18 FURNITURE STYLES – TRADITIONAL CONTEMPORARY AND MODERN FURNITURE

M.R. Thilagam

             All the different pieces of furniture we have in our homes today have evolved from four needs of man — a place to sit down, a place to lie down, a place at which to work or eat, and a place in which to store belongings. The first chair was probably hewn from a tree stump; the first table may have been a slab of rock; the first bed may have been a sort of hammock or a pile of leaves; the first chest may have been a hole in the ground or later a crude box. From the first chair have come ladder back, Windsor, rocker, club lounge, wing, button back, and many other styles. The sofa, settee, and love seat originated from the idea of a chair. From the first crude beds have come couches, bed sofas, and beds of all sizes and styles. From the first table, creative man has designed dining, card, tea, coffee, drop leaf, Pembroke, console, and dozens of other styles. From man’s first box or treasure chest have come all kinds of chests.

This lesson is developed with the following objectives

• To make you understand the salient features of traditional furniture. To present few information on furniture used in India.
• To know about Contemporary and modern furniture

TRADITIONAL FURNITURE

A.JACOBEAN PERIOD TRADITIONAL FURNITURE

The Jacobean period, running from 1603 to 1688, was influenced primarily by the events of the preceding reign, that of Queen Elizabeth. The Jacobean period covers the reigns of James I, Charles I, Cromwell, Charles II,’ and James II.

Oak was the most popular furniture wood between 1500 and 1680. Furniture forms were rectangular and massive. Moldings in geometric forms and carving in strap work, in scrolls, in acorn leaves, or in geometric designs were the chief embellishments. The bulbous or melon leg of the Elizabethan period continued for a while, but later gave way to the more slender baluster, Flemish-scroll, and spiral-twist legs. The spiral turning was of Portuguese influence.

Chairs were improved a bit in comfort, and sometimes had padded seats and backs up-holstered with tapestry and decorated with fringe. Caning in the seats and backs produced lighter and a little more graceful chairs. The wing-back chair appeared during the reign of Charles II, and was first known as a sleeping chair. Chests included the dower chest, bread-and-cheese cupboard, and later the chest-on-chest. Drawer pulls usually took the form of acorns. The gate-leg and the long refectory tables are characteristic of the period.

B.WILLIAM AND MARY PERIOD

When the Glorious Revolution of 1688 forced James II to flee from England, his daughter Mary and her husband, William of Orange, were invited to become joint rulers. They ruled from 1689-1702. The new rulers introduced a more leisurely and a simpler way of living. .

Queen Mary was a home-loving queen, and the cabinetmakers of the court created furniture for her needs. She had a fine collection of Chinese porcelain, and her cabinet-makers designed cupboards to display this art. The cupboards were decorated with a canopy or hood, a form which has become typical of William and Mary secretaries, chairs, and settees. From the china cupboard developed the first highboy or chest of drawers set on a table. The table had a curved apron or support which carried down to the legs. Chairs became more comfortable and graceful. Typical legs were the cup turned, the trumpet, and the octagonal tapered. A stretcher was used between the legs of tables, chairs, settees, and-cupboards. The bun foot — like a flattened ball — was most common, but the Spanish scroll and the ball and claw were also used. The principal surface decoration on all William and Mary pieces was either veneering or marquetry. Fine needle point and lovely tapestries were used for upholstery. William and Mary furniture may be combined with late Jacobean or Queen Anne.

