Antique French Furniture Reproductions and  French Furniture Exporter And Supplier of  Louis XV ,
 Louis XVI style furniture  French Classic Furniture Antiques Reproductions And  Antique French provincial  furniture  
Wholesale furniture exporter of  antique furniture reproductions, French classic antique reproductions furniture, French antique furniture reproductions of17th , 18th , & 19th centuries as Boulle ,
Louis xv & Louis xvi ..
 Browse our online catalog and galleries more than 450  Antique Reproduction "French Furniture Styles" 

Fine 18, 19 & 20th century Art & Antiques. Direct import of French antique furniture and antiques. Exporting to all parts of the world, French antiques, French antique dealers, French country antique furniture, French provincial antiques, French armoires, antique French dressers, writing tables and desks, French antique desks, dining tables and chairs, French commodes, French buffet, decorated buffets, Louis XV, Louis XV1, French rococo, Louis XVI furnishings, Louis Philippe commode, French Empire antiques, bergeres, fauteuils, French decorative urns, antique furniture in USA, Antique French  Furniture Reproductions Finest  Reproduction French Furniture of 17th 18th and 19th centuries  French antique  furniture  William Mary,  Queen Anne, Chippendale, Louis xv, Louis xvi  styles and Empire. Wholesale furniture manufacturer , exporter of unique country French furniture reproduction and  antique reproduction French country furniture  at our discount furniture store in New Jersey Louis XV , Louis XVI style furniture And  French provincial  furniture Country French furniture  reproductions and  Discount Furniture we produce is for all French furniture stores in France, antique furniture wholesalers, French antique furniture distributors,  gift shops,  auction houses , French Furniture lovers, antiques French dealers , French galleries in France,  French architects,  famous interior designers, , French furniture showrooms.  
 

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Antique French Furniture Store In New Jersey
NOW OPEN IN USA
CLICK HERE TO VIEW JUST ARRIVED ITEMS THERE

Paris Furniture LLC
French Style Furniture Wholesalers
22 Route 130 South
Yardville, New Jersey  08620
Tel : (609)  670 8780
Fax : ( 609) 324 4478

 

 
These pieces are just a very small sample of the antique reproduction furniture that we have in stock at Paris Furniture LLC

• discount antique furniture • • antique desks • • antique office furniture • • French reproduction furniture • • French reproduction furniture • • Victorian reproductions furniture • reproduction art deco furniture • • antique dresser reproductions • • Chippendale reproduction furniture • • antique pool tables • • antique tables • • antique chairs • • antique beds •

Antique French  Furniture Reproductions Finest  Reproduction French Furniture of 17th 18th and 19th centuries  French antique  furniture  
William Mary,  Queen Anne, Chippendale, Louis xv, Louis xvi  styles and Empire.
Wholesale furniture manufacturer , exporter of unique country French furniture reproduction and
 antique reproduction French country furniture  at our discount furniture store in New Jersey
Louis XV , Louis XVI style furniture And  French provincial  furniture 
Country french furniture  reproductions and  Discount Furniture we produce is for all french furniture stores in France, antique furniture wholesalers,
French antique furniture distributors,  gift shops,  auction houses , French Furniture lovers,
antiques french dealers , french galleries in France,  french architects,  famous interior designers, , French furniture showrooms.  

 These beautiful French reproduction will make a great addition to any home.  
The furniture of France represents a high point in decorative arts history - it's beautiful, elegant, sophisticated. 
The French regard their country french furniture as an important element in their cultural heritage.
Links / French furniture and English  styles Egyptian furniture events / French Furniture in Egypt  vEnter Gallery

Consortium of traditional French Craftsmen making reproductions of 
all types of French furniture: Marquetry, Louis XV, Louis XVI  

You are wrong      
                                     
This is not original  French furniture , it is our reproduction
 antique furniture Can you Imagine?

