LATE GEORGIAN

Late GeorgianGroup 4 Carreon.Ching.Patricio

Georgian PeriodThe age of Aristocracy and development of Modern democracy in EnglandGeorge of Hanover, a cousin of the Queen, was crowned as King of England

King George IGeorge of HanoverLittle interest in politicsUnderwent a revolution in art and architecturePeriod of great architectural achievements, in fashion, in art, and all forms of design

Late Georgian Period1760-1830George IIIStarted a reaction to both Palladian and Rococo taste

Late GeorgianMore flexibleFurniture had previously had its origins in the court and worked its way down, but George I brought a dull and tarnished feeling to the court and only few developments took place in the households of the rich.

Late GeorgianSeparate designers distinguished themselves in the late Georgian Period, this is known as the The Golden Age of Furniture. The designers were:Thomas Chippendale 1745-1780Hepplewhite 1760-1790Adam 1760-1792Sheraton 1790-1806

Georgian Influences

Early Georgian style was the tail-end ofQueen Annedesign, and this gradually became more severe in its lines and architectural details that moved design away from the gentle curves of Queen Anne design.Architecture style was copied from Ancient Greece and Rome, however a lot of Chinese design showed through in the interior. Chinese motifs like peonies and chrysanthemums were found in the fabric and Chinese porcelain and motif table lamps were common. Georgian furniture was strongly influenced by Palladian, Rococo and Neo-Classic design.

CharacteristicsUtilized many of the hallmarks of Renaissance designRigid symmetry in building mass, in window and door placement, and even in the layout of interior rooms

Common Architectural ElementsSymmetrical shapeCenter hall axis planClassical porticosGlass fanlights and geometrical patternsLarge square roomsSash, double-hung windowsStaricasesA center hall stairwayPediment doorwayDecorated classicalcornice with dentilsLintels aboverectangularwindowSide-gabled or hipped roofStone or brick wallsTransom window over paneled front doorBelt courseCorner quoins

Interior ElementsMaterials, colors, decorative arts varied regionallynorthern states, it was common to use wood with clapboard or shingle claddingthe corners of the building were decorated with wooden quoins to imitate stone. Sometimes stone and stucco were used instead of wood.

In the South, Georgian houses were occasionally constructed of stone and stucco, but Georgian style usually meant brick.The brickwork occasionally incorporated a horizontal belt course between the first and second floors

Interior ElementsShowing worldly possessions and manners were essentialCentral hall axisSideboardDining table and chairsTea table - teapots, kettles, and other accessoriesPursuit of classical learningLibrary rooms

defining characteristic of Georgian style

Shapes

Square is prominentClassical, balanced, and proportional

classical elements from Romans architectural elements were prevalent

Motifs

Motifs

Delicate acanthusleavesrosettesscallop shells

Ornaments & Decorations

Ornaments and Decorations

Egg-and-dart moldingSwagsRoundels

Ornaments and Decorations

Aesops fablesOriental elementsClassical follies

Patterns

Diaper

Trellis

Latticework

Stripes

Materials

Brick

Wood

Metal

Weather vaneFencesHardware

Glass

Semi-circularFan design

Textiles

Drapes

Pelmet & corniceSwagJabot

Upholstery

LineSilk Damask

colors were pale and subtleColors

Georgian Favored Colors

pastel pinkpastel bluedark bluedeep greencrimson

pea greenpowder bluesagedusky rosecream

Georgian Favored

Floral patternsTapestriesGold and murals

Finishes

FinishesPaintSingle coat on plasters/woodMid sheen and oil based

FinishesWallpaperRareBackground to paintings or ornaments

FlockedHand-blocked

Decorative Accessories

LightingChandelierHanging candle holders

Wood and ironMetal and glass

LightingSconeDecorative light sourceMinimum light

ChinaChina cupsTeapots

PorcelainDelft tiles and porcelain

Structure

Roof

Pitched roofHipped roof

Entrance

Ogee capsArched topsBroken pedimentPediment

Ceiling

Plasters and mouldingsDecorative ceiling

DoorsElaboratefrontentrance, eitherasingleordoubledoorwithmultiplepanelsineachleaf oftendecorativelycrownedapedimentoverthedoorAfanlightortransomlightabovethedoor with side lightsoneachsideofit

WindowsEvenly spaced squares or rectanglesfrequentlyaPalladian/Venetian windowfrontwindowsonthegroundfloor often pedimentedDouble-hung sash windows

*wood - decorative pediments over the windows*brick Georgians - decorative brick headers above a window.

