Bellows
ca. 1770 (made)
| Artist/Maker | |
| Place of origin |
Before the advent of central heating, warmth was provided by open fires, braziers or solid-fuel stoves in the main living rooms of a house. To maintain a fire all day demands a certain level of skill - knowing when to add more fuel, when to poke the fire and when to leave it alone - and a range of specialist tools. Bellows like these were designed to add oxygen to a smouldering fire, encouraging it to burn more fiercely.
The decoration on these bellows suggests that they formed part of the fittings of a fashionable 'Chinese'-style interior. The scene, depicting two men in loose robes and long moustaches holding a parasol and a cymbal, probably derives from prints imported from China. Artists selected elements from a variety of design sources resulting in 'chinoiserie', a hybrid style influenced by, but not reproducing, works of art from East Asia. The rather disjointed composition of this scene, incorporating outsized vases of flowers and a disembodied building, reflects this pick-and-mix approach.
The straw marquetry technique used on these bellows was popular in France between about 1780 and 1830. The straw was split and flattened, then glued into place on thin paper on which the design had been drawn. This was then glued to a wooden carcase, which was usually covered first with a thicker paper. The maker could divide the straw into two, four or more strips, depending on the fineness needed for the design. Colour could be added to the surface with various varnishes, which also enhanced the glossy appearance of the marquetry. Straw marquetry was most suitable for small objects like these bellows but occasionally larger pieces of furniture were decorated in this way. Because straw work is very fragile, it is rare for pieces to survive in good condition.
The decoration on these bellows suggests that they formed part of the fittings of a fashionable 'Chinese'-style interior. The scene, depicting two men in loose robes and long moustaches holding a parasol and a cymbal, probably derives from prints imported from China. Artists selected elements from a variety of design sources resulting in 'chinoiserie', a hybrid style influenced by, but not reproducing, works of art from East Asia. The rather disjointed composition of this scene, incorporating outsized vases of flowers and a disembodied building, reflects this pick-and-mix approach.
The straw marquetry technique used on these bellows was popular in France between about 1780 and 1830. The straw was split and flattened, then glued into place on thin paper on which the design had been drawn. This was then glued to a wooden carcase, which was usually covered first with a thicker paper. The maker could divide the straw into two, four or more strips, depending on the fineness needed for the design. Colour could be added to the surface with various varnishes, which also enhanced the glossy appearance of the marquetry. Straw marquetry was most suitable for small objects like these bellows but occasionally larger pieces of furniture were decorated in this way. Because straw work is very fragile, it is rare for pieces to survive in good condition.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Straw marquetry on pine with cast brass fittings |
| Brief description | A pair of bellows decorated with Chinoiserie scenes in straw marquetry, French, about 1770. |
| Physical description | Pair of bellows with pine carcase decorated with straw marquetry depicting on one side a chinoiserie scene and on the other a spray of flowers. Brass nozzle and vent cover. The straw bears the residue of green and red staining, suggesting that the marquetry was brightly coloured when new. |
| Dimensions |
|
| Style | |
| Gallery label | Bellows with
chinoiserie
scenes
About 1770
France
Pine; straw marquetry;
copper alloy fittings
Museum no. W.34-1934(2015) |
| Credit line | Given by Mr Eric Bullivant |
| Historical context | Straw, the hollow dried stalk of grain crops such as wheat and barley, has a wide variety of uses. As well as agricultural uses such as animal bedding, it can be plaited and made up into small articles such as baskets and hats. It's reflective surface, warm colour and pronounced grain can also be exploited as a beautiful surface decoration.The stalks are split lengthways and flattened, then glued onto a backing sheet of card before being attached to an object or piece of furniture. Laid at different angles the glossy grain of straw marquetry catches the light. Straw marquetry was very popular in 18th century France. There was a commercial trade making and selling objects with straw marquetry, as well as work my nuns and monks, and prisoners. The trade in small items and whole pieces of furniture decorated with straw marquetry flourished in Pairs from the 1750s to the Revolution. There was a taste for unusual patterns and materials, and an interest in collecting. Two merchants who specialised in straw marquetry were Chervain and Delasson, who advertisements in the newspapers appeared in December when straw work was bought as New Year gifts. In 1759, Chervain advertised 'a few pretty trifles for New Year gifts', boxes with 'a new lining made of straw from China worked in designs imitation to perfection the flowers and ornaments used in China'. In reality the straw was not from China but the designs were in the Chinoiserie style which was highly popular. (Caunes and Baumgartner, La Marqueterie de Paille). |
| Summary | Before the advent of central heating, warmth was provided by open fires, braziers or solid-fuel stoves in the main living rooms of a house. To maintain a fire all day demands a certain level of skill - knowing when to add more fuel, when to poke the fire and when to leave it alone - and a range of specialist tools. Bellows like these were designed to add oxygen to a smouldering fire, encouraging it to burn more fiercely. The decoration on these bellows suggests that they formed part of the fittings of a fashionable 'Chinese'-style interior. The scene, depicting two men in loose robes and long moustaches holding a parasol and a cymbal, probably derives from prints imported from China. Artists selected elements from a variety of design sources resulting in 'chinoiserie', a hybrid style influenced by, but not reproducing, works of art from East Asia. The rather disjointed composition of this scene, incorporating outsized vases of flowers and a disembodied building, reflects this pick-and-mix approach. The straw marquetry technique used on these bellows was popular in France between about 1780 and 1830. The straw was split and flattened, then glued into place on thin paper on which the design had been drawn. This was then glued to a wooden carcase, which was usually covered first with a thicker paper. The maker could divide the straw into two, four or more strips, depending on the fineness needed for the design. Colour could be added to the surface with various varnishes, which also enhanced the glossy appearance of the marquetry. Straw marquetry was most suitable for small objects like these bellows but occasionally larger pieces of furniture were decorated in this way. Because straw work is very fragile, it is rare for pieces to survive in good condition. |
| Bibliographic reference | Lison de Caunes and Catherine Baumgartner, La Marqueterie de Paille, Editions Vial, 2004 |
| Collection | |
| Accession number | W.34-1934 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | January 3, 2007 |
| Record URL |
Download as: JSONIIIF Manifest