     We have one of the largest collections of French style Louis XV  and Louis XVI  reproduction furniture in Egypt with hundreds of items in our warehouse for Egyptian Furniture
mirror in bronze and marquetery frame, gilded wood consoles with marble top, unique meuble d appui
guerridon in iron and bronze, garniture 19th century, gilded wood mirror, table in gilded bronze and marble,
 Empire buffet , mahogany table, Buffet in mahogany, nice guerridon in Marquetery, bergeres with gilded wood,
pair of marquises, pair of tabourets banquette, Four chairs and one sofa in gilt wood, Venetian Game Table,
Half-Moon Wall Console with One Drawer,Chippendale Pedestal table with Brass Claws,Corinthian Console,
Baroque Console, Louis XV Wall Console, Regency Accent Table, Louis XV Console with One Drawer,Glass
 Showcase Table with Walnut Burl Veneer, Louis XV Lamp Table, Louis XV Oval Cocktail Table, Louis XV
 Game Table,Louis XV Console Table with Two Drawers (Iron and Wood Combination), Louis XV Rectangular
 Cocktail Table with Four Drawers (Iron and Wood Combination),Louis XV Rectangular Lamp Table (Iron and
 Wood Combination), Pedestal Table, Louis XV Console Table, Louis XV Rectangular Cocktail Table,Louis XV
Lamp Table, Louis XV Game Table or Breakfast Table, Louis XV Stand, Kidney Side Table with One Drawer
Oval Side Table with One Drawer, Louis XV Stand, Louis XV Two-Tier Stand, Louis XV Cocktail Table,Louis
 XV Console Table, Louis XV Rectangular Lamp Table, Round Lamp Table, Louis XV Game/Breakfast Table
Swan table with One Drawer, Drum Table with Two Drawers, Two Drawer Accent Table, Louis XVI Game
 TableLouis XV,  Nesting Tables, Louis XV Bench, Double Arm Bench, Chippendale Double Cane Bench
Criss Cross Bench, Louis XVI Square Bench, Louis XVI Convex Bench, Arm Bench, Accent Bench, Louis XV
 Double Arm Bench, Louis XVI Rectangular Bench, Rams Head Bench, Swan Bench, Louis XVI Arm Chair, 
Country French Ladder Back Arm Chair, Louis XV Side Chair, Imperial Arm Chair, Sheraton Side Chair,
Como with Three Drawers, Bombay with Two Drawers, Venetian Bureau Trentino with Three Drawers, Louis
 XV Versaille Como with Two Drawers, Hollywood Como with Three Drawers, Louis XV Chest, Louis XV
 Bombay with Four Drawers, Louis XV Como with Two Drawers, Dresser/Commode, Louis XV Commode with
 Three Drawers, Louis XV Commode with Three Drawers, Georgian Commode, Louis XV Commode with Three
 Drawers, Louis XV Small Four Drawer Commode, Chippendale Lowboy with Four Drawers, Louis XV Accent
 Two Drawer Commode, Empire Mirror (Solid Wood), Leaf Mirror (Solid Wood), Barroco Mirror (Solid Wood)
Carved Mirror (Solid Wood)
Also we have great selection of Chandeliers earring ,Ceiling lighting, Lamp, antique chandelier, ceiling lighting fixtures, lamp shades, Chandelier lamp shades,  rustic ceiling lighting, table lamp, decorative lamp shades, brass chandelier , French chandelier, Scones , antler chandelier, Wall lamp, wall scones, Stand light, Lamp stand, country french lighting

Like the ruler who inspired it, Empire style has had its ups and downs. Those in the know are betting on yet another comeback during this bicentennial year.