ColumnsThese are visible in porticos, front door surrounds and fireplaces, typically in the form of a classical pilaster.

FireplaceThese became smaller and focal points of the entertaining room. "An important factor in this evolution was the separation of the kitchen and the social rooms which left the fireplace unconstrained by the needs of cooking". They were heavily decorated for the most part with carved wooded ornaments, pilasters and classical surrounds. In the mid 1700's the marble fireplace appeared.

StairsThe central hall staircase is a key element of the Georgian styleThe staircases tend to be open-string and have molded, turned and carved handrails and elaborate balusters. Often the sides of the staircases are paneled or have wainscoting and pilasters, and the side-ends are carved. There is often a second staircase used for more utilitarian purposes. The staircases are made of wood, as are the railings. Balustrades are also wooded.

WallsThe more formal the room the more decoration on the walls. Applied wood molding, plaster sheath in imitation panels, elaborate fretwork, skirting boards, and pilastersOrnamentation on the walls is a trade mark of the Georgian style.

FloorsThe floors were wood, generally pine planks, without stain or varnishFloor cloths were very commonSisal and rag rugs were suitable for more casual rooms The more refined the room the smoother the texturesSmooth, slick, very even textures are hallmark of more refined Georgian interiors.

FurnitureBuilt infurniture became more popular and was prestigiousThe cupboard (which housed the valuables such as silver, tea, and cloth) was prominentA more decorative carved glass front corner cabinet visually showcased coveted items of wealthThe improvements to and inventions of furniture really proliferated with the emerging social classChairs were no longer simply pushed against the wall but were designed for greater seating comfort and loungingSmall tables for dining were replaced with larger, many-leaved octagonals for sharing mealsCupboards were no longer just for storing precious items, they were needed to display trinkets, dishes, food, and libationsArmoires were created to handle the increase in clothing needed for all the refined activities

Georgian FurnitureIn early Georgian times, heavy carved and gilded pieces were upholstered in velvet and damask. Fabrics were luxurious: brocade, damask and tapestry, with colors and patterns kept subtle. A royal style extended into common houses with cabriole legs and claw feet on chairs and baths creating an almost throne-like feel. Mahogany slowly replaced walnut as the wood of choice.The furniture was delicate, and the fireplace was the heart of the room. It was often fully outfitted with cast iron, carved pillars and medallions, and an opulent fire screen.

textures in the exteriors and interiors in the 18th century were often rough.Textures

BricksHad to be made by hand and were not always perfectly formed and colored

WoodCame from numerous kinds of trees and showeddifferent grains and hues

PlasterNot always applied by a skilled craftsman Rarely smooth and even on the walls

MoldingsMoldings that were decorated with ornaments were usually unbalanced and seldom uniform

Furniturenot always varnished and properly finished

Glassrarely completely clear and without the residue of sand and ripples

FabricsNubby and uneven in weights and coloringFabrics made with needlepoint were used for dining and important smaller chairsJacquards and Damasks became increasingly popular and are often best seen in silk or linens.Chintz was a big material for this era. Their big patterns gave a sense of texture to plain whitewashed walls with painted molding

PaintHad a chalky, milky look

SilverUsually had slight imperfections from scratches and tool markings

Rugscoarse

Exterior textures include rustication and surrounds near the center doors and windows. This decorative stonework or brickwork accentuated the classical design style and drew attention to the symmetry of the design. Brick patterns and bonding create different looks and textures, and at one time were a tell tale of a person's wealth. Brick is the iconic building material for the Georgian Style.

Carved wood banisters, moldings, pilasters and columns add real authentic detail to the Georgian look. The variations of v's and circles in trim (egg and dart) and fluting in the pilasters increase textural interest and are architectural elements important to the classical style.No Georgian home is complete without circular ceiling mounts in plaster, near the hanging chandelierVariations of stones, marbles and woods complete the important focal point of that ubiquitous fireplace. Delft tiles were popular decorative surrounds too.The use of orders and ornaments around and on the mantels are important. This was and should be treated as the focal point of the interior.

