欧洲英国经典 安尼皇后式 雕S形三弯腿兽爪扇贝卷草纹 紫檀木长案/桌 沙发背几 实木玄关

Description

欧洲英国经典 安尼皇后式 雕扇贝卷草纹兽爪三弯S形腿 紫檀木长案/桌
乔治式 沙发背几 实木玄关

参考：佳士得
23 9月 2021 | 現場拍賣 19547
重要中國瓷器及工藝精品
拍品 1010
AN IMPORTANT IMPERIAL ZITAN ARMCHAIR
美國家族珍藏
清雍正/乾隆　御製紫檀雕西番蓮紋有束腰帶托泥扶手椅
YONGZHENG-QIANLONG PERIOD (1723-1795)

成交價 USD 1,074,000
估價 USD 500,000 – USD 700,000

清雍正/乾隆　御製紫檀雕西番蓮紋有束腰帶托泥扶手椅
YONGZHENG-QIANLONG PERIOD (1723-1795)
44 in. (111.8 cm.) high, 27 ¼ in. (69.2 cm.) wide, 20 in. (50.8 cm.) deep

來源
Robert Gray Peck 中校(1879-1956年)，後家族傳承。
Lt. Col. Robert Gray Peck (1879-1956) held the position of Second Lieutenant in the Peking Legation Guards from 1903 to 1904, and acquired the zitan chair and the huanghuali table (lot 1009) while stationed in China. He was a highly decorated military officer, and held several honors for bravery and acts of individual heroism, including a Distinguished Service Cross for the capture of an entire Battery with the aid of two runners in France during World War I. Born into a prominent Newark, New Jersey family, his engagement to Miss Alice Hyde Fessenden (1884-1977) of Highland Park, Chicago, and a Daughter of the American Revolution, was announced in The Chicago Daily Tribune in 1906.The present chair and the huanghuali table have remained within the family collection since their arrival in the United States in 1904.PROPERTY FROM AN AMERICAN FAMILY COLLECTION

展覽
諾克斯維爾，田納西州， McLung 博物館， 2005-2013年。
北卡羅萊納州立大學教堂山分校， Ackland 藝術博物館， Court and Capital，2017年5月31日-12月10日。

状况报告
謹請注意，所有拍品均按「現狀」拍賣，閣下或閣下的專業顧問應於拍賣前親自查看拍品以評鑑拍品之狀況。

-靠背板頂部有數處修復，卷紋處有與之相關經打磨的缺損。頂部鏤空處有數處修補，搭腦有與之相關的幾處輕微缺損。
-左後腿有一經固定之裂，有數處與之相關的輕微表面缺損並以釘加固
-右扶手和後腿接連處有一小補丁,兩扶手與後腿接連處均有經填補之孔，暗顯示舊時曾有金屬配件
-雕花及邊沿有數處輕微小磕及微磕
-鏤雕處及坐面有屬正常現象之舊裂紋
-靠後之座面板與大邊相接處有一填補用之窄長木條
-托泥上有一小孔
-左邊兩龜足為後配
-托泥左前角有一輕微缺失
-此張扶手椅雕工一流，用料上乘

拍品專文
A MUTUAL EXCHANGE – A EUROPEAN-INSPIRED ZITAN ARMCHAIR FOR THE EMPEROR QIANLONG

This magnificent zitan chair is the fourth surviving example in a suite of chairs of this distinctive design. Constructed of the finest quality zitan, the armchair is carved in high relief and is influenced by the ornamental style of Rococo design. The chair is a rare example of Western-influenced design executed in zitan using traditional furniture construction techniques. The density of the zitan made this material especially suitable for fine and intricate carving and its jade-like, lustrous surface made it the preferred material for Imperial Qing dynasty furniture, which favored elaborately carved and highly-ornamented furnishings. Furniture in this Western-style is termed Guangzhou-style or Guangshi decoration, after the port city of Canton in Guangdong province, the major trading port for East-West exchange. The present chair skillfully weaves together the East-West aesthetic, combining the lavish ornamental style favored by Europeans with the masterful woodworking skills of the Chinese carpenter.

