator, including the Grand thursday 24 january 2019 Temple and view a newly created replica 2.00 pm–4.00 pm of Sir John Soane’s design for the ‘Ark of the Masonic Covenant’. There will also be Freemasons’ Hall in London is the a short introduction by Master’s graduate headquarters of the United Grand Lodge Kathryn Haddock, whose dissertation was of England and the Supreme Grand on Masonic Ceremonial Chairs. Chapter of Royal Arch Masons of England, For more information about the as well as being a meeting place for Library and Museum of Freemasonry, many masonic lodges in the London area. please visit the website: A masonic meeting place since 1775, there www.freemasonry.london.museum have been three masonic buildings on the cost: £28 site, with the current incarnation being opened in 1933. limit: 20 The group will have privileged access to closing date for applications: the collection of eighteenth- and friday 14 december 2018

furniture history society newsletter, no. 212, november 2018 15 Blythe House Visit to 2 Willow Road and 23 blythe road, london w14 oqx the Isokon Gallery, wednesday 6 february 2019 Hampstead 2.00 pm for 2.15 pm start–4.15 pm 2 willow road, london nw3 1th This year is our last visit to the Victoria & the isokon gallery, lawn road, Albert Museum Study Collections at london nw3 2xd Blythe House before it moves to the V&A wednesday 10 april 2019 East — Collection and Research Centre on the Queen Elizabeth Park in East London. 11.00 am–4.00 pm The visit will focus on the theme of We start with a guided tour of 2 Willow ‘Painted Furniture’, with a team of V&A Road (National Trust), which houses many curators giving us the much-valued of the treasures, furniture and objets d’art opportunity to examine a wide range of of one of the most influential figures in the pieces closely and to discuss them in small British Modern Movement, Ernö groups. Goldfinger. A Hungarian-born architect cost: £28 with a dynamic vision, Goldfinger’s life and career was one of continent-spanning limit: 20 variety. His furniture is full of innovation closing date for applications: and style, and embodies his design friday 11 january 2019 philosophy. Much of 2 Willow Road’s

Cassone with ‘The Meeting of King Salomon and the Queen of Sheba’, Florence, Circle of Apollonio di Giovanni, 1450 –1500 , restored c. 1855 , V&A Museum no. 7852 -1862

16 furniture history society newsletter, no. 212, november 2018 short talk will particularly focus on the furniture. cost: £60 includes a sandwich buffet lunch limit: 20 closing date for applications: friday 15 march 2019

Study Trip to Lisbon thursday 9 may–sunday 12 may 2019 This Spring Study Trip seeks to provide an overview of the extraordinary cultural wealth of Lisbon and its collections of Ernö Goldfinger (Budapest 1902–87), 2 Willow Road. © National Trust/Geoff Lowsley furniture and decorative works of art. As a global power, Portugal entertained close furniture is bespoke, and full of interesting links with the rest of Europe, Asia and touches and trademarks, including his South America, which are reflected in the black laminate top desk, featuring stylish wide array of materials and techniques pivoting drawers. employed in their furniture-making. After lunch, we will visit the Isokon Amongst other visits, the trip will include Gallery, which is a permanent exhibition tours to the major royal palaces, Ajuda, telling the remarkable story of the Isokon Queluz and Pena, the Fundação Ricardo building, the pioneering modern apartment do Espírito Santo Silva (FRESS), with its block opened in 1934 as an experiment in exceptional furniture collection and new ways of urban living. Also known as conservation studios, the newly re-opened the Lawn Road Flats, the daringly modern furniture galleries at the Museu Nacional apartment block was the epicentre of North de Arte Antiga, the pietre dure chapel of St London’s avant-garde circle during the John the Baptist at the Igreja de São Roque 1930s and 1940s. The gallery, once the and the elegant eighteenth-century French residents’ garage, also features furniture galleries at the Gulbenkian Foundation. produced by Jack Pritchard under the This visit will be organized and led by Isokon furniture brand. Throughout the Dr Wolf Burchard. 1930s, he collaborated with many of the building’s architect residents, among them limit: 23 Walter Gropius, Marcel Breuer and László closing date for applications: Moholy-Nagy, to create pieces for the flats. friday 1 february 2019 Originals such as the ‘Penguin Donkey’ Application forms will be available later bookstand by resident Egon Riss and in the year. Please contact the Events Breuer’s ‘Long Chair’ are on display. Our Secretary to express interest. furniture history society newsletter, no. 212, november 2018 17 Research

Thomas Chippendale Rannie in 1758 offering for sale a barrel organ housed within a ‘handsome Piece of (1718–1779): Musical Furniture’ at their shop in St Martin’s Instrument Connections Lane. Other newly identified primary source and New Insights materials relating to Chippendale’s life An article discussing a number of and work include a report of a City of surprising new findings relating to the life Westminster Coroner’s Inquest into a and work of Thomas Chippendale is suspicious death, which provides positive available as an e-print via the ‘New identification of four workmen employed Resources’ page of Dr Margaret in his chair workshop in 1772; and two Debenham’s website (see the link given in records relating to his second marriage in the citation below). [Materials published 1777 — a Marriage Allegation and Bond, on this site are ‘open access’, provided as both personally signed by Thomas an educational resource for the purpose of Chippendale. personal research, subject to the author’s To access a copy of the full article, copyright.] follow the link below and download Article 7. Abstract Revered as the greatest furniture-maker of Citation: Debenham, M. (2018). Thomas his age, the name of Thomas Chippendale Chippendale (1718–1779): Musical does not, however, immediately spring to Instrument Connections and New Insights. mind in connection with the manufacture Margaret Debenham website publication, of musical instruments. So, in this the New Resources, Article 7. 300th anniversary year of his birth, it was www.debenham.org.uk/personal/ fascinating to discover a newspaper MDresource.php advertisement placed by Chippendale and

