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American Bamboo and Birch Satinwood Secretary Desk, Attributed to R. J. Horner

$5,000

£3,795.98

€4,350.08

CA$7,096.84

A$7,740.86

CHF 4,066.47

MX$93,648.50

NOK 50,872.87

SEK 48,034.12

DKK 32,470.32

About the Item

American Bamboo and Birch Satinwood Secretary Desk, Attributed to R. J. Horner & Company, New York City, Circa 1885 An exotic Bird's eye maple and satinwood desk in a Chinese Chippendale style. The upper section is topped with a pierced gallery accented with finials, sitting above a central open shelf flanked by two doors. Below is a tooled black leather writing surface and two side drawers. The writing surface lifts to reveal a partitioned interior. The desk is supported on four bamboo legs with a bamboo stretcher between. Dimensions: Height 52 3/4 inches x Width 33 inches x Depth 33 inches (132.1cm high x 83.82cm wide x 82.83cm deep) Height to desk top 29 1/2 inches. Height to bottom of desk top 26 inches. Reference: A chair in the Met is shown on line with similar design and work A similar desk can be seen at the Brooklyn Museum of Art. Accession Number 1989.158. The museum writes- From the 1830s to the 1870s, designers of furniture, ceramics, metalwork, and other household objects drew their inspiration from historical styles such as the Gothic, Renaissance, and Rococo (see the Period Rooms along the corridor to your right). Beginning in the 1860s, designers and manufacturers responded to increased interest in other cultures and advocated a rejection of industrialized production. While today we strive to reflect more sensitively and knowledgeably on the appropriation of styles, symbols, and practices from cultures other than our own, in the nineteenth century there was no such awareness. European and American designers and manufacturers copied, adopted, and exploited images and customs from other cultures without respect or recognition. These manufacturers were trying to create interest in what was unfamiliar, regardless of sensitivity. Objects both made in Japan and those that appropriated forms and motifs from Japanese models were especially popular, particularly after Commodore Matthew Perry forcibly opened Japanese ports to European and American trade in 1853. Although many of the objects on display here were industrially manufactured, critics promoted objects from cultures, such as Japan and the Islamic world, and historical styles, such as the Gothic, that evoked what were thought to be less industrialized and more “honest” forms of production. During the 1850s, the development of wood pulp paper allowed for a proliferation of inexpensive magazines and books to be published, and some of these were directed toward the growing middle class, which was enjoying increased leisure time and more disposable income. Women were encouraged in these publications to furnish their homes with lighter furniture and objects. Often, this period of decoration is called the Aesthetic movement, “art for art’s sake,” or “the artistic interior,” and its profusion of highly decorated and painted and gilded surfaces on simple forms dominated domestic interiors. Here, Ottoman-inspired vine patterns decorate ewer and vase forms, while Japanese motifs are loosely interpreted on a plaque, a silver Tiffany vase, and a gilt-handled vase. The writing desk by R. J. Horner is constructed of yellow-stained maple, resembling bamboo. Caption R.J. Horner & Company (1886–1915); American. Lady's Writing Desk, late 19th century. bird's-eye maple, silvered glass, leather, 69 3/4 x 27 x 18 in. Brooklyn Museum, Alfred T. and Caroline S. Zoebisch Fund, 1989.158. (Ref: NY10365-iukm)

Dimensions:

Height: 52 in (132.08 cm)Width: 33 in (83.82 cm)Depth: 33 in (83.82 cm)

Style:

Chinese Chippendale (Of the Period)

Materials and Techniques:

Bamboo,Birdseye Maple,Satinwood

Period:

Late 19th Century

Date of Manufacture:

late 19th Century

Condition:

Wear consistent with age and use.

Seller Location:

Downingtown, PA

Reference Number:

Seller: NY10365-iukm1stDibs: LU861035997132

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