Cut-glass chandeliers were among the most sought-after luxury products of the 18th century. Only the super-rich could afford to buy them. Thus, chandeliers were often designed to match the interior of a room, meaning that they were custom-designed.
Regency Explorer interviews an elegant chandelier from 1815 about the makers, customers, and the influences from fashion, science and politics.
Simply by its alluding name the Carlton House desk immediately catches the attention of a Regency Enthusiast. The imagination produces an exquisite piece of furniture made of exotic woods, rich in ornaments, and designed for no less a person than the Prince Regent. Though some antique dealers like to dwell on this lovely image, it is but a half-truth.
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Compiègne was one of three seats of the French royal government. The royal residence we know today, the Château de Compiègne, was built for Louis XV. Napoleon restored the château after it was left gutted during the French Revolution, and he ordered it to be made habitable again in 1807. He had its layout altered, a ballroom added, and the garden replanted.
But what did the restless French emperor do with another palace? Well, he lived there with his young bride, Marie-Louise, and it was there where they spent their first night together. Continue reading
In this post:
Panoramic scene ‘L’Hindoustan’ in the Garden Room of Basildon Park / England
Wallpaper has been known since at least the 15th century. Starting as a rare luxury item for the elite, wallpaper became more popular in England at the beginning of the 18th century. By then, wallpaper had become a cheap alternative to tapestry or panelling. 1712, the government even imposed a tax on it. Despite the taxation the demand for wallpaper grew in the mid-18th century.
Most wallpapers had been brought to England by the East India Company from China, where Chinese artisans produced hand-painted, dedicated wallpaper for their rich English customers. By the end of the 18th century, producers in France specialized in printed wallpaper became an important competitor on the market. Continue reading
When budding star-architect Robert Adam returned from his Grand Tour in 1758, he needed to find clients for the glamorous style he had developed in Italy. He knew that only the very rich would be able to pay for the grandeur he designed. Thus, he and his brothers settled close to High Society. They set up their home first at St. James’s Place, then at Lower Grosvenor Street in London. It was most important for Robert to be regarded as a gentleman architect rather than a professional architect, as he feared that being the latter would lower his status to a mere craftsmen. Robert displayed the many sketches he had made in Italy in his home, while the drawing office was located at New Bond Street, ‘invisible’ for his clients.
It was difficult for the ambitious Adam brothers to find their first commissions. Aristocrats who hadn’t mind Robert’s company abroad in Italy weren’t willing to socialise with him in snobbish London. Eventually, two women were instrumental in starting the Adam brothers’ career. Continue reading
The young man was an upper-middle class Scotsman, a second son, and he had left university prematurely. But he possessed genius and ambition, a convenient wealth of 900 pounds a year, and some hands-on experience gained at his family’s architectural practice. Thus, he was well equipped to embark on a journey to the Continent in the company of an Earl’s brother in 1754. Yet, Robert Adam, aged 26, was not to know that this journey would be the key to making him the most sought-after architect of his time.
The year 2017 marks the 225th anniversary of the death of the famous Scottish architect Robert Adam (3 July 1728 – 3 March 1792). This post is dedicated to the aesthetics of his unique neo-classical style. I have compiled a selection of photos of Adam’s works, from ceilings to chimney-pieces. You are very welcome to enjoy the delicate and the decadent, and the weird and the wonderful. Continue reading
Chair in Grecian Style (Palace of Caserta, Italy)
The Romantic Age saw a quick succession of trends in furniture fashion. These trends had one thing in common: They were inspired by foreign cultures, and often sparked by exploration and discoveries.
Travelling was expensive. Doing the Grand Tour to see the art treasures of France and Italy was only for the rich. Decorating a room with furniture in the style of the ancient Greek and Roman civilisations demonstrated wealth and education. Later in the age, wars and the Continental Blockade put a stop to private travelling. Nevertheless, furniture inspired by distant countries brought an exotic touch to the home.
Which style was fashionable in which decade of the Romantic Age? When would the hero of a Regency novel buy furniture inspired by the Egyptian culture? Would the heroine be likely to sleep in a lit à la polonais in 1812? Here is a small, chronological exhibition to answer these questions. Continue reading