18 furniture history society newsletter, no. 212, november 2018 Other Notices

lease note that these events/notices are Exhibition: Lost Treasures Pnot organized/issued by the Furniture History Society. Information/booking of Strawberry Hill: instructions will be found under Masterpieces from Horace individual items. Walpole’s Collection Exhibition: The strawberry hill house, 268 waldegrave rd, Shakespeare of English twickenham tw1 4st Furniture: Designs by saturday 20 october 2018– Thomas Chippendale sunday 24 february 2019 victoria & albert museum, This exhibition brings back to Strawberry gallery 102 and national art Hill some of the most important library landing masterpieces in Horace Walpole’s famous and unique collection — one of the tuesday 28 august 2018–sunday greatest in the eighteenth century. 17 february 2019 Dispersed in 1842 and scattered to the In celebration of the 300th anniversary of winds, over the past three years Thomas Chippendale’s birth, the V&A are Strawberry Hill’s curators have been showing two related displays drawn from hunting down works using Walpole’s the museum’s rich collection of his detailed descriptions and the sales furniture designs. The first includes catalogue of 1842. For the first time in over drawings for the 3rd edition of The Director 170 years, Strawberry Hill can be seen as (1762) and a second will present a series of Walpole conceived it, with the original publications associated with Chippendale collection in the interiors he designed for and his contemporaries. This display will it. A staggering fifty lenders will loan be complemented by clips from a recently works to the show, including fifteen discovered silent film made in the 1920s country houses, with many of these objects when his work was undergoing a being shown for the first time to the renaissance of interest. public. For tickets, see: www.strawberry hillhouse.org.uk/losttreasures/

furniture history society newsletter, no. 212, november 2018 19 Symposium: Sir Richard The conference will be followed directly by a round table chaired by the Wallace Wallace and his Age: Collection’s Director, xavier Bray, in Connoisseurs, Collectors conversation with special guest speakers Olivier Gabet (Director, Musée des Arts and Philanthropists décoratifs, Paris), Dr Emilie E. S. the wallace collection, Gordenker (Director, Mauritshuis, The manchester square, london Hague), Christian Levett (Private w1u 3bn Collector) and Ian Wardropper (Director, Frick Museum, New York), to explore thursday 15 november and what the future holds for institutions friday 16 november 2018 founded by bequests similar to those of the This year the Wallace Collection is Wallace Collection, and how they are celebrating the 200 th anniversary of the adapting to changes that could not have birth of Sir Richard Wallace. Taking Sir been foreseen by the original donors. Richard Wallace and his collection as its For more details, see: https://www.wallacecollection.org/whats- starting point, the two-day international on/sir-richard-wallace-and-his-age-connois conference will look at aspects of collecting seurs-collectors-and-philantropists/ and collections in London and Paris in the wake of the upheavals of the Franco- Prussian War and the Commune in Seminar: History of 1870 –71 , considering essentially the period Collecting between 1870 and 1900 . Piecing together a collection: Sir The first day of the conference will William Holburne’s display mounts consider the impact on the Anglo-French (Catrin Jones, Curator of art market of the political and social upheavals in France in 1870 –71 , including Decorative Arts, Holburne the dispersal of collections and the Museum, Bath) movement of collectors, as well as the the wallace collection, curatorship of private art collections. The manchester square, london, second day will focus on two themes: the w1u 3bn subject of the morning session will be monday 26 november 2018 loans to exhibitions from distinguished 5.30–6.30 pm collections and the motivations that drove them; the afternoon will showcase works For more details, see: of art in the Wallace Collection acquired by www.wallacecollection.org/whats- Sir Richard Wallace. on/seminar-in-the-history-of-collecting-2/

20 furniture history society newsletter, no. 212, november 2018 Book Reviews

uggestions for future reviews and at Helmingham Hall amongst the Spublishers’ review copies should be sent household goods of their descendants, and to Simon Swynfen Jervis, 45 Bedford are here transcribed and published in full Gardens, London w8 7ef (tel. 020 7727 for the first time. Spanning a period in 8739; email: [email protected]). which the Tollemaches were elevated from the gentry to the peerage, the inventories Moira Coleman (ed.), Household provide a fascinating insight into the Inventories of Helmingham Hall 1597–1741, effects of this change of status, of fashions Suffolk Records Society, lxi (Woodbridge: and of fortune on the contents and layout The Boydell Press, 2018). 342 pp., 6 col., 24 of an early modern house and home. b. & w. illus. isbn 978-1-78327-274-7. £35 The 1626 inventory is the longest, fullest and richest: its entries have an immediacy Probate inventories, by law a necessary that many inventories lack. Written when part of the probate mechanism, have the family were actually in the throes of survived in large numbers, but household transferring goods from Helmingham Hall inventories that continued in use as to recently purchased ‘Lugdens’ at working documents are comparatively rare. Fortunately for the historian, the Tollemache partiality for recording the whereabouts of their household goods endured for generations. The earliest inventory of Ham House, written c. 1655 on the death of the 1st Earl of Dysart, was probably written, in part, at the suggestion of Lionel Tollemache, 3rd Baronet and 2nd Earl of Dysart (1624–69) of Helmingham and Fakenham Magna, Suffolk, who had married Elizabeth Murray (1626–98) of Ham House in the late 1640s. The 3rd Baronet’s father and grandfather had lived at Helmingham when inventories were compiled in 1597 (extended by notes to 1609) and 1626 (with annotations until 1633), and his son and great-grandson would follow suit in 1708 and 1741. Remarkably, these four inventories survive

furniture history society newsletter, no. 212, november 2018 21 Fakenham Magna — apparently their took to the house at Fakenham Magna, principal residence from c. 1631 until 1655 Appendix B discusses the circumstances of — the tenth entry records a ‘bundle of their acquisition of that property and their things packed up in a dornex coverlitt’ life there, using new sources, and (p. 46). One room’s soft furnishings had, at including a list of all of the goods removed time of writing, been ‘removed into Balls there from Helmingham Hall, extracted his chamber for feare of the ratts’ (p. 57) from the 1626 inventory. and a pair of boards were recorded as Despite the occasional inconsistency or being ‘at Catchpooles’, who had borrowed error,1 this book is a very valuable addition them to use — presumably as a table — at to the corpus of published source material, his wedding (p. 101). The compiler which goes back to Gage’s Hengrave recorded disputes as they arose — a pair of (1822),2 and the additional analysis is bellows, for instance, was claimed by Balls informative and enlightening, adding as his own, not household, property — considerably to what we know of two raising interesting questions about exactly important Suffolk houses, their contents how inventories were compiled and agreed and the uses to which they were put. upon. Was Balls in his room, Coleman asks, megan wheeler when its contents were being listed? Or 1 Lionel Tollemache, 1st Baronet, said (p. xv), to was the inventory read aloud to, or have been ‘created 1st baronet in 1611’, but later (p. xvi) ‘1612’; the genealogical table circulated amongst, the household? (p. xiv) dates the death of the 3rd Earl of Repetitive definitions of the hundreds of Dysart to 1728 (also on p. xxxi), elsewhere terms (and variants) used by different (pp. xvii and xxix) given as 1727; on p. 113, the text of footnote 14 is missing. The compilers in 4,091 inventory entries are photographs (a leaf of each manuscript is avoided by means of reference numbers, reproduced) reveal an error in the 1597 inventory: ‘ii chayers, lyned and seated with prefixed by the date, around which the leather’ transcribed as ‘ii chayers, joyned and admirably comprehensive and informative seated with leather’ (pp. 3–4, Entry 97.21, pl. 2). 2 A more recent addition, published by the combined glossary and index is built. The Suffolk Records Society in 2006, was the 1636 inventories are supplemented by inventory of Viscount Savage’s properties, Appendix A (36 pages) which forensically including Melford Hall. charts the evolution of the house, its extent Bertrand de Royere, Pelagio Palagi. and layout, using evidence provided by Décorateur des Palais Royaux de Turin et du the perambulations of the inventory Piémont (1832–1856) (Paris: Mare & Martin, compilers, supplemented by other sources, 2018). Hardback, 400 pp., 268 illus. isbn surviving plans and sketches. 979-10-92054-67-5. 70 Interestingly, here, the position of locks € (listed as either with or without keys in the Anyone who has visited the royal palace 1626 inventory) is used to reconstruct in Turin and marvelled at the internal routes about the house and the unconventional and imaginative neo- family’s idiosyncratic approach to security. Classical makeover it received in the 1830s Since these transcriptions shed a vast will want to learn more about the amount of light on what the Tollemaches protagonist, Pelagio Palagi (1775–1860), a