Of the three known chairs, one pair was sold at Christie’s Hong Kong, 3 December 2008, lot 2503, currently on display at National Museum, Beijing, and a single was sold at IGavel New York, 24 October 2012, item number 2733451. A small engraved plaque mounted to the back seat frame of the IGavel chair stated “One of a number of black carved hardwood chairs presented to emperor Chien Lung, Peking, 1736 by Jesuit missionaries.” The final tally of chairs is unknown, but it was common for large sets of furniture to be commissioned to furnish Imperial palaces and halls.

The first half of the Qing dynasty welcomed an energetic exchange of ideas between East and West. To meet the demand for decorative objects in the Western style, Imperial workshops were established in glassmaking, clockworks, furniture, and other decorative arts. These furnishings and objects graced the Baroque and Rococo-style palaces commissioned by the Yongzheng and Qianlong Emperors. Acanthus leaves, scrolled capitals atop columns, and European garden designs and fountains were adopted from Western architecture and incorporated into newly built palaces and their outlying grounds. Furniture made with traditional Chinese joinery and decorated with European-style motifs provided an opulence that matched these splendid complexes. A zitan throne chair, dated to the Qianlong period, illustrated in Zitan: The Most Noble Hardwood, My Humble House Publications, Taipei, 1996, pp. 50-55, draws inspiration from a Baroque colonnade and shaped pediment.

Although the decorative scheme is heavily influenced by Western design, the present chair is rooted in traditional Chinese furniture. The downward-sloping serpentine arms and side posts can be compared to the sinuous lines of a horseshoe-back armchair or a black lacquer armchair in the Palace Museum collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (53), Hong Kong, 2002, p. 46, no. 32. The arms are supported by a narrow waist, cabriole legs, and floor stretchers. The cabriole leg has its origins in China and was adopted by European furniture makers in the late 17th/early 18th centuries, demonstrating the reciprocal influence of ideas between these two cultures.

A closely related, more elaborate zitan armchair, dated to the Qianlong period, carved with a dramatic, oversized fanning shell on the headrest, vase-form back splat, cabriole legs terminating in ball-and-claw feet and joined by a base rails is illustrated in The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (54), Hong Kong, 2002, p. 49, no. 39. A zitan throne chair with boxwood inlays, dated to the middle Qing period, is carved in a similar manner with the shell-form crest and corner-leg form base supported on cabriole legs and floor stretchers, illustrated by Hu Desheng, Gu gong bo wu yuan cang Ming Qing gong ting jia ju da guan (The Palace Museum Collection: A Treasury of Ming and Qing Dynasty Palace Furniture), vol. 1, Beijing, 2006, pp. 76-77, pl. 51. This elaborate style was applied to all furniture forms. For related zitan examples dating to the Qianlong period, see a zitan incense stand inspired by serpentine Baroque columns and incorporating shell and acanthus leaf decorative motifs and a pair of zitan corner-leg stools, carved with acanthus leaves at the corners, both illustrated by Zheng Nanwei et al., in The Most Noble Hardwood: Zi Tan Furniture of the Ming and Qing Dynasties, Beijing, 2016, pp.102-108, pl. 25 and p. 15-17, pl. 2.

参考：佳士得
拍賣 11422
錦瑟華年 – 安思遠私人珍藏
第五部分：歐洲裝飾藝術、地毯、古典大師繪畫及亞洲工藝精品
紐約|2015年3月21日
拍品1238 晚明 外销 黄花梨木桌
A CHINESE EXPORT HUANGHUALI SIDE TABLE
CIRCA 1750

成交總額 USD 125,000
估價 USD 15,000 – USD 25,000

A CHINESE EXPORT HUANGHUALI SIDE TABLE
CIRCA 1750
With rectangular top, carved to three sides with foliage in low relief, above lappet-headed club legs on claw-and-ball feet
28 in. (71 cm.) high, 40 in. (101.5 cm.) wide, 28 ½ in. (72.5 cm.) deep

拍品專文
The table features unusual low relief decoration imitating English giltwood examples from the period carved in gesso. This type of carving can be seen on Chinese export chairs of a pattern illustrated in C. L. Crossman, The Decorative Arts of the China Trade, Woodbridge, 1991, p. 230, pl. 83. Chairs of this model sold recently, such as Christie’s, New York, 14-15 April 2011, lot 479 and 7 June 2013, 126.