“It’s so modern!” visitors exclaim upon seeing Josephine Bonaparte’s dining room at the Château de Malmaison outside Paris. Created in 1800 by Empire architects Charles Percier and Pierre-François-Léonard Fontaine, the decor features a black-and-white marble-tiled floor, muted wall paintings of Pompeian dancers and musicians, and an oval mahogany table surrounded by 12 scroll-backed chairs. With its classic elegance and decorative restraint, the room perfectly expresses the simplicity and modernity that continue to make the early Empire period such a beguiling contrast to the more-is-more aesthetic of the 18th century.
Malmaison visitors are not alone in their admiration of Empire style. As the public focuses on this year’s bicentennial celebration of Napoleon’s coronation as emperor, furnishings of that period appear poised for another revival. Out of fashion since the last Empire boom (which lasted from the mid-’80s to the mid-’90s), these pieces are now fetching higher prices at auction. And longtime collectors—many of them American—are suddenly finding themselves bidding against New Russian entrepreneurs, who are increasingly enthusiastic about the emperor and his style.
Just what is Empire style? Most art historians associate it with the rise and fall of Napoleon Bonaparte as he battled his way to fame, fortune and ultimate sovereign power during the Directoire (1795-1799), the Consulat (1799-1804) and, finally, the Empire (1804-1815).
Interior decoration, however, rarely marches in lockstep with political regimes. “For me, Empire has only two periods,” declares Malmaison chief curator Bernard Chevallier. He defines the first as beginning in 1795 and ending post-coronation, around 1806 to 1808. When Empire connoisseurs rave about the elegant mahogany furnishings inspired by the simple lines of ancient Greece and Italy, they are usually talking about this period, which was characterized by ebony and pewter inlay along with delicate gilded bronze mounts.
Furnishings from the second period, which Chevallier claims lasted through the Restoration of Louis XVIII and Charles X, were quite different. Imperial palace etiquette required ceremonial furniture worthy of an emperor and his court. The result was a heavy, ostentatious official style. These solid statement pieces were loaded with gilt; the mahogany so popular in early Empire could not get through Napoleon’s 1806 blockade, and so was replaced by gilded domestic woods.
“A little Greek, a little Roman, a little Egyptian: Put it in the mixer, and that is Empire style,” sums up Chevallier. Indeed, the ubiquitous elements of Empire style—palmettes and lyres, swans and sphinxes, masks, caryatids, Egyptian heads and lions’ muzzles and paws—run through both periods. And according to this curator’s provocative theory, many of these motifs can in fact be traced back to the 1780s and the reign of Louis XVI.
At the time, he points out, French interiors were already moving toward the Neoclassical, inspired by the 1719 excavation of Herculaneum and the 1750 rediscovery of Pompeii, which yielded a wealth of information on interior decoration. In his book Style Empire, Chevallier reveals that one of the earliest proponents of the new Greco-Roman simplicity was none other than that milkmaid manqué Marie-Antoinette, who commissioned painter Hubert Robert (famous for his landscapes of romantic ruins) to design chairs for her Rambouillet dairy based on a Herculaneum model. Made in 1787, the scroll and lattice-backed chairs are almost identical to a set delivered to the Tuileries Palace 12 years later, and they are close cousins to those produced for Josephine’s dining room at Malmaison.
And while the introduction of Egyptian motifs is often attributed to Bonaparte’s return from Egypt after his military campaign in 1799, Chevallier notes that the roots of France’s Egyptomania actually reach back to the ancien régime. Already in 1787, renowned cabinetmaker Georges Jacob had added an exquisitely carved winged sphinx to a fauteuil destined for Marie-Antoinette’s boudoir at the Château de Fontainebleau. (Interestingly, Pompeii was caught up in its own Egyptomania when Vesuvius erupted.)
Whatever its origins, the simplicity and modernity of this new style appealed to a Parisian elite that was tentatively stepping into the social spotlight after surviving the Revolution and its aftermath of terror. Celebrated beauty Juliette Récamier, the young wife of a successful banker, was one of the first to embrace the new fashion. In 1798, she commissioned Louis Berthault, a student of Charles Percier, to decorate her townhouse. Society flocked—from as far away as England and Germany—to admire the Greco-Roman friezes and wall panels, marble floors and mahogany furniture. The decorative summit was Mme Récamier’s bedroom, furnished with armchairs embellished with sculpted sphinxes, her famous chaise longue and a boat-shaped solid mahogany bed decorated with sculpted bronze swans and gilt-bronze mounts à l’antique. It caused a sensation, was widely copied and definitively launched the new style. 
Soon after, Josephine and Napoleon bought Malmaison and hired Percier and Fontaine to renovate the 17th- and 18th-century country estate. The architects, who had studied in Rome between 1786 and 1790, went on to publish books of drawings that were used by cabinetmakers and bronze craftsmen to create detailed reproductions of the new decorative motifs. Working for the rising young general and his stylish wife (Percier and Fontaine also redid the Tuileries and Saint-Cloud palaces) made them famous, and their books influenced a generation of architects throughout Europe.
“Napoleon’s policy was to relaunch a luxury industry that had been ruined by the Revolution. Like Louis XIV and Colbert, he wanted to encourage craftsmanship,” explains Chevallier. “When Napoleon moved into the former crown palaces, he found them empty. Everything had been sold, and he spent huge sums to refurnish hundreds of rooms. Enormous commissions notably went to the Jacobs, who made hundreds and hundreds of pieces of furniture.”
One of the most famous French furniture-making dynasties, the Jacob family began its rise to fame with patriarch Georges Jacob, a highly creative cabinetmaker who started his career under Louis XVI. His sons, Georges II and François-Honoré-Georges, took over from 1796 to 1802, signing their pieces—which included the original Malmaison dining room chairs—Jacob Frères. When Georges II died, François-Honoré-Georges worked with his father under the name Jacob-Desmalter; during the go-go Empire years, this family business employed no fewer than 300 craftsmen.
Massive orders also went to the Sèvres porcelain manufactory, which produced hand-painted dinner services and Greco-Roman inspired vases and urns for both the emperor’s personal use and gifts. Goldsmiths and silversmiths, such as Martin-Guillaume Biennais and Jean-Baptiste-Claude Odiot, were also kept busy as were bronze makers (including the famous Pierre-Philippe Thomire) and Lyonnais silk weavers. “In 1811, Napoleon considered living at Versailles, and he ordered 32 miles of silk for the apartments,” Chevallier relates.
Within a few short years, Napoleon managed to impose his style on châteaux ranging from Fontainebleau, Compiègne, Rambouillet and the Grand Trianon to Monte-Carvallo in Rome and the Palais Laeken in Belgium. The end of the emperor was not, however, the end of Empire. Napoleon had put his family on various European thrones, and those thrones were in Empire style. Many European countries—Italy, Spain, Sweden, Germany and especially Russia—produced their own takes on Empire as late as 1840; even distant America had a French-influenced Empire style. Meanwhile back in France, the Restoration—Louis XVIII and Charles X—continued to produce Empire styles that finally became rather decadent.