22 furniture history society newsletter, no. 212, november 2018 collections to Bologna, on the basis that a fair price would be paid to his family. Little is known about his private life, but his fellow painter, Francesco Hayez — represented in a recent exhibition at the Accademia, Venice — included Palagi in his self-portrait with his closest companions in 1827 (Poldi-Pezzoli Museum, Milan). Palagi’s own self-portrait (c. 1810) is in the Uffizi. Bertrand de Royere has studied the Piedmontese and Bolognese archives since 2008. The Biblioteca Comunale dell’Archiginnasio in Bologna contains 4,000 letters, 4,000 drawings and much else, one basis of this masterly and beautifully produced volume. He polymath, who received his initial training concentrates on the years 1832–56, painting in the household of Count Aldrovandi in a clear picture of his subject. The book’s his native Bologna, as his autobiography arrangement is logical. The first three parts reveals. In 1806 he moved to Rome, and in place Palagi’s work in a regional and 1815 set up a studio in Milan. Primarily a international context at a time of political subject, portrait and fresco painter, he was turbulence, as Italy moved uneasily also sculptor, collector of medals and towards unification under the aegis of antiquities and, above all, the designer of Savoy. He introduces the commission ‘from everything relevant to the restoration, the call of the young sovereign to a famous redecoration and refurnishing of the royal painter’, describing, in a series of palaces in and around Turin. He was Appendices and Annexes, Palagi’s appointed architect/designer to Charles- transformation of the Turin palace and the Albert, Duke of Savoy-Carignan, King of royal castles of Racconigi and Pollenzo Sardinia, in 1831, with the broadest of outside the city, where he also embraced remits. As part of his reorganization of the Gothic. Not every courtier shared the royal collections, Charles-Albert king’s ‘Pelagiomanie’, as the Rococo city commissioned Palagi to design showcases palace was remodelled in ‘grec’ style. in the Palazzo Reale, Turin, to display Palagi has been addressed as an artist medals, armour and weaponry. and painter, notably in the Bolognese A brilliant draughtsman, the plethora of retrospective of 1998. Furniture in his Palagi’s beautiful designs for furniture, portraits anticipated his later designs. floors, ceilings and every other element of Students of furniture and interior palatial interiors — copiously drawn upon decoration will know him from in this book — was bequeathed with his publications by Simon Swynfen Jervis,

furniture history society newsletter, no. 212, november 2018 23 Alvar González-Palacios and Enrico Colle, covers, while also encouraging the native but now his design genius may be fully Piedmont silk industry. His fame led appreciated through detailed study of his Stendhal in La Chartreuse de Parme (1838) to principal royal commissions. The book’s describe a series of seventeen palatial core is an in-depth room-by-room rooms hung with armorial silk designed examination of the interiors over which by ‘le célèbre Palagi, peintre de Bologne’. Palagi had control, including entries on all De Royere’s book brings into focus the the furniture. The most significant pieces names of the various Piedmontese and are illustrated and juxtaposed with Milanese craftsmen, who worked on the Palagi’s designs, revealing that these were palaces under Palagi, including the precisely copied by the various craftsmen. ebanista and marquetry specialist, Gabriele With typical thoroughness, the author Capello, called ‘Il Moncalvo’ from his provides photographs of the palace birthplace near Asti in Piedmont. Cabinet- inventory numbers on the furniture. makers, chair-makers, marqueteurs, During an increasingly eclectic period of bronze founders, gilders, painters and neo-Classicism, Palagi was influenced by plasterers are identified (an appendix Piranesi, Giani, Albertolli and Borsato, as supplies biographical entries). Second only well as foreigners, including Thomas to Capello in furniture commissions was Hope. Percier and Fontaine’s Recueil was the Englishman, Henry Thomas (Enrico) influential in North Italy, being published Peters, born in Windsor in 1793, who came in Milan as well as Paris. In Palagi’s to Genoa in 1817 and set up a considerable comprehensive international architectural workshop there, a vignette of which and design library, Torinese designers illustrates his trade card. Several pieces of were sparsely represented apart from two furniture at Racconigi executed after illustrated books by Carlo Randoni (1755– Palagi’s designs bear his label, ‘Peters 1831), a predecessor at the Savoy court. Maker Genoa’. Palagi rivals Schinkel in the breadth of his The author is to be congratulated on this interests and his devotion to volume, in which he is well served by his archaeological accuracy, borne out in his publishers. It is refreshing to have footnotes marquetry Etruscan Room at Racconigi, instead of endnotes. Minor quibbles are that which quoted from recently discovered materials and measurements are not given Etruscan funerary paintings. Its ‘Etruscan’ in the captions either for drawings or furniture won prizes at the 1851 Great furniture, and that there is no general index Exhibition. Gilt-bronze mounts were cast, apart from references to the dramatis finished and gilded in Paris, Milan and personae. Shedding new light on Ottocento Turin after Palagi’s designs. The court North Italian art, design, architecture, sometimes found it difficult to rely upon furniture, furnishings, collecting and the quality of Parisian bronzes and patronage, this is essential reading on a furniture, but commissioned from Lyons universal man, whose genius in the applied the highest quality silks, designed by arts will now be more widely appreciated. Palagi, for curtains, wall-hangings and top christopher rowell