Interiors

Carved wood banistersEgg and dartStones, marbles, and woodsdelft tilesCeiling mountOrders and ornaments

Gardens, views, and vistas were very significant characteristics of Georgian DesignThe homes and gardens were considered connectedThe colors and textures of the landscapes accentuated the colors and textures of the interiors

Georgian GardenReflecting poolGarden furniture and statuaryCoarse stone benchesMarble bird bathsPlant and tree material

the Georgian style is all about symmetry which includes sizeSizes

The design is directly derived from the classic architectural principles. First from the Roman Vitruvius, then interpreted by PalladioRevived by architects Inigo Jones, Christopher Wren, Colen Campbell, William Kent, and Robert Adams. The hallmark of the classical style is the central block (rigid symmetry, center hall axis), which requires significant size to achieve the balance or unity of the design

Everything got bigger when the stylistic changes shifted from Baroque to Georgian.

Robert Adam

Robert Adam1728-1792ScottishEdinburgh, ScotlandStudied little architecture under his fatherHim and James, his brother took over his fathers architectural business CONTINUITY OF DESIGNIdea of carrying one or more elements or motifs throughout the designHe employed both polychromatic and monochromatic color schemes, bright colors and pale colors and pastels, sometimes in combination.

Robert AdamThe Works in Architecture of Robert and James AdamOne of the most celebrated books in architectural history, consists of the brothers' own selections of illustrations from their commissions. Dating from the 1770s, these 106 illustrated plates epitomize the style that influenced generations of British and American architectural and furniture designs. First volume(1773)Second volume(1779)Third Volume(1822)

Osterley Park Hall

Osterley Park Dining Room

Keddleston Hall- Marble Hall

Osterley Park Dressing Room

Groom Court Tapestry Room

Nostel Priory Drawing Room

Kenwood Library

Syon House Ante Room

Syon House Gallery

Home House Foyer

Hopetoun HouseIn collaboration with James AdamsRobert's principal work from 1750 to 1754Completion of his fathers incomplete masterpiece.Introduced Red and Yellow Drawing RoomsRobert also redesigned the outlying pavilions of the house in a manner that anticipates his mature neoclassic style.

The dining room became the most important room with a strong masculine feeling. The men would spend many hours there after the women had withdrawn to the drawing room where the furniture was lighter and more delicate.

Hopetoun House, Edinburgh UK

Hopetoun House, Edinburgh UK

Dumfries House1751-1754Roberts first independent workFine rococo ceilings decorationsDealership between him and Thomas Chippendale about furnishing of the Adam houses.

The Great Steward of Scotland's Dumfries House Trust, Cumnock UK

Harewood House, YorkshireTook 12 years to completeRobert revised all of the plans by John CarrHe designed all of the interiors

Harewood House, Harewood UK

Adam Furniture (Mahogany and Satinwood 1760-1792)

Robert Adam was a Scottish architect. He spent a lot of time studying in Italy.While he was there a large amount of excavation work was taking place, especially around Pompeii. These excavations and findings of the 1750s had a large influence on his work.When he returned to England he became the Court Architect to George III. There were already changes happening in the Georgian furniture, the flowing curves, the ornate carving. Adam brought back the simple classical lines of the Roman and Greek Styles.The people then turned to Adams simple straight lines and simple moldings. He started the new Neo Classical style.

Adam Furniture (Mahogany and Satinwood 1760-1792)

Adam and his brother James were primarily Architects and designed the furniture to decorate the rooms. Adams furniture consisted of huge pieces, sideboards with two pedestals surmounted by large classical urns.The dining room became the most important room with a strong masculine feeling. The men would spend many hours there after the women had withdrawn to the drawing room where the furniture was lighter and more delicate.