C.QUEEN ANNE PERIOD

When William died, Anne, Mary’s younger sister, became queen. The period, which ran from 1702-1714, was marked by general prosperity and elaborate entertaining, yet the taste of Queen Anne were very simple. Except for the characteristic shell carving, ‘furniture depended upon its lines and the grain of the wood used for beauty. Finishes included: lacquering, marquetry, and veneering

The Queen Anne style depended upon curves rather than the straight lines of the William and Mary style, and no stretchers were used between legs. Both the William and Mary and the Queen Anne periods in furniture became known as the age of walnut. However, near the end of Anne’s rule mahogany was becoming popular. Chairs of the Queen Anne period were graceful and often armless to accommodate the ladies’ full skirts. The backs of chairs were slightly curved at shoulder height, and a splat down the center of the back was introduced. The fiddle back and the oval-base were characteristic shapes. Armchairs were characterized by their continuous arms. The curved or cabriole leg, which had a conventionalized knee-and-ankle form, was typical. The knee was usually decorated with shell carving. The leg terminated in a club or a ball-and-claw foot. The settee was a combination of two or more chairs. Fine needle point and tapestries were used for upholstery. Card playing and tea drinking were favorite pastimes; so naturally a variety of small tables were designed. Drop-leaf tables increased in popularity as well as tilt-top tables with plain tops or raised and carved piecrust edges. Highboys, cabinets, and china cupboards had carved broken-curve tops or broken pediments. Washstands, wig stands, and tall clocks had characteristics similar to those of other cabinets. Graceful brass drawer pulls and key plates enhanced the beauty of the various types of chests. Drawer handles were frequently pear shaped.

D.CHIPPENDALE FURNITURE

With the death of Queen Anne, the court no longer dictated furniture styles. Furniture designs began to take the name of the designer. However, the period from 1720-1810, marked by the reigns of George I, II, and III, is referred to generally as the Georgian period. It became known as the golden age of furniture, and mahogany became the principal wood. Of the four: names connected with furniture during the period — Chippendale, Adam, Hepplewhite, and Sheraton — that of Chippendale is probably the most famous. Chippendale, who lived from 1718 to 1779, was the son of a cabinetmaker and was trained from boyhood in the craft.

During Chippendale’s time there was .a revival of interest in Gothic architecture; so Chippendale naturally took advantage of it, particularly in his chair designs. Some of the Gothic designs with arched tops, pierced backs, and straight squared legs were good, but others in which Chippendale attempted to duplicate stone carving in wood were not successful. As trade with China increased, there was a strong Chinese influence in Chippendale’s designs. The chair backs became more nearly square, and the entire back was filled in with Chinese fret or latticework. Legs were square and straight or resembled several bamboo rods bound together.

Perhaps the three most popular Chippendale chairs reproduced today are the pierced ladder-back chair, the ribbon-back chair, and the wing-back upholstered chair called the “forty-winks” chair. All of Chippendale’s chairs had broad fronts and narrower backs.

Chippendale sofas and settees were of two styles — the all-wood back combining two or three chair backs, and the upholstered serpentine back with rolled arms which is popular today. Legs were either cabriole or straight. Upholstery materials included fine leather; needle point, tapestry, embroidery, and damask.

Chippendale tables were Queen Anne in form — tilt-top types with a center pedestal, and three legs, console or wall types supported by curved and carved supports, drop-leaf types, and tea and coffee styles. The intricate carving or interesting lacquer made them distinctly Chippendale. Cupboards, straight or break-fronted cabinets, and latticed glass doors with symmetrical swan neck decoration were common. The doors were usually topped with a carved broken-curve pediment and a centered finial urn or eagle. The beautiful brass hardware added a distinctive finish to all cabinet pieces. Chippendale mirrors, either plain or elaborately carved, and grandfather clocks are among other cherished pieces of Chippendale design.

E.ADAM FURNITURE

The Adam period from 1762 to 1794 is often called the neo classic period. The Adam brothers, of whom Robert is the best known were primarily architects concerned with harmonizing exterior and interior decoration. Catering only to the wealthy, they designed all the decoration of a house including the furniture, although they actually made very little furniture.

The Adam brothers discouraged the vogue for wood-paneled walls, and instead they used plaster in delicate tones to serve as a suitable background for the lovely mahogany furniture. They used raised plaster moldings, in classic designs around ceilings, as borders, and as panels. Artists were employed to paint appropriate settings within the moldings. The brothers also used Wedgwood plaques for ornamentation over doorways and fireplaces. Their mantels were especially beautiful, and were ornamented with classic borders and medallions. Favorite motifs were festoons, frets, honeysuckle designs, swags, paterae or flat circular disk like ornaments, wheatears, husks, urns, and rosettes.