参考：佳士得 拍賣 12289
中國瓷器、工藝品及紡織品（第一部分）
倫敦南肯辛頓|2016年5月11日
拍品361 清 大理石面红木长桌
A HONGMU MARBLE-INSET TABLE
19TH CENTURY

成交總額 GBP 3,750
估價 GBP 3,000 – GBP 5,000

A HONGMU MARBLE-INSET TABLE
19TH CENTURY
The top is inset with a pinkish-grey and white marble panel within a rectangular frame, above aprons carved with scrolling foliage and open work panels, all supported on square-section legs terminating in claw-form feet.
32 in. (81.3 cm.) high; 35 in. (88.9 cm.) wide; 19 in. (48.3 cm.) deep

参考：佳士得
拍賣 17837
髹金飾玉 – 歐雲伉儷珍藏日場拍賣
紐約|2019年3月21日
拍品1302 乔治III世 红木牌桌
AN EARLY GEORGE III MAHOGANY CONCERTINA-ACTION CARD TABLE
ATTRIBUTED TO PAUL SAUNDERS, CIRCA 1765

成交總額 USD 10,000
估價 USD 15,000 – USD 25,000
29 in. (74 cm.) high, 36 in. (91.5 cm.) wide, 17 ¾ in. (45 cm.) deep, closed

來源
Mr. Percy Dalton, The Hall, Burley-in-Wharfedale, Yorkshire.
Messrs. Hollis & Webb, 14 – 15 March 1956.
The Collection of Mrs. M. Dalton; Christie’s, London, 14 November 1991, lot 59.
The Irving Collection, no. G04.

文獻及展覽
展覽
Leeds, Temple Newsam House, Furniture by and in the manner of Thomas Chippendale (1718-1779), 8 June – 15 July 1951, no. 54, lent by Percy Dalton.

拍品專文
This exuberantly carved concertina-action card table is attributed to the work of Paul Saunders of Soho Square, London, one of the preeminent cabinet-makers of the 1750s and 60s, who was supplying furniture to Holkham Hall (Norfolk), Woburn Abbey (Bedfordshire) and Petworth House (West Sussex). The leg pattern corresponds closely to that on a suite of seat furniture supplied in 1756 for the Earl of Leicester at Holkham Hall, Norfolk by the Soho firm of Messrs Paul Saunders and George Smith Bradshaw and described by them as being ‘richly carved to match a pattern’ (see R. Edwards, The Shorter Dictionary of English Furniture, London, 1964, p.144, fig. 108; and J.Cornforth, ‘French Style, English Mood’, Country Life, 1 October 1992, p.80).

参考：佳士得
拍卖 12247
英国家具及时计、欧洲瓷器及微型肖像
伦敦|2016年11月17日
拍品50|PROPERTY FROM A PRIVATE FAMILY COLLECTION
AN IRISH GEORGE II MAHOGANY SIDE TABLE
CIRCA 1750-60

成交总额 GBP 106,250
估价 GBP 50,000 – GBP 80,000

AN IRISH GEORGE II MAHOGANY SIDE TABLE
CIRCA 1750-60
The moulded rounded rectangular top above a frieze carved with scrolling acanthus, flowerheads and centred by a scallop shell on acanthus clasped cabriole legs terminating in square lion paw feet
31 ½ in. (80 cm.) high; 48 in. (122 cm.) wide; 24 in. (61 cm.) deep

来源
Possibly Peter Ruttledge (d.1766), or more likely Thomas Ruttledge (d.1805), Bloomfield House, Co. Mayo, and thence by descent at Bloomfield until around 1924.
Anne Ruttledge and thence by descent

