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cabochon (1) Smooth round or oval raised decoration. (2) The simplest style of a gemstone; oval, round or teardrop shaped with a rounded top and flat or concave base. This style is used for many opaque stones.

Cabriole abriole leg A cabriole leg is one of (usually four) vertical supports of a piece of furniture shaped in two curves; the upper arc is convex, while lower is concave; the upper curve always bows outward, while the lower curve bows inward. The axes of the two curves must lie within the same plane. This design was used by the ancient Chinese and Greeks, but emerged in Europe in the very early 18th century, when it was incorporated into the more curvilinear styles produced in France, England and Holland. According to Bird, "nothing symbolises 18th century furniture more than the cabriole leg." The cabriole design is often associated with bun or the "ball and claw" foot design. In England this design was characteristic of Queen Anne and Chippendale furniture. In France the cabriole leg is associated with the Louis XV period of furniture design. The cabriole design appeared for the first time in the USA in the 18th century. The basis of its original concept was emulated upon legs of certain four-footed mammals, especially ungulates. The etymology of this term specifically derives from the French word cabrioler, meaning to leap like a goat. Source: http://www.babylon.com/definition/Cabriole_leg/English

Cache-pot Outer receptable for a flower pot (from the French "to hide the pot"). Source: http://www.gotheborg.com

Cameo Hardstone, coral or shell that has een carved in relief to show a design in contrast. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

Cameo Glass Cameo glass was made in much the same manner as a cameo in jewelry. Parts of the top layer of glass were cut away to reveal a different colored glass beneath. The most famous cameo glass was made during the nineteenth century. Signed cameo glass pieces are listed under the glasswork’s name, such as Daum or Galle. Source: www.kovels.com

Candlesticks Collection of brass candle sticks Ace of Diamonds Pair of Kings Pair of Queens Pair of Prince Pair of Princess This collection of brass candlesticks is in exceptional condition. The pair of Kings. The middle size of the three original diamond candlesticks designed to commemorate Queen Victoria's Jubilee, they are an inch taller The Queen of Diamonds. The tallest in the series, and considerable more rare, are the Ace of Diamonds. The Prince and Princess sizes were added somewhat later and are not considered to be members of a "true" set. Each candlestick in the series has its name incised in the base. While not visible in this particular photo, all have their distinct "The King of Diamonds" etched in the center of on the base sides. The Ace and and other members are etched as well. Source: Appraisal File July 2008

Cannetille A filigree type of ornamentation made of coiled wires. Popular in the early to middle 1800's. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

canterbury A small stand with dividers for storing sheet music. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

capital The end of a column on the hood or trunk of a longcase clock. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

carriage clock A small spring drive clock, designed for traveling. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cartouche A framed panel, often in the shape of a paper scroll, the side of which can be inscribed. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3 A decorative element found on Victorian furniture, Italian and highly carved pieces. Gene Ruelle, ASA

caryatid A caryatid (Greek: Καρυάτις, plural: Καρυάτιδες) is a sculpted female figure serving as an architectural support taking the place of a column or a pillar supporting an entablature on her head. The Greek term karyatides literally means "maidens of Karyae", an ancient town of Peloponnese. Karyai had a famous temple dedicated to the goddess Artemis in her aspect of Artemis Karyatis: "As Karyatis she rejoiced in the dances of the nut-tree village of Karyai, those Karyatides, who in their ecstatic round-dance carried on their heads baskets of live reeds, as if they were dancing plants" (Kerenyi 1980 p 149). Source:http://en.wikipedia.org/wiki/Caryatid

