[Illustration: HEPPELWHITE CORNER CABINET]
The most characteristic designs of Heppelwhite are his chair backs.
These are commonly shield or oval shaped, with open center splats,
in the center of which were often introduced the ostrich plumes of
the Prince of Wales. Another form of back frequently employed by
Heppelwhite was that with slightly curved sides and strongly bowed top,
known as the “camel back.”
The legs of Heppelwhite’s chairs are almost always tapering and
square in sections and end in a spade foot. The proportions of these
chairs give an effect of extreme elegance and refinement. They seem
almost fragile; but the material is disposed with such skill and the
workmanship is so excellent that in reality they are far stronger than
might appear.
[Illustration: EXAMPLES OF HEPPELWHITE CHAIRS]
From the time of the Middle Ages the buffet has existed as an important
article of furniture; but to Heppelwhite is due the credit of
perfecting the sideboard in its present English form. He combined the
pedestal cellaret and side table of Robert Adam in one structure, and
effected a union of utility with elegance, which he executed in many
pleasing designs of bow and serpentine front.
To Heppelwhite we must also give credit for the most refined and
tasteful use of inlay and of veneers to be found in English furniture.
On the doors of wardrobes and on the front of drawers he employed
veneers of the beautiful curl mahogany that came into favor about
1760, and on the front of his solid mahogany tables, sideboards, and
bookcases he substituted for carving the inlay of low-toned colored
woods in the form of lines and narrow bands and other ornamental
motives.
[Illustration: HEPPELWHITE COMMODE]