BREAKFRONT AND LIBRARY BOOKCASES
About 1730 onwards
George III mahogany breakfront bookcase with broken pediment.
Free-standing domestic bookcases were rare before the 18thC. Those made for Samuel Pepys in the 1660s are the earliest known. After about 1720, as people owned more books, substantial bookcases were to be found in the libraries of all large houses; by the end of the century they were features of other rooms too, and of smaller homes. Not all were meant exclusively for books; many were used for china instead, or for both.
18thC bookcases were predominantly architectural in character and sometimes of monumental size. After 1740 many were made in breakfront form: a large central section projecting forwards beyond two flanking wings. Straight-fronted bookcases are today generally distinguished from breakfronts by the term ‘library bookcase’.
STYLE AND APPEARANCE
Six categories; but they share basically the same form. An upper, generally glazed, section for books, with a carved and moulded cornice, sometimes surmounted by a pediment, sits above a deeper and shorter lower section comprising cupboards (and sometimes drawers too) for storage of maps, prints and other papers. Occasionally, a secretaire drawer is also present. Pediments were often broken, their centre (with or without a raised plinth) holding a bust, carved eagle, urn or other work of art.
The six categories are:
Kentian, about 1710-1740 (rare today): Bold classical architectural features: broken pediments, deep cornices, pilasters faced with pendants of fruit and flowers. Central doors often arched. Upper section with large rectangular panels of glass set in broad, moulded bars, or blind of mirror panelling. Base with panelled doors, sometimes shaped and fielded, supported on a plinth.
Chippendale period, about 1740-1765: Still with classical features, but more restrained. Cornices narrower and plainer.
Fashionable pieces had a central pediment with pierced carving, wings surmounted by fretwork gallery. Pediment could be swan-neck. Availability of mahogany meant thinner and lighter glazing bars, often carved in rococo, chinoiserie and Gothic patterns (rococo occasionally gilded) or astragals (see p. 329) arranged in geometric patterns. Today, a large number of panes in an individual pattern (say 13 or 15) is considered to be a sign of quality. Base still panelled, with decorative carved edging or applied blind fret mouldings. Plinths often replaced by bracket feet.
Neo-classical, about 1770-1790: Neat and formal over-all. Simple pediments, often with urns in centre and at corners.
Cornices carved with repetitive classical ornament; astragals in geometric patterns. Lower doors with simple mouldings applied in square, circular or oval shapes, often with paterae at corners. Stands on a plinth base.
Sheraton-style, about 1790-1810: Often narrower than before, lower section taller. Pediments scroll- or lunette-shaped.
Upper doors sometimes with brass wire trellis and pleated silk rather than astragals. Astragals could be painted or gilt lead. Lower doors with decorative veneers. Large central ovals common. Splay feet fashionable, occasionally turned feet after 1800.
Regency/early Victorian, about 18101850: Large bookcases less common at first than small. Could have Egyptian or Grecian ornament (see DWARF BOOKCASES).
Antefizae on corners. Lunette-shaped pediments, if any. Fluting interspersed with paterae popular feature on cornices.
Late Regency plain. Straight moulded cornices, scrolled or acanthus carved supports typical of day.
Victorian, about 1840-1900: Often very plain, even best quality relying only on veneers for decorative effects. A large number almost style-less. Arched doors with plain glass echoed by applied arched mouldings on lower doors. Sometimes rococo/naturalistic mouldings below. Lower part could also be glazed. Cornices deep and heavily moulded, sometimes with rounded corners. Simple bracket supports sometimes present.
Could also be reformist Gothic; characteristic features: chamfered edges, diagonal boarded panelling on lower doors; or, Renaissance style: heavily carved all over. (See
under DECORATION)
18thC styles were revived at end of the 19thC. Sheraton-style particularly popular during Edwardian period, but often a poor imitation. Considerable reduction in size. Brightly contrasting cross-banding and inlay of shells, fans, combined with dentin-moulded cornice common. Often yellowish mahogany with poor, treacly-looking finish.
MATERIALS
Walnut in the Queen Anne period; sometimes painted and gessoed pine. Mahogany from about 1730, joined by satinwood around 1790. Rosewood only rarely, during Regency. Both walnut and mahogany during Victoria’s reign; oak for reformist Gothic and (less common) Renaissance style.
Various designs for bookcase and cabinet pediments: in particular A, 1680-1730; A 1730-1750; C, 1750-1780; A pagoda-shaped cresting, about 1750-1770; E, scrolling arch, about 1780-1810; F neo-classical urns and drapery, about 1765-1800; G, scrolling arch with urn, about 1790-1830.
BOOKCASES
CONSTRUCTION
Standard practices employed. Sometimes revealed mortise-and-tenon construction on reformist Gothic. Many convincing reproductions of 18thC bookcases were made by the Victorians and at a glance look right, so look for indications of age, such as:
Shelf supports: Early 18thC pieces have shelves slotted between narrow strips of wood glued to the sides at regular intervals. From about 1730, shelves were more usually rebated into grooves cut in the sides. After 1800: supported on wood or metal pegs plugged into pairs of evenly spaced holes.
If the shelf supports continue right up to the top of each side, the bookcase has almost certainly been cut down. They should finish a book’s height below the cornice.
Glazing bars: Before 1800 bars were usually rebated into stiles and rails, therefore
Left, glazing bar rebated into style; right, astragal glazing bars.
flush with surface. After 1800: more commonly tenoned, therefore slightly recessed.
Other points of interest: Cases originally intended for china may have grooves at the back of the shelves for the support of plates.
Original glass will not be completely flat and clear. The putty holding it in place will be very hard and dark and will have accumulated a good deal of dirt.
If there was once a pediment there will be obvious marks where it once sat. Its absence does not necessarily affect value. Try and get up there to take a look.
DECORATION
Principally carved ornament, mostly on cornices. In 18th and early 19thC, classical style. Could be Vitruvian scrolls, egg-and-dart, tongue-and-dart, dentil moulding, acanthus, Gothic fret, fluting interspersed with paterae, swags.
Blind fret carving on lower doors and cornices, in mid-18thC sometimes open fret on pediments.
Figuring of veneer always a main feature. Decorative use of veneers in the forms of ovals, cross-banding on Sheraton and Sheraton revival pieces, occasionally restrained inlay in addition.
Incised decoration sometimes present on reformist Gothic pieces; occasionally inlay of ebony, ivory too, in small repetitive geometric patterns. Bold carving of lion’s masks, foliage, geometric mouldings, cartouches, on Renaissance revival pieces.
Handles: When present, they follow prevailing patterns.
FINISH
Left, 18thC shelf arrangements; above, 19thC fixing,
Polish. Stain on 19thC oak; light, often yellowish, for Gothic, dark for Renaissance.
RELATIVE VALUES
Quality 18thC bookcases in original condition are valuable items, many fetching well into five figures. Pediments, secretaire drawers, a pre-1750 date and, most important, breakfronts, will increase value. Similar library versions are generally cheaper as are small Sheraton-style pieces with decorative veneers. Late Regency/William IV mahogany, Victorian/Edwardian mahogany reproductions of 18thC pieces, Victorian oak and walnut are all variable.