24 furniture history society newsletter, no. 212, november 2018 Reports on the Society’s Events

embers will have noticed that the several of which can trace a lineage back to Mnew Newsletter includes many more the medieval guilds, and whose photographs than before. The Editor philanthropic purpose allows for the would be grateful if members could send support of students through bursary high quality digital photographs, 1MB funding. minimum, taken during Society visits and The school is an idiosyncratic blend of the events that can be used to illustrate the old and new, and continues to invest in and reports. Where indicated, a longer version upgrade its facilities. Recent work to of a report is available from the Events rationalize circulation successfully retains Secretary, email: the spirit of the place without [email protected] compromising the building’s listed status, and makes the internal spaces more suitable Visit to the City and to the functioning of the school. The new entrance and creation of an internal street is Guilds Historical Carving respectful of the original fabric, and further Department work will upgrade the existing studio accommodation at the rear of the site. tuesday 15 may 2018 The Historic Carving courses in We were met by Magnus von Architectural Stone Carving and Wistinghausen, the Vice Principal, who Ornamental Wood Carving are unique in introduced us to the school’s background, that the teaching of the traditional craft its philosophy and aims. The school has skills of carving and letter cutting are been at its present site, 114–24 Kennington complemented by the art skills of Park Road, a mainly Georgian range of observational drawing, modelling and the elegant, listed, late eighteenth-century study of the history of art, architecture and former houses, since its foundation in ornament. 1879. At that time its relative proximity to Central to the school’s philosophy is the Lambeth benefited those artist-craftsmen Arts and Crafts concept of the artist- at the Doulton Potteries wishing to teacher, in which all tutors are employed advance their arts education, and it was part-time whilst continuing with also used by the architectural masons and independent careers outside the school sculptors particularly favoured by George environment, which means a practising Gilbert Scott at Farmer and Brindley. The artist, conservator, theorist, technical school has charitable status, receives no expert, writer or designer is on hand to government funding, but has close links motivate and inform, making the courses with City of London livery companies, highly vocational for students.

furniture history society newsletter, no. 212, november 2018 25 We were shown the school’s facilities by Parliament and Buckingham Palace. It has Robert Randall (Senior Woodcarving Tutor) enjoyed a partnership with the Dean and and Ghislain Puget (Stone Carving Canons of St George’s Chapel to replace a Tutor) who introduced us to the ornamental number of the grotesques. Working with woodcarving and gilding department and senior tutors, students are invited to design the architectural stone department. A their own pieces of sculpture, with those number of students were on hand to selected by the Dean and Canons and the answer questions about their work, and we Fabric Advisory Committee then being were also informed that the school is commissioned. The school’s alumni have involved with a number of collaborative also recently been involved in the project to projects, for instance with the Houses of hand-carve four dragons for the eighteenth- century Great Pagoda at Kew Gardens. Despite much of the nation believing that heritage has a permanence and inevitability, it does, periodically, require significant maintenance and renewal. We were privileged to hear how the school encourages, nurtures and trains their students to help preserve the world’s most important monuments and buildings and, to quote Tony Carter, a previous principal, those same students ‘entrust their creative well-being to the nurturing context of their peers but particularly to those they see as custodians’. The visit encouraged reflection, was both rewarding and informative, and ended on a beautiful afternoon with tea and cakes in the courtyard. simon knight

26 furniture history society newsletter, no. 212, november 2018 Visit to Dumfries House last-minute intervention of HRH The Prince of Wales and several charitable Ayrshire and Paxton trusts in saving Dumfries and its collection House, Berwick-upon- for the nation. Built for the 5th Earl of Dumfries between 1754 and 1759, on the Tweed ancient Leifnorris estate, Dumfries stands friday 8 june–saturday 9 june as an important early work by Robert 2018 Adam. Still more important, perhaps, it stands as the first major commission by In this tercentenary year, this joint two-day Thomas Chippendale, both richly visit to Dumfries House, Ayrshire, and documented and a unique exemplar of his Paxton House, Berwick-upon-Tweed, early Director style. With only sympathetic offered FHS members the opportunity to alterations made in the late nineteenth celebrate two outstanding commissions by century, successive generations ensured arguably Britain’s greatest cabinet-maker the house was well cared for — a key — Thomas Chippendale (b. 1718, d. 1779). element in its salvation. From 1956 until Elegant design and exquisite craftsmanship her death in 1993, Dumfries was home to seemed an almost natural expectation. Lady Eileen, Dowager Marchioness of More than this, however, the visit offered Bute, during which time the house gained the chance to examine two very particular a reputation as something of a ‘hidden periods of Chippendale’s production, treasure’. Following the renaissance of spanning several decades — one his early 2007, a comprehensive restoration ‘Director’ style, the other his restrained programme has seen both house and brand of neo-Classicism. Moreover, the contents restored to former glory, as well visit hoped to provide an insight into as a campaign of regeneration in the wider Chippendale’s Scottish connections, such estate and with local communities. In our as the early financial backing of venture host, Charlotte Rostek, Curator Emeritus, capitalist James Rannie, and the latter so instrumental in this vision from the involvement of Chippendale’s bookkeeper- start, we could not have wanted for a more cum-partner, Thomas Haig. Indeed, it is generous guide. notable that such a high percentage of The Blue Drawing Room, the principal Chippendale’s documented works survive reception room of the house, appeared in Scotland. Other eminent craftsmen glorious as we began our tour, the recently would naturally be represented — Francis restored electric blue draperies and Brodie, William Mathie, Alexander Peter upholstered seat furniture contrasting and William Trotter, to name a few. But, in starkly with the subdued mahogany and this landmark year, Chippendale’s white painted walls. The pattern for the celebrity would be hard to overshadow. specially commissioned damask was taken Dumfries House from a fragment of eighteenth-century Little introduction need be made of the material found on a single chair. dramatic events of 2007, which saw the Chippendale’s account records fourteen

furniture history society newsletter, no. 212, november 2018 27 armchairs of this type were supplied to with even the backs of the brass handles Dumfries, divided between here and the displaying exquisite chasing. Lastly, in the Family Parlour. Today, thirteen are middle of the room, corresponding closely accounted for, local tradition maintaining to a design in Chippendale’s Director — a that the last, suffering from woodworm, mahogany breakfast table by Samuel was put on the fire — a sobering thought. Smith. The lower section, with its pierced The two sofas from the suite may ‘Chinese fretwork’ cage, is sometimes cited originally have been positioned at as a means of protecting the contents from opposing ends of the room, ready for the roaming dogs — a tale treated with some lady of the house, enthroned, to receive scepticism. guests. Today this space is occupied by a The adjoining Entrance Hall, lined with highpoint in the collection — the no fewer than eight longcase clocks, ‘rosewood bookcase’ invoiced by afforded a nod to the personal tastes and Chippendale in May 1759 . Originally part interests of the present Great Steward of of the best bedroom suite, perhaps no Scotland. It also highlighted how fine other piece generated such close scrutiny. craftsmanship at Dumfries extends beyond Was this indeed a bookcase, or more likely Chippendale’s often consuming a china cabinet, as Chippendale’s reputation, with an elegant suite of hall ‘Panshanger Cabinets’ now at Firle Place, chairs by Alexander Peter and striking Sussex, might testify? Equally, the giltwood eagle table by Francis Brodie. ‘rosewood’ noted in the account appeared In the Pink Dining Room, perhaps the more like padouk: an eighteenth-century most elaborately ornamented of all the term for this new and exotic wood? interiors, Dumfries’ principle cabinet- Something unanimously agreed upon, makers were well represented: two however, was the unmistakable quality — elaborately carved giltwood pier glasses,