Adam Furniture (Mahogany and Satinwood 1760-1792)Used other tradesmen to produce his designs.Oval and shield back chairs.Never used Cabriole legs he preferred to use straight, tapered legs.Used low relief ornament based on Greek and Roman Motifs.Often-massivepieces of furniture.Lower back chairs.Introducedthe lyre shape, with metal rods which are stillnow being used in furniture making.Introducedthe pedestals to the side table for the startof the modern sideboard.Rounded front commode.Used center motifs on friezewith fluting and patereas.The moldings were ofthe simplest kind, dentils were used.Applieddecoration to Wedgewood China: applied to centerpanel (Adam Stucco Ceilings).Applied plaster motifsusually painted or gilded.Used octagonal andhexagonal shapes.Winged griffins.

Thomas Chippendale

Thomas Chippendale1745-1780Born In a family of Yorkshire carpentersAged 30, he moved to London and started a career in cabinet making, got married and had a large family.1754, he published The Gentleman and Cabinet Makers Director- being a large collection of the most elegant and useful designs of household furniture in the Gothic, Chinese and modern taste.He took on large scale furnishing projects on his workshop on St. Martins Lane.

Thomas ChippendaleChippendale blended these disparate stylistic elements into harmonious and unified designs. The term Chippendale specifically refers to English furniture of the 1750s and 60s made in a modified Rococo style.In the 18th century there was an increasing demand for luxury goods. Chippendales Director provided for this market with 160 engravings of fashionable furniture designs.Became influential in America and Europe Reissued in 1755 and 1762 with additional neo-classical designs

Rococo ChippendaleHe extented a reaction against the heavy formality of Baroque furniture design, typified by the work of William Kent who died in 1748.It is French originated but he modified some of it, for the less flamboyant English market.

Louis XV style chair

Roccoco Chippendale chair

China ChippendaleTheChineseChippendale designs inThe Directorwere applied to chinacabinets, or china shelves, which had glazing bars in a fretwork design and a pagoda-style pediment. A similar fretwork was used for a gallery around the edges of china tables, or tea tables, and for the backs and legs of chairs.Some pieces of Chinese Chippendale furniture, often intended for rooms decorated in chinoiserie, or Chinese style, were japanned, or coated with oriental-style lacquer.

Chippendale designs were simplified and adapted in the second half of the 18th century; two of these modified designs are country Chippendale and Irish Chippendale.

Country ChippendaleCountry Chippendale pieces were skilled adaptations, particularly of the renowned ribbonback chairs, by country craftsmen who could not cope with the intricate carving of Chippendales designs. The woods used were normally indigenous rather than the imported mahogany used in the more fashionable furniture.

Irish ChippendaleIrish Chippendale, mahogany furniture crafted in Ireland, while bearing a superficial resemblance to Chippendales designs, did not compare with their quality.

Thomas ChippendaleChippendale went into partnership with the wealthy Scottish merchant James Rannie and later the accountant Thomas Haig. Their business acumen complemented Chippendales entrepreneurial flair. In 1776, Chippendales son, also Thomas (17491822), took over the firm. Continuing financial difficulties and then Haigs death led to closure in 1804.

Chippendale (Mahogany 1745-1780)Chippendale Rococco ChairCountry Chippendale rural craftsman has access to pattern books.Dining tables followed the chairs either cabriole legs or straight.French legs.Chippendale Chinese and Gothic Chairs.Master carver acanthus leaf, claw and ball. Carving is the only form of decoration.Influenced by French Chinese and Gothic.Pierced urn shaped splat.

Chippendale (Mahogany 1745-1780)Cupids bow top rails.Fretwork, ladder back and ribbon back chairs.Piecrust edge tables, tilt top, birdcage gallery, tripod base.Claw and ball foot with Icanthus leaf carving on the knee.Arm supports set back to accommodate hoped skirts.Chests of drawers with bracket feet.Breakfront bookcase, barred doors, broken swans neck pediments.Bedstead with Cabriole legs carved.Bureau bookcase square and straight legs returned in 1760 and stretchers returned.

George Hepplewhite

Hepplewhite (Mahogany and Satinwood 1760-1792)

George Hepplewhite owned his own factory and made furniture for RobertAdam. He produced a book of designs The Cabinetmaker and Upholsters Guide.He had a fondness for the curved line and introduced this into his design wherever possible. Hepplewhite moved away from the heavy carving ofChippendaleand used more refined carving. His favorite timbers to work with were Mahogany and Satinwood. He lightened up the look of the timber without sacrificing the stability.Best known for his chair back designs shield back, hoped back, oval and heart shaped which were very popular.