拍品专文
The table displays a range of carved motifs that are characteristic of Irish tables of the mid 18th century and set them apart from English counterparts. The frieze which is serpentine to its lower edge is superbly carved with scrolled acanthus leaves, centred by a large scallop shell, and features distinctive rosettes to each end, the legs have further acanthus running down their angles and again, springing from the ankle, while the paw foot is typically squared. It corresponds closely to a table probably supplied to Dr. Richard Marlay, Bishop of Waterford, Celbridge, Co. Kildare, and thence by descent until sold Christie’s, London 1 July 2004, lot 74 (£65,725 including premium), and another in the collection of the Knight of Glin, Glin Castle, Co. Limerick, sold Christie’s, London, 7 May 2009, lot 116 (£73,250 including premium) (see The Knight of Glin and J. Peill, Irish Furniture, New Haven and London, 2007, p. 228, fig. 92 and p. 229, fig. 96).

Bloomfield house was built circa 1769 by Thomas Ruttledge around an earlier house on land in County Mayo inherited from his father Peter (d.1766), with further alterations in both the late 18th century and early 19th century. By the time of Thomas’s death in 1805 the Ruttledge estate amounted to some 30,000 acres. The estate was subsequently divided within the family with Thomas’s son Robert inheriting Bloomfield which remained in the family until sold in 1924, and the house was later demolished (Mark Bence-Jones, Burke’s Guide to Country Houses Volume 1. Ireland, London, 1980, pp. 44 and 45).

编制图录及详情
特别通告

Specified lots (sold and unsold) marked with a filled square not collected from Christie’s by 5.00 pm on the day of the sale will, at our option, be removed to Cadogan Tate. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage. Please call Christie’s Client Service 24 hours in advance to book a collection time at Cadogan Tate Ltd. All collections will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

拍品前备注
PROPERTY FROM A PRIVATE FAMILY COLLECTION

参考：国外古典家具古代有哪些, 主要风格和流派

西方古典家具特点

家具是每一个家庭的必备品，在我国，大多数家庭都比较喜欢古典式家具，不仅典雅，而且高贵。在不同的国家，古典家具设计风格和特点都会有所不同，比如说我们东方国家和西方国家，在家具的设计上就有很大的区别。随着西方文化在生活中的普遍化，很多用户也很想了解一下西方古典家具是什么样的，有什么特点，那么小编今天的文章就来为大家介绍一下，西方古典家具特点有哪些?

文艺复兴时期家具特点

文艺复兴式家具装饰纹样图案形象精美、构图匀称，装饰纹样呈现出高贵华美的风格，文艺复兴式家具装饰以华贵著称，重在写实，那些刻画得栩栩如生的纹样装饰表明了使用者对富足、华美的追求。外形厚重端庄，线条简洁严谨，立面比例和谐，采用古典建筑装饰等。

巴洛克风格家具特点

巴洛克风格以浪漫主义的精神作为形式设计的出发点，一反古典主义的严肃、拘谨、偏重于理性的形式，而赋予了更为亲切和柔软的效果。巴洛克风格虽然脱胎于文艺复兴时代的艺术形式，但却有其独特的风格特点，它摒弃了古典主义造型艺术上的刚劲、挺拔、肃穆、古板的遗风，追求宏伟、生动、热性、奔放的艺术效果。

洛可可风格家具特点

• 1.曲线趣味，常用C形、S形、漩涡形等曲线为造形的装饰效果。
• 2.构图非对称法则，而是带有轻快、优雅的运动感。
• 3.把截为弧形发展到平面的拱形。圆角、斜棱和富于想像力的细线纹饰使得家具显得不笨重。
• 4.色泽柔和﹑艳丽、轻快，给人轻松舒适感。
• 5.崇尚经过人工修饰的“自然”。
• 6.人物意匠上的谐谑性﹑飘逸性，表现各种不同的爱，如浪漫的爱、情爱、母爱等。
• 7.呆板的栏杆柱式桌腿演变成了“牝鹿腿”。

