Her Majesty's Furniture: The Strawberry Hill Chair, 1755

Ebonized Gothic Revival Chair, 1755
The Victoria & Albert Museum

This handsome chair was designed for the historian Horace Walpole, Fourth Earl of Oxford (and son of the first British Prime Minister), by his friend, the designer Richard Bentley who had been commissioned to design a chair with a back akin to the outline of a Gothic window.  Walpole asked that the chair be very lightweight, painted black, with a rush seat.  Bentley certainly delivered with this exquisite piece which he had constructed by the fashionable London cabinet-maker William Hallett.

Walpole was known for his collection of  furniture, however, he also frequently commissioned new furniture for his own use.  Later, he opened his lovely home to visitors and became one of the best-known exponents of the Gothic Revival style.

He was thrilled with this chair, and commissioned seven more to furnish the Great Parlor at his country residence, Strawberry Hill, in Twickenham which Walpole had modified in the Gothic Revival style.  As Walpole wished, the chair, like its cousins, is painted black to imitate ebony and boasts a back in the form of a gothic window with a drop-in seat with a black horsehair top cover.   The upholstery we see here was added in the Nineteenth Century.

Another from the set which shows the original caned seats which they all once had.

Gifts of Grandeur: The Castrucci Cabinet, 1610

Gifts of Grandeur: The Castrucci Cabinet, 1610

Castrucci Cabinet
1610
The Victoria & Albert Museum

I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.

Precious Time: A Mosaic Cabinet and Clock, circa 1700

Mosaic Cabinet and Clock
1700-1850
Giovanni Battista Foggini
Italian with a German clockworks.
pietre dure (hardstone mosaic), ebony, gilded bronze,
brass, mother-of-pearl and ebonized wood
The Victoria & Albert Museum

Isn’t this gorgeous? This cabinet and clock was over one hundred years in the making and represents the work of several different artists. The bottom part of the cabinet dates to 1700-1705 and is constructed of pietre dure (hardstone mosaic), ebony, gilded bronze, brass, mother-of-pearl and ebonized wood. The central mosaic panel is not the original decoration, but rather an addition from the Nineteenth Century. Looking closely at the pietre dure central panel, we can see that it was originally intended to be a tray. The composition which features a mosaic of a string of pearls was designed to be viewed from above, horizontally, and not vertically as it is positioned here. Nevertheless it is an attractive addition to the original piece.


The initial design is the work of Giovanni Battista Foggini of Florence. Foggini created this cabinet for Anna-Maria Luisa de' Medici. In the late Seventeenth Century, the top portion and clock were added. Crafted of the same materials and in a similar style, the top half is the work is almost as old as the original portion—having been added many years after its initial creation.

The present clock is a replacement for the mid-Eighteenth Century English clock which had been built into the cabinet. The second clock is German in origin and was added in the mid Nineteenth Century. At the same time, the central panel on the bottom portion of the cabinet was replaced with the one we see today.

Having been lost from the de’ Medici home, this beautiful group found its way into a private collection. Its owners have generously loaned it to The Victoria & Albert Museum.

Her Majesty's Furniture: The Strawberry Hill Chair, 1755

Ebonized Gothic Revival Chair, 1755
The Victoria & Albert Museum

This handsome chair was designed for the historian Horace Walpole, Fourth Earl of Oxford (and son of the first British Prime Minister), by his friend, the designer Richard Bentley who had been commissioned to design a chair with a back akin to the outline of a Gothic window.  Walpole asked that the chair be very lightweight, painted black, with a rush seat.  Bentley certainly delivered with this exquisite piece which he had constructed by the fashionable London cabinet-maker William Hallett.

Walpole was known for his collection of  furniture, however, he also frequently commissioned new furniture for his own use.  Later, he opened his lovely home to visitors and became one of the best-known exponents of the Gothic Revival style.

He was thrilled with this chair, and commissioned seven more to furnish the Great Parlor at his country residence, Strawberry Hill, in Twickenham which Walpole had modified in the Gothic Revival style.  As Walpole wished, the chair, like its cousins, is painted black to imitate ebony and boasts a back in the form of a gothic window with a drop-in seat with a black horsehair top cover.   The upholstery we see here was added in the Nineteenth Century.

Another from the set which shows the original caned seats which they all once had.

Gifts of Grandeur: The Castrucci Cabinet, 1610

Castrucci Cabinet
1610
The Victoria & Albert Museum

I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.

The Home Beautiful: The Soane Side Table, 1805

Side Table
Sir John Soane
c. 1805
The Victoria & Albert Museum

This side table, made around 1805, is part of a monumental suite of unconventional Gothic furnishings from the grand, two-story library of Stowe House in Buckinghamshire, England. The suite was comprised of this table and its pair and a massive octagonal center table. These were matched with carved ebony chairs from India.