F.HEPPLEWHITE FURNITURE

The date of Hepplewhite’s birth is not known, though he died in 1786. His furniture is often criticized because of its very delicate construction. Drop leaves was one of’ Hepplewhite’s favorite tables. He made many card, end, console, coffee, dining, and side tables. His chairs were small, delicate, and unusually graceful. The most familiar backs were the shield and the camel back. Within the backs he designed urns, Prince of Wales’ plumes, and wheatears. Other backs included the oval, the interlacing heart, and the wheel. The legs were always straight, slender, and tapering, and were either square or round. The chairs often had upholstered seats. The sofas and settees had backs that repeated the chair backs. Hepplewhite’s other pieces included dressing tables with heart-shaped mirrors, roll-top writing desks, washstands, secretaries, clock cases, and four-poster beds with light delicate posts.

Hepplewhite designed in mahogany and in satinwood. Hardware on Hepplewhite pieces is inconspicuous. Occasionally he employed artists to decorate his pieces with painting. Frequently he used veneers and inlays. His favorite upholstery fabrics were delicate brocades, horsehairs, silks and satins with delicate flowers and stripes.

G.SHERATON FURNITURE

Sheraton, who lived from 1751 to 1806, was a preacher, teacher, artist, and author. He had a particular fascination for secret compartments and trick springs, and was the first designer to introduce concealed drawers, panels, and compartments. These features appealed to the ladies. Sheraton chairs were delicate in line. Chair backs were characteristically rectangular in shape with vertical balusters, latticed bar work, or ornamental splats between the upper and lower cross rails. Chair arms were delicate and continuous with the front legs and the back. Chair legs were straight and tapering, terminating in a spoon or spade foot.

Sheraton preferred inlay, painting, and multicolored marquetry . He often bleached and dyed woods for just the right effect in marquetry. His favorite motifs were swags, festoons, urns, panels, and latticework. He used mahogany, satinwood, and tulip wood. If pieces demanded upholstery, he used delicate fabrics and colors. In addition to his chair designs, Sheraton is well known for his Pembroke tables, his screens on poles with a tripod base, his book-cases with latticed doors, and his swan neck pediments.

H.VICTORIAN FURNITURE

The Victorian period, extended from 1837 to 1901, Queen Victoria herself had little interest in art. Occasionally, chairs, tables, and love seats had a homey charm that counteracted a rather uncomfortable style. The principal woods were black walnut, mahogany, and rosewood. Carved decoration took the form of roses, buds, and fruit. Wood pulls in the shape of carved fruits or pear drops replaced metal. Painting and mother-of-pearl were also popular decorations.

Chair backs were usually spoon shaped, and the popular rose carving decorated chair and love seat frames. The legs were a slender cabriole type. Many chairs were tufted and upholstered with plush or horsehair. Other popular pieces were drum-shaped tables, terraced corner tables, whatnot stands, candle-stands, and drop-leaf tables with center pedestals.

I. FRENCH PROVINCIAL FURNITURE

The furniture produced during the Louis XIV, Louis XV, and Louis XVI. The lines of Louis XV and Louis XVI furniture were simplified and reproduced in local woods, such as pear, cherry, apple, oak, walnut, ash, and elm. Present-day chairs, upholstered or made of solid wood, have rather low graceful backs and straight tapering or curved cabriole legs Gingham or homespun materials are used extensively for upholstery and pads. The large wardrobe called the armoire, which was used as a substitute for a closet, is especially characteristic of the style. Hanging shelves; for pottery, glass, and brass are also associated with this style. Early pieces included trestle tables and four-poster beds with valances and draperies.

