English Pieces of the Furniture World
Article by Mitch Johnson
England has a rich collection of antique furniture in its possessions. This is because of its rich historical background. Many of their designs and style were copied and inspired from different countries. Let us have a look at some of the types of tables and from where they got their names.
Butler's TraysThe butler as an extra and movable sideboard used a large oblong tray on a folding X-shaped stand, usually of mahogany. Late eighteenth-century examples are of various types: plain, brassbound at the corners, and with all four sides of the tray hinged to fall flat. Another type has the rimless top hinged across the centre and in one with the base, and the whole article folds up. These are sometimes known as 'coaching tables1.
Cabinets, Cabinets with hinged doors, with or without drawers inside, were made in the later seventeenth century, and much attention was paid to their decoration. They were veneered with rare woods, inlaid with marquetry and embellished with plates of embossed silver. They were placed on stands of turned wood, and later on elaborately carved gilt wood bases. Many lacquered cabinets were imported from the Far East, and placed on similar stands for use in English rooms.
Cabinets on stands did not retain their great popularity in the eighteenth century, but their place was taken by book and china cases with glazed doors. About 1800 low cabinets standing on the ground came into fashion, and many of these had marble tops and the doors were inset with panels of silk or with gilt brass trellis.
CaddiesThe caddy owes its name to a Chinese weight, a catty or kali, which equals about one and a third pounds. Much of the tea coming from the East was doubtless packed in amounts of one catty, and the name of the quantity became corrupted into that of the box to hold it. Although tea-caddies were made from different materials, many were of wood and it is proper therefore to mention them under the heading of Furniture. Few, if any, survive from before about 1740, but in 175 2 Chippendale showed in his Director designs for a number of them, elaborately shaped and carved. Each succeeding designer influenced the shape, coloring and ornament of the tea caddy, and the immense number of variations in pattern is too numerous to list. Many of them had silver containers inside a wooden outer case, others, had removable wooden boxes. In the nineteenth century it was common to fit them with two boxes, one each for green and black tea, and a glass bowl; the latter described variously as for holding sugar and for blending the teas.
CanterburyThis is the name given to a low open stand with divisions, a drawer beneath and short legs, for holding music. They were made in mahogany from about 1800, and later in rosewood and walnut. No one knows how they got their name, but it is assumed that one was designed in the first instance for an Archbishop of Canterbury. They are very popular nowadays, not always for holding sheet music but for newspapers.
Card TablesPlaying cards were introduced into England in the fifteenth century, and doubtless a special table for use with them followed shortly. None survive before walnut ones made in the reign of William and Mary, with the typical folding tops lined with needlework or cloth. They are rare, but later examples in mahogany survive in large numbers. Almost all are lined with cloth, and many have the inside corners recessed to hold candlesticks; others have oval sunken spaces to hold counters or coins. Late in the eighteenth century card tables were often made in pairs, and examples are found occasionally veneered in satinwood and of half-round shape.After 1800 they were made on a pillar support with splayed legs and brass-capped toes.
We have seen some of the types of tables and from where they derived their names. It is interesting to know what are the different types of tables and their historical background. The shapes and sizes and the different kinds of woods that were used to make them.
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Chinese calligraphy, with its artistic as well as utilitarian values, has been treasured for its formal beauty for more than three millennia. This lavishly illustrated book brings to English language readers for the first time a full account of calligraphy in China, including its history, theory, and importance in Chinese culture. Representing an unprecedented collaboration among leading Chinese and Western specialists, the book provides a definitive and up-to-date overview of the visual art form most revered in China.
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The Flower Phoenix is an ancient handscroll which has been created through generations of women artists. The original page of the handscroll was created by China's Tang Dynasty poet Li Bai. The Tang Dynasty is considered by many to be the height of Chinese artistic culture, and Li Bai is China's most renowned ancient poet. Li Bai was inspired by the beauty of Yang Mei. Yang Mei inspires the master painter Wu Daozi. Wu Daozi creates the second page of the Flower Phoenix handscroll. Legends say that Wu Daozi was a mystical painter, who at the end of his life painted a doorway in the side of a mountain, opened the door and disappeared forever.
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Hand scroll paintings were rolled from one side to the other and as each painted section was revealed, the story of the imagery was viewed and discussed. The book unfolds over many generations and the lives of the long line of women artists who created the Flower Phoenix are brought to life by the telling.The Flower Phoenix is an ancient handscroll which has been created through generations of women artists. The original page of the handscroll was created by China's Tang Dynasty poet Li Bai. The Tang Dynasty is considered by many to be the height of Chinese artistic culture, and Li Bai is China's most renowned ancient poet. Li Bai was inspired by the beauty of Yang Mei. Yang Mei inspires the master painter Wu Daozi. Wu Daozi creates the second page of the Flower Phoenix handscroll. Legends say that Wu Daozi was a mystical painter, who at the end of his life painted a doorway in the side of a mountain, opened the door and disappe! ared for ever.
Each generation creates panels in the book. By telling the story, the storyteller creates a portal into the Realm of the Flower Phoenix. The "storybearer" reads the story and summons the power of the energy of all the generations.
The story opens with Mable "Peach Blossom" Yang's one hundredth birthday celebration. She is going to pass the book on to the next generation. Mable is the most potent storybearer in the family line.
Hand scroll paintings were rolled from one side to the other and as each painted section was revealed, the story of the imagery was viewed and discussed. The book unfolds over many generations and the lives of the long line of women artists who created the Flower Phoenix are brought to life by the telling.List Price: $ 0.99 Price: $ 0.99
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In the Realm of the Flower Phoenix
The Flower Phoenix is an ancient handscroll which has been created through generations of women artists. The original page of the handscroll was created by China's Tang Dynasty poet Li Bai. The Tang Dynasty is considered by many to be the height of Chinese artistic culture, and Li Bai is China's most renowned ancient poet. Li Bai was inspired by the beauty of Yang Mei. Yang Mei inspires the master painter Wu Daozi. Wu Daozi creates the second page of the Flower Phoenix handscroll. Legends say that Wu Daozi was a mystical painter, who at the end of his life painted a doorway in the side of a mountain, opened the door and disappeared forever.Each generation creates panels in the book. By telling the story, the storyteller creates a portal into the Realm of the Flower Phoenix. The "storybearer" reads the story and summons the power of the energy of all the generations.
The story opens with Mable "Peach Blossom" Yang's one hundredth birthday celebration. She is going to pass the book on to the next generation. Mable is the most potent storybearer in the family line.
Hand scroll paintings were rolled from one side to the other and as each painted section was revealed, the story of the imagery was viewed and discussed. The book unfolds over many generations and the lives of the long line of women artists who created the Flower Phoenix are brought to life by the telling.The Flower Phoenix is an ancient handscroll which has been created through generations of women artists. The original page of the handscroll was created by China's Tang Dynasty poet Li Bai. The Tang Dynasty is considered by many to be the height of Chinese artistic culture, and Li Bai is China's most renowned ancient poet. Li Bai was inspired by the beauty of Yang Mei. Yang Mei inspires the master painter Wu Daozi. Wu Daozi creates the second page of the Flower Phoenix handscroll. Legends say that Wu Daozi was a mystical painter, who at the end of his life painted a doorway in the side of a mountain, opened the door and disappe! ared for ever.
Each generation creates panels in the book. By telling the story, the storyteller creates a portal into the Realm of the Flower Phoenix. The "storybearer" reads the story and summons the power of the energy of all the generations.
The story opens with Mable "Peach Blossom" Yang's one hundredth birthday celebration. She is going to pass the book on to the next generation. Mable is the most potent storybearer in the family line.
Hand scroll paintings were rolled from one side to the other and as each painted section was revealed, the story of the imagery was viewed and discussed. The book unfolds over many generations and the lives of the long line of women artists who created the Flower Phoenix are brought to life by the telling.
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