Armchair

Designer After a design by Thomas Chippendale British
ca. 1755
Not on view
This enormous armchair is ambitious in both scale and design. Its bold contours are enabled by the dense mahogany that came from the colonized West Indies. Distinct in its beautiful grain and light-reflecting sheen, mahogany became eighteenth-century Britain’s medium of magnificence, its “national wood.” Thomas Chippendale’s design for this “French Chair,” published in The Gentleman and Cabinet-Maker’s Director (1754), specified that it “must be covered with Tapestry, or other sort of Needlework.” Here, the needlework depicts a scene of the Annunciation, the feast day when contracts for trades and craftspeople were renegotiated.

Artwork Details

Object Information
  • Title: Armchair
  • Designer: After a design by Thomas Chippendale (British, baptised Otley, West Yorkshire 1718–1779 London)
  • Date: ca. 1755
  • Culture: British
  • Medium: Mahogany, needlework
  • Dimensions: Overall: 51 × 31 1/2 × 33 in. (129.5 × 80 × 83.8 cm)
  • Classification: Woodwork-Furniture
  • Credit Line: Gift of Irwin Untermyer, 1964
  • Object Number: 64.101.980
  • Curatorial Department: European Sculpture and Decorative Arts

Audio

Cover Image for 411. The Gentleman and Cabinet-Maker's Director

411. The Gentleman and Cabinet-Maker's Director

Gallery 512

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NARRATOR: How does furniture from a catalogue… change the game? On the platform against the wall you’ll find the Barrington armchair, upholstered with delicate needlework. But there is more to its design than meets the eye.

WOLF BURCHARD: it's a chair that was made in the so-called French style because it's inspired by French Rococo furniture.

It’s very large, it's very gutsy, it's beautifully carved, it's made of mahogany. Mahogany became the national wood for English furniture in the 18th century, and it was a great status symbol. People would have known that it was very expensive, because it was sourced from the colonies, and then brought back to England.

NARRATOR: Before 1754, such a chair would’ve been created by an artisan using secretly guarded designs and techniques. Not this one. It was constructed from printed instructions—written and distributed by an enterprising designer: Thomas Chippendale.

WOLF BURCHARD: He produced his Gentleman and Cabinet Maker's Director, which was like a catalog in which you could choose your furniture. It had lots and lots of different styles, and you could then take that catalog to your cabinet maker, and have something made to your specifications.

THOMAS CHIPPENDALE: Upon the whole, I have given no design but what may be executed with advantage by the hands of a skillful workman… and I am confident I can convince all Noblemen, Gentlemen, or others, who will honor me with their commands, that every design in the book can be improved, both as to beauty and enrichment, in the execution of it.

NARRATOR: Today, we’re familiar with shopping catalogs, online retail, and a million other ways to conveniently get what we need. But arguably, this consumer-friendly model started with Chippendale.

Furniture design could now cater in new ways to a growing consumer market–and there are examples all around you in this gallery: along the walls and in the center case. Meanwhile, cultural upheaval mean that monarchs and aristocrats were not the only ones dictating what was desirable design–let alone “good taste.”

Chippendale’s influence has since crossed borders and time. It even inspired the designs of early American furniture. And his innovative approach–to make craftsmanship and design easily reproducible–is still seen in our homes today.

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