J. EARLY AMERICAN STYLES

Our early colonists brought little furniture with them. They constructed rather crude furniture during the first half of the seventeenth century. As William and Mary furniture become popular abroad, pieces were gradually imported and copied. Later Queen Anne styles exerted their influence to a more marked degree. The Dutch influence was felt especially in the later part of eighteenth century.

Little decoration except shallow carving was used. Stain and wax were the only furniture finishes until a later date when veneering and shellacking were introduced. Chests were sometimes paneled to relieve the flatness of broad areas .Important tables were the butterfly with supports shaped like butterfly’s wings for the drop leaves, the gate leg with legs which could be folded back when the leaves were dropped, and the trestle with trestle like legs supporting a stationary top. Hinged top chests, corner cupboards, Hadley chests with sunflower carving, highboys, lowboys, settees, candle stands, and slant-top desks, four posters and an over-all canopy or a covering over the head only, shaving stands and mirrors were used during this period.

K.AMERICAN GEORGIAN OR EIGHTEENTH CENTURY FURNITURE

The American Georgian period, from 1725 to 1780, parallels the eighteenth century or Georgian period in England and the Louis XV period in France. Style and beauty were important considerations in selecting furniture, and many new pieces, such as tea tables, china cabinets, card tables, and the like, were introduced. Queen Anne splat: or fiddle-back chairs, tilt-top piecrust tables, kneehole desks and tables, slant-top desks, tall case clocks, banjo clocks, and decoratively framed mirrors with beveled glass were other popular items. Mathogany was the principal wood used, and a lacquer like finish suggestive of Chinese lacquer came into vogue.

L.DUNCAN PHYFE FURNITURE

The Federal period, from 1780 to 1830, coincides with the late Georgian and Regency periods in England and the Louis XVI . Phyfe did not originate completely new styles. He merely interpreted the styles of Sheraton, and the French Empire periods. Duncan Phyfe worked in mahogany, cherry, maple, and fruit woods, and his tables, chairs, and sofas are some of the most beautiful examples of American furniture.

His favorite motifs were the lyre and the acanthus. He also used shells, bound arrows, pineapples, birds, lion’s heads, and eagles. Carving was a favorite means of decoration on table and sofa legs, and metal or ormolu mounts usually enclosed the claw feet of the legs. Large areas on chests and drawers were often veneered with beautifully grained mahogany in a V-shaped pattern. Hardware was used extensively in the form of metal or ormolu tips on legs, brass eagle finials on desks and mirrors, and metal lion masks and rings as drawer pulls. Toward the end of the period china and glass knobs replaced brass pulls.

So far I have been talking to you about the styles of furniture followed in western countries. Now I would like to enlighten you briefly on furniture styles adopted in India.

M. Development of Furniture in India

The development of furniture in India cannot be classified according to periods as such because there are no specific records.. Although a distinct classification is not possible, broadly we can divide the development of furniture stages in India into following major categories: (Dongerkey, 1943)

1.  The Home of Nagarika or Citizen of Ancient India.

2.  The Period of Indo-Aryan Fusion.

3.  The Golden Age.

4.  Decoration in Medieval India.

5.  The Influence of Western Styles.

  The Home of Nagarika

This is the pre-historic period dating back to 2500-1700 B.C. The Indian homes in these early civilizations were not full of furniture. A mattress on floor was probably used for sleeping and drugget or a carpet was used for sitting purpose.. It was also found that a small and low stool was used for keeping toilet articles.

The Period of Indo-Aryan Fusion

The common man used a mat, a carpet or a skin as an “Asana”. These special seats were exquisitely carved or inlaid with precious metals and stones. Gold, Silver, Copper and other such metals were used and precious and semi-precious stones were also used. These seats were obviously meant for important people like kings, princes and aristocrats

The Golden Age

The Golden Age in Indian History in this particular context is taken from 6th century B.C. to 7th century A.D. The high-seats with back and a foot-stool to rest the feet are seen in frescos of Ajanta and are a proof that high seats like chairs were in vogue even then. The love-seats i.e. seats for two people settee and benches to seat more than two people, and some form of writing tables were also seen. The frescos of Ajanta also show furniture with lathe turned, round wooden legs.