新古典家具特点

新古典家具是欧式家具的延伸，是不断的发展改进而来，其主要表现形式有以下三个方面：

一、线条复杂，重视雕工：“巴洛克式家具”都有复杂而精美的雕刻花纹;“洛可可式家具”虽然也很注重雕工，但线条就较为柔和一些;而“新古典家具”的线条则更为明快一些，主要以嵌花贴皮来呈现质感。

二、偏好鲜艳色系：尤其是“巴洛克式家具”色彩都很强烈，其中又以金色为其主色，多用镀金或以金箔来装饰，显得金碧辉煌;“洛可可式家具”的色彩较为柔和，米黄、白色的花纹图案是其主色;“新古典家具”色彩较偏向暖色系，如原木色等

三、讲究装饰：不管是“古典”还是“新古典家具”，常可看到各式绣布、流苏及铆钉等装饰品。

随着如今国家与国家之间的友好交际，西方文化在我国逐渐倍受欢迎，人们日常都要接触到的古典家具，也充满了不少西方国家的味道。在家具行业领悟中，各种不同的家具都具有自己独特的风格，上述中小编为大家简单的介绍了关于西方古典家具的特点，不同的古典家具有不同的风格，每一种风格都很特别。小编的介绍到这里就要结束了，希望小编的文章能够帮助到大家。

国外古典家具历史

1．埃及、希腊、罗马家具 首次记载制造家具的是埃及人。古埃及人较矮（人均约1.52m），并有蹲坐的习惯，因此座椅较低。　　（

1）古埃及（公元前3100～前311年）家具特征：由直线组成，直线占优势；动物腿脚（双腿静止时的自然姿势，放在圆柱形支座上）椅和床（延长的椅子），矮的方形或长方形靠背和宽低的座面，侧面成内凹或曲线形；采用几何或螺旋形植物图案装饰，用贵重的涂层和各种材料镶嵌；用色鲜明、富有象征性；凳和椅是家具的主要组成部分，有为数众多的柜于用作储藏衣被、亚麻织物。 埃及家具对英国摄政时期和维多利亚时期及法国帝国时期影响显著。

（2）古希腊（公元前650～前30年）人生活节俭，家具简单朴素，比例优美，装饰简朴，但已有丰富的织物装饰，其中著名的“克利奈”椅（Klisn1os），是最早的形式，有曲面靠背，前后腿呈“八”字形弯曲，凳子是普通的，长方形三腿桌是典型的，床长而直，通常较高，且需要脚凳。

在古希腊书中已提到在木材上打蜡，关于木材的干燥和表面装饰等情况，和埃及有同样高的质量。 19世纪未，希腊文艺复兴运动十分活跃，一些古典的装饰图案，可在英国的维多利亚时代的例子中看到。

（3）我们对古罗马（公元前753～公元365年）的家具知识来自壁画、雕刻和拉丁文中偶然有关家具的记载、而罗马家庭的家具片段，保存在庞贝城和赫库兰尼姆的遗址中。

古罗马家具设计是希腊式样的变体，家具厚重，装饰复杂、精细，采用镶嵌与雕刻，旋车盘腿脚、动物足、狮身人面及带有翅膀的鹰头狮身的怪兽，桌于作为陈列或用餐，腿脚有小的支撑，椅背为凹面板；在家具中结合了建筑特征，采用了建筑处理手法，三腿桌和基座很普遍，使用珍贵的织物和垫层。

2．中世纪（1～15世纪）高直和文艺复兴时期（800～1150年）的家具在中世纪，西欧处于动乱时期，罗马帝国崩溃后，古代社会的家具也随之消失。中世纪富人住在装饰贫乏的城堡中，家具不足，在骚乱时期少有幸存者。拜占庭时期（323～1453年），除富有者精心制作的嵌金和象牙的椅子外，家具类型也不多。

