Karl Kemp Antiques New York City
The History of the Biedermeier Style of Antique Furniture
The
style known today as Biedermeier was popular in the early 19th Century
throughout most of Northern Europe, particularly in Germany, Austria,
Czechoslovakia, Hungary, as well as Scandinavia and the Baltic States.
Officially, Biedermeier was only produced between 1810 and 1835. Revival
periods include 1860, late 19th Century and again in the 1920's. Most
of the furniture from that era remain anonymous and dateless, in character
with the modest craftsmen who created the style. But the impact of its
unfussy style and clean lines is still felt today.
Many assume that Biedermeier is the name of a celebrated cabinetmaker of the time, but the name is commonly attributed to a satirical cartoon popular in early 19th Century Europe. The cartoon characters of the Biedermeier family symbolized the rich indolent German Bourgeois of the day.
The name was applied to the style when it again regained popularity 60 or 70 years later, never having been identified as its own period of style prior to that. It was perhaps due to the sense of comfort the furniture afforded. But to assume that this furniture was ever Middle Class is erroneous.
The style of furniture would not have existed in the average home of its day. The veneering techniques and cabinetmaking skills required to execute furniture of this style were costly and thus only affordable for the very privileged. Hence, the notion of butchers and shopkeepers furnishing their homes with this type of furniture is a misconception.
How to Spot Biedermeier
One of the frequent mistakes made in the perception and identification of this style is to simple refer to any light-colored piece of furniture which has black trim as Biedermeier. Due to the variety of woods used in Beidermeier furniture. its is impossibole to identify the style simply by color or contrast alone. It is necessary to learn to recognize the details and forms with characterize the style.
Anti-French
Style
Biedermeier furniture was an adaptation of the earlier French Empire style which had been in vogue in Early 19th Century Europe, and whose origins were based upon the classical influences of ancient Greece and Rome.
The popularity of the style also emerged from a political sentiment that was distinctly Anti-French, with European nations who had suffered under the rule of Napoleon by rejecting the heavily ornamented furniture of their former oppressors. Biedermeier furniture used some of the same lines, but lacked the superfluous decoration of ornate ormolu mounts.
Biedermeier marked the first style of the post-Napoleonic era with which craftsmen were at liberty to execute designs of their own choosing. Through newly established guilds, they shared with each other the techniques of veneering, varnishing, craftsmanship and design. They were no longer dictating to them which pieces they would produce and for whom.
Decorative Characteristics
Various motifs were popular among producers of the Biedermeier style. Simple forms of swans, dolphins, sphinx, lion paws, acanthus, garlands and other empire-like motifs were used. Carving was used sparingly for executing reeded lines and classical accents.
The geometric and neoclassical elements from previous periods (such as columns) were adopted for aesthetic purposes, decorating the sides of pieces in alabaster or ebonized wood. The elements of classical architecture, such as pediments, arches, domes, columns, cornices, and molding enhanced the simple clean lines of many pieces. The lyre was also a popular element, often used for decoration, as chair back splats or as supports for small writing tables and jardinieres.
Typically, drawers did not have pulls. They were opened by keys for their respective locks. The simple molded bases and crowns of chests and secretaries, the sleek black tapered legs of chairs with open, gracefully curved backs, and massive sofas with their exaggerated lines and rolled arms all typify details of the style.
Fruitwoods
Rare woods such as mahogany were scarce, due to wars, tariffs and the slow transportation of the day. Hence, its availability was limited to the black market–and the extremely rich who could afford the high cost. Subsequently, Biedermeier furniture was made of fruitwoods such as maple, cherry and pearwood, as well as ash, elm, walnut and birch–whichever was readily available where each Biedermeier style was produced.
Veneers
Elaborately patterned wood grains such as burlgrain veneers, as well as crotched and butterfly patterned grains were used when available. The pieces were typically finished with a technique known as French Polish, which imparts a water-like glossy shine. This labor intensive method requires repeated applications of a mixture of oils and shellac, followed by circular buffing done entirely by hand.
Recognizing Different Types of Biedermeier
Shapes
During the early years between 1815 and 1830, pieces tended to be more boxy and architectural. In the later years of Biedermeier from 1830 to 1848, pieces tended to become more curved. Craftsmen used contrasting brands of inlay from different woods for more complex designs. The only non-wood elements were pieces of functional hardware, such as pulls, locks and other mechanisms.
Woods
The woods used in each piece of Biedermeier help to determine its origin. The thickness of the wood veneer while later examples, produced after the advent of machine veneer cutting, incorporate much thinner veneers. Tool marks are also indicative, since the chisel and hand saw techniques were abandoned after 1815.
Regions
Main manufacturing centers included Vienna, Berlin, Northern and Southern Germany and Scandinavia.
Walnut was commonly used in Austria. Birch was commonly used in Northern Germany and in the Baltic regions. The most costly mahogany was used in furniture from Berlin.
Northern German Biedermeier is typified by a more austere style, forgoing exterior decoration in favor of strong, plain stylistic qualities.
In Southwest Germany, cherry woods and burl veneers were used to contrast inlays and solid geometric shapes.
Lighter woods were popular in Scandinavia and Northern Europe in Biedermeier revival. Frequently, these lighter pieces were accented with black painted or "ebonized" details, which gave a crisp visual contrast.
The
World of Biedermeier Book
Mr. Karl Kemp is the author of a world renowned book on the Biedermeier Style called, "The World of Biedermeier." Click here to find out more about his ultimate guide to the Biedermeier Antique Furniture style, with over 200 color photos.
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