In 1848, mired in debt, the Duke of Buckingham was forced to sell the contents of Stowe House. The sale lasted for forty days and garnered the attention of England’s elite, including Queen Victoria & Prince Albert. The pair of side tables and en suite center table were purchased by the same buyer and remained in his family until 1972 upon which time the center table was offered to the Brighton Museum and Art Gallery.

The suite was made in London, designed by Sir John Soane (1753-1837). They are constructed of ebonized mahogany and ivory. The set was made specifically for Stowe’s Gothic Revival Library and was commissioned by the 1st Marquess of Buckingham (1753-1813) who dictated that the design of the room should follow the look of the screen of the tomb of Henry VII at Westminster Abbey. 

Her Majesty's Furniture: The Marsh and Tatham Reading Chairs

One of a Pair of Chairs Made for Carlton House, 1805
Commissioned by King George IV
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

These handsome chairs from the Royal Collection have been attributed to the furniture makers Marsh & Tatham. The pair was made in 1805 for the library at Carlton House during King George IV’s long redecoration project. The pair can be seen in watercolor depictions of the room.

The pair of reading chairs are constructed of ebonized wood and ivory and are upholstered in deep red leather. The back of the chair has been created in a horseshoe design which is formed by the horizontal arms.

Her Majesty's Furniture: The Strawberry Hill Chair, 1755

Ebonized Gothic Revival Chair, 1755
The Victoria & Albert Museum

This handsome chair was designed for the historian Horace Walpole, Fourth Earl of Oxford (and son of the first British Prime Minister), by his friend, the designer Richard Bentley who had been commissioned to design a chair with a back akin to the outline of a Gothic window.  Walpole asked that the chair be very lightweight, painted black, with a rush seat.  Bentley certainly delivered with this exquisite piece which he had constructed by the fashionable London cabinet-maker William Hallett.

Walpole was known for his collection of  furniture, however, he also frequently commissioned new furniture for his own use.  Later, he opened his lovely home to visitors and became one of the best-known exponents of the Gothic Revival style.

He was thrilled with this chair, and commissioned seven more to furnish the Great Parlor at his country residence, Strawberry Hill, in Twickenham which Walpole had modified in the Gothic Revival style.  As Walpole wished, the chair, like its cousins, is painted black to imitate ebony and boasts a back in the form of a gothic window with a drop-in seat with a black horsehair top cover.   The upholstery we see here was added in the Nineteenth Century.

Another from the set which shows the original caned seats which they all once had.

Mastery of Design: The Castrucci Cabinet, 1610

Castrucci Cabinet
1610
The Victoria & Albert Museum

I could use one of these. But, then I’d be afraid to put anything in it and it would be a collected cabinet as opposed to a collector’s cabinet. Here, we see, a collector's cabinet with a pyramidal roof, which sits on four lion's paw feet. The front and sides are set with seven pictorial pietre dure panels which illustrate landscapes, buildings and a Venetian canal scene.

The pictorial panels are attributed to the Castrucci workshop. For contrast, these are flanked by plain jasper panels. The Castrucci family were celebrated for their selection of hardstones which they were able to manipulate into amazing scenes. They claimed to have been inspired by the paintings of Flemish artists based in Prague around 1600.

This cabinet dates to 1610. Small cabinets such as this were quite fashionable at the time and were employed to house valuable objects, potions and pills, and sometimes personal grooming items.

Precious Time: A Mosaic Cabinet and Clock, circa 1700

Mosaic Cabinet and Clock
1700-1850
Giovanni Battista Foggini
Italian with a German clockworks.
pietre dure (hardstone mosaic), ebony, gilded bronze,
brass, mother-of-pearl and ebonized wood
The Victoria & Albert Museum

Isn’t this gorgeous? This cabinet and clock was over one hundred years in the making and represents the work of several different artists. The bottom part of the cabinet dates to 1700-1705 and is constructed of pietre dure (hardstone mosaic), ebony, gilded bronze, brass, mother-of-pearl and ebonized wood. The central mosaic panel is not the original decoration, but rather an addition from the Nineteenth Century. Looking closely at the pietre dure central panel, we can see that it was originally intended to be a tray. The composition which features a mosaic of a string of pearls was designed to be viewed from above, horizontally, and not vertically as it is positioned here. Nevertheless it is an attractive addition to the original piece.


The initial design is the work of Giovanni Battista Foggini of Florence. Foggini created this cabinet for Anna-Maria Luisa de' Medici. In the late Seventeenth Century, the top portion and clock were added. Crafted of the same materials and in a similar style, the top half is the work is almost as old as the original portion—having been added many years after its initial creation.

The present clock is a replacement for the mid-Eighteenth Century English clock which had been built into the cabinet. The second clock is German in origin and was added in the mid Nineteenth Century. At the same time, the central panel on the bottom portion of the cabinet was replaced with the one we see today.

Having been lost from the de’ Medici home, this beautiful group found its way into a private collection. Its owners have generously loaned it to The Victoria & Albert Museum.