28 furniture history society newsletter, no. 212, november 2018 The afternoon’s session continued in Lord Dumfries’s Study, dominated by the ‘Mahog. Library Table of very fine wood’ supplied by Chippendale in 1759. The ‘Writing drawer at one End wt a double rising slider’ illustrated and described in Chippendale’s Director as a ‘double horse’ to stand to read or write upon, provided great interest. Naturally, a first edition of Chippendale’s celebrated book was on hand to illustrate the point. Also dominating the space, topped by a bust of Apollo, was the grand mahogany bookcase described in Dumfries’s guidebook as ‘in the Chippendale style’. Despite lacking the supporting paperwork, in a house so dominated by Chippendale’s presence, speculation could not be totally quelled. The Family Parlour, designed as the principle living space and set directly behind the Entrance Hall, contained the remaining elbow chairs from the set of fourteen — here upholstered in vibrant adorned with the 5th Earl’s coronet, by yellow damask of the same historic Mathie; an extensive dining-room suite, pattern. The sofa, however, although including twenty-four carved side chairs, conforming in almost all respects to by Peter; and, familiar to all for gracing the those supplied by Chippendale, is a front cover of Christopher Gilbert’s work by Alexander Peter. A notable seminal publication, The Life And Work Of hole in the arrangement was one of a Thomas Chippendale, a pair of virtuosic pair of elegant Chippendale card tables, Chinoiserie girandoles. The importance of lined with original green baize, one of supporting documentation was again several pieces on loan to Leeds City emphasized with a mahogany sideboard, Museum as part of the exhibition: conforming in almost every respect to a Thomas Chippendale, 1718–1779: design from Chippendale’s Director, but A Celebration of Craftsmanship and Design. invoiced and supplied by Alexander Peter. Alongside such masterpieces sat the most The only minor deviation, a carved saltire functional of objects — a plain mahogany to the lower leg — a subtle reference to the tea tray — which, notwithstanding the Scottish patron and his Scottish cabinet- documentary evidence, might be so easily maker? overlooked.

furniture history society newsletter, no. 212, november 2018 29 Something of a crescendo to the ground by Mathie and a diminutive ‘Lady’s floor came with Chippendale’s celebrated Closet’ by Brodie. Invoiced in 1753, before best bed, reinstated and meticulously work at Dumfries had begun in earnest, restored to its former glory, a detailed this was surely a vestige of the Bute’s account of which was published in compact Edinburgh Old Town house. Furniture History by our guide in 2012: Concluding day one — a day filled with Charlotte Rostek, ‘New Light on Thomas appreciation for this unparalleled house Chippendale’s Seat Furniture and “Best” and collection — we were left to reflect on Bed at Dumfries House, Ayrshire’. The the lorries bound for Christie’s, diverted at carved palm fronds on the bed posts, the eleventh hour, just over ten years ago, echoing those on the fireplace and and an unthinkable tragedy averted. Chippendale’s virtuoso overmantle mirror (uniquely inset with a carpet-pile panel, Paxton House probably by Thomas Moore), offered Like Dumfries, Paxton stands as a product particular accord to the scheme. of early Adam architecture — a well- Leading off the Family Bedchamber, proportioned neo-Palladian building on dressing rooms and closets bore further the banks of the River Tweed, built reward. A ‘Japanned’ clothes press, the between 1758 and 1763, for Patrick Home first of its type to be supplied by — one-time suitor to the daughter of Chippendale, and an important precursor Frederick the Great. Patrick’s London to later work at Nostell Priory and address, on St Martin’s Lane, may have Harewood House, bred much discussion. fostered initial contact with one Thomas Discord as to whether the panels were Chippendale, although no evidence of any genuinely ‘Japanned’, or used genuine furniture survives. Unlucky in love, and Japanese lacquer, only spoke of the skill of after inheriting the neighbouring estate of the craftsman. The sliding shelves, Wedderburn from his uncle in 1766, work miraculously saved from the attic where at Paxton lapsed, leaving it unfinished and they served as storage to the 6th Duchess’s only partly furnished. Leased and mineral collection, revealed their original eventually sold to his younger cousin marbled paper linings — so familiar as Ninian in 1773, it is largely Ninian’s vision coverings to numerous editions of The for Paxton we see today. Writing to Director. Chippendale Haig and Co. in 1789, Ninian According with the Prince’s vision that described the furniture he wanted for his Dumfries should not rest in the past, the new home as ‘neat and substantially good’ upstairs gallery, with its sequence of — something today christened ‘the Paxton bedchambers, bathrooms and closets, style’. Contrary to the grand commissions revealed a more functional approach to the at Harewood and Nostell, this was a brand display of the collection. Highlights of understated neo-Classical elegance, included abundant carved and gilded devoid of superfluous ornament. This was window cornices and bed pelmets by also the brand of Thomas Chippendale the Peter; numerous monumental pier glasses Younger (1749–1822). From his initial

30 furniture history society newsletter, no. 212, november 2018 influences on design, to later assuming inlaid, fan-shaped patera topping the leg. control of the firm following his father’s And, in the centre of the room, two tea retirement, the younger Chippendale’s tables with hexagonal tops formed of career can be charted through Paxton’s radiating triangular veneers, on finely collections. Our guide to this fascinating scrolled tripod bases, familiar to many as commission and more — curator Dr Fiona something of a stock item for Salvesen Murrell. Chippendale. Following acquisition, one Moving through the temple-like portico, has recently returned to Paxton. the Entrance Hall afforded a first glimpse Outside the Drawing Room, the Ante of the exhibition: The Paxton Style: Neat & Room introduced a further layer to Substantially Good, of which our day would Paxton’s collections — works produced by conclude with a private view. For now, we Chippendale’s workshop, but originating could admire the monumental sideboard from the Home’s London Gower Street table, invoiced by Chippendale in 1786, house. A pair of diminutive, semi-elliptical and on loan from a private collection. Full pier tables, again displaying characteristic marks to the eagle-eyed member who finely fluted legs, flanked the doorway. noted the same idiosyncratic crosshatching Four armchairs, in almost every respect and incised stars observed on a set of three identical to those in the Drawing Room, pole-screens at Dumfries the previous day. were betrayed only by subtle differences to Beyond the Entrance Hall, Paxton’s the leg. Drawing Room, adorned with delicate The Dining Room off bounds — the plasterwork, provided a contrast of setting for the much-anticipated exhibition richness and colour, as well as our first — we were guided through the series of introduction to Thomas Chippendale the second-floor bedrooms and dressing Younger. Three pier tables, with rooms, the furniture in which perhaps best characteristic finely fluted legs and characterizes Paxton’s ‘neat and intricate marquetry tops, once brightly substantial’ style. In the collection of linen coloured and reflecting motifs on the ceiling, spoke of his later work at Stourhead. Also to be noted, pier mirrors, topped by gilded griffins guarding the sacred flame, and not unlike designs later published in Chippendale’s Sketches of Ornament. The set of ten armchairs and single sofa, controlled and well proportioned, maintained a flourish of detail in the

