Probably the only household name in antique furniture, taking the last name of Thomas Chippendale, a furniture London cabinet maker and furniture designer who published a book of his designs, titled 'The Gentleman and Cabinet Maker's Director' in 1754.
The designs in the book reflected the current London fashion for furniture for that period, and were used by other cabinet makers outside London.
Very little of the furniture described as 'Chippendale' can be actually traced to Chippendale's workshop, and if it can, the value of the items is greatly increased. Certainty of manufacture by Chippendale would require an invoice from the time, together with a history of the item since manufacture.
In fact most 'Chippendale' furniture that comes onto the market was made at a later date following in various degrees the designs from his 'Director', as the popularity of Chippendale designs has continued through to the present time. more...The name 'Chippendale' has become a generic term for furniture in the style associated with him and sometimes in later examples, the style bears little resemblance to the designs in the 'Director'
Chippendale was also an interior designer who advised on soft furnishings and colours and his aristocratic commissions included Blair Castle Perthshire for the Duke of Atholl, Harewood House Yorkshire for Edwin Lascelles and Petworth House Sussex for the 3rd Earl of Egremont. In all 26 of these commission have been identified and furniture from Chippendale's workshop can be identified in these houses.
Thomas Chippendale (1718-1779) was born in Yorkshire and appears to have come to London about 1745. he was in partnership with James Rannie, a cabinetmaker from about 1753 until Rannie's death in 1766, and then with Thomas Haig from 1771. At the time the partnership was formed, Chippendale is recorded as employing 22 cabinetmakers in his workshop.
Following Chippendale's death in 1771, his son Thomas Chippendale II took over his share of the business and continued the partnership with Haig until 1796. Thomas Chippendale II opened showrooms in the Haymarket, London, and then moved to Jermyn Street in 1821. Thomas Chippendale II died in 1823.
Learn about Chinese Chippendale
Chippendale style furniture, inspired by his book, 'The Gentleman and Cabinet-Makers Director' published in 1754, employing chiefly straight lines with Chinese motif decoration such faux bamboo turnings, blind fretwork, lattice and sometimes decorated with Chinese style painting. The fashion continued during the Regency period, as can be seen at the Royal Pavilion in Brighton, and into the 19th century.
A George III inverted breakfront bookcase, the cornice with moulded Chinese Chippendale decoration, above astral glazed doors, below four panelled doors, 255 cm wide approx., 40 cm deep. Provenance: Connoisseurs Stores. Melbourne, The Estate of Stanley Cra
An English parcel gilt mahogany hanging shelf, circa 1900, in the Chinese Chippendale taste, having a pagoda top flanked by gilded bells, three shelves with pierced lattice fronts, 114 cm high, 88 cm wide, 16 cm deep
A mahogany display cabinet, circa 1920s, the Chinese Chippendale inspired breakfront cabinet with extended decorative moulding above a fluted motif to the central section having two glazed doors opening to shelves and a mirror backing, flanked by recessed
A mahogany Chinese Chippendale revival display cabinet, early 20th century, with mirror plated back, the open sectional shelves with fretted carved sides and galleries, with shaped base frieze and moulded cabriole leg with lion paw feet, 128 cm width x 35
A pair of 19th century Chinese Chippendale design lamp tables. Each square with a moulded edge, pierced frieze with conforming bracket, on square chamfered supports with under shelf with pierced gallery terminating in splay feet.
Important suite of five late 19th century English Chinese Chippendale chairs by Gillows, the carved back with pierced back splat and blind frieze carvings to the legs with stretchers, stamped 'Gillows' to the interior structure
A Chinese Chippendale style Chinoiserie decorated pier mirror and bracket, early 20th century, the rectangular plate with a painted panel surmounted by a pagoda top and standing on a lobed wall bracket, the mirror 47 cm wide, 94 cm high, the bracket 44 cm
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