Marriages

As if she doesn’t have enough to do, my wife is a regular reader of my weekly missive and I have to say, an all too regular critic. As this weeks subject is marriage I feel it is therefore important to get a few things into the open in the first paragraph. I am a faithful and loving husband. Admittedly I don’t cook anything, but I have other more important attributes. There, that seems to cover things nicely.

The reason I mention this is obviously to say how wonderful married life is, but also to say some pieces of furniture are also married and it is something to watch out for. A “marriage” is the term used to describe furniture that has been “made up” from different pieces, often of a similar date.

Most frequently seen on bureau cabinets and bureau bookcases, but also on larger bookcases, marriages are usually betrayed by differences in colour, grain and quality of the timber, particularly on the sides. As a rule the backboards on genuine pieces should closely resemble one another, both in timber used and in construction techniques.

Married pieces are often out of proportion, showing a visual imbalance between joined parts. In addition, they can often be identified by an examination of the junction of the top and base sections, which may not fit tightly.

On veneered furniture, a marriage may be apparent when the top section is removed. The veneer should not extend far beyond the point where the base meets the top. Finally, a genuine piece will display a stylistic union and decorative embellishments should be identical in both design and execution.

In this instance furniture mirrors life and there are good and bad marriages. A good marriage doesn’t shout at you though it just is a good marriage.

Senior Valuer Michael Dowse

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Secretaires

When our habits change the furniture and furnishings we surround ourselves with also change. A sad truth of modern life is that many eat their meals in the comfort of an arm chair beside the television and so demand for the dining table diminishes. A similar fate effects the secretaire and the bureau. In the age of emails and the internet few need the writing surface or book storage they provide any more.

I fully appreciate that in the modern home a large piece of ‘brown’ furniture that serves no useful purpose will not be on many lists of intended purchases, but it just seems such a shame for the poor old secretaire. What a wonderful piece of furniture it is.

During the 18th century the most fashionable item of writing furniture was the bureau, but the chest with a straight fronted writing drawer continued to be an alternative. Two buttons at each side of the drawer dropped the front to reveal a writing interior every bit as exciting as that of the bureau. The secretaire drawer gradually increased in depth and the chest was often surmounted by a bookcase.

The usefulness of the secretaire bookcase or secretaire cabinet ensured that it continued to be made throughout the 19th century, with infinite variations of detail in the style of pediments, glazing patterns and surface decoration.

The French developed the secretaire à battant in the late 18th century and it is generally considered more sophisticated than the British version. It was a full, flat, fall front cabinet, resting on a chest of drawers or cupboard, often constructed as one piece rather than two separate. As with everything though, beauty is in the eye of the beholder.

Senior Valuer Michael Dowse

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Pembroke Tables

The Dowse Chest. This is a chest of drawers named after a twentieth century auctioneer from Sheffield who commissioned a chest of drawers with special handles and a new design of drawer closing. Through the following centuries the chest was always referred to as the Dowse Chest, with auction house catalogues using its proper name. I wonder just how special that would be. My grandfather has a street named after him, but this would be a piece of furniture.

All fantasy (except Dowse Avenue) but it makes you wonder how excited Lady Pembroke must have been, or perhaps she took it all in her stride. The history books never tell us that do they.

The use of a proper name in the description of a piece of furniture usually derives from an original commission and in this case the Countess of Pembroke required a “type of breakfast table with small drop leaves” and that is what she ordered. Eating breakfast from her table must have done her a power of good, because born in 1737, she continued to eat breakfast until her death, in her nineties, in 1831.

The Pembroke table is exactly as the Countess described. The drop leaves are usually about half the size of the top and four legs support the top, which usually boasts a drawer and a dummy drawer. Later, in George III reign, some Pembroke tables had a centre pedestal instead of four legs.

The Pembroke table is a very useful and an often underrated item. It can be used as a decorative side table, displaying ornaments and photographs, or as a small dining table seating four in comfort. This table was made from the mid 18th century and continued through the Victorian and Edwardian periods.

Senior Valuer Michael Dowse

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Jennens and Bettridge

Last weekend saw my wife and I entertaining one of our grandchildren and me suddenly remembering papier-mâché at school. Out came the flour and water and in no time we had a couple of bowls covered with sticky strips of paper and a mess everywhere. I started to explain to our little charge about papier-mâché furniture, but interest in the subject soon waned.

Papier-mâché furniture became popular in the Victorian period of the 19th century. The decoration is japanned or varnished onto a mostly black background.

Papier-mâché furniture was produced by a number of makers but they largely remained anonymous. However, Jennens and Bettridge is one company whose name is synonymous with papier-mâché. In 1816 they took over the firm of Clays in Birmingham and from then on began the great age of japanned papier-mâché for which they are now famous.

