18th Century Furniture - Spain and Portugal

Style developments in Spain and Portugal were influenced by royal marriages and also by the success of Louis XIV of France. Philip V of Spain's marriage to Italian-born Elizabeth Farnese, and his son's marriage to the daughter of Dom Joao V of Portugal both brought stylistic influences from abroad.

The Legacy Of Versailles
Philip V remained in awe of the achievements of his grandfather, Louis XIV, while Italian influence came from his wife's use of architects and painters from Italy, notably Filippo Juvarra and Giovanni Battista Sacchetti.
Dom Joao V's reign coincided with the discovery of gold and diamonds in colonial Brazil. He used his fabulous wealth to develop a national monarchy modelled on the absolute rule of Louis XIV, and, like Louis, wanted art and literature to glorify his rule as sovereign.
To this end, he spent vast sums on Parisian handmade furniture, and commissioned Charles Cressent and Juste-Aurele Meissonnier to design furniture. He ordered his marital bed from Holland, made to a design by Daniel Marot.

Spanish Giltwood Console Table
The shaped moulded onyx marble top above a serpentine frieze carved with pierced C-scrolls and rockwork, resting on carved acanthus legs terminating in scrolled feet, joined by X-stretchers.

A Style Of Its Own
Fitted and non fitted furniture from the Iberian Peninsula was unique, Although inspired by designs from France, Italy and through trade links - England, it also incorporated colonial references and materials, such as Brazilian hardwoods, jacaranda, pausanto, and rosewood.
Portuguese furniture was particularly heavy due to the density of the woods used. Japanning, which had gone out of favour in France and England, was still popular, and English cabinet makers capitalized on this, exporting cabinets japanned in vivid colours such as scarlet, yellow, and gold to their wealthy clientele.
Chairs were based on the French fauteuil, with high backs, leather upholstery, and carved upper rails with a central stylized shell. They often had gilt carving, ball-and-claw feet, and square stretchers.
The fashion for pannier dresses, with their wide skirts, led to a demand for chairs with broader seats, and arms that curved outwards. These chairs usually had an English-style splat, with gilt edges, which flowed into a carved upper rail and stiles. The legs were cabriole and had gilt leaves carved on the knees.
The 18th century folding chair was similar to earlier versions with straight legs, but its stretchers were either flat or turned. The chair back was now shaped, with a central carved shell or a vase-shaped back splat.

In Portugal, Brazilian rosewood was often used, and the upper panel and seat were upholstered in leather, stretchers across the top of the rear legs, to allow the chair to fold inwards. The settee, made up of a number of chair backs, was more common than the French canape.
Cupboards, commodes, and bureaux were large and relied on the grain of the wood for decorative effect. Scrolled feet, while in proportion, were wider and lower than on furniture made elsewhere in Europe.
Portuguese pier tables were usually made of carved and gilded pine or rosewood. Rococo motifs were applied around the rectangular frame of the matching mirror that was positioned above the table.
Portuguese tables were often larger than Italian versions. Multi-purpose tables, with tops that lifted to reveal various surfaces for writing and playing cards, were a speciality of Portuguese cabinet makers.
Ormolu mounts and veneering were not often used on Spanish furniture of this period, but elaborate, often engraved, brass and silver mounts were a common feature of Portuguese furniture.

Portuguese Rosewood Side Table

Serpentine top above a frieze drawer and a scrolling-foliate carved apron,

on cabriole legs with ball and claw feet.