The Medieval Period

The medieval period reflected sophisticated style of living and well kept homes. The furniture and finishing show influence of Persian characteristics of Moghul Art. A divan or “takht” was the pre-dominant feature of living-room. “Chowkies” or low stools are also seen in these paintings. The seats were made with metal and ivory inlay or lacquer-painted. It is said that the divan was used for twin purpose, i.e. sleeping and sitting during the Mughal period, the “charpoy” was used by common man for similar purposes. The furniture therefore in late medieval period shows a marked influence of west but at the same time the east had its influence on the western designs which lead to a new style—Indo-European.

Western Influence on Indian Furniture

Domestic furniture in the sense in which it was known in European countries was not traditional in India before 16th century. The European traders started exporting western prototypes for making suitable furniture for their homes. The Indian craftsman adopted the foreign decorations, a new style thus emerged which could be termed as Indo-European.

European Influence

The Indo-European style emerged with the growth of British power in 18th century, English influence being pre dominant. The entire sets of furniture were made in ivory adopting styles of Chippendale and Shearton. The furniture was being made not only for European buyers but also for native rulers who started favouring European style of living. Excellent carved “shisham” furniture was seen in areas where the Europeans settled, i.e. in Goa, Calcutta, Bombay, Surat, Madras or Ahmedabad. This type of furniture became popular in 18th and 19th centuries because it had combined features of Western and Indian designs. The furniture such as chairs, beds, tables, settees, benches, chest of drawers and stools were being produced with increasing influence of French style.

CONTEMPORARY FURNITURE

Contemporary furniture represent a fresh approach to the use of space, and feature clear-cut lines, functional and easily maintained surfaces. Characteristic of contemporary is built –in- furniture with separate units that may be grouped or stacked to appear built-in. These styles depend on line, form, grain of wood, and texture of fabric more than upon carving or other embellishment. Contemporary furniture styles are low and lines are only moderately curved. Metals, glass, wood, marble, caning, bamboo and plastics may be used singly or in combination.

MODERN   FURNITURE

Modern furniture refers to furniture produced from late 20th century through the present that is influenced by modernism. The modern furniture have straight lines, geometric forms, smooth light weight materials, polished metals, and sometimes with informal shapes with unusual curves. They do not have additional decoration or ornaments. They have flat surface fabric material with no pattern. They use technically innovative materials such as many forms of glass, metal, chrome, stainless steel, aluminium ,molded plastics and engineering wood. Neutral colour tones were mostly used. The furniture is generally sleek, elegant and simple. They are generally manufactured in large scales in factories. Hand carved ornamentation is replaced by machine carving. The furniture plays a dual role of being functional as well as decorative piece or serves more than one purpose. Functionality is one of the important characteristics of modern furniture. Use of different materials-at least two materials is common. Standard dimensions are used for specific furniture. Universal design is becoming popular. The modern furniture is more visually interesting sometimes are more like a piece of art rather than an object that fills a space. They are compact and give a home a more open and airy atmosphere.

CONCLUSION

In today’s lesson we have been discussing about the major features of traditional, contemporary and modern furniture. This would have given you adequate knowledge on the various styles in furniture. It may help you to identify the styles of furniture so that you may select the required furniture while you are making an attempt to decorate your interiors. The knowledge what you have gained will definitely give you an idea, but practice will help you to succeed in your venture.

References:

1. Craig and Rush, Homes with Character
2. Dorothy Stepat – De van. Home Furnishings
3. Faulkner and Faulkner (1975), Inside Today’s Home, Holt, Rinehart and Winston, NewYork.
4. Gandotra.V, Shukul.M, and Jaiswal.N, (2011) Introduction to Interior Design and Decoration, Dominant Publishers and Distributors New Delhi.
5. Goldstein and Goldstein, Art in Everyday life, Prentice hall Inc . New Jersey.