Like its begetter, Empire style has had its ups and downs: Fashionable in the 1970s, it fell out of favor until the mid-’80s, when prices soared. “Then, almost from one day to the next, it was out again,” remarks Bill Pallot, an 18th-century furniture and art expert for the Paris antique dealer Didier Aaron. “It takes only two or three big collectors to stop buying for everyone else to follow suit. Dealers were left with a lot of Empire pieces on their hands.”
Today, the style seems poised for another renaissance. “Prices are slowly coming back. The Russians are strong in the market—Empire evokes their grand period of decorative arts,” notes Pallot. He cites the examples of Christie’s June auction and last fall’s two Empire sales at Sotheby’s in Paris. Especially successful was the October sale of Barbara Piasecka Johnson’s collection, with several pieces commanding six figures. “Empire collectors are a passionate group, and the bicentennial has accentuated that interest,” says expert Pierre-François Dayot of Sotheby’s, which has already scheduled its next Empire sale for December 2—200 years to the day after Napoleon’s coronation. “The Empire market has two speeds. There are many classic pieces available, and they are not too expensive. A mahogany commode, for example, will go for €4-5,000, a secretary desk for €2-3,000,” he says. “But very beautiful Empire furniture is extremely rare. It is a style that required great technical expertise, especially the bronze work. Extraordinary pieces make for very high prices, and my feeling is that Empire furniture has not yet reached its peak.”
Claire Galteau, a furniture and objet d’art expert at Christie’s, says she sees different buying patterns in the market. “Americans buy individual pieces of good quality but rarely furnish their entire house in Empire. Russians, however, will do their homes completely in Empire and especially in French Empire because it was the inspiration for all of Europe.” And although the market has risen, she too surmises that it is far from reaching its potential. “There are fewer beautiful 18th-century pieces on the market, and when you do find them, they are out of most everyone’s price range,” she explains. Another factor in Empire’s favor is the advent of young buyers who want beautiful things but also want to live with them. “The pure, simple lines of Empire pieces are easier to live with than elaborate 18th-century giltwood furniture,” she says. “These days, no one has a living room that they use only two or three times a year.”
An early indication of this renewed interest came in 2000, when Paris antiquaire Ariane Dandois inaugurated her Place Beauveau gallery with a stunning “Empire Across Europe” exhibition. On view were outstanding pieces from France, Spain, Russia and Italy, all dating from 1800 to 1830. “The influence of Empire style was much more enduring outside France,” she says. “The French are versatile—we move on to other things.” A longtime advocate of Empire’s “very masculine, strict taste,” Dandois feels that the reason so many people have rejected this style is that they simply haven’t seen beautiful Empire furniture. “It can’t tolerate mediocrity,” she maintains. “It must be presented with objects of the same quality.” Which is precisely what she plans to do this September at the Paris Biennale des Antiquaires. The splendid Empire pieces at her stand will include a mahogany secretary desk and chiffonnier that belonged to Prince Roland Bonaparte and a Sèvres vase with painted figures of Victory crowning Napoleon with a laurel wreath. In 1811, the emperor gave the vase to his sister, Caroline Murat, queen of Naples, as a New Year’s gift.
Yet another sign of Empire’s comeback can be seen in Fontainebleau. Three years ago, 30-year-old Jean-Christophe Chataignier set up an Empire department across from the château for the auction house Osenat. It was the first of its kind. His interest was initially personal, and he chose Fontainebleau for its proximity to the château’s unique Napoleon collections. “I imagined I’d be selling pieces like those across the street,” he says with a smile. “But I soon learned that most of the very beautiful Empire furniture is already in the palace museums or owned by the descendents of Napoleon’s marshals or the Imperial family.” Chataignier’s sales, which concentrate on Napoleona and objects with historical associations, have attracted a clientele of American and Russian collectors. A highlight of last February’s sale was the boat-shaped mahogany bed with sculpted and gilded bronze mounts that belonged to the Duke of Padua, one of Napoleon’s cousins. It went for €55,000. While most of the Empire action takes place in Paris, several dealers are taking up the Russian challenge and exhibiting at this year’s first Moscow World Fine Arts Fair, held at the Dolgorukov Palace museum. “For clients who are just getting into the art market, Empire is easier to understand and less expensive than 18th-century pieces,” says antiquaire Marella Rossi. “Russians in their thirties and forties who have made fortunes in oil, finance and high tech adore Empire.” What’s more, adds dealer Flore de Brantes, “Russians are not low profile; they love gilt.” She is heading to Moscow with a black, gilded and patinaed bronze chandelier valued at €45,000, and a large 12-light crystal and bronze chandelier that she hopes will fetch €70,000.
New York decorator Juan-Pablo Molyneux will also attend the fair, where he will lecture on the influence of Russian Neoclassical architecture on the West. “Usually, it is the reverse,” he quips. Molyneux specializes in palaces, and he is currently working on a Moscow mansion that is “bigger than St. Petersburg’s Pavlosk.” The flamboyant decorator has already chosen the pièce de résistance for the Empire library: a magnificent 13-foot-wide desk he picked up at the Paris antique shop Aveline.