Cassone Among furniture in Italy, a cassone is a rich and showy type of chest, which may be inlaid or carved, prepared with gesso ground then painted and gilded. The cassone ("large chest") was one of the trophy furnishings of rich merchants and aristocrats in Italian culture, from the Late Middle Ages onward. The cassone was the most important piece of furniture of that time. It was given to a bride and placed in the bridal suite. It would be given to the bride during the wedding, and it was the bride's parents's contribution to the wedding. Since a cassone contained the personal goods of the bride, it was a natural vehicle for painted decoration commemorating the marriage in heraldry and, when figural painted panels began to be included in the decor from the early quattrocento, flattering allegory. The side panels offered a flat surface for a suitable painting, with subjects drawn from courtly romance or from Scripture or holy legends. Great Florentine artists of the 15th century were called upon to decorate cassoni. Some Tuscan artists in Siena and Florence specialized in such cassone panels, which were preserved as autonomous works of art by 19th century collectors and dealers, who sometimes discarded the cassone itself. From the late 1850s, neo-Renaissance cassoni were confected for dealers like William Blundell Spence, Stefano Bardini or Elia Volpi in order to present surviving cassone panels to clients in a more "authentic" and galmorous presentation.[1] A typical place for such a cassone was in a chamber at the foot of a bed that was enclosed in curtains. Such a situation is a familiar setting for depictions of the Annunciation or the Visitation of St. Anne to the Virgin Mary. A cassone was largely immovable. In a culture where chairs were reserved for important personages, often pillows scattered upon the floor of a chamber provided informal seating, and a cassone could provide both a backrest and a table surface. The symbolic "humility" that modern scholars read into Annunciations where the Virgin sits reading upon the floor, perhaps underestimates this familiar mode of seating. In the 15th century, a new classicising style arose, and early Renaissance cassoni of central and northern Italy were carved and partly gilded, and given classical décor, with panels flanked by fluted corner pilasters, under friezes and cornices, or with sculptural panels in high or low relief. Some early sixteenth-century cassoni drew their inspiration from Roman sarcophagi. By the mid-sixteenth century Giorgio Vasari could remark on the old-fashioned cassoni with paiunted scenes, examples of which could be seen in the palazzi of Florentine families.[2] A cassone that has been provided with a high panelled back and sometimes a footrest, for both hieratic and practical reasons, becomes a cassapanca ("chest-bench"). Cassapanche were immovably fixed in the main public room of a palazzo, the sala or salone. They were part of the immobili ("unmoveables"), perhaps even more than the removable glazed window casements, and might be left in place, even if the palazzo passed to another family. Source:http://en.wikipedia.org/wiki/Cassone

casting (cast metal) Casting is a manufacturing process by which a liquid material is (usually) poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. The solid casting is then ejected or broken out to complete the process. Casting may be used to form hot liquid metals or various materials that cold set after mixing of components (such as epoxy, concrete, plaster and clay). Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. Source: http://en.wikipedia.org/wiki/Casting

celluloid A early plastic invented in 1869 and used for making dolls head and bodies. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cenotaph form Early Georgian Richly Grained Walnut Looking Glass, second quarter 18th century and later, of modified cenotaph form, the period plate shallowly beveled throughout, the oak backplate fitted with a later easel for dressing table use. St. Charles Gallery-New Orleans 05/09 ESTIMATE 200 - 400

centre seconds hand A seconds hand that pivoted at the centre of the dial. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

Chair Parts Image Taken From: Evaluating Your Collection, Winterthur Decorative Arts Series

champlevé A type of decoration where enamel is applied to stamped hollows in metal. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

chapter ring The ring of hour and minute numbers applied to a clock dial. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

character doll A doll with a face that resembles a real child rather than an idealized one. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

chasing A technique used to decorate metal objects, especially silver, which involves the use of shaped punches and a chasing hammer to model the piece.

chasis The base of a toy vehicle including the wheels and fender. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

