Have we lost the thrill of the exotic?

By Guy Apter

In the British Museum lies a preserved duck billed platypus. In the eighteenth century, the descriptions of this absurdly unbelievable animal which were reaching London seemed so preposterous that its existence was fiercely debated and bet against. It was not until specimens started arriving in London in sufficient numbers that their existence was accepted.

A pair of cloisonné incense burners in the form of quails.

A pair of cloisonné incense burners in the form of quails. Chinese, c. 1820 £11,500

We use this example as a comparison to our current age of instant access, with a quick google search, to information about everything from everywhere. Have we lost the sense of wonder and excitement at discovering something foreign and exotic?

52016a

Detail from a Chinese Export Lacquer Screen, Chinese c. 1850 £49,000

Back in the Eighteenth century the Western world had already been trading with the East for over 100 years yet still it retained its marvellous sense of the mysterious, and was certainly still capable of inspiring some of the most exuberant and fanciful decorative art of any period. We are referring, of course, to Chinoiserie, and in a timely manner we are tipping our hat to Asian Art Week.

English furniture of the eighteenth century is rife with Chinese influence, indeed an entire genre is referred to as Chinese Chippendale. So powerful were the images and descriptions reaching England from China that there were no less than three distinct periods of Chinoiserie style, culminating in possibly the most

A stunning example of a Chinese Export Centre Table, c. 1840

A stunning example of a Chinese Export Centre Table, c. 1840 £49,000

extraordinary example of architectural creations in the Regency Period – the Brighton Pavilion.

It is important to note a distinction about Chinese style and the eighteenth century. Whilst Chinoiserie refers to the decorative arts produced in Europe and inspired by the Chinese, also available at this time were the goods created in China for export to Europe, what we now refer to as Chinese Export Ware. The tables illustrated here provide us with a very good comparison of the two different approaches.

A stunning example of a Chinoiserie centre table, English c. 1815

A stunning example of a Chinoiserie centre table, English c. 1815 £85,000

Chinese export furniture and decorative arts found a more than ready market in the European homes of the eighteenth and nineteenth centuries and has never waned in popularity since. In recent years a number of major collections have been formed and whilst the market is still priced accessibly it can only be a matter of time before Chinoiserie and Chinese Export Ware finds favour amongst Chinese collectors and demand outstrips the supply of great pieces.

For further reading on this subject, see Sheila Gibson-Stoodley’s article for Art & Antiques Magazine which can be found here.

Welcome to the Apter Fredericks catalogue

Welcome to the Apter Fredericks catalogue, Important English Furniture V. Once again, we have scoured the globe to bring you some of the best treasures from the eighteenth and early nineteenth centuries which are currently available on the market. We hope that they may excite and intrigue you.

Here at Apter Fredericks, the atmosphere is a positive and forward-thinking one. We are a tight-knit team which operates professionally, smoothly and efficiently. When appropriate, we can see the less serious side of life and we love it when this can apply to what we’re doing on a day-to-day basis because we like to have fun. We have been described as open, honest and direct and we aim to be accessible and approachable.

Indeed, one of Apter Fredericks’ most characteristic traits is the importance we place on the relationships we form with our clients. So, if you would like to make an appointment to view anything in our stock or would like to just come in and have a general chat and a cup of coffee in our showroom in Chelsea, please don’t hesitate to contact us. We would love to see you.

Harry, Guy & Alice

 

 

How I choose which antiques to buy

A George III Landscape Mirror
Lighthouse

Lighthouse

By Harry Apter

 

In my early buying days I was trained to follow three criteria, all of which were needed and which had to be followed in their correct order.

First, does it appeal?

Second, is it genuine?

And then and only then, is the price right?

With the changing market, I have since added a critical fourth: is it saleable?

Mahogany Chest with Swags

Mahogany Chest with Swags

In my early days I would often be sent into a panic thinking I had missed something special at an auction by the mere question of “What did you think of such and such?”  from another dealer. Thirty (plus!) years on and the panicked reaction has gone.  I am (usually) safe in the knowledge that I have seen the article but simply ignored it and walked on, looking for other items to set the heart racing.

Over the past 20 years, Apter-Fredericks have tried, and I believe succeeded, in refining their offering by concentrating on the fine, the rare, the quirky and most importantly, the attractive.

With such refinement comes the ability to only buy pieces which really do set the pulse racing when you see it.  By doing this we also believe our clients will acknowledge this and be excited by our genuine enthusiasm for the article.

Coat of Arms

Coat of Arms

 

We have limited ourselves to holding a stock of varied but interesting pieces of 18th century English furniture, which is not necessarily the most expensive you will find, but which includes pieces that can be placed in a home to add interest and character. From a well carved Chippendale commode, to an unusual 8 foot tall fully functioning lighthouse, to a massive coat of arms; these are items we seek out to add flavour to your home.

