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73:, while the pieces themselves are often bolder and more solid than is suggested by the authors representations of them. He was a clever craftsman and holds a distinct place among the minor furniture designers of the second half of the 18th century.
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he absorbed his manner so completely that it is often difficult to distinguish between them, just as it is sometimes easy to confound Locks work with the weaker efforts of
Chippendale. Thus from being extravagantly
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he progressed to a simple ordered classicism. His published designs are not equal to his original drawings, many of which are preserved in the
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designer and cabinet-maker. The dates of his birth and death are unknown; but he was a disciple of
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Among his works, some of which were issued in conjunction with
Copeland, are:
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124:. Vol. 16 (11th ed.). Cambridge University Press. p. 841.
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41:, and subsequently of the Adams, and was possibly in partnership with
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This article incorporates text from a publication now in the
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A New Book of Pier Frames, Ovals, Girandoles, Tables, etc
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During the greater part of his life he belonged to that
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Design, 1744, Matthias Lock V&A Museum no. 27811:6
56:models; but when he fell under the influence of
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52:which derived its inspiration from
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78:A New Drawing Book of Ornaments
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144:18th-century English people
139:English furniture designers
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67:Victoria and Albert Museum
121:Encyclopædia Britannica
82:A New Book of Ornaments
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90:A New Book of Foliage
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39:Thomas Chippendale
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50:flamboyant school
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35:furniture
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31:English
29:was an
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
