ANTIQUE CANTERBURIES
ANTIQUE CANTERBURIES
Above, typical early Regency mahogany canterbury.
n 1803 Thomas Sheraton used the term ‘Canterbury’ to describe two different items: a small stand with partitions to hold music which could slide under the piano when not in use; and a small trolley for transporting cutlery, condiments and so forth for an informal supper. Although the term is popularly thought to derive from the latter (a lazy archbishop was supposed to have ordered one in order to save himself the trouble of rising to eat) virtually all canterburies made after 1800 were for music. Today they are generally used as magazine racks.
Canterburies were made throughout the 19th century in huge numbers and in varying qualities. Regardless of date, the majority consisted of a rectangular framework with single drawer below three or four partitions,
open at top (and sometimes at sides also). Four, short supporting legs on castors. Two knobs (occasionally one) on drawer.
Georgian/Regency: Legs usually continuous with uprights. Could be ring-turned baluster columns topped by finials, or straight, square-sectioned finishing flush with top rails. Rows of slats or turned balusters forming
dividers, generally vertical. Central divider on four-partition type often had raised centre with pierced carrying handle. Top rails of dividers sometimes dished.
For Regency variations see illustrations. Lyres sometimes have brass strings.
Above, later Regency rosewood canterbury with wreath and X-frame partitions.
Victorian: Turned legs often shorter and broader than previously generally attached underneath drawer.
Drawer sometimes without knobs, opened instead by pulling groove cut under and behind drawer front.
Partitions fashionably formed of fret carving. Corners often finished with turned finials.
Variations include: elliptical and kidney shapes; table canterburies with upper shelf on tall, turned uprights; fretwork gallery around top; occasionally lift-top forming writing/reading-slope.
Victorian walnut canterbury with fret-cut dividers.
Early Victorian rosewood canterbury.
Until about 1840 mahogany or rosewood. Figured walnut for most Victorian pieces, occasionally papier mache or bamboo. Ebonised mahogany or beech for Art Furniture pieces of the seventies or eighties.
Victorian walnut canterbury doubling as an occasional table.
Some convincing reproductions of Georgian and Regency canterburies made in the early-20thC may now be very hard to tell from originals. Look for a build-up of dirt around the joints and general signs of wear.
The elaborate carving of many Victorian canterburies is too expensive to reproduce so this is a sign of originality. Repairs though, are likely, particularly to fretwork and projecting finials.
Occasionally brass inlay or applied brass ornaments on Regency pieces. Fret carving in scrolling and naturalistic patterns on Victorian. Occasionally inlay of light coloured woods and mother-of-pearl. Typically, papier mache decoration; Japanese lacquer on bamboo (see p. 330). Small, turned wooden knob(s) on drawers.
Early Victorian rosewood canterbury.
Polish. Ebonised surfaces on some.
Highly decorative Victorian examples often fetch more than more elegant earlier ones. Value may seem disproportionate to quality and extent of workmanship.
VICTORIAN REPRODUCTIONS
Early canterburies of Georgian form were still made during the 1850s, so may be later than they look. Generally though not always they are slightly heavier than their predecessors.
A late Georgian ‘Canterbury’ music stand of the type described in Sheratons ‘Cabinet Dictionary’ of 1803. Note the turned legs and uprights but flat mahogany divisions. The drawer below is veneered in figured
mahogany and the central division is fretted to provide a carrying handle.
A mahogany ‘Canterbury’ music stand of the type described in Sheraton’s ‘Cabinet Dictionary’ of 1803. These later Georgian pieces were designed to hold music and later papers of other descriptions. Note the turned
legs on casters and the flat mahogany divisions. Later Victorian examples tended to have turned divisions. The centred one in this case is fretted to provide a carrying handle.
Rosewood or other exotic woods
A mid-Victorian mahogany carved music Canterbury and stand. The rather delicately carved top gallery rail and twist turned vertical columns lend considerable quality to the piece.
A late Georgian ‘Canterbury’ music stand of the type described in Sheraton’s ‘Cabinet Dictionary’ of 1803. Note the turned legs and uprights but flat mahogany divisions. The drawer below is veneered in figured
mahogany and the central division is fretted to provide a carrying handle.
A mahogany ‘Canterbury’ music stand of the type described in Sheraton’s `Cabinet Dictionary’ of 1803. These later Georgian pieces were designed to hold music and later papers of other descriptions. Note the turned legs on casters and the flat mahogany divisions. Later Victorian examples tended to have turned divisions. The centred one in this case is fretted to provide a carrying handle.
Value points: Rosewood or other exotic woods
A rosewood Canterbury of c.1840 with turned outer supports and legs. There are both turned and flat dividing supports however. The concave box section beneath contains a drawer.
Tags: 19th century, Antique, Art Furniture, Cabinet, Canterburies, canterbury, Dictionary, Mahogany, Regency, rosewood, stand, Victoria, victorian reproductions