Empire prices may fluctuate, but for a veritable Who’s Who of decorators, affection for the Neoclassical style of early Empire never falters. As Chevallier submits, “Some of Napoleon’s [military] campaign furniture, such as the folding tables, chairs and stools by Jacob, is so extremely modern that it looks as if it could be by Jacques Grange.” Grange himself confirms, “I love the architects who were inspired by antiquity, and I like to mix the 20th century with late-18th century, balancing Empire pieces with today’s lifestyles.”
Most decorators agree that Empire is a wonderful ingredient in a mix of periods. “Empire pieces are visually sculptural and make for beautiful accents, but we would never do a whole room in that style,” says Madeleine Deschamps, a New York-based designer at Peter Marino whose lavishly illustrated book, Empire, has just been reissued by Abbeville Press. In Paris, high-flyer Alberto Pinto apparently agrees; he recently blended an Empire bed (with the heady provenance of Pauline Borghese, Napoleon’s beautiful sister) with period Louis XV wood paneling, a Russian Empire desk and Empire-style bedside tables of his own design to create a fabulous Left Bank apartment.
Back in the U.S.A., California designer Tim Corrigan has paired a spectacular bronze-decorated Empire desk with a large canvas by Sam Francis in the bedroom of a celebrated television actor. “The contrast of two diverse periods, one formal and straight, the other colorful and splotchy, really works wonderfully,” he says. And this past May, the cover of ELLE Decor featured a Connecticut interior designed by antique dealer Lou Marotta, who blithely mixed an Empire sofa and Swedish Empire chairs with pieces from other periods and countries.
So is the U.S. ripe for an Empire revival? In Manhattan, former fashion photographer Roger Prigent is optimistic. In 1978, he opened his antique shop, Malmaison, when his own Empire collections threatened to overrun his apartment. Now, he also offers French Art Deco and mid-century classics, “designs from the ’40s and ’50s, all very fashionable now, that were influenced by the modern lines of Empire furniture.” Empire, however, still occupies a special place in his heart and, he believes, in the history of decorative arts. “Napoleon influenced the world,” he insists. “President James Monroe completely refurbished the White House in French Empire furniture, and when Jackie Kennedy redid the White House, she did the Red Room in Empire.”
Mrs. Kennedy and Napoleon have something else in common: “Empire furniture is less expensive than Louis XVI or Louis XV unless it is historic,” affirms Bernard Chevallier. “If Napoleon sat on it, it will cost a fortune, just like the possessions of Jackie Kennedy. But nothing is more expensive than pieces that once belonged to Marie-Antoinette. Tragedy adds a lot of zeros.”
So will Louis XVI, his ill-fated queen and the ancien régime have the last laugh? As it happens, the most valuable “Empire” desk on the market isn’t Empire at all, but a Louis XVI bureau plat attributed to Riesener that was originally in the Malmaison library. Antique dealer Jacques Perrin explains that Napoleon is said to have drafted his famous Civil Code at this very desk; to shore up the claim, he has a period drawing showing the emperor seated there. So how much would it cost to be the proud owner of this rarefied bit of history? The current asking price is €1,830,000—but of course, everyone knows that Empire prices are going up

Consortium of traditional French Craftsmen making reproductions of 
all types of French furniture: Marquetry, Louis XV, Louis XVI
                                                                        

You are wrong      
                                     
This is not original  French furniture , it is our reproduction
 antique furniture Can you Imagine?       
              



                            Furniture reproductions have been popular for a great many years,    
                     but the number of antiques being reproduced and sold as such has 
                                   never been greater than at the present time.

Historical Event 

King Louis XIII liked furniture that was bulky and rigid. Louis XIV believed furniture designed during his reign should show off his power so it was massive and ornate. Both styles lacked grace and were large in scale so they are rarely reproduced and found mostly in museums. Their importance lies in the fact that they were the basis of later French styles by Louis XV, Louis XVI and Louis Philippe, which are reproduced today especially In Egypt.

Think French if you want to bring a classic touch to your home because it's such a timeless design style. This ageless quality is due largely to the influence of King Louis XV who liked curved pieces and intricate carvings of shells and flowers, which was largely influenced by Madame de Pompadour ,With the invention of springs, chairs became more welcoming with open arms and cushioned seats, which were larger and deeper to accommodate the huge dresses popular at the time, Louis XV furniture is symmetrical and incorporates motifs such as shells, leaves, flowers and scrolled toes. It's also known as the Rococo style, which is derived from the French word "racaille" meaning rock and shell work,When Louis XVI took the throne in 1754, furniture evolved once again. One of the major influences in the design was the king's queen, Marie Antoinette. It was her interest in the classics that predominated the look of furniture and simpler lines replaced the free-flowing forms of previous styles. Legs became straight and tapered like a Roman column without scrolled toes.
King Louis Philippe's style reflected the times so it was much simpler than all the previous ones . People were wealthy and wanted to buy a lot of furniture so craftsmen had to produce it faster. Armoires are unmistakably French with carved doors, interesting hardware or decorative painting. They were originally used for storage before closets existed.


How did the French Furniture making start in Egypt?

When Napoleon arrived in Cairo during the French invasion of Egypt in 1798 introduced influences that began a new cultural era.  French designers who had traveled with Napoleon  left a legacy that is written all over the European parts of Cairo. Their tastes were mainly of a French middle class influence.
French designers tried to make Cairo look like Paris. They worked with  groups of Egyptian carpenters  and assisted them in manufacturing the furniture all with classic French themes.e.g Classic French Tables, French Credenzas, Cupboards, French Coffee Tables, French Consoles, French Occasional Tables, French Curios, Vitrines ,French Desks, Office Furniture, French Dinettes, French Furniture Bedrooms, Upholstered French Beds French Bombe Commodes, French Book Cases French Cabinets, Armoires, French Chests, Buffets, French Dinning Tables, French Dinning Rooms French Entertainment Centers, Kid's French Furniture, French Wood Mantels, French Carved Mirrors, French Pedestals, Slits, Screens,
French Secretaries, Roll Top Desks, Unfinished French Furniture  

Egyptian Carpenters were excellent craftsmen to learn and were  influenced by the French designers  especially in  The Marquetry , which was executed with extraordinary smoothness and finish; the mounts of gilded bronze, which  were the leading characteristic of most of the work of the century, were finished with a minute delicacy of touch .Egyptian Carpenters also became professionals in gilding French furniture in many colors rose, silvery green, and gray blues and in strict symmetry and ornamentation 

Furniture making was and still a respected craft in Egypt and skilled artisans are highly regarded, The Egyptian furniture makers display some particularly advanced techniques in their craft,They are skilled woodworkers and their ability with working precious metals and especially
in  French Furniture Reproductions shows skill which would be difficult to match .  