Their earlier pieces tended to be smaller items such as bottle coasters, writing slopes, trays, glove boxes and fans. Once the market had accepted these smaller items they began to experiment with larger pieces which included furniture like dressing tables and cabinets.

Pieces by Jennens and Bettridge do carry the company mark, usually impressed on the reverse beneath a crown. No other papier-mâché companies are known to have signed their wares.

Decoration is usually hand painted and elaborate, showing flowers, birds or on occasion even full landscapes. Giltwork was commonly incorporated into the design and used on borders and rims of furniture. Mother of pearl inlay was another typical feature and this was introduced by George Souter at Jennens and Bettridge in 1825.

The condition of japanned papier-mâché items is a crucial factor in estimating their value. Papier- mâché needs to breath and is liable to crack and warp if not given sympathetic conditions. The effects of central heating can be truly devastating on a piece. Beware, because restoration is very difficult and often unsuccessful.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

Royal Dux

My wife loves elephants. I have nothing against the elephant and as our home is covered with them, I have little choice. I have to admit that some of the models are really quite lovely, especially those from Duchov.

In 1853 in the town of Duchov a factory was founded and the story of Royal Dux began. After several years of producing utility ceramics the factory was bought by Eduard Eichler and became E Eichler Thonwaren Fabrik. Success followed with the production of terracotta, faience and majolica items, winning a Silver award at the 1878 Paris Exhibition.

A pink triangle became the trademark in 1900.The raised triangle has an acorn in the centre with the inscription ‘Royal Dux Bohemia’, which is still used today.

The Art Nouveau and the Vienna Secession were probably the most successful periods for Royal Dux production. The company won awards in Exhibitions in Milan, Liberec and St. Louis, having representatives and showrooms all over Europe.

The Art Nouveau production is the most collected period. Pieces from this period are very recognisable with their fleshy colourings and attention to facial detail. Classically modelled maidens abound, along with shell shaped vases and bowls, elephants, dogs and Arab figures on camels and horses.

The World Wars affected production, output ceased in the first war and in the second, the German government took over. After the war it was taken over by the new communist government of Czechoslovakia, but today it is privately owned.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

Vacuum Cleaners

During our lockdown experience the Dowse house has seen a redistribution of household chores, with my chore folio increasing to unprecedented levels. I can now manufacture an edible apple crumble and make custard from scratch. In actual fact I could produce a whole meal now, provided scrambled eggs was an acceptable first course. I have also increased my vacuuming portfolio and the carpets have never looked so good.

If we had lived in Victorian or Edwardian England vacuuming would never have been an issue because the Vacuum Cleaner wasn’t invented until 1899 and as with all new inventions it was huge. Early models could easily be mistaken for fire engines.

Having your house vacuumed meant ordering the vacuum cleaner, which was pulled by horses and stopped outside your door. The nozzled hoses were then passed through the windows and the process could begin. This was such a novelty that people would ask there friends around to tea and everyone would sit and watch the amazing cleaner at work.

It was not long though before the Edwardians managed to significantly reduce the size of the cleaner and by the end of the First World War they were much more portable and much more common.

In the saleroom vacuum cleaners from the Edwardian early portable period are highly prized and can realise many hundreds of pounds. Examples from later in the century, however, are less desirable although the present fascination with all things retro has certainly encouraged this market. Examples from the 1950’s and 1960’s which were once destroyed are now increasingly popular. Perhaps now is the time to invest.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

Victorian Jugs

In an attempt to keep healthy my wife and I have introduced water as one of our evening meal beverages. This requires a jug on the table and hence a little extra preparation. I am somewhat doubtful about the longevity of this new custom as the preparation seems to be falling upon me. It does however make me contemplate the jug as an artefact.

A few years before Victoria came to the throne moulded jugs had developed into an art form. Almost every potter of the time began producing them and on the whole all followed each other as the moulded jug developed and changed throughout the century.

The jugs of the 1830s were moulded in a crisp and deep relief. Apart from a few angular exceptions the body was generally round. In terms of decoration, this was a period when designs and inspirations seemed limitless. Hunting scenes were popular, as were religious, mythological, historical and even drinking themes. But inspiration was also found in books, poems and art. In fact almost every aspect of Victorian life.

By the latter part of the 1840s the earlier distinctive pedestal foot had become a foot rim and the lip was a little less flared. The body was still essentially round and the relief had become more shallow. The new trend in design was naturalistic plant life, with some jugs being completely covered, examples being the Cob of Corn jug and the Pine Cone jug.