 

150 Years of Furniture in 900 Words and 7 pictures

By Guy Apter

 

1700 to 1850: one hundred and fifty years of furniture manufacture in England. Yet we blithely describe ourselves as dealers in 18th & early 19th century antiques with no mention of the monumental changes that took place in both the design of, and the materials used, in furniture making during this period.

The furniture of the 1700s was generally made of native woods like oak, elm, ash and walnut, and looked entirely different to the furniture made out of a multitude of imported woods in the 1800s.  And between those years there were two neo classical periods, a rococo period, and smattering of Egyptian, Greek, Chinese and French influence to say the least

Gesso Table c. 1710

Gesso Table c. 1710

With the exception of farming, the furniture making industry employed more people than any other occupation at this time.  It was big business. It was dynamic and it was driven by a clientele who were exacting, educated and wealthy.  Like today, there was the desire for the latest trend, the newest material, the one of a kind and, of course, the showing off.

It is hard to imagine how shocking it must have been to have entered a room in the first quarter of the eighteenth century and to see for the first time a table entirely covered in gold. Where before there was dark wood in a candlelit house, now there was a ‘reflecting beacon’.  I imagine as many people would have been repulsed by this as liked it, but it certainly prevailed.

Chest on Stand c. 1720

Chest on Stand c. 1720

Furniture went from utilitarian to decorative in a very short length of time. The chest of drawers is a marvellous example. Originally a trunk, it moved from that to a chest, but a chest with little ornamentation until the very end of the 17th century.  Then in the eighteenth century,  its status had so improved that it was quite literally “elevated” – given legs – and thus became a focal point in the room.

 

Walnut Bookcase c. 1735

Walnut Bookcase c. 1735

By the late 1730s indigenous walnut furniture began to be superseded by imported mahogany, a dark rich red wood.  Whilst walnut was soft and structurally weak, mahogany was the antithesis and changes in style were certainly assisted if not partly led by this stronger timber allowing for lighter designs to be made.  Put simply, friezes and even legs could be pierced with fretwork and still be structurally sound.

By the 1740s classicism was all the rage due to the clients, architects and artists returning from their Grand Tours. The ancient world had captivated not just England but the whole of Europe. However, these were early days and the language and motifs brought back by the likes of Lord Burlington and William Kent were not fully understood.

Neo-Classical Side Table c. 1735-40

Neo-Classical Side Table c. 1735-40

The resulting furniture was of a bolder and grander scale than we would see in the second wave of neo classicism some twenty years later – so superbly displayed at Spencer House for example, and in the work of architects like James Wyatt and Robert Adam.

By the third quarter of the eighteenth century, under the reign of King George III, one could say that furniture making in England had reached its zenith.

Detail of Settee with fretwork c. 1760

Detail of Settee with fretwork c. 1760

The work of famous cabinet makers such as Thomas Chippendale, Mayhew & Ince and Vile & Cobb includes many of the greatest pieces of furniture ever made in this country. However, within the oeuvre of Chippendale and his contemporaries, their work and style changed dramatically over the years from carved mahogany furniture of the 1750s to inlaid and ormolu mounted furniture of the 1780s.

Corner Cupboard with inlay c. 1775

Corner Cupboard with inlay c. 1775

Detail of Corner Cupboard with inlay c. 1775

Detail of Corner Cupboard with inlay c. 1775

As the century drew to a close, so the foreign influences came thick and fast, sometimes in one project. Nothing illustrates this better than the Prince Regent’s Pavilion at Brighton. From the outside it has clearly been influenced by Indian architecture, whilst on the inside it is very strongly Chinese in style. Now whilst the Pavilion might be regarded as a rather extreme example, it is nevertheless fair to say that furniture in the Regency period drew inspiration from a multitude of sources. A French interpretation of classicism was propagated by one the most successful architects of the period, Henry Holland, but equally influential was the work of Thomas Hope and his Greek revivalist style.  The list could go on but suffice to say it was a fast moving designer or cabinet maker who could keep abreast of taste at this time.

A Regency Period Lacquer Centre Table

A Regency Period Lacquer Centre Table c. 1815

Our role is to guide clients and to explain the merits of one example from the period over another, which is distinct from selecting one style over another.  When I first joined the business I would wonder why my father had bought table A over table B, they seemed so similar and yet the difference of a half inch in the depth of the drawers would determine his decision.  That sort of eye for detail can be inherent, for others it can take time and guidance to develop. It is our role to help.

When it comes to what to buy, only our clients can decide which roads they want to go down.  All styles can be appreciated in their own right and crucially a plain table can be every bit as beautiful and artistically valuable as a highly ornate piece.  Thus one’s desire to own these two different forms might be poles apart, but one can appreciate both for the artistry involved throughout this fascinating period of furniture history.