Buscot Park Hall- Pair of Ebonised Gilt chairs From The Thomas Hope Suite
Buscot Park is a glorious example of the Regency style. The estate was built by Edward Loveden Loveden between 1779 and 1783 for Edward Loveden Loveden. The house was inspired by the architecture of the great Renaissance architect, Andrea Palladio. Most of the furniture here is of the Regency period, and reflects the revival of interest in that style in the inter-war years.
The entrance hall's gilt-metal chandelier from Barnsley Park
The large ebonised and gilt couch, and the pair of chairs standing in front of the scagliola pillars, are in the Egyptian taste that became fashionable after the battle of the Nile (1798). They, together with the ebonised and gilt torchères, were made for Thomas Hope, the pioneer of Regency furniture design, and are illustrated in his Household Furniture and Interior Decoration (1807) as part of the furnishing of the ‘Egyptian Room’ at Duchess Street, his London residence off Portland Place.
The tripod-stand behind the couch, ebonised and gilt, with lion monopodia supports, is in the manner of George Smith, the cabinet-maker whose pattern book of 1808 (A Collection of Designs for Household Furniture and Interior Decoration) did much to popularise the Regency style.
At the far end of the Hall is a pair of ormolu-mounted French Empire side-tables in mahogany with marble tops. The tables carry Empire figures of kneeling cupids in ormolu, and Sèvres bleu celeste shell-shaped dishes of 1756, which were originally simply painted with flowers, but when mounted in ormolu,
the turquoise grounds and bird paintings were added (perhaps by Edward Holmes-Buldock c.1830).
The pair of amboyna and giltwood tables, with pineapple motif stems,supporting seventeenth-century panels of Genoese marquetry, reflect the antiquarian taste that became fashionable under the Prince Regent's influence, and were bought at the Hartwell House sale in the 1930s. The ormolu candelabra on the mantelpiece, their four-branched lights supported by winged figures, are
French of the Empire period, in the manner of Thomire. Either side of the chimney-piece are two eighteenth-century gout stools.
A cut glass chandelier in George III style In The Dutch Room
The Dutch Room was created out of two smaller rooms in the 1930s, during the 2nd Lord Faringdon’s extensive alterations to the house. The Dutch Room has a plasterwork ceiling and frieze made at that date in the Adam style. In this room exist a set of six single chairs, two stools and settee, is of the Chippendale
period. relief. Two satinwood commodes with concave fronts, inlaid with paterae, are closely related to Chippendale’s work in the neo-classical style of about 1775.
Between the windows is an unusual pair of side-tables of the Sheraton period, completely veneered with tortoiseshell, stained green and red. The oval mirrors above are giltwood frames with festoons of husks, paterae and ribbons which are supreme examples of the Adam style. At the far end of the room are a pair of fine inlaid cabinets. The highly elaborate tops of the cabinets,decorated with red-stained tortoiseshell and engraved bone, date from the mid-seventeenth century.
Regency Style Decorating -Buscot Park Sitting Room
The Sitting Room date from the 1930s, when the 2nd Lord Faringdon made extensive alterations to Buscot, intending to return the house to its original eighteenth-century appearance.
Regency Style Decorating -Buscot Park Sitting Room
Regency Style Decorating -Buscot Park Sitting Room
As in the Hall beyond, most of the furniture here is of the Regency period. This style can be seen in the rosewood sofa table at the western end of the room, and the pair of rosewood card tables, with elegant lyre-shaped supports, made by the leading cabinet-makers of the day, Gillows of Lancaster. In the room eight single chairs with sabre legs, grained to simulate rosewood, exemplify a type of painted decoration characteristic of the period. The pair of Regency mahogany bergere chairs are a recent acquisition. The chandelier is a good example of a Regency glass ‘lustre’, and the gilt pelmet boards, with elaborate scrolls are of the same period, moved here from the Drawing Room at Barnsley Park, when Nash carried out his alterations there between 1807 and 1809.
Facebook Comments