Chinese Chippendale Drop-leaf and Pembroke Tables

Like chinoiserie, which had emerged in Europe in the 17th century, antique Chinese Chippendale furniture was an appropriation of Asian design that often distilled it to stereotypes.

Thomas Chippendale published The Gentleman and Cabinet-Maker’s Director in 1754, and the widespread popularity of the book of furniture designs influenced a new style of furniture named for the English cabinetmaker. Artisans in England, the United States and Europe adapted the work illustrated in its pages. The publication of the pattern book included designs reflecting “Gothic, Chinese and Modern Taste,” with illustrations of “Chinese” chairs and cabinets featuring elaborate hand-carved latticework.

Pagoda-shaped flourishes and wood painted in the “japanned” finish that mimicked lacquer were common on these pieces, as were fretwork patterns on chair backs. The back of a chair is the easiest way to distinguish between Gothic, Rococo and Chinese Chippendale chairs, all of which typically feature broad seats and luxurious upholstery. Chippendale’s designs for “Chinese” chairs tend to favor more clean lines and less ornamentation than the other styles, with cutouts in the rails and the fretwork on the back evoking a European ideal of East Asian design.

Dark woods such as walnut and solid mahogany were commonly used, as were bamboo turnings. Cabinets for imported Chinese ceramics frequently were adorned with glazing bars, while small tea tables were detailed with angular fretwork. The style remained popular through the 18th century and into the decades that followed, even inspiring an entire room at Buckingham Palace.

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