（1）高直时期（l150～1500年）家具特征：采用哥特式建筑形式和厚墙的细部设计，采用建筑的装饰主题，如拱、花窗格、四叶式（建筑）、布卷褶皱、雕刻品和镂雕，柜子和座位部件为镶板结构，柜子既作储藏又用作座位。

（2）意大利文艺复兴时期（1400～1650年），为了适应社会交往和接待增多的需要，家具靠墙布置，并沿墙布置了半身雕像、绘画、装饰品等，强调水平线，使墙面形成构图的中心。

意大利文艺复兴时期的家具的特征是：普遍采用直线式，以古典浮雕图案为特征，许多家具放在矮台座上，椅子上加装垫子，家具部件多样化，除用少量橡木、衫木，丝柏木外，核桃木是唯一所用的，节约使用木材，大型图案的丝织品用作椅座等的装饰。

（3）西班牙文艺复兴时期（1400～1600年）的家具许多是原始的，特征是：厚重的比例和矩形形式，结构简单，缺乏运用建筑细部的装饰，有铁支撑和支架，钉头处显露，家具体形大，富有男性的阳刚气，色彩鲜明（经常掩饰低级工艺），用压印图案或简单的皮革装饰（座椅），采用核桃木比松木更多，图案包括短的凿纹、几何形图案，腿脚是“八”字形式倾斜的，采用铁和银的玫瑰花饰、星状装饰以及贝壳作为装饰。

（4）法国文艺复兴时期（1485～1643年）的家具的特征：厚重。轮廓鲜明的浮雕，由擦亮的橡木或核桃木制成，在后期出现乌木饰面板，椅子有象御座的靠背，直扶手，以及有旋成球状、螺旋形或栏杆柱形的腿，带有小圆面包形或荷兰式漩涡饰的脚，使用上色木的镶嵌细工、玳瑁壳、镀金金属、珍珠母、象牙，家具的部分部件用西班牙产的科尔多瓦皮革、天鹅绒、针绣花边、锦缎及流苏等装饰物装饰，装饰图案有橄榄树枝叶、月桂树叶、打成漩涡叶箔、阿拉伯式图案、玫瑰花饰、漩涡花饰、圆雕饰，贝壳，怪物。鹰头狮身带翅膀的怪物、棱形物、奇形怪状的人物图案，女人像柱，家具连接处被隐蔽起来。

3．巴洛克时期（1643～1700年）

（1）法国巴洛克风格亦称法国路易十四风格，其家具特征为：雄伟、带有夸张的、厚重的古典形式，雅致优美重于舒适，虽然用了垫子，采用直线和一些圆弧形曲线相结合和矩形、对称结构的特征，采用橡木、核桃木及某些欧锻和梨木，嵌用斑木、鹅掌锹木等，家具下部有斜撑，结构牢固，直到后期才取消横档；既有雕刻和镶嵌细工，又有镀金或部分镀金或银、镶嵌、涂漆、绘画，在这个时期的发展过程中，原为直腿变为曲线腿，桌面为大理石和嵌石细工，高靠背椅，靠墙布置的带有精心雕刻的下部斜撑的蜗形腿狭台；装饰图案包括嵌有宝石的旭日形饰针，围绕头部有射线，在卵形内双重“L”形，森林之神的假面，“C”“S”形曲线，海豚、人面狮身、狮头和爪，公羊头或龟、橄榄叶、菱形花、水果、蝴蝶、矮棕榈和睡莲叶不规则分散布置及人类寓言、古代武器等。

（2）英国安尼皇后式（1702～1714年）：家具轻巧优美，做工优良，无强劲线条，并考虑人体尺度，形状适合人体。椅背、腿、座面边缘均为曲线，装有舒适的软垫，用法国、意大利有着美丽木纹的胡桃木作饰面，常用木材有榆、山毛榉、紫杉、果木等。