Chest Shopping A Chest Is Best If you think blue hair or blue blood are prerequisites for antique buying, you couldn't be more wrong. An antique chest can be a great addition to any home. They can be used anywhere, get little wear and tear, and can last for generations. A reputable antiques dealer will be glad to help you select one—if you know how to speak the language. Here's a crash course in antique speak. What Is the Age? Just because it's old doesn't mean it's gold. A piece of furniture must be 100 years old to be considered a true antique. Ask the dealer for a general idea of the chest's year of origin. The term "circa" may appear on price tags. This means "around." So, "circa 1850" means the chest was made around then. What Is the Provenance? No, it's not a region in France. Provenance is the piece's history: who owned it and where it was made. Don't ask the dealer specifically where he or she bought it. They probably won't tell you. Just ask if there is any provenance. If one exists, ask if there is any documentation. If so, great, and Pay Attention to the Wood The finish should never be black, and you should be able to discern some pattern of the wood grain underneath. If the finish shows alligatoring, a scaling effect that resembles an alligator's hide, move on unless you know how to refinish. Refinishing can be great if done correctly, but it can also destroy a piece's value if done improperly. Check the insides of drawers for dovetailing, a system of joinery that holds the front and sides of each drawer together and resembles a dove's tail. Fine, long dovetailing suggests greater age than more squat machine-made joints. bottom, left: Look for a fully articulated column independent of the piece's main body, which shows more construction expertise. Tip: A piece of paper should slide easily behind the column. the price will reflect this. If not, then you have a story to go along with your chest, but if you sell later you'll want a buyer who will take your word. It's one of the soundest furniture investments you can make. Become a smart investor by getting the know-how you need for finding your own treasured piece. What Is the Condition? Ask if there have been any repairs. Check to see if the hardware, such as drawer pulls, shows any sign of having been replaced. You want as much of the chest as possible to be original. Make sure all drawers open and close easily and that the piece sits squarely on the floor without rocking Not confident enough to go it alone? Take a friend who's in the know. You'll pick up a lot just by watching, but the more you do it, the more you'll learn. Source-Todd Childs, Southern Living Related Appraisals: Chest

chest-on-chest A chest of drawers consisting of two parts, one mounted on top of the other. Similar to a tallboy.

Chesterfield An overstuffed sofa of large size with a continuous straight back and upholstered ends.

cheval mirror A large full-length mirror, usually standing on the floor.

chiffonier The chiffonier is a sideboard, or cabinet, introduced during the late 18th century with open shelves for books and a cupboard or drawers below.

