| During recnt decades collectors, more than ever | | | | When the work of designers or craftsmen of |
| before, have placed emphasis on quality,interest,rarity | | | | different areas-neighboring or distant-during any |
| and beauty in the purchase of antique | | | | particular period contains a few basic elements in |
| furniture.Despite the desire to own examples which | | | | common, some generally similar patterns will be |
| are authentic, and whose value will increase, | | | | produced, no matter how divergent the majority of |
| colleectors have given little attention tto certain | | | | native designs may be. |
| essential knowledge pertaining to design. | | | | When these common basic elements are improved or |
| The great schools of furniture design which arose in | | | | elaborated on from an outside center of influence, |
| Europe following the Dark Ages received their stimuli | | | | some parallel designs are bound to be produced, not |
| not only from local talent butr from designers and | | | | only in the affected area and the center, but also in |
| craftsmen attracted from adjoining or even distant | | | | any other are influenced by the center. |
| areas.Skills thus cultivated and fostered whedre by | | | | When any area is motivated by the designs of two |
| no means stationary. Craftsmen not only visitedthe | | | | independent centers of influence at the same time, |
| large centers to improve their techniques, but they | | | | resulting productions may approximate those of |
| later carried their newly acquired skills to their own or | | | | either or both of these centers, or those or other |
| other countrys.Leading craftsmen of these centers | | | | areas influenced by the two centers. |
| also visited or established themselves | | | | If these rules are considered in studying the evolution |
| elsewhre.Consequently, designs and tectonic methods | | | | of furniture designs, prior to the 16. century, during |
| whre intermingled and widely spread. Some | | | | the renaissance and throughout the later decorative |
| maintained continuity with the principles of a particular | | | | periods when travel and commerce increased more |
| school, others merged with the designs of various | | | | rapidly, it will be found that relationship progressed |
| areas,Thus, when the french and English Schools of | | | | accordingly. |
| design rose to preeminence during the 18. Century, | | | | Recognition of these relationships, particulary in |
| and whre followed throughout Europe and America, | | | | reference to furniture following the French and |
| designs or elements thereof which originated in | | | | English styles, is essential today because of |
| England and France where copied elsewhere in | | | | widespread delocalization.This resulted from demands |
| Europe and in America, as well as in various colonies. | | | | of traders and collectors during the past one hundred |
| In studying and comparing the furniture of the | | | | and twenty years, and also from deliveries to foreign |
| countries which were themselves centers of | | | | shores at the time that the pieces were originally |
| influence, and the furniture of other areas which | | | | produced. |
| produced work more or less taken from, or | | | | Furnitures supplied but a small part of commercial |
| paralleling,these centers, complete attention should be | | | | ventures during the 16. and 17. centuries. Its |
| accorded to all the smallest details of design. In such | | | | widespread distribution is accounted for in part by |
| a study a numberr of examples, with no particular | | | | emigrations, such as that of William Penn´s |
| appeal because of certain pecularities in their designs, | | | | colonists from England, Ireland and Wales, who |
| may be passed over without due consideration. | | | | arrived in America with their own |
| However, these will often contain valuable clues to | | | | furniture,tools,implements, and even houses in |
| help assign other examples to the areas where such | | | | frames, and a mill ready framed. |
| design peculiarities were permittet, or even favored. | | | | During the 18. Century there was a far greater |
| All too frequently foreig elements are disgarded.Yet | | | | movement of furniture in Europe.Pieces from |
| anyone who fails to take such elements into | | | | France,Italy,Germany,Holland,Sweden,Denmark, |
| consideration shows such a lack of understanding and | | | | England and Ireland were shipped to both neighboring |
| discernment as to eliminate him as an authority. To | | | | and distant areas.Toward the end of this century |
| possess authoritative knowledge concerning the | | | | american furniture was dispatched to the West |
| antique furniture of any country, one must also be | | | | Indies,South America,and occasionally to Northern |
