The 18th century was a period of immense cultural, social, and artistic transformation across Europe and America. This era, often referred to as the “Age of Enlightenment,” saw a profound shift in various facets of life, including the arts and interior design. Upholstery, the art of providing furniture with padding, springs, webbing, and fabric covers, underwent significant developments during this time, reflecting the tastes, trends, and sophistication of the era.
During the 18th century, upholstery evolved from a practical craft to a refined art form. The burgeoning middle class, fueled by economic growth and increased trade, sought to emulate the lavish lifestyles of the aristocracy. This desire for luxury and sophistication influenced the design and upholstery of furniture, setting the stage for the elaborate styles that defined the period.
The early to mid-18th century was marked by the Rococo style, characterized by intricate and asymmetrical ornamentation, flowing curves, and delicate floral motifs. Upholstered furniture during this period often featured richly embroidered or woven fabrics, such as silks and brocades, in vibrant colours like gold, red, and blue. Elaborate gilding and carving enhanced the opulence of the upholstery.
As the century progressed, the Neoclassical style gained prominence, drawing inspiration from ancient Greek and Roman design. This style emphasized symmetry, clean lines, and classical motifs. Upholstery for Neoclassical furniture favoured lighter colours, pastels, and intricate patterns. Fabrics like damask and chintz were popular choices, lending an air of refinement and elegance.
Named after Thomas Chippendale, a renowned English furniture maker and designer, the Chippendale style emerged in the mid-18th century. Chippendale’s designs often incorporated elements of Rococo and Neoclassical styles. Upholstery in the Chippendale style featured ornate woodwork combined with plush, luxurious fabrics like velvet and damask, showcasing a harmonious blend of comfort and aesthetic appeal.
Craftsmanship in upholstery during the 18th century was meticulous and detailed. Skilled artisans worked with an array of materials, including horsehair, cotton, and down feathers, to create comfortable and resilient padding for furniture. These materials were meticulously arranged to provide the desired level of support and comfort.
Upholsterers also employed various techniques such as deep-buttoning, pleating, and tufting to achieve specific aesthetic effects. Intricate embroidery and tassels were added for embellishment, highlighting the luxury of the upholstered pieces.
Upholstery in the 18th century not only defined the aesthetics of interiors but also reflected the socio-economic and cultural aspirations of the period. Owning finely upholstered furniture became a symbol of status and sophistication. The elegance and craftsmanship of upholstered pieces were a testament to the luxury and refinement sought after by the emerging middle class and aristocracy alike.
The 18th century’s influence on upholstery continues to resonate in modern interior design. Elements of Rococo, Neoclassical, and Chippendale styles can still be found in contemporary furniture, often reinterpreted to suit contemporary tastes. The craftsmanship, attention to detail, and commitment to beauty that characterized 18th-century upholstery remain foundational principles in the field of furniture design and upholstery today.
In conclusion, the 18th century was a pivotal period for upholstery, witnessing a shift from purely functional craftsmanship to a fusion of artistry and luxury. The styles, techniques, and materials of this era laid the foundation for the evolution of upholstery into the refined and diverse field it is today.
Clive Payne provides antique upholstery restoration and repair, offering a full conservation and restoration service on all periods of furniture, specialising in the seventeenth and eighteenth centuries.
The covering of seat furniture can be traced back to ancient Egypt with the use of woven rush or animal hides stretched over frames and nailed to form a seat, it is not until the seventeenth century that the fashion for upholstered furnishings really began with the growth in foreign craftsmen from France and Holland setting up and trading in London for the royal palaces and wealthy land owners using silk and velvet brought from France and Italy, soon to be followed by materials from the looms of Spitalfields in London.
By the Eighteenth century the use of needlework’s with biblical or mythological scenes finely woven in wool and fixed using gilded nails became popular, also popular were silk damask fabrics brought over from Italy, the Italians perfected the use of the draw loom creating elaborate patterns these were of superior quality and even today remain unsurpassed, the techniques and looms were soon being used by French Huguenots in Lyon where they wove extremely complex silks soon they travelled to England to avoid growing troubles and set up looms in London, with the invention by Joseph Marie Jacquard of a new type of loom that could produce designs quickly although Jacquard never travelled to England his machines were copied the weaving industry took off in London.
Today Richard Ricardo Antique Upholstery employs highly skilled craftspeople who upholster fine antique furniture of the Eighteenth and Nineteenth centuries using the same age-old techniques passed down through the centuries building up the seat and backs with hair tacked and stitched into place to form strong sharp edges giving the piece longevity and comfort, before using period needlework and fabrics, although these are not easily found today so new fabrics woven in the traditional manner from across the United Kingdom and Europe are sourced to give any piece the look of elegance.
Cotswolds furniture restorer Clive Payne made a unique discovery whilst restoring an early 18th-century bureau that had been bought from the estate of Agatha Christie. The bureau, which had been brought in by a private client, had been sitting in Clive’s workshop for 3 years before he began work on it.
Removing the back from the bureau revealed two folded pieces of paper which were nearly discarded. Glancing at the papers, Clive realised that one was a telegram from Noel Coward to Agatha Christie, dated September 1957, reluctantly congratulating her on The Mousetrap breaking the record for the longest run of a play in the West End.
The bureau dates from approximately 1710 and is walnut veneer on a pine carcass. It features 3 secret drawers and a well, which is probably where the papers were originally filed away for safekeeping.
The discovery backed up the information provided with the bureau which had been purchased from a sale in Exeter in 2006, listed as a sale of surplus furniture from ‘Greenways’, Agatha Christie’s home on the river Dart. The property is now owned by The National Trust.
Hidden away with the telegram was a receipt from ‘Miss Elliot’ shop in London, purveyor of ‘Model Lingerie, House Gowns, Dressing Gowns and Bed Jackets’ and addressed to Mrs Mallowan, the surname of Christie’s second husband. The bill details charges of £24 13s 6d dated January 1st 1952.
Cotswolds furniture restorer Clive Payne made a unique discovery whilst restoring an early 18th-century bureau that had been bought from the estate of Agatha Christie. The bureau, which had been brought in by a private client, had been sitting in Clive’s workshop for 3 years before he began work on it.
Removing the back from the bureau revealed two folded pieces of paper which were nearly discarded. Glancing at the papers, Clive realised that one was a telegram from Noel Coward to Agatha Christie, dated September 1957, reluctantly congratulating her on The Mousetrap breaking the record for the longest run of a play in the West End.
The bureau dates from approximately 1710 and is walnut veneer on a pine carcass. It features 3 secret drawers and a well, which is probably where the papers were originally filed away for safekeeping.
The discovery backed up the information provided with the bureau which had been purchased from a sale in Exeter in 2006, listed as a sale of surplus furniture from ‘Greenways’, Agatha Christie’s home on the river Dart. The property is now owned by The National Trust.
Hidden away with the telegram was a receipt from ‘Miss Elliot’ shop in London, purveyor of ‘Model Lingerie, House Gowns, Dressing Gowns and Bed Jackets’ and addressed to Mrs Mallowan, the surname of Christie’s second husband. The bill details charges of £24 13s 6d dated January 1st 1952.