4．洛可可时期（1730～1760年）

（1）法国路易十五时期的家具特征：家具是娇柔和雅致的，符合人体尺度，重点放在曲线上，特别是家具的腿，无横档，家具比较轻巧，因此容易移动；核桃木、红木、果木均使用，以及藤料。蒲制品和麦杆；华丽装饰包括雕刻、镶嵌、镀金物、油漆、彩饰、镀金。初期有许多新家具引进或大量制造，采用色彩柔和的织物装饰家具，图案包括不对称的断开的曲线、花，扭曲的漩涡饰、贝壳、中国装饰艺术风格、乐器（小提琴、角制号角、鼓）、爱的标志（持弓剑的丘比特）、花环、牧羊人的场面、战利品饰（战役象征的装饰布置）、花和动物。

（2）英国乔治早期（1714～1750年）： 1730年前均为浓厚的巴洛克风格， 1730年后洛可可风格开始大众化，主要装饰有细雕刻，镶嵌装饰品、镀金石膏。装饰图案有狮头、假面、鹰头和展开的翅膀、贝壳、希腊神面具、建筑柱头、裂开的山墙等。

直到1750年油漆家具才普及，乔治后期，广泛使用直线和直线形家具，小尺度，优美的装饰线条，逐渐变细的直腿，不用横档，有些家具构件过于纤细。

5．新古典主义（1760～1789年）

（1）法国路易十六时期的家具特征：古典影响占统治地位，家具更轻、更女性化和细软，考虑人体舒适的尺度，对称设计，带有直线和几何形式，大多为喷漆的家具，橱柜和五斗柜是矩形的，在箱盒上的五金吊环饰有四周框架图案，座椅上装座垫，直线腿，向下部逐渐变细，箭袋形或细长形，有凹槽，椅靠背是矩形、卵形或圆雕饰，顶点用青铜制，金属镶嵌是有节制的，镶嵌细工及镀金等装潢都很精美雅致，装饰图案源于希腊。

（2）法国帝政时期（1804～1815年）：家具带有刚健曲线和雄伟的比例，体量厚重，装饰包括厚重的平木板、青铜支座，镶嵌宝石、银、浅浮雕、镀金，广泛使用漩涡式曲线以及少量的装饰线条，家具外观对称统一，采用暗销的胶粘结构。1810年前一直使用红木，后采用橡木、山毛榉、枫木、柠檬木等。

（3）英国摄政时期（18ll～1830年）：设计的舒适为主要标准，形式、线条、结构、表面装饰都很简单，许多部件是矩形的，以红木、黑、黄檀为主要木材。装饰包括小雕刻、小凸线、雕镂合金、黄铜嵌带、狮足，采用小脚轮，柜门上采用金属线格。

6．维多利亚时期（1830～1901年）　　

是19世纪混乱风格的代表，不加区别地综合历史上的家具形式。图案花纹包括古典、洛可可、哥特式、文艺复兴、东方的土耳其等十分混杂。设计趋于退化。1880年后，家具由机器制作，采用了新材料和新技术，如金属管材、铸铁、弯曲木、层压木板。椅子装有螺旋弹簧，装饰包括镶嵌、油漆、镀金、雕刻等。采用红木、橡木，青龙木、乌木等。构件厚重，家具有舒适的曲线及圆角