| anequally informed about related designs produced in | | | | Europe.Previously America had been recipient of |
| all other countries or areas reached by similar design | | | | furniture from England,Ireland,Sweden,Denmark,North |
| influence. | | | | Germany,Holland and France. |
| The numerous pieces of furniture which today are | | | | Further delocalizing effects followed.During the first |
| attributed to France, England,America far exceed the | | | | half of the 19. century collecting of curious and |
| possible output of the craftsmen of these countries. | | | | ancient furniture, both i foreign countries and in |
| Records of the settlement of immigrant craftsman | | | | England, was inaugurated by London tradesman,who |
| do not indicate enough production to account for the | | | | were then recorded as possessing extensive |
| difference.Natively executed work is sometimes | | | | collections of Elisabethan and Dutch furniture to |
| verified through the pressence of indigenous | | | | remake in the taste of the time. |
| materials. However, definite structural derterminatioin, | | | | English interest in collecting native specimens of |
| sometimes found in the secondary woods of | | | | antque furniture later increased.To supply this |
| American pieces, particulary poplar, is seldom as | | | | demand it became necessary to draw upon two |
| positive in Europe, where native species of timber | | | | substitue sources and supply: Ireland and North |
| were widely grown and distributed.Design, therefore, | | | | Germany.Deliveries of examples from the latter |
| becomes a principal factor in deciding the geographic | | | | country,which might pass as english, were made |
| origin of furniture, with exposed structural features | | | | through North Sea and Baltic Ports to England and |
| included as pertinent elements, often of greater | | | | Scotland.This trade was carried on extensievely from |
| importance than those concealed.Though pedigrees | | | | 1890 to 1920, at which time central and southern |
| are also to be considered, flaws in such | | | | Germany states were replenishing stocks removed |
| documentation are frequent, so that they should be | | | | from Hamburg.Trade with Ireland continued to flourish |
| weighed carefully. | | | | until more recent years.Irish example which had been |
| Foreign furniture was seldom copied exactly,although | | | | finely designed and executed were generally |
| this did occur. Instead there were adaptions, often | | | | regarding as having originated in England.Only lesser |
| rather free, to suit the preferences of a particular | | | | pieces were attributed to Irish hands.Dublin also |
| Craftsmen or shopp owner, to conform with local | | | | provided a principal source of supply for mantels, |
| tastes,or to make use of such materials as were | | | | especially those associated with the name of BOSSI, |
| readily available. Drawings and details made by | | | | an Italian artisan who worked in this locale and for |
| migratory workers were sometimes used, as well as | | | | Robert Adam in England. |
| those of specializing designers. Wealthy patrons, too, | | | | With the development of American interest in |
| sent native architects to study at the principal art | | | | collecting English furniture, Irish and Continental |
| centers so that they would be better equipped to | | | | examples began to find their way into shipments |
| design appropriate interiors and furnishing for their | | | | destined for this country. In some instances, 18. |
| benefactors. | | | | century pieces which had originated in the Baltic |
| As commerce increased, designs might bemore | | | | Areas, and had been sent as far east as Poland, |
| accurately translated in areas seperaterd by sea, than | | | | have come light to America, being aquired here as |
| by land, because of the greater obstacles of | | | | products of Colonial Craftsmanship. |
| overland travel. | | | | Knowledge of this type of delocalization and the |
| When furniture design became increasingly influenced | | | | recognition of relationships existing between designs |
| by both French and English styles, still greater | | | | produced throughout the Occident are both highly |
| interrelationship resulted.Pieces were eventually | | | | pertinent to the study of antique furniture. They are |
| developed with might well be described by | | | | often important factors in determining correct origins. |
| hyphenated phrases, such as "Louis XV-Chippendale" | | | | Unfortunately, there are experts who fail to consider |
| or "Directoire-Sheraton" designs. | | | | these factors with the result that incorrectly |
| Principal factors which resulted in the interrelation of | | | | identified pieces can be found in some of the finest |
| designs may be summarized as follows: | | | | public and private collection. |