Ancient Egyptian Furniture

 

 The ancient Egyptians had simple but well made furniture. The craftsmen and Egyptian woodworkers created the simple furniture for the common people while the most elaborate for the wealth and the kings.

At the beginning of the Old Kingdom, which opens with the 3rd dynasty (2686-2613BC), we see the quality of royal Egyptian furniture made during this period can be seen in those examples in the 4th dynasty tomb of Queen Hetepheres (c 2600 BC) at Giza.

Ancient EgyptianFurniture
Ancient Egyptian Furniture

Most of the Egyptian wooden frameworks were elaborated by gold sheaths, which had encased the Egyptian furniture. Hetepheres'  furniture consisted of two armchairs, bed frame, bed canopy, carrying chair and two boxes.

The introduction of the wooden boxes were made at the end of the Old Kingdom. They were manufactured with flat, gable, barrel and shrine shaped lids. Some were very large and were designed with a pair of poles that enabled the box to be carried  by a  team of porters. In one tomb scene we see such a box being carried by fourteen men.

During the Middle Kingdom we find boxes were customized to hold cosmetics. Many were designed like crates to hold small alabaster jars which held perfumed oils. Other boxes have been found to contain  mirrors, kohl containers, combs and other items. Other elaborate boxes held jewellery, these were usually inlaid or veneered with sheets of ivory or exotic timbers bought from lands south of Egypt. Chests were used to store domestic possessions such as linens, clothing, jewelry, and make-up.

Scribes even had boxes in which they stored their writing implements and palette. Their boxes were usually painted to imitate the stringing and veneered panels found on more ornate boxes. The Egyptian bed was a rectangular wooden frame with a mat of woven cords. Instead of using pillows, the Egyptians used a crescent-shaped headrest at one end of the bed. Beds were made of a woven mat placed on wooden framework standing on animal-shaped legs. At one end was a footboard and at the other was a headrest made a curved neckpiece set on top of a short pillar on an oblong base 

By the unification of Upper and Lower Egypt we find bed frames were in common use with many examples being found in 1st dynasty (3100-2890 BC) tombs. The quality of these bed frames ranged from conveniently shaped branches that were lashed together, to sophisticated examples made from rounded poles that were jointed together and supported on finely carved bovine shaped legs. 

The ancient Egyptian stool was made from wood, and had a padded leather or woven rush seat. It is the most common item present in ancient Egyptian homes. A low, square stool, the corners of which flared upwards and on top was placed a leather seat or cushion, was the most common type of furnishing.  The stools’ 3 or 4 legs were very often carved to look like animal legs. Wealthy people had their stools and all furniture in general was richly decorated with gold or silver leaf. The more common people would have things painted to look more expensive than they were.

The ancient Egyptian furniture was in general lower in height than contemporary furniture with beds being about 300mm high and the stools being extremely low by modern standards. As to the lowness of the seating pieces, the short stature of the early Egyptian people may have had some influence, their average height being only a few inches over five feet .However, their chair remains indicate them being quite high off the ground, requiring a footstool to be reached, and once seated the footstool was used to support the sitter's feet.

By the time of the Second Dynasty the stool appears to have differentiated into a new form reserved for royalty and high ranking members of society. It became more substantial in its construction, sometimes having a low back rest and was often higher than the stool. Sometimes a cushion was added.

Middle Kingdom furniture had  a wide collection of small tables. These tables were widely used for the display of vases or holding water pots. Many are low with straight legs and have a single stretcher strung below the table top. We also see that Egyptian carpenters were constructing splay legged tables which had cavetto cornice mouldings below the edge of the table top. Slender vase stands were made from thin strips of timber braced with cross and angled struts. They were fitted with a shaped collar which held the round base of a single vase.

Those chairs made during the Middle Kingdom had either short backs over which was draped a cover or cushion or they had backs of full height. Such chair backs were curved and made from angled slats of timber. We see that they stood on slender gazelle-shaped legs. Often chairs were painted to simulate animal skin which were painted with a technique which resembles cow skin.

By the Fourth Dynasty the chair reached a high point in its refinement and elegance.  After then the seat in its two forms (the chair used by nobility and royalty and the stool used throughout the rest of the society) remained virtually unchanged for twelve dynasties (to around 1320 B C).
  By the New Kingdom, the homes of officials and nobles would have been furnished with a wide range of furniture.  Again the stool was the most popular.The most commonly used were lattice stools that were made from thin struts of timber with angled braces supporting a double cove seat. Round legged stools appear in some of the more important Theban tombs. The majority of legs from these stools were hand rounded although there is a small corpus of material which have legs that appear to be turned.

Curved Egyptian stools.
Stool designs with similar shapes are also recorded. The folding stool shown represents a typical example of this variety. Leather or a material weave would form the seat section or 'stretcher' of the stool. Perhaps the naturally formed curve assumed by the seat when sat upon was imitated in the solid construction. Egyptian furniture and in particular chairs, evolved into some quite complex forms, requiring a high level of skill in their design and crafting as demonstrated in the construction details in

During the New Kingdom we see carpenters sitting on three legged stools which allowed the stool to rest evenly on the workshop floor. The folding stool originates in the Middle Kingdom and was made from two interlocking frames with a leather seat. New Kingdom examples are more elaborate having the floor rails and crossing spindles finished with carved goose head terminals which are inlaid with ivory to imitate the eyes and neck feathers. We also see that lion legged stools and chairs were used in the homes of high ranking officials. 

The "Egyptian furniture" manufactured in the royal workshops were not very different in design to that used by the middle classes. However, they were exquisitely embellished with gold sheet, inlaid with coloured stones and faience or veneered with ebony and ivory. They were also adorned with the uraeus and the symbols of kingship. Other pieces are inlaid with thousands of slivers of coloured wood in either marquetry or parquetry patterns.

By the New Kingdom, Egyptian furniture was highly prized and was often sent as tribute to the rulers of neighbouring countries. Fragments of Egyptian furniture have been excavated at sites around Western Asia.

Courtesy of  www.kingtutshop.com


Styles of Furniture Making

Gothic: Medieval church architecture influences this style-characterized by pointed arches, counterbalancing buttresses, open tracery and
            vertical grandiose emphasis.
Elizabethan: Elizabeth I Reign 1558-1603 England's Renaissance interpretation.
Renaissance: Derived from Italian Renaissance style-mainly oak functional furniture with scroll & arabesque carving, etc. with horizontal 
                    emphasis. A "pendulumatic" reaction to Gothic style.
Pilgrim: Spartan utilitarian American furniture reflecting 17th C. English country styles
Jacobean: Roughly spanning James I (1602-25) & Charles I (1625-49) reigns. Restrained ornament, Moorish influence.
Louis XIII: King reigned (1589-1643), Baroque style including cherubs, cartouches, gilding, and spiral turning.
Cromwellian: Also known as Carolean era. Probably alluding to Irish influence in the era roughly surrounding Charles I.
Louis XVI: The Sun King's reign (1643-1715) noted for splendor of courts in Versailles and Paris. Marquetry inlaid furniture distinguished by
                   opulence and grandiose size.
Baroque: Flamboyant, heavy, decorative rectilinear style derived from 17th C. Italian architecture.
Commonwealth: Unadorned style that flourished under protectorate of Oliver Cromwell (1649-60) in a revolt against aristocracy.
Restoration: Restoration of kingly Charles II 1660 to the abdication of James II 1688, walnut replaces oak, C and S scroll supports introduced.
                    Not as restrained as the Common man style preceding.
The Restauration period  in antique French furniture was characterized by simple harmonious lines, gentle rounded forms and fine ornamentation. Light woods such as ash, elm and bird’s eye maple were used along with dark woods such is as mahogany and palissandre. The craftsmen employed veneers and inlay and the use of light wood inlay against dark wood grounds or dark wood inlays set into blond grounds, the latter of which was especially popular during the reign of Charles X. Typical decorative motifs included the swan, cornucopia, lyre, rosettes and gadrooning.
Early Colonial: With some wealth attained, carved oak Hadley chests and turned Great Chairs start making their way into American homes.
Rococo: An exuberant curvaceous style characterized by asymmetrical lines and shell, floral and foliate motifs.
William & Mary: Roughly influenced by William III reign 1689-1702, heightened English style and cabinetry introducing: domed cresting, the
                            American highboy, lacquer work, ball & bun Spanish feet; strong Dutch influence.
Queen Anne: Reign (1702-1714) Along with Chippendale, the finest hour of English and American cabinetry. Feminine petite lines, beautiful
                     proportioning and balance, restrained use of ornament. The cabriole leg and cyma curve are prevalent.
Regence: Transitional melding of baroque into rococo. Romantic elements supplant heroic.
Louis XV: Continuance of the rejection of weighty forms. Rococo exuberance replaces angularity in flowing curves and elaborate scrollwork.
                Gilded cabriole leg fauteuils are introduced.
The French Rococo Louis XV style of furniture incorporates curving lines, cabriole legs (with scroll feet) and carved details of period furniture common in the 18th century
Carving on armoires, tables and chairs depicted delicate foliate patterns inspired by nature. The French style is much more formal than the English and many pieces were accented with decorative marquetry inlay, brass ormolu plaques, and gold details.


Paris asserted its dominance over the rest of France as a center of excellence in the design and manufacture of luxury goods as early at the 17th century. France’s other major cities copied as closely as they could the lead being set by Paris, but the craftsmen of the countryside, perhaps more influenced by factors of cost and practicality, created their own look using local materials. In antique country furniture, French Line Antiques carries armoires, benches, chests, farm tables, and tall case clocks of the late 18th-early 19th centuries from regions as diverse as Brittany, Lorraine, Bordeaux and Provence.
Chippendale: Masculinity supplants femininity in furniture. Cabinetmakers like Thomas Chippendale take lead over monarchs in design. Queen
                     Anne form puts on a bowtie and goes rococo, mahogany rules. Oriental influence comes to shore.
Neo Classic: Inspired by continuing excavations and discoveries at Pompeii and Herculaneum (begun 1738) classic Greek and Roman
                   decorative motifs like dolphins, guilloches, lyres and urns emerge everywhere. Straight lines and swags supplant rococo curves.
Hepplewhite: Neo Classicism influences English and American design. Tapered rectilinear legs supplant the cabriole leg. George Hepplewhite's,
                    "Cabinet Makers and Upholsterer's Guide" is published in 1788.
Louis XVI: Beginning before 1774, 18th Century French Art climaxes under King Louis XVI, Marie Antoinette and exuberant neoclassic style.
Sheraton: Thomas Sheraton's "Cabinet Maker's & Upholsterer's Drawing Book" is published 1791. Turned Corinthian column legs supplant
                tapered legs. Square shapes round out.
Directoire: Transitional phase from Rococo to Neo Classic. Soft painted surfaces supplant ostentatious gilt. Rectilinear columnar design
                  replaces curves and cabriole legs.
American Federal Period: The new, emancipated country's beautiful interpretation of graceful lines and form over excessive ornament. Eagles
                                         emerge in great numbers.
Empire: Beautiful at first, then severe in treatment-especially in America-of Classical forms. Surrounded by wreaths, Napoleonic ormolu
              bronze mounts highlight mahogany.
The Empire period  in antique French furniture embraced what was monumental in ancient art. Dominated by Greco-Roman models, this style was spare, rectilinear and symmetrical. Mahogany was the wood of choice often with decorative bronze mounts and gray, black or white marble tops. Decorative elements characteristic of Empire included the human form, swans, winged chimeras, and sphinxes; Egyptian and Greco-Roman motifs; geometric forms, and those associated with Napoleon himself, the eagle, the bee and the initials I and N.
During the Napoleonic campaigns of the 19th century, Neo-classical furniture took on an Egyptian inspiration with classical details appearing in the form of the lyre, paw foot and acanthus motif.
In England the style is known as Regency, the Empire in France, and Biedermeier in Germany. The Biedermeier style was a slight variation on the late neo-classic style more restrained and less ornate than the English or French counterparts. Carving as well as intricate wood inlay patterns were used for decoration.
Woods were primarily rosewood and mahogany with gilt accents and brass ormolu details
Louis Philippe:The Louis-Philippe period  in antique French furniture was derived from the simple, rounded lines of the Restauration, but with very little ornamentation. Darker woods were once again preferred, including mahogany, palissandre, and walnut. Table and commode surfaces are frequently marble-topped; marbles were most often black, white or gray, sometimes with sculpted borders.
Regency: Several styles emerge in Britain based on a blending of traditional English lines with Gothic and Neo Classic influences.
Biedermeier: The great German reaction against English and French rococo style. Generally rectilinear or slightly draping lines. Beautiful
                     woods, generally with little or no ornament. Comfort and common sense supplants ostentation.
Victorian: The machine age takes hold. Ornament and busyness supplant the weightiness of Empire in its last days. More is better.
Arts & Crafts: Rebellion against the Victorian Industrialism. Objects that appear to be made by hand are in again. In America, Gustav Stickley
                       spearheads the Mission Oak furniture movement featuring mortise & tendon joining and rectilinear lines.
Jugendstil: Germany's brilliant Arts & Crafts and Art Nouveau movement. Strongly influenced the path toward modern art developments.
Art Nouveau: Probably born in a Parisian art shop (Samuel Bing c. 1895) the new "Moderne" kind of art and design influenced by nature,
                      Japanese style and flowing feminine lines. A continued reaction against the Victorian era of the "machine."
French Art Nouveau furniture was produced for only a relatively short time, from 1890 until about 1920.The style is characterized by flowing, curved lines, asymmetry and natural subjects, especially flowers and plants. It was always expensive to manufacture, as its originality required an artist's vision from the designer and the highest skills from the executing cabinetmaker. Furthermore, its very sensuousness resulted in its falling into discredit as decadent when World War I reintroduced cultural regimentation. The most common forms of Art Nouveau furniture were dining and bedroom pieces; the single form displaying the widest range of the style’s application was the chair.
Art Moderne: Art Nouveau gives way to technology. NYC's Chrysler building is a standing testament.
Art Deco: Who needs humanistic/naturalistic lines and earthy tones? Chrome and plastic supplant wood. Bon Voyage, Art Nouveau. The
                 rocket age is born and furniture, art and design are going for the ride! 
The French Art Deco furniture (1920-1925) is France’s first expression of originality in furniture design and decoration in the twentieth century. While it is characterized by a return to the straight line, its designers also experimented with new or exotic finishes and materials including metals, mother-of-pearl, ivory, wrought iron, unusual wood veneers, lacquers and plastics and by stylizations inspired by nature or the use of geometric forms in the decorative elements. The sources of influence from the past include themes and motifs from ancient Egypt, the Empire and Louis XVI periods. Proportions changed dramatically - principally through minor elongation and substantial height reduction - to accommodate, among other things, the lower ceiling heights in modern buildings

 
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