furniture history society newsletter, no. 212, november 2018 31 presses, for example — each finely The Principal Bedroom, with its floral proportioned with simple, elegant, gilt- chintz wallpaper and soft furnishings, bronze handles — a popular model contained choice examples including the employed by Chippendale. Gone was the famous set of painted ‘star back’ chairs marquetry inlay of the Drawing Room, and an elegant lady’s writing table. replaced by crisp, well-defined flourishes Closely related to a more elaborate of carved detail. Not devoid of decoration, version, crossbanded in tulipwood and however, each exploited the rich, natural rosewood, supplied to Lady Winn for figuring of mahogany, specially selected Nostell Priory in 1766, the plain mahogany and framed by bead mouldings, as if a veneers of Paxton’s example typify silken panel. Ninan’s personal taste. In the series of serpentine commodes The bedrooms also served as a reminder we indulged our interest in Chippendale’s of Chippendale’s role as decorator and workshop practice. Evident behind each ‘upholder’; that the firm responsible for bracket foot was the oft-mentioned the famed Diana and Minerva commode laminated blocking — a means of (supplied to Harewood House) were also strengthening the carcase. There, too, were responsible for supplying wallcoverings, the characteristic wooden ball castors. Also bed linens and bed pans. A major art- evident was the famed ‘red wash’, historical discovery came with the proclaimed by some as proof of de-attribution of some of the domestic Chippendale’s authorship. An indicator linen airers once thought to have been maybe, a more convincing argument supplied by Chippendale — analysis of seemed that it was merely a means of screws and hinges indicating a nineteenth- harmonizing lighter woods, such as pine, or twentieth-century origin. Susceptible to to the colour of mahogany, something also damage, one Chippendale original employed by other cabinet-makers. A survives in private hands. theory put to bed? A visit to the attics proved interesting and atmospheric in equal measure. A casualty of later alterations, but now carefully stored, were a series of pelmets and window cornices, painted in Chippendale’s distinctive schemes still evident elsewhere in the house. One oddity was a somewhat hotchpotch table, clearly adapted, which, when viewed from underneath,

32 furniture history society newsletter, no. 212, november 2018 displayed defunct dishes for gaming Wedderburn Castle — including an counters. unusual chest of drawers specifically After lunch came the opportunity to designed for wigs and shoes. Who could acquaint ourselves with Paxton beyond do without? Loans from public institutions Chippendale. Between 1811 and 1814, were equally far-reaching, with objects following the inheritance of his uncle’s from the V&A, Dumfries House, Blair significant picture collection, Paxton’s then Castle, the Garrick Club and others being owner, George Home, embarked on a represented. It was equally rewarding to substantial extension to the house with a see pieces from Paxton’s collection, purpose-built picture gallery. To furnish removed from their usual context, viewed the grand Greek revival interiors, rather in new light. Particularly resplendent was than Chippendale Junior, and in keeping the gentleman’s shaving table, normally in with George’s local affinities, William the Principal Bedroom, and recently Trotter of Edinburgh was employed. The sensitively restored to former glory. A suite, including fourteen armchairs, two personal, unexpected highlight was the Grecian sofas, circular centre table and two plain deal chest of drawers made for a pairs of pier tables, cost £1,309, more than servant’s room at either Paxton or a quarter the cost of the entire building. Wedderburn, retaining its original blue The pier tables, with their exaggerated sugar-paper lined drawers. For his ‘below scroll legs and fleshy carved gadrooning, stairs’ staff, then, Ninian Home selected characteristic of Trotter’s output, were that same eminent maker as for his own made to accommodate specimen marble apartments. A fitting end to an insightful, tops. The pair flanking the fireplace, of stimulating and above all celebratory unusual, out-turned form, may have been weekend, The Paxton Style: Neat & designed for marble slabs once earmarked Substantially Good stands as another high for serpentine commodes. point in ‘Chippendale 300’. Concluding the day, The Paxton Style: michael shrive Neat & Substantially Good, curated by our host and Dr David Jones, lived up to all Visit to Yannick expectations — a fitting tribute in this landmark year. In an exhibition so far- Chastang’s studio in reaching — encompassing supporting Faversham, Kent documentation as well as Chippendale’s unmatched furniture — it would be thursday 21 june 2018 difficult to choose a highlight. Thankfully, Yannick Chastang keeps a beautifully all was documented in the neatly ordered and clean workshop. On the produced accompanying publication ground floor, stocks of different timbers (causing a sudden run in the gift shop over and veneers were sorted on shelves, lunch). Private loans, never before on including old stock from defunct public display, included furniture made workshops and material ready to recycle for another Home residence — such as exotic materials and a mahogany

furniture history society newsletter, no. 212, november 2018 33 table top. Tools ranged from a huge table saw, the visit was also a reminder of the saw to a veneer press and marquetry opportunity to learn offered by a donkeys, both historical and made in- dismantled piece of furniture. With the house. As well as temporarily being home mechanics bared, the construction of each to some superlative pieces from historic piece explained itself. house and private collections, there were In progress was conservation of several pieces of Yannick’s own design, such as an pieces of Boulle-work marquetry. Side by exquisitely crafted dressing table with a side was one of a pair of coffers from shagreen surface. The staircase was lined Boughton of c. 1710 and a pair of early with Yannick’s experiments in modern twentieth-century Linke pedestals. The marquetry, framed abstract designs difference showed not only the stylistic created from extraordinarily grained evolution of Boulle-work, but, as Yannick veneers. The workshop employs four explained, the progress in constructional conservators and manages in-house every methods, Linke’s work epitomizing the aspect of the conservation process, be it the pinnacle of technical skill. Whereas the revival of any lacquer surface, the mounts on the earlier piece brazenly recreation of a missing gilt-bronze mount showed the fixings that secured the mounts or the re-gilding of decorative surfaces. to the carcase, on the Linke piece there Yannick believes that collaboration is were none to be seen. However, inside the essential in today’s conservation and that pedestal was a forest of angled bolts the best work is achieved through the securing the mounts invisibly to the application of shared knowledge. He outside. The uppermost section of ormolu, himself was extremely generous with his which adorned the circumference of the expert knowledge and the session was pedestal, was constructed in one piece, and enlightening at every point. Apart from hence had to be extremely carefully giving detailed information on the method removed before proceeding with work on and decisions involved for each piece we the veneer. Yannick told how Linke used a cigarette paper to test if the mount was closely fitted enough — precision cabinet- making indeed! This precision means that the Linke pieces present more of a challenge to the conservator. The conservation of Linke’s version of the Bureau du Roi took 7,000 hours of the studio’s time.

