Thread: Chippendale Hanging Shelves

Hi thanks for your supposed expert anlysis,I have been in th antiques trade for over 20 years and you should check your facts before rubbishing some elses knowledge.
If you still haven't a clue go to Glossary Plywood

Originally Posted by mark david

Hi thanks for your supposed expert anlysis,I have been in th antiques trade for over 20 years and you should check your facts before rubbishing some elses knowledge.
If you still haven't a clue go to Glossary Plywood

Mark, I'm not up for open warfare on the forum, but you rubbished my "knowledge" initially with your claim of laminated fretwork being the norm in the eighteenth-century!

I didn't dispute the existence of laminated work in the eighteenth-century (though I hesitate to use the term 'plywood'), what I categorically dispute is that fretwork was normally laminated. I also maintain laminated work of any description was far from common in the eighteenth-century.

The 'facts' you cite on that on-line reference predominantly relate to the nineteenth-century! The lone reference to eighteenth-century 'plywood' accredits a cabinetmaker named 'George' Chippendale with its use, but at any rate, the description of his 'plywood' contradicts your initial claim of eighteenth-century laminations running parallel with each other.

If you hold that knowledge equates to time in the trade, then I trump you by over fifteen years and if you would like to compare qualifications, diplomas, awards, CVs and references, etc. let me know.

no I am not trying to initiate open warfare
in anycase 18th century fretwork is actually very rare an was not fashionable for very long and doubt many people have ever even seen any.I believe I got the information initially from John Bly or Arthur negus.
I do not equate time in the trade as experience in everyone's case besides I have been a cabinet maker and furniture restorer aswell for over 20 years.I would also like to state that so called qualifications are a modern invention as most cabinet makers were time served apprentices.
I also prefer to design and make my own pieces rather than copy others.

Simmer down Kiddies.

I'm still trying to find out who George Chippendale was!

Originally Posted by mark david

I also prefer to design and make my own pieces rather than copy others.

Can we see some?

Another beautiful piece WW.

Getting back to topic.... How did you go about attaching to the wall? I note some sample pictures use small metal plates in various positions but others (and yours) appear to use hidden attachments?

I would guess it could be screwed through the drawer case back, but the top would also need support?

The shelves are hung on brass picture plates like these ones I made for the pair of girandoles.

There are two picture plates screwed to the backs of the top and bottom shelves. They're fairly inconspicuous.

I remember seeing some Chippendale 'fretwork' as a child - at Harewood House I think. I marvelled then. Seeing Woodwould's work hasn't taken away any of the magic.
Was it at a premium price compared with his other work WW? I can't imagine it being passed along to an apprentice and him being told to cut the bits out.
Cheers,
Jim

yes by all means I have uploaded an album

Hi I think he was the lovechild of Mrs Chippendale and George Hepplewhite

Hi Jim,Unfortunately Harewood house is one of the few stately homes I have not yet been able to visit but the house contains probably one of the finest collections of furniture By Thomas Chippendale that exists anywhere in the world
There still exists the original invoices and I think they totalled something like £ 6500 which is quite a remarkable sum (1772 I think) The sideboard cabinet with the concave lunette is simply incredible and while it have suffred structural problems mus have been quite a challenge to manufacture and veneer.
I am not sure how "hands on" Chippendale was but his workshop in London must have been huge with an enormous output at it's peak.
There are not a huge amount of fretwork pieces still surviving from this period possibly due to the delicate nature and the fact it may not have been very popular.I twas often seen in Bedrooms of Chinese design and sometimes incorporating imported hand-painted wallpaper.
Due to there being no design copyrights at the time Chippendale's Directors and those by other well known designers were often purchased by smaller companies and the designs reproduced.
Arthur Negus used to make fretwork on a small foot operated treadle fretsaw in his father's workshop.

Originally Posted by jimbur

I remember seeing some Chippendale 'fretwork' as a child - at Harewood House I think. I marvelled then. Seeing Woodwould's work hasn't taken away any of the magic.
Was it at a premium price compared with his other work WW? I can't imagine it being passed along to an apprentice and him being told to cut the bits out.
Cheers,
Jim

By the time Chippendale's drawings were being translated into hard furniture, it's highly doubtful if Chippendale was on the tools himself. More likely he was at best, an overseer. Records show that the fire that destroyed his premises in 1755 engulfed twenty-two journeymen's tool chests, but it's thought that a realistic number of journeymen and apprentices is closer to fifty. By comparrison, George Seddon's workforce numbered about four hundred in 1786!

Thank you gentlemen.
I was born near Harewood House and my father took me there. I also took our kids there.
The beauty of the house is that it isn't a merely a collection but rather a family house furnished by one of the great masters and lived in and enjoyed for generations.
As an aside, one thing that fascinated me was in the library. Looking at the books mostly all leather bound, I noticed there was quite a representation of light literature that had been rebound to fit in with the rest. They must have had a standing order with booksellers/binders. Nothing like leather to add gravitas.
Cheers,
Jim