COURT CUPBOARDS closed base
Most furniture of any height has a moulding round the top. Many court cupboards do not, or just very shallow ones. This seems to have caused a degree of embarrassment to generations of connoisseurs and dealers with the result that many now appear to have ‘later top moulding’. One should not be unduly worried by these additions. From the number of later enclosed types one assumes that they gradually superseded the open variety. This subject is dealt with in detail in Chinnery.
As it was meant to be, a very impressive piece with inlay of strongly contrasting coloured woods of simple bird and foliage design and stringing lines of equally arresting formation. Every flat inch of the front is covered in finely executed carving. One wonders how the carver managed to keep his chisel off the bulbous turnings yet there are others equally heavily decorated with the same simple deep centre grooved turning.
Unusual in being small, this court cupboard has finely carved repetitive decoration on the frieze, while the doors have the usual heavy well-moulded frame. The panels appear to be beautifully carved with crisp stylised plants and flowers. The lower doors too, are well moulded. The big change is that the bulbous supports have contracted to emasculated stalactites in this case so small they lack full form and may even have been cut off slightly. Expensive because ’small is beautful’.
A later, simpler version in which the inlay, which appears to be of much better quality than the previous example, is reserved for the important arched centre panel. The doors either side are inlaid with broad geometric patterns which are also used for the decorations on the lower doors. The top decoration is confined to a line of dentil mouldings.
Frankly, for the money, an uneven and not wildly exciting piece. c. 1630
Of more normal size and proportions and typical in that the doors and centre panel are the focus of attention. The bottom doors are also carved but with a more formalised repetitive pattern. The pendants are of bold form. The feet are a simple continuation of the outer stiles, the identical form to that used in the chests of the period. c. 1650
Interesting because dated 1744. Fielded panels with the middle centre panel holding prominence purely on size. As one would expect by this date a broad moulding, but the construction still the same with an extension of the stiles forming the feet. c.1744
An interesting piece. The liberal application of well-formed split baluster turnings and sprinkling of cabochon cut pieces, together with the geometrically applied cushion moulding to the central panel, argues a date of at least 1680. This is supported by the large ogee top moulding. On the other hand, the double arch and the two turned supports look back to an earlier date. A Low Countries craftsman working to a basic English style A very interesting piece especially if a good colour with fruitwood incorporated and plenty of
contrasts of light and shade. c.1680
A late example of the type. The top section has grown in size at the expense of the lower portion. The piece is panelled with a very poor arch on the top door and a wide frieze. If the bracket feet are original, they confirm the late dating. The pendants have become inverted finials. With its inability to provide display, it would be easy to see here the end of the road for such a design. c.1770