By the 1860s the relief was very shallow and the naturalistic designs were replaced with stylised flowers and foliage. By the time, towards the end of the century, that the Art Nouveau style had arrived the moulded jug had largely had its day.

Made usually in earthenware, stoneware or Parian the moulded jug makes a lovely addition to any collection which is why they have always remained popular in the auction room.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

Sweetmeat Glasses

As I have said many times, we all love a glass of wine and within the field of glass collecting, drinking glasses have always commanded the greatest interest from enthusiasts. However there is a whole sphere of glass production which is equally as exciting and readily available to the collector.

The Georgians loved their desserts and the taking of dessert was an important occasion in its own right. The late 18th century was a time when the wealthiest members of society entertained with parties incorporating a large and varied amount of food, as well as generous amounts of wine and desserts.

Desserts may be taken with the meal or served away from the table in a kind of buffet form which could be directly after the dinner or later in the evening. The kind of treats on offer included candied fruit, marshmallows, crystallised citrus peels and almonds.

These desserts would be served in glasses on tall stems known as suckets that resemble drinking glasses. They would also be served on footed and stemmed plates and saucers known as tazzas and comports. Shorter thicker glasses with practically no stem were also used for holding jelly and ice creams. Custard cups, another variant on the jelly glass, were used for syllabub ( a creamy alcoholic sweetmeat ), egg custard and egg trifles. Sometimes all of these vessels would be presented on large stemmed salvers placed in the form of a pyramid.

These wonderful Georgian occasions and marvellous Georgian sweetmeats have provided the modern collector with an enormous wealth of collecting opportunity.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

The Canterbury

The Canterbury is a very useful piece of furniture and examples from the 18th and 19th centuries should find their way into more modern homes. What exactly is a Canterbury?

In the most basic terms, the Canterbury is a low, opened top piece of furniture with partitions or slats for storing sheet music, often made with additional storage in the bottom in the form of a drawer; in modern terms, a magazine rack. The Canterbury was made with short legs that stood on castors, making it easy to move around.

It is largely acknowledged that the name originated from the Archbishop of Canterbury who first commissioned one in the 1780s. The Archbishop in question, Frederick Cornwallis serving from 1768 to 1783, had aristocratic associations and thus likely connections with prominent cabinet-makers of the time before his appointment to Archbishop adding weight to the theory that the name came from him.

Thomas Sheraton (1751-1806), an English cabinet-maker who is credited as having a significant influence over furniture design of the late 18th century, appears to be the first to use the name Canterbury in his 1803 book ‘The Cabinet Dictionary’. Other key examples of Canterbury designs are included in George Smith’s ‘A Collection of Designs for Household Furniture and Interior Decoration’ from 1808 and John Claudius Loudon’s ‘The Encyclopaedia of Cottage, Farm, Villa Architecture’ in 1834. The Canterbury began life as a simple, functional piece of furniture but grew more elaborate with time and remained popular throughout the Victorian and Edwardian periods.

It is also important to note that during this period, sheet music was made more widely available due to the new printing processes making it more affordable and so the design of such a piece of furniture seems inevitable, to sit by the piano.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website

Thomas Sheraton

My wife and I have just had new windows fitted. That is windows to the property in which we live, rather than new lenses to our spectacles. Now, we love our new windows and we marvel at the speed and efficiency with which they were fitted, but sadly it has caused my wife to suffer a relapse in a condition I have been managing to keep under control, with careful nurturing, for many months. Namely her “let’s change the room round” affliction.

As with most wives, once her bonnet has entertained a bee there is little anyone can do. However I have to say that on this occasion the moving of an Edwardian inlaid mahogany display cabinet to another location in the room has caused me to fall in love with the piece all over again.

The Edwardian period was the host to many different styles, including the wonderful Arts and Crafts and the inspirational Art Nouveau, but our lately unloved display cabinet is an often forgotten gem from Edward VII’s time in office, namely Revival Sheraton.

Thomas Sheraton was a very gifted designer, born in Stockton-on-Tees in 1751, who designed some wonderful neoclassical style furniture between the 1780s and 1820s. Also during that time he published two ground breaking books, “The Cabinet Dictionary” and “Cabinet Makers and Upholsterer’s Drawing Book”, illustrating his designs.

Our display cabinet typifies the Sheraton style, with delicate neoclassical lines, contrasting wood inlays and a beauty, which thank goodness, we love again. If only everyone else could see the joy of Sheraton what a revival the furniture market would experience.

Senior Valuer Michael Dowse

For more information or if you have similar items you’re thinking about offering items in auction or you simply would like a valuation, please get in touch with us, full details can be found on our company website