欧洲家具设计风格有哪些

欧洲家具风格—欧式古典主义风格家具具有鲜明的欧式风格家具特点，它对每个细节精益求精，在庄严气派中追求奢华优雅，而融入现代设计手法后，则更贴近于实用性，透露出欧洲传统的历史痕迹与深厚的文化底蕴。欧洲家具风格—欧式新古典家具摒弃了过于复杂的肌理和装饰，简化了线条。将欧式风格家具特点中的古典风范与个人的独特风格和现代精神结合起来，使古典家具呈现出多姿多彩的面貌，它他虽有古典的曲线和曲面，但少了古典的雕花，又多用现代家具的直线条。欧式风格家具特点常以白色、咖啡、黄色、绛红为主色调，少量白色糅合，使色彩看起来明亮、大方，使整个空间给人以开放、宽容的非凡气度。欧洲家具风格—欧式田园家具尤为注重欧式风格家具特点中简洁、明晰的线条和优雅得体的装饰，再加上受传统手工艺影响，采用现代的先进技术，使得欧式田园家具显得更加雍容大气。欧式田园家具代表的也许并不是真正意义上的乡村或者田园，它更像是人们崇尚大自然的一种体验，使人们的身心得以放松舒展，仿佛呼吸大自然的气息。欧洲家具风格—欧式简约风格家具是追求家具的舒适度与实用性等欧式风格家具特点，它塀弃了古典家具的繁复，更多的运用了简约线条，和天然的实木纹路，但有不失高贵与典雅，实现了一种简约而不简单的设计风格。欧洲家具风格—欧式仿古风格家具美式家具的基础是欧洲文艺复兴后期各国移民所带来的生活方式。从许多18、19世纪世代相传下来的经典家具作品中可以看出，由于早期美国先民的开拓精神和崇尚自然的原则，造型典雅，但不过度装饰的家具成为典型美式家具的代表作。欧洲家具风格—欧式新古典风格家具在古典家具设计师求新求变的过程中应运而生。设计师将古典风范与个人的独特风格和现代精神结合起来，使古典家具呈现出多姿多彩的面貌，成为新古典风格的主要特色。欧洲家具风格—欧式乡村风格家具在美式家具中一直占有重要地位，由于它造型简单、明快，而且实用，长久以来受到各国消费者的喜爱。外观和用料仍保持自然、淳朴的风格，隐藏设计的抽屉收纳了空间，使其看起来更整洁、美观。

参考：Carved Georgian Irish Lion Head & Hairy Paw Feet Ornate Table Flamed Mahogany

CA$4,954.87

About
We are delighted to offer for sale this stunning and highly decorative Georgian Irish style solid mahogany low coffee table with Lion heads and hairy paw feet

A very decorative and rare little table, pieces like this I consider to be art furniture, it looks glorious from every angle. The legs are carved from one piece of timber, they nicely depict a Regal Lion with flowing main of hair, following down you have the Georgian Irish style Acanthus leaf, then finishing with a beautifully carved hairy paw foot

The table is late 19th century Victorian, the timber top is flamed mahogany and in the right light really glows.

We have cleaned waxed and polished it, there will be a few light patina marks from honest age and genuine use

Dimensions Height 44cm Width 82.5cm Depth 56.5cm

Please note all measurements are taken at the widest point
This item is available for collection from our Wimbledon warehouses.

Condition
Please view the very detailed pictures as they form part of the description around condition

Please note vintage period and original items such as leather seating will always have natural patina in the form of cracking creasing and wear, we recommend regular waxing to ensure no moisture is lost, also hand dyed leather is not recommended to sit in direct sunlight for prolonged periods of time as it will dry out and fade.

Details
IN THE STYLE OF Georgian
PLACE OF ORIGIN Ireland, Republic of
DATE OF MANUFACTURE 19th Century
PERIOD 19th Century
MATERIALS AND TECHNIQUES Hand-Crafted Mahogany
CONDITION Good
See Condition Descriptions
WEAR Wear consistent with age and use. Minor fading.
DIMENSIONS H 17.33 in. x W 32.49 in. x D 22.25 in.
H 44 cm x W 82.5 cm x D 56.5 cm
SELLER LOCATION London, GB
REFERENCE NUMBER LU2823315773942

参考：Irish 18th Century Figured Mahogany Concertina Action Card Table

CA$13,956.22

About
A very good Irish concertina action card table standing on bold carved legs with paw feet, a shaped frieze with a flame mahogany veneer and a figured mahogany top which fold over to reveal a green baized interior with mahogany candle stands,
circa 1750.

Details
PLACE OF ORIGIN England
DATE OF MANUFACTURE 1750
PERIOD 1750-1759
MATERIALS AND TECHNIQUES Mahogany
CONDITION Good
WEAR Wear consistent with age and use.
DIMENSIONS H 29.14 in. x W 31.89 in. x D 14.57 in.
H 74 cm x W 81 cm x D 37 cm
SELLER LOCATION GB
SELLER REFERENCE NUMBER SA582731