Jepara Carving is a High Quality Handmade Product

Visiting Indonesia not satisfied if you have not visited the area in the region precisely Jepara. You will see various kinds of furniture with the quality and value of high art. All beautiful furniture product are all done by hand. Wood became the main option, so that the furniture made in Jepara can survive tens of years. Terms of the price of furniture Jepara furniture made to compete with other nations.

Jepara is well-known as producer of the best handcrafted wooden carving furniture in Indonesia and became a cluster industry in wooden carving products for decades, its the one and only place in Indonesia you can find any kind of wooden carving products from furniture to statues and any other wooden handicraft all around Jepara.
The activity of Jepara Carving was started since the 7th century when Queen Shima Rule the Kalingga Kingdom in Jepara. Their main subject is making the Traditional Ship and Traditonal House. And then on the 16th century, when Jepara is lead by Queen Kalinyamat, there are so many improving and development on the carving design. It's because the original style of wooden carving get influence from Chinesse, India, Arab, and Europe style. So, the wooden carving have the change of it design.

On the 19th century, the development of Jepara Furniture Industry is become famous in many countries all over the world after R.A Kartini, the daughter of Jepara Head Residence introduce the wood carving products from Jepara to the Queen Wilhelmina on her marriage then R.A. Kartini also introduce Jepara wood carving through Oost en West organisation that help on the market place. Another way how R.A Kartini introduce the wood carving is by sending it to her friends in Holland.

On the 20th century when Soeharto become a President of Indonesia, Jepara Furniture Home Industry get a support from the President's Wife to get the investor to expand their business and as a result, many foreign investor interested to expand their business to Jepara. Then the Europe design is dominate the production of Jepara Carving Furniture up to now.

The characteristic of Jepara carving is very thick with a complex structure. Jepara carving product only use high quality legal materials in the production and supported by the very talented, profesional and well management local craftsmen.

The Gentleman and Cabinet-maker's Directo (Chapter 3) : Cabinets

By Thomas Chippendale

Plate XCI.
Is a plain Cabinet intended for Japan, the mouldings are all at large, and the sizes fixed to the design.
Chippendale cabinet

Plate XCII.(no 92)
Is a Cabinet with two different feet, and only one door; the other without the door fhews the defign of the infide; the mouldings are at large, and the dimenfions fixed to the Cabinet; the work that is upon the door, is to be carv'd neatly out of thin ftuff, and glued upon the pannel.
Chippendale cabinet

Plate XCIII.
Is a Chinese Cabinet with drawers in the middle part, and two different forts of doors at each end. The bottom drawer is intended to be all in one; the dimenfions and mouldings are all fixed to the defign. This Cabinet, finifhed according to the drawing, and by a good workman, will, I am confident, be very genteel.
Chippendale Chinese cabinet
 

Plate XCIV. (XCIIII)
Is a Gothic Cabinet without doors; the fretwork at the bottom of the cabinet is intended for a drawer; the upper forms a fort of Gothic arches, fupported by whole terms in the middle, and half-ones at the ends, and drawers betwixt. The fhaded parts BBB are intended to be open, and fretwork on the edge of the fhelves; the upper fretwork is cut through; the mouldings are at large on the right hand, and a fcale to take off the particulars.
Chippendale Chinese cabinet
 

Plate XCV.
A Gothic Cabinet upon term feet; the middle is a door with columns glued to it; the doors and columns open together, and intended for glafs. The ornaments and feftoons upon the glafs will look very well; the bottom drawer D is to be all in one, with two drawers above it; the other opening will hold Chinefe figures, or any thing elfe that may be thought agreeable. CBA are mouldings at large, with a fcale to take off the particulars. The whole, if juftly finifhed, will make a handfome and elegant piece of furniture.
Chippendale Gothic cabinet
 

The Gentleman and Cabinet-maker's Director (Chapter 2) : Bookcases

By Thomas Chippendale

Plate LX, LXI, LXII.
Are three Library Book-Cases of different forts, with their dimensions and mouldings all fixed to the designs. If you have occafion to alter their sizes, it would be well to keep as nigh the fame proportion as possible; otherwise the upper doors may have but an ill appearance. It would be needless to fay any thing more about them, as their forms are fo easy.
Those Book-cases are all intended for glass doors.














































Plate LXIII.
Plate LXIII is a library Book-Case with all its dimensions.

















Plate LXV.
Plate LXV is a library Book-Case. The dimensions are all fixed to the design.

Plate LXVII.
Plate LXVII is a library Book-Case, with its profile and scale.

















Plate LXIX.
Plate LXIX is a Library Book-Case in Perspective; the dimensions are all fixed to the design.
Chippendale bookcase

Plate LXXI.
Plate LXXI is a neat Gothic Library Book-Case, with a frofile and fcale. This book-case, made by an ingenious workman, will have the different effect.

Plate LXXIII.
Plate LXXIII is a Gothic Library Book-Case, no way inferior to the foregoingone; the profile and fcale is on the right hand.

