George Hepplewhite (Mahogany and Satinwood 1760-1792)

George Hepplewhite owned his own factory and made furniture for RobertAdam.

He is regarded as having been one of the "big three" English furniture makers of the 18th century, along with Thomas Sheraton and Thomas Chippendale.

Hepplewhites style and reputation rest on his Cabinet-Maker and Upholsterers Guide (1788), which contained nearly 300 designs for furniture and other furnishings.

Best known for his chair back designs shield back, hoped back, oval and heart shaped which were very popular.

George Hepplewhite (Mahogany and Satinwood 1760-1792)

Hepplewhite moved away from the heavy carving ofChippendaleand used more refined carving. His favourite timbers to work with were Mahogany and Satinwood. He lightened up the look of the timber without sacrificing the stability.

Hepplewhite produced designs that were slender, more curvilinear in shape and well balanced.

The plates in the Guide are unsigned, but 10 designs signed Hepplewhite or Heppelwhite are included in the Cabinet-Makers London Book of Prices (1788).

Page from Hepplewhite's style guide, published in 1787

Hepplewhite (Mahogany and Satinwood 1760-1792)

Features of Hepplewhite FurnitureUsed straight tapered legs and also Frenchcabriole leg.Used decorations such as wheatears,husks, urns, draped cloth, and Prince of Walesfeathers.Cylinder fall used on writing tableReeded chairlegs, also single corner reed on square legs.Modernsideboard with concave ends and bow front center,searing end.Chest of drawers with curved base.Toilet table(no running water table to hold basin).Wardrobestarts to be used.Bureau bookcase.Pembroke Table drawer at end.Inlay used around the drawerfronts.

Thomas Sheraton

Sheraton (Mahogany and Satinwood 1790-1806)

Thomas Sheraton was a trained Cabinetmaker and Carver, but was primarily a designer. He produced a book called The Cabinetmaker and Upholsterers Drawing Book.

Sheraton continued to use Mahogany as his timber, but preferred satinwood, rosewood or painted finishes for his lighter drawing room furniture.

He had a passion for mechanical parts and designed many types of secretaire or bureau. For example, open a top drawer to reveal a writing surface, which then opened or slid back to provide access to drawers or pigeon holes. Carving basically disappeared.

Sheraton (Mahogany and Satinwood 1790-1806)

Thomas Sheraton was a trained Cabinetmaker and Carver, but was primarily a designer. He produced a book called The Cabinetmaker and Upholsterers Drawing Book.

Sheraton continued to use Mahogany as his timber, but preferred satinwood, rosewood or painted finishes for his lighter drawing room furniture.

He had a passion for mechanical parts and designed many types of secretaire or bureau. For example, open a top drawer to reveal a writing surface, which then opened or slid back to provide access to drawers or pigeon holes. Carving basically disappeared.

Sheraton (Mahogany and Satinwood 1790-1806)

Thomas Sheraton furniture tends to be rectilinear with highly innovative splat backs emphasizing geometric pattern and straight lines.

He uses paint as decoration more then the others and often pushes wood to the extremes with extremely slender legs and backs.

Sheraton (Mahogany and Satinwood 1790-1806)

Sheraton Furniture FeaturesKept chair backs with straight linesand square shapes.Kept backs as open as possible.Single cross rails,vertical uprights and trellis effect.Tapered legsincluding spade toe.Turned legs with reedingbecame a fashionable form of decoration.Shieldback with straight top.

Sheraton (Mahogany and Satinwood 1790-1806)

Sheraton Furniture FeaturesKnown for many complicatedmechanical actions, secret compartments, concealeddrawers, sofa into beds or bed settee.Six leggedsideboard straight front with convex ends.Brassrods including candle stand.Sewing table.Introducedthe tambour top or roll top desk,tambour front, roll top.Serpentine front chestof drawers.

Referenceshttp://www.interiordezine.com/styles-and-periods/georgian-period/http://www.buildinghistory.org/style/georgian.shtmlhttp://encyclopedia2.thefreedictionary.com/Late+Georgian+stylehttp://www.designintuit.com/issue0002/focus/materials.html