Chippendale Thomas Chippendale (ca June 5, 1718 - November 1779) was a London cabinet-maker and furniture designer in the mid-Georgian, English Rococo, and Neoclassical styles. He went to London in 1749 where, in 1754, he became the first cabinet-maker to publish a book of his designs, titled The Gentleman and Cabinet Maker's Director. Three editions were published, the first in 1754, followed by a virtual reprint in 1755, and finally a revised and enlarged edition in 1762, by which time Chippendale's illustrated designs began to show signs of Neoclassicism. Chippendale was much more than just a cabinet maker, he was an interior designer who advised on soft furnishings and even the colour a room should be painted. He worked in partnership initially with the upholsterer James Rannie and later with Rannie's assistant, Thomas Haig, but artistic control of the luxurious furnishings that came from his premises in St. Martin's Lane was firmly in Chippendale's hands. "A Design for a State Bed" from the Director, 1762 "A Design for a State Bed" from the Director, 1762 In 1978, Christopher Gilbert was able to identify from among over sixty known clients twenty-six documented commissions where surviving furniture by Chippendale could be identified, much of it still in the aristocratic houses for which it was made. Chippendale furniture was supplied to Blair Castle, Perthshire, for the Duke of Atholl (1758); Wilton House, for Henry, 10th Earl of Pembroke (c 1759-1773); Nostell Priory, Yorkshire, for Sir Roland Winn, Bt (1766-85); Mersham Le Hatch, Kent, for Sir Edward Knatchbull, Bt (1767-79); furnishings for the royal family and for the actor David Garrick both in town and at his villa at Hampton, Middlesex; Normanton Park, Rutland and other houses for Sir Gilbert Heathcote Bt (1768-78) that included the management of a funeral for Lady Bridget Heathcote, 1772; Harewood House, Yorkshire, for Edwin Lascelles (1767-78); Newby Hall, Yorkshire, for William Weddell (c 1772-76); Temple Newsam, Yorkshire, for Lord Irwin (1774); Paxton House, Berwickshire, Scotland, for Ninian Home (1774-91); Burton Constable Hall, Yorkshire for William Constable (1768-79); Petworth, Sussex and other houses for George Wyndham, 3rd Earl of Egremont (1777-79), to name only the most outstanding commissions. He collaborated in furnishing interiors designed by Robert Adam and at Brocket Hall, Hertfordshire, and Melbourne House, London, for Lord Melbourne, with Sir William Chambers (c. 1772-75). "Two Bookcases", from the Director, 1754 "Two Bookcases", from the Director, 1754 His workshop was continued by Thomas Chippendale the younger (1749-1822), who worked in the later Neoclassical and Regency styles, "the rather slick delicacy of of Adam's final phase", as Christopher Gilbert assessed it. A bankruptcy and sale of remaining stock in the St. Martin's Lane premises in 1804 did not conclude the firm's latest phase, as the younger Chippendale supplied furniture to Sir Richard Colt Hoare at Stourhead until 1820 (Edwards and Jourdain 1955: 88). Recognizably "Chippendale" furniture was produced in Dublin and Philadelphia, as might be expected, but also in Lisbon, Copenhagen, and Hamburg. Catherine the Great and Louis XVI both possessed copies of the Director in its French edition. (Gilbert 1978, xvii). As a folk hero of English craftsmanship, he is enshrined as a full-size sculpted figure standing among other notables adorning the facade of the Victoria and Albert Museum, London. His designs became very popular again during the middle to late 19th century, leading to widespread adoption of his name in revivals of his style, so much so that dealers spoke of "Chinese Chippendale", "Gothic Chippendale", and even "Irish Chippendale". Many of these later designs that attach his name bear little relationship to his original concepts. There is a statue and memorial plaque dedicated to Chippendale outside the old Prince Henry's Grammar School in Manor Square, in Otley, Yorkshire. Source:http://en.wikipedia.org/wiki/Thomas_Chippendale

Chippendale Thomas Chippendale 1718-1779 was one of the great cabinet makers of the 18th-century England. His work shows a refinement of Georgian styles, influenced by the Gothic, Chinese, and French rococo. First of his era to extensively use mahogany rather than walnut, the prevailing wood in the Early Georgian period. In 1754 he published "The Gentlemen's and Cabinetmaker's Directory," illustrating the styles of the day.

chocolate cup A large cup with two handles, a cover and a saucer.

chronometer Precision timekeeper designed for use at sea to calculate longitude. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

Cleanining Porcelain Yes, by all means, clean your porcelain, and I'll tell you how to do it in just a minute. But first, believe me, you can only make it look better if you give your porcelain a careful and loving cleaning. So, go ahead and get rid of the dust, dirt, nicotine, house paint, and I don't know what all, by cleaning your porcelain. As a seller/dealer of quality porcelain, I can certainly tell you that after I have cleaned my acquired porcelain, I have been able to increase my investment because the piece looked so much better. Bottom line, I think, is to always and periodically clean your pieces of porcelain. Ok, so how do we clean delicate and precious porcelain? What works for me is to arrange a few of the pieces of porcelain I wish to clean around my kitchen sink. I make sure that I have lots of rubber mats hanging over the sides of the sink for protection, and you might even consider a rubber tipped attachment for the water spout. You never can tell what you might bump in to. On one side of my kitchen double sink, I have warm water mixed with mild dish washing detergent. The other side I use for rinsing right under the spout, again with warm water, which is more comfortable to the skin to deal with. If you don't have a double sink, put your mix of warm water and dish detergent in a rubber dishpan. My favorite pre-wash aid for porