Sofa
1840-1860 (made)
| Artist/Maker | |
| Place of origin |
Papier-mâché, which literally translates as 'chewed paper', is an ancient technique thought to have been invented by the Chinese. It became popular in Britain during the eighteenth century when the term was first coined, probably by French immigrant craftsmen working in the trade. At first it was used in pulp form for architectural mouldings and frames. As technology progressed a technique of moulding laminated sheets of paper was developed. The durable waterproof nature of this material meant it could be used for anything from trays, boxes and screens to chairs, pianos and even carriages.
Unlike wood, papier-mâché was not prone to warping which could cause large areas of painted decoration to crack, or inlay to lift. It was therefore ideally suited to the decorative techniques of japanning, gilding and pearl inlay found on this sofa. The durability of some forms of papier-mâché meant that it could be cut, joined and inlaid like wood, but furniture was usually made up of a combination of wood and papier-mâché components. Here the frame of the sofa is constructed in wood while the three medallions set into the seat back are made of papier-mâché.
Unlike wood, papier-mâché was not prone to warping which could cause large areas of painted decoration to crack, or inlay to lift. It was therefore ideally suited to the decorative techniques of japanning, gilding and pearl inlay found on this sofa. The durability of some forms of papier-mâché meant that it could be cut, joined and inlaid like wood, but furniture was usually made up of a combination of wood and papier-mâché components. Here the frame of the sofa is constructed in wood while the three medallions set into the seat back are made of papier-mâché.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Japanned wood and papier-mâché with painted and inlaid decoration, upholstered seat and brass casters |
| Brief description | Sofa of japanned wood and papier-mâché with painted and inlaid decoration and upholstered seat; English, 1840-1860 |
| Physical description | Of wood japanned black except where stated. Supported on six legs all with casters surmounted by a band of brass beading; one at each end of the sofa at the back, of circular section and curving outwards from the seat rail. Four at the front, all with pad feet. The two outside legs at the front are cabriole with a flattened front side decorated with a gilt foliate motif above and below the knee which is decorated with a leaf shape with gilt serrated edges fitted with random mother of pearl inlay with white painted dotted decoration. Above the knee the legs continue as arm supports. The two outer front legs have a band of gilding all round their front edges; their backs are undecorated and angular. The two inner front legs are similarly decorated, except that their knees are very flattened and they do not rise above the seat rail. The front seat rails curve outwards between the four legs and each of these three curves is decorated with a central elongated spray of flowers painted naturalistically in colours, bordered on the lower curved edge with a band of gilding with foliate motifs. The side chair rails curve round to the back legs and are decorated with a single central gilt band. The back seat rail is straight except at its ends and undecorated. The seat is heavily upholstered and covered with a modern purple damask with black edging. The insides of the arms and arm suppports are decorated with gilt foliate scrollwork surround by a gilt band. Their outsides are bordered by a band of gilding. The arms have small upholstered pads and bend outwards at the juncture with the arm supports where they are decorated on top with a gilt leaf. A similar gilt leaf decorates them before they bend inwards to meet the back. The back is formed as three oval frames, the central one elongated horizontally and much larger the other two. Each oval is supported on two scrolled supports rising from the back seat rail and decorated with gilt foliate ornament. The two side ovals are decorated at the top with a wavy cresting veneered with plates of mother of pearl. The oval frame itself is decorated with a band of random mother of pearl inlay with white paint dotted decoration enclosed by two gilt bands, one enclosing with an inner scalloped gilt band. Inside the oval frame at the bottom are two scrolled X shaped supports at the top similarly decorated. These hold an oval frame decorated with gilt bands enclosing a chain of circular inlaid pieces of papier-mâché connected by a broken gilt band, with fret-cut gilt foliate extensions at the top centre and sides. Within this frame and connected to it by 'bridges' at the four main axes, decorated with gilt circles, is an oval plaque surrounded by a gilt band and filled with flowers painted naturalistically in colours. The two outside oval sections of the back curve round to meet the arms. They are connected to the straight centre oval by hour-glass shaped intermediate sections decorated at top and bottom with gilt folioate and scrolled motifs. The central elongated oval is decorated identically to the side ovals except that the inner oval frame is held by three X shapes at the bottom and four scrolls (the two centre ones smaller) at the top. Also it appears that its central painted plaque is of papier-mâché. The rear of the back is completely undecorated. |
| Dimensions |
|
| Credit line | The Lord Holden Bequest |
| Summary | Papier-mâché, which literally translates as 'chewed paper', is an ancient technique thought to have been invented by the Chinese. It became popular in Britain during the eighteenth century when the term was first coined, probably by French immigrant craftsmen working in the trade. At first it was used in pulp form for architectural mouldings and frames. As technology progressed a technique of moulding laminated sheets of paper was developed. The durable waterproof nature of this material meant it could be used for anything from trays, boxes and screens to chairs, pianos and even carriages. Unlike wood, papier-mâché was not prone to warping which could cause large areas of painted decoration to crack, or inlay to lift. It was therefore ideally suited to the decorative techniques of japanning, gilding and pearl inlay found on this sofa. The durability of some forms of papier-mâché meant that it could be cut, joined and inlaid like wood, but furniture was usually made up of a combination of wood and papier-mâché components. Here the frame of the sofa is constructed in wood while the three medallions set into the seat back are made of papier-mâché. |
| Bibliographic reference | The following excerpt is taken from Jones, Yvonne, Japanned Papier-Mâché and Tinware c. 1740-1940. Woodbridge, Antique Collectors' Club, 2012 (ISBN 978 1 85149 686 0), p.23-27:
‘Paper is believed to have been invented in China in the second century AD, and the Chinese art of making papier mâché objects is almost as ancient, but knowledge of paper-making spread only very slowly and it not reach Europe until the 12th century. Paper-mills were established in France in the late 15th century and soon after, French craftsmen began using paper pulp to make architectural ornaments, snuff boxes and other small articles. There were few paper mills in England until the late 17th century, so there was little pulp from which to make comparable articles, the paper imported from France being far too expensive to be pulped for the purpose.
By the 18th century, however, there were two quite distinct branches of paper mâché manufacture in England. One was allied to the making of paper hangings, and the other, to the japanning industry. Both branches took their lead from France and this, together with the name, has not only perpetuated the myth that papier mâché was French in origin, but also overshadowed its ancient eastern history.
Not only was the term papier mâché not recognised in 18th century French dictionaries, but the Journal de l’Agriculture du Commerce (1778) sourced it to England and to the first edition of Dossie’s book, The Handmaid to the Arts (1758). Its occurrence, much later in the French edition of the Paris Exhibition catalogue of 1855, may simply have been the result of the translation of texts supplied by English manufacturers. The term is, however, currently used in France today.
It has been suggested that the term derives from problems of communication between English employers and French émigré workers in the 17th century when papier mâché was probably taken to mean ‘mashed paper’ (or chewed paper)…. The crux was the cachet of a French sounding name and the penchant in some quarters if fashionable society in the late 18th century to look upon anything French as highly sophisticated.
…
Some of the advantages of papier mâché, gleaned from contemporary records, partly explain its attractions and may have been sufficient, at least until the mid-19th century, to outweigh what will be seen as its long and labour intensive production processes. Foremost was its suitability for japanning, which was much in vogue in the 18th century.
...
Furthermore, because it could be moulded into various forms, it required no joinery and was thus incredibly strong. As solid as wood, though less hard than most, it was said to blunt tools sooner, and although heavier in mass, its strength allowed it to be used in thin sections, rendering it perfect for small light objects….By the mid-19th century, it was found that it could be steam-moulded into any curve without fear of splitting. In short, it was considered superior to both wood and metal for being lighter, sounder, and admitting of a more beautiful finish’. |
| Collection | |
| Accession number | W.33-1953 |
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 | May 31, 2007 |
| Record URL |
Download as: JSONIIIF Manifest