Object of the Day: An Early Nineteenth-Century French Crucifix

Many homes in France in the early Nineteenth Century had a space devoted to prayer. Very often, a small crucifix and other religious statues were used as devotional objects in the home. This wooden crucifix was created for domestic use.


Hand-turned, ebonized spindles form the body of the cross. The ends of the spindles have been capped with cut-porcelain beads. The figure of Christ is cast in silver. As is often the case with French religious artifacts, the figure is an elongated and idealized form—gaunt, but fluid in design. The turned base upon which the crucifix sits is adorned with a single inlaid-silver skull to represent Golgotha—the Mount of Skulls upon which Christ was crucified.

I tend to not want religious art in my home. I certainly appreciate it and made it my study for many years. However, because I worked in a theologically-themed career for so long, I always made a point of keeping my décor relatively free of religious imagery. I made an exception in this case. This remarkable crucifix is lovingly worn from over a century of use. Its artistry is exceptional, and, it does have an excellent message behind it.

Object of the Day: A Victorian Rococo Étagère

Some refer to these pieces of furniture as an étagère while others would call it a “display” or “china cabinet.” No matter the name, pieces such as this served an important purpose in the Victorian home. They were a place to display the finest crystal and china in the household as well as an extra serving space in addition to a sideboard.

This étagère exhibits characteristics of the Rococo or Louis XV style which was popularized in France. English in origin, the piece dates to the 1840’s. Originally finished in a deep cherry tone, this étagère was most likely ebonized after the death of Queen Victoria. In 1901, as England mourned the passing of the “old Queen,” the practice of ebonizing furniture became a popular way of making a display of mourning (a very revered Victorian tradition).

With intricately carved cabriole legs supporting the entire piece and the elevated shelves, this étagère reads like a textbook of Victorian design. Spindles, piercing, applied ornaments, undulating shelves, scalloped mirrors, fretwork and delicate volutes create an overall look of lightness and elegance. The highly decorative crest-rail takes the form of a “broken pediment” and is flanked by two barrel-arched niches upon gently turned spindles—backed by balloon-back shaped mirrors. The interior of the cabinets are upholstered, housed behind glass topped by carved ornamentation. In true Rococo form, a shell has been carved into the center crest above the middle shelf.

Everything about this étagère speaks to the delicate craftsmanship of the mid-Victorian period. It’s a remarkable piece of furniture and can be studied for hours just to absorb the intricacies of its design and hand-carving.

Object of the Day: An Antique Chinoiserie Inlaid Table

In England, during the early parts of Victoria’s reign, furniture designers looked toward other cultures for inspiration. One area of fascination was the work of Asian craftsmen. English artists tried to incorporate Asian designs into quintessentially English furnishings.


This heavy wooden table reflects those influences. Four hand-carved legs scroll into delicate volutes which support hand-turned spindles upon which four inverted, scrolled brackets rest. This cage-like design surrounds a massive hand-lathed pedestal. Surrounded by a delicate ogee, the table top has been meticulously inlaid with a Chinese-inspired pattern of Mother-of-Pearl. The luminescent pearl takes the form of dragons amidst glowing clouds and is surrounded by a geometric pattern.

The French referred to this emulation of Chinese style as “Chinoiserie.” Popular in France during the late Eighteenth Century, the Chinoiserie style was later embraced by English designers. This table dates to the early 1820’s. With its rich ebony color and shimmering Mother-of-Pearl, this table makes a dramatic statement. Displayed on a round Persian rug, I’ve made this table the centerpiece of my entryway. It’s also, as you can see, Bertie’s central station. Perfect to nap under, this table also serves as a resting place for his toys which he likes to stuff into the spindles. I can’t speak for why Bertie is so fond of this piece of furniture, but for me, I’m in love with its magnificent craftsmanship and historical significance.

Object of the Day: An Ebonized Victorian Music Cabinet

With undulating scalloped fretwork at its crest and intricately carved scrolls, this cabinet sits proudly on turned legs. The grand door with its carved plaque of a lyre and sheet music amidst a field of ribbons is flanked by two turned spindles.

A small shelf perches on a bracket just below the crest, casting a shadow over hand-carved details which catch the light in glimpses. Designed to hold sheet music, this cabinet features a variety of narrow shelves above a larger alcove which could have held an instrument itself. Not being a musician, I use this ebonized piece in my dining room—its purpose retained, but altered. A lasting monument to a long-passed love of order, I think it’s happy to house, protect and organize whatever it can.

Term for the Day: Ebonized

A plaque from an ebonized Victorian music cabinet.

To ebonize means to stain or paint wood in order to simulate the look of costly ebony. This method of black stain was both a stylistic and cultural choice. After the death of Queen Victoria, ebonizing rose in popularity in England. Many pieces of furniture were ebonized to darken them as the nation mourned the passing of their beloved queen.