Plate LXXV.
Plate LXXV is a rich Gothic Library Book-Case, with Gothic columns fix'd upon the doors, to open with them; the doors are different, but may be made alike if required. This defign is perhaps one of the best of its kind, and would give me great pleafure to fee it executed, as I doubt not of its making an exceeding genteel and grand appearance; the upper doors are to be glazed.
Chippendale Gothic bookcase

The Gentleman and Cabinet-maker's Director (Chapter 1) : Beds

By Thomas Chippendale

Plate XXVII.
Is a Bed with its proper dimenfions, which needs but a little explanation. B is a different cornice to be covered with the fame as the curtains; aaa, c. is the lath with pullies fixed to draw the curtains up with.
Chippendale bed

Plate XXVIII.
Is a Gothic Bed with a drapery Curtain; the pofts are made into eight cants, and indented: B is one fourth part of the tefter; aa is the frame length as AA, whith muft go from corner to corner of the bedftead, to form the roof; this done, you have the corners or hips form'd. Divide the length AA as you fee it, and then raife two perpendiculars up to B, and divide that length into the fame number of divifions as AA below, that gives the fweep of the ribs ccc, c. The curtain is drawn up by one line on each fide, as you fee the pullies fixed at the corner. The other parts need no explanation.
Chippendale Gothic bed

Plate XXIX.
Is a Gothic Bed the same as the former, except the tefter, which is flat. This cornice will look extremely well, if properly work'd. A is the tefter lath; ccc, c. are the pullies where the lines are fixed; B is an ornament to be made of the lace or binding of the furniture.
Chippendale Gothic bed

Plate XXX.

Is a Canopy-Bed with drapery curtains and vallens, and head-board. The dimenfions are all fix'd to the defign. A is one-fourth of the tefter; C is a fmall oval dome in the infide, which begins at B; D is the outfide canopy; HH are frets or ornaments to decorate the infide; ee are the double laths; f is the bed-poft; g is the fide of the bedftead; kkk, c. is the place where the pullies are to be fixed to draw the curtains up with.
Chippendale bed

Plate XXXI.

Is a Dome-Bed, the fides of the dome and the cornice I have form'd into an elliptical form, to take off the feeming weight which a bed of this kind has. when the cornice runs ftraight. There are four dragons going up from each corner; the curtains and vallens are all in drapery. The head-board has an fmall Chinefe Temple, with a jofs, or Chinefe God; on each fide is a Chinese man at worfhip; the outfide of the dome is intended to be japan'd, and Mosaic work drawn upon it; the other ornaments to be gilt; but that is left to the will of thofe, who fhall pleafe to have it executed. AA is one quarter of the tefter, or plan with the ribs that are to form the dome; the diftance AA in the plan, is the diftance AA in the profile above, which divided in the manner you fee, will ferve to make all the other ribs. Take the diftance A bbb, C. and fet off at aa; its rife is taken from the middle of the cornice to the greateft height or pitch of the dome, and divided into the fame number of divifions; and then obferving where they interfect in the upper profile of the rib, or hip, make them interfect in the fame divifion as below, which method ferves to make all the reft.
Chippendale doom bed

Plate XXXII.

Is a Chinese Bed, the curtains and the vallens are tied up in drapery, the tefter is canted at each corner, which makes a fort of an elliptical ornament or arch, and if well executed will look very well.
F is a quarter of the tefter, with frets cut through, and the covering feen betwixt. G is one-fourth of the oval dome, and E is the profile of it. D is the outfide canopy, and the cant of the corner in the plan F is continued up the corner of the canopy, B is the lath and ornament below it; A is the profele of the cant of the corner of the tefter, which terminates into a point upon the poft; C is the bed-poft.
Chippendale Chinese bed

Thomas Chippendale (1718 - 1779) : The Gentleman and Cabinet-maker's Director.

Thomas Chippendale was born in Otley, Yorkshire, in 1718, the son of a carpenter. The exact date of his birth is a mystery, but we do know that he was baptised on June 5.

Like his birth, Chippendale's early life is lost to us. We do know that he married Catherine Redshaw in 1748 in London, and five years later he moved his furniture showrooms and workshop to St. Martin's Lane, where he lived and worked for the rest of his life.

In 1754 Chippendale published his masterful collection, Gentleman and Cabinet-Maker's Director, a compilation of fashionable English furniture design. This work is Chippendale's enduring legacy, and shows his gift in adapting existing design styles to the fashion of the mid 18th century. So pervasive was the influence of the book that the name of Chippendale is often indiscriminately applied to mid-18th century furniture as a whole.

Chippendale partnered with upholsterer James Rannie, and when Rannie died his former clerk, Thomas Haig, became Chippendale's business partner. Catherine Chippendale died in 1772, and Thomas remarried in 1775, to Elizabeth Davis.

Chippendale's designs coveraged a wide range of styles, from Rococo to Gothic and chinoiserie (oriental style). From the 1760's Chippendale was influenced heavily by the Neoclassical work of architect Robert Adam, with whom he worked on several large projects, notably at Harewood House and Nostell Priory.

Many fine pieces of furniture have been attributed to Thomas Chippendale, but verifiable pieces are rare. His designs were widely copied, and his Gentleman and Cabinet-Maker's Director was used heavily by other makers in both England and North America.

Even when a piece can be attributed with certainty to Chippendale's workshop, it is impossible to say for certain that he worked on the furniture himself. As the Chippendale firm became successful, more and more work was carried out by trained workmen rather than Chippendale himself.

Thomas Chippendale died in 1779 and his business was carried on by his son, also named Thomas.

Read  Gentleman and Cabinet-Maker's Director for :

Beds

Bookcases

Cabinets

Chairs

Chests of Drawers

Cloth Chests and Cases

Commodes

Desks and Bookcases

Desks

Sofas

Tables

Furniture History (Part 7) : George III style furniture 1760 - 1820

George III was the grandson of George II. He was born in 1738 and reigned from 1760 until 1811 over the United Kingdom. The Prince of Wales, George IV, acted as Regent for the next 9 years until the death of George III in 1820.

Mahogany was the preferred wood. Painted satinwood and giltwood expressed the English interpretation of Rococo.

Chair

Desk

Chest of Drawer

Dresser

Bookcase

Secretare

Display

Barometer