ASHLEYS FURNITURE REVIEWS

Stanley Furniture 018-61-32 European Farmhouse Farmers Market

Finish:Blond If the organic scratch and bustle of daybreak on the farm has taught us anything, it is that even the most dirt-caked chores, when performed with clarity and joy, are among the most beautiful tasks on earth. It's that same polished-yet-earthy contrast that led to our Farmer's Market Table. Scalloped in a pattern pulled from the blaze red curves of a rooster's comb, this well-crafted heritage piece is as relaxed as a long drink of water on a country afternoon. Finished in the French style, both the apron and the edges of the generously scaled top seem to flirt with the sturdy, bun foot legs. Elegant Dutch white cedar is unexpectedly lighthearted, and precision matched to enhance the natural swirls of the multi-layered grain. A finishing grid work top recalls an old pasture fence, and helps conceal the removable leaf when in use.One 22' leaf includedTwo knife drawers with felt liner

Caspar Frederik Harsdorff
From Wikipedia, the free encyclopedia


Caspar Frederik (Friedrich) Harsdorff, also known as C.F. Harsdorff, (May 26, 1735-May 24, 1799), Danish neoclassical architect is considered to be Denmark’s leading architect in the late 18th century, and is referred to as “The Father of Danish Classicism”.

Contents
1 Early life and training
2 Extended education and travel years
3 Career in Denmark
4 Aftermath
5 References

Early life and training

He was born Caspar Frederik Harsdřrffer in Copenhagen, Denmark to German-born schoolteacher Johan Christopher Harsdřrffer from Nürnberg and Swedish-born wife Anne Marie Eriksdatter.

He began his education in mathematics in order to train for the Engineer Corps, but his interest lay in architecture, which he studied enthusiastically. When the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) opened in 1754 at Charlottenborg Palace he was able to study under French architect Nicolas-Henri Jardin.

In 1756 his design for a city gate won the Academy’s large gold medallion, giving him the distinction of being the first Danish architect to win the coveted award. The award included a six-year travel grant.

Extended education and travel years

He traveled to Paris 1757, and he stayed there four years, also in the company of painter Jens Pedersen Lund and sculptor Carl Frederik Stanley who resided in Paris at the same time as Harsdorff. While there he studied diligently under Jacques-François Blondel, an architect to Louis XV of France.

In late spring 1762 he traveled to Rome, where he discovered the remains of Ancient Rome, and he understood that his education until then had been incomplete. While in Italy he drew and measured the antiquities he studied.

Career in Denmark

He returned to Denmark in 1764, and was named Building Inspector. That same year he was invited to join the Academy, and received the assignment to design "Et kongeligt Palais, liggende paa en smuk Plads" ("A royal palace located on a beautiful plaza"). His design was judged successful, and he was accepted as member of the Academy in 1765, where he was given a job as Professor in Perspective in 1766.

1766-1769 he built the memorial chapel for former Lord High Steward Count Adam Gottlob Moltke at Karise Church in Faxe, which had been begun by his former teacher and now fellow Professor at the Academy architect Nicolas-Henri Jardin.

In 1770 he was named Royal Building Master to the court of King Christian VII. On May 1770 he married Elisabeth Margrethe Fortling, the daughter of former Stonemason and Building Master to the royal court Jacob Fortling.

In 1771 Professor Jardin requested that Harsdorff be named his successor as Professor of Architecture at the Academy, which position he filled that year after Jardin vacated the position on March 26 in conjunction with his leaving Denmark to return to France. As professor he played an important role in the classical education of the next generation of architects. His students included Peter Meyn, Joseph Christian Lillie and Christian Frederik Hansen.

Harsdorff also became a member of the Main Building Directorate (Overbygnings direktionen) in 1771.

In 1773 he designed the pulpit at Our Saviour’s Church (Vor Frelsers Kirke) in the Christianshavn district of Copenhagen. The neoclasical wood pulpit is painted to look like golden marble, and features a frieze attributed to Johannes Wiedewelt and Peder Als.

That same year he rebuilt in the King’s Garden (Kongens Have), the gardens at Rosenborg Castle in Copenhagen, the temple-like Hercules Pavilion for which Johannes Wiedewelt’s studio produced the reliefs of Hercules and Omphale. The pavilion now houses a café.

He also was commissioned to enlarge the Nicolai Eigtved-designed The Royal Theatre (1748) on Kongens Nytorv that year. In the course of his work on this project he received permission to develop the site between the theatre and Charlottenborg Palace, home of the Art Academy, which he then developed 1779-1780 as a home for his family. Rebuilding of the theatre was carried on 1773-1774.

1774-1779 he designed and started building the austere memorial chapels for Christian VI and Frederik V at Roskilde Cathedral. Work on this project, however, was stopped in 1779 because of lack of money. The work began again many years after his death, and was completed by his student Christian Frederik Hansen (1820-1825).
Harsdorff acted as the Academy’s Director 1777-1779, and was named to the title of Justitsraad in 1778.

In 1779-1780 he built his own townhouse at 3-5 Kongens Nytorv, which became the new model for Copenhagen townhouses of the time. Today the building houses the Danish Arts Agency, the Danish Arts Council, and the Danish Arts Foundation. The building is shown on a Danish postage stamp, part of series entitled Danish Houses which features significant Danish buildings.

1781-1785 he did the interior design in two large rooms at The Royal Library

Taking its cue from the glamour years of the '40s, Beau Nouveau lives up to its name with dramatic design that is perfectly balanced by simple details. High-gloss rich finishes showcase cathedral walnut, African crotch mahogany and cerijiera crotch mahogany in designs with architectural and Biedermeier influences.

Dramatic finishes anchor a geometric square-on-square pattern on some case pieces. Black granite and platinum metal accents – used strategically but sparingly – complete Beau Nouveau's glamorous sophistication.

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