34 furniture history society newsletter, no. 212, november 2018 Some pieces present challenges of other Many thanks to Yannick and his team, sorts. An enormous bureau with clock to Wolf Burchard for background on the from Waddesdon tested the conservators Knole clock stand and, of course, to in unexpected ways. Apart from having Beatrice Goddard for organizing such an three different types of lacquer finishes, interesting visit. this colossal piece was almost unmovable. victoria bradley At Waddesdon the carpet had been 1 For an illustration of this piece, see Geoffrey installed around rather than under the de Bellaigue’s Waddesdon Catalogue (1974), no. 66. piece, hinting at the awkwardness that its 2 See C. Rowell and W. Burchard, ‘François sheer weight presents. The studio used a Benois, Martin-Eloi Lignereux and Lord ceiling winch to manoeuvre it. The carcase Whitworth: Leasing, Furnishing and Dismantling the British Embassy in Paris now lay on its side, lacquer doors during the Peace of Amiens, 1802–03’, removed, its interior exposed. Although of Furniture History, lii (2016), 181–213. an extremely elaborate design externally, its construction was surprisingly poorly Visit to Masterpiece fair and haphazardly conceived. Yannick saturday 30 june 2018 showed where, with afterthought, its creators had had to remove an internal oak It almost seems unnecessary to describe brace to allow for the operation of the the Masterpiece art fair, an event that weight mechanism connected to the fall attracts more than 150 exhibitors and front. The internal walls of the carcase had offers everything from fine furniture to then been thinned out, leaving an jewellery, rare books, paintings and alarmingly flimsy carcase for such a antiquities. However, if it had not been monumental piece. For most of its life, no for the FHS visit and its generous doubt, the pomp of the exterior has funding, I would have been one of those successfully dispelled any suggestion of who have never visited the fair or even second-rate work.1 heard of it, and what a loss that would The next surprise revealed by a look at have been. the interior was the Boulle-work base, There were many fascinating pieces to dated c. 1780, for an earlier clock by see, but by far the most interesting feature Etienne Baillon, from the Ballroom at Knole of the day was the opportunity for FHS (NT129615). Apparently exactly described members to speak to the dealers. As the in removal bills for Lord Whitworth’s event proved quite popular, we split into goods from Paris in 1803, the piece in front two groups, led by Peter Holmes and Lucy of us was clearly constructed far more Wood, to avoid hampering the flow of recently.2 The group speculated on possible visitors to the stands. The dealers were explanations, including the likelihood of a enthusiastic about our visit, and generous replica having been illicitly made whilst with their time in presenting a selection of the piece was in a workshop, a practice pieces from their respective stands. possibly more common than currently We started our tour at the Apter- thought. Fredericks stand, where Harry Apter

furniture history society newsletter, no. 212, november 2018 35 showed us an unusual English piece of and one has to praise the foresight of furniture dating to around 1770, a form of travellers in reducing unnecessary expense dumbwaiter that was equipped with by bringing back such pieces. The other everything from a cellaret to a box for fascinating item we were shown was an confectionery, and, of course, shelves for incredible centre table by the Jamaican glasses. Its lower part is made up of three furniture-maker Ralph Turnbull. Made bombé drawers standing on ogee bracket between 1846 and 1851, this table is inlaid feet, while the upper part consists of three with no less than eleven different woods, stepped tiers with arched doors, below an and represents a true tour de force. The octagonal box with a lid. Such an original marquetry includes various motifs: a ship, piece was undoubtedly a special a lighthouse, several coats of arms and commission or an experimental item, and even a letter addressed to Queen Victoria! it was amazing to see such a caprice. We were left in no doubt that this table Harry Apter continued his introduction to was a statement piece of furniture that his stand by showing us a set of seven demonstrated the craftsmanship to be shield-back armchairs delicately painted to found in Jamaica. imitate inlaid decoration; the quality was We continued our tour to the stand of such that we were almost fooled. We Godson & Coles, where those of us who finished with a rather eccentric small table attended the Chippendale Symposium in from around 1740, taller than usual and Leeds were delighted to see our first pieces with rather splayed cabriole legs by the cabinet-maker and his son, Thomas terminating in claw-and-ball feet. The Chippendale Junior. We were shown a pair double-shell-carved ornamentation added of semi-circular card tables of c. 1752 by to its unexpected proportions, and led us Chippendale Junior. Standing on reeded to think that it might have been an Irish legs, with a marquetry top and fluting on piece. the sides, it impressed us with its central Our next visit was to the Thomas carving depicting a wheat sheaf in a laurel Coulborn & Sons stand where we wreath; the quality of the carving rivalling discovered a delightful cabinet decorated the marquetry. We tried to imagine the by no less than sixteen pietre dure panels. original colours of the card table tops of Most of the group immediately thought white holly, yellow satinwood, green- we were in front of an Italian piece. It was stained sycamore and other colours that amusing to learn that, although the pietre would have given the tables a truly dure panels had been acquired in Italy as a modern and bright look. We then returned souvenir of the Grand Tour, the cabinet to the work of Chippendale Senior, and itself was English from around 1755, made discussed a sofa attributed to the specifically to display the Italian panels. craftsman, praising its sinuous form and The Grand Tour was an eighteenth- noting its strong French influences and century, predominantly aristocratic, sculptural quality. We finished with a table tradition, during which the purchase of that was both inlaid and painted and had such souvenirs was almost an obligation, an Italian feel to it. The English maker

36 furniture history society newsletter, no. 212, november 2018 must surely have been to Italy and been As we were slowly running out of time, influenced by what he saw there. We were we could only briefly stop at the impressed to discover that the gesso under sumptuous stand of the Steinitz Gallery, the gilding had been carved and not where we discussed a display of German moulded, making the carved gilt gesso beadwork on the walls, and a remarkable festoons all the more admirable. If the chimneypiece with Egyptian terracotta satinwood inlaid top was pleasing, the figures. We finished the morning at the central medallion on the frieze attracted Rolleston stand, where we discovered a the most attention, with its large size and wonderful example of early eighteenth- its Classical scene evoking antique cameos. century giltwood armchairs with much of their original gilding and upholstery. Made by James Moore, they possessed a rather sculptural quality, enhanced by the Persian ‘Turkey work’ upholstery. They made quite an impression, and the fact that one of the set is represented in a watercolour of the mid-nineteenth century added an extra dimension to one of the final objects of the morning. After a well-deserved lunch, we took some time to stroll around the fair on our own. This was an opportunity to discover other wonderful objects on display and to marvel in front of our personal favourites. We were able to discuss our finds with each other during that time, as well as discovering what the other group had seen. As the day was coming to a close, and with many fascinating images in our minds, we enjoyed some much-needed rest in a local pub, leading to a convivial talk about our highlights of the day and hopes for future FHS events. It was a delightful day, and I am deeply grateful to the FHS for funding my transportation and allowing me to attend the fair. © Apter-Fredericks marianne fossaluzza

furniture history society newsletter, no. 212, november 2018 37 Publications

As a leading publisher in the field of furniture Still available! Chippendale history, the Society offers for sale a wide variety of publications to both members and non- at the Met members. Among the publications that are Don’t forget to order your copy of the May 2018 currently available are the following: issue of the Bulletin of the Metropolitan Museum Index to the Dictionary of English Furniture of Art , which features an impressive study by Makers , £ 20 (members £ 18 ) Morrison Heckscher of the work of this The London Furniture Trade 1700 –1870 , Pat celebrated furniture craftsman, mainly Kirkham, £ 20 drawings, in the MMA’s collection. The 48 -page booklet is a handsome publication and Dictionary of Edinburgh Furniture Makers complements the many books and booklets 1600 –1840 , Francis Bamford, £ 20 about Chippendale being produced this year. It Furniture History Forty Years On , Nicholas is available from the Society at £ 15 , plus Goodison, £ 7.95 (members £ 5) postage and packing. Thomas Johnson’s The Life of the Author , Jacob Also on offer are additional copies of the Simon, £ 7.75 booklet Thomas Chippendale 1718–1779 : A Thomas Chippendale the Younger at Stourhead , Celebration of British Craftsmanship and Design , Judith Goodison, £ 6.95 published by our sister organization, the Chippendale Society, and available at £ 5 plus Makers, Dealers and Collectors: Studies in post & packing. Honour of Geoffrey de Bellaigue , £ 24 .95 John Stafford of Bath and his Interior To order these or any other FHS publication, Decorations , Simon Swynfen Jervis, £ 6.95 contact the Society’s Publications officer, Jill Bace, at [email protected] British and Irish Inventories , Simon Swynfen or 21 Keats Grove, Hampstead, London nw3 Jervis, £ 12 (members £ 10 ) 2rs . On receipt of your order, she will send you an invoice. Upon receipt of payment (which Furniture History may be made by cheque, debit or credit card), JOURNALS FOR SALE: Available volumes: orders will be despatched by the Society’s xviii (1982 )– xxxix (2003 ) inclusive and xli printers. (2005 )– liii (2017 ) inclusive, plus indexes for 1980 –89 , 1990 –99 and 2000 –09 . Offers, please, to Sally Watson-West at: [email protected]

38 furniture history society newsletter, no. 212, november 2018 Grants

The Society makes grants to individuals and New York; a weekend visit to the TEFAF (the organizations from two funds which have been European Fine Art Foundation) fair; and established thanks to the generosity of international conferences. Applications from members of the Society. They are administered individuals who are not members of the Society by the Society’s Grants committee (Chair: will be considered. Adriana Turpin) which meets quarterly to For further information or to download consider applications — either for independent a grant application form, please go to the travel for study or research, or for participation Grants page of the Society’s website at in the Society’s study trips, both overseas and www.furniturehistorysociety.org/grants/ in the United Kingdom. enquiries. Enquiries should be addressed to the Grants Secretary, Jill Bace, at Tom Ingram Memorial Fund [email protected] or at Grants are awarded from the Ingram Fund 21 Keats Grove, Hampstead, London nw3 2rs. towards travel and associated expenses for the purpose of study or research into the history of Grants News furniture. These grants are offered, whether or As part of the ongoing effort to recruit new not the applicant is a member of the Society, members to the Furniture History Society, the where travel could not be undertaken without Grants Committee is dedicated to encouraging funding from the Society; and only where the students and young professionals with an study or research is likely to further the interest in furniture-making, furniture history, Society’s objectives. Applications towards the interior design and the decorative arts to join cost of the Society’s own foreign and domestic the Society and take advantage of opportunities trips and study weekends are particularly to participate in a variety of Early Career welcome from scholars and museum Development activities. professionals. Successful applicants are Along with a recent mailing to universities required to acknowledge the assistance of the and arts institutions outlining the benefits of Ingram Fund in any resulting publications, and Furniture History Society membership, a series will be required to make a short report on of specialized ECD workshops is currently completion of the trip. being planned. These evening events will focus on furniture-making techniques and will Oliver Ford Trust include talks and visits to dealers. Thanks to a The Oliver Ford Trust supports research by generous donation from the Worshipful emerging scholars and junior museum Company of Playing Card Makers, the Society professionals in the fields of furniture history, will be able to fund these workshops, as well as the decorative arts and interior design mainly once again offer three-year memberships to by sponsoring places on the Society’s study students and young professionals under the weekends or foreign tours. Recent awards have age of twenty-five who are currently working included grants to enable participation in the or studying in the fields of furniture history Society’s symposium at the Frick Collection in and the decorative arts.

furniture history society newsletter, no. 212, november 2018 39 Officers and Council Members

president : Sir Nicholas Goodison council members : Guy Apter, Wolf Burchard, chairman of the council : Christopher Rowell Jonathan Coulborn, Kate Hay, Barbara Lasic, honorary secretary Marcus Rädecke & website editor : Megan Wheeler newsletter editor : Sharon Goodman honorary treasurer : Martin Williams events committee chairman : To be appointed honorary editorial secretary : Lisa White grants committee chairman : Adriana Turpin

finance and membership officer : Keith Nicholls, 37 Railway Road, Teddington tw11 8sd . Tel. 0208 287 2098 ; email: [email protected] events secretary : Beatrice Goddard. Tel. 07775 907390 ; email: [email protected] overseas events secretary : Melanie Doderer-Winkler; email: [email protected] tom ingram memorial fund/fhs grants secretary : Jill Bace, 21 Keats Grove, Hampstead, London nw3 2rs . Email: [email protected] publications secretary : Jill Bace, 21 Keats Grove, Hampstead, London nw3 2rs . Email: [email protected] Council members can be contacted through the Events or Membership Secretaries, whose details are shown above. Contributors can be contacted through the Newsletter Editor, who is Sharon Goodman, 26 Burntwood Lane, London sw17 0jz . Tel. 07855 176779 ; email: [email protected] The views expressed in this Newsletter are those of the respective authors. They are accepted as honest and accurate expressions of opinion, but should not necessarily be considered to reflect that of the Society or its employees Registered UK Charity No. 251683

Copy should be sent, preferably by email Copy Deadline to Sharon Goodman, email: [email protected], or by post to The deadline for receiving material to 26 Burntwood Lane, London sw17 0jz. be published in the next Newsletter is Tel. 07855 176779 . 15 December 2018 .

produced in great britain by scorpion creative, west yorkshire

cover picture Library table made by Herter Brothers for William Henry Vanderbilt’s Fifth Avenue mansion, 1879 –82 . © Metropolitan Museum of Art, New York, accession no. 1972 .47

40 furniture history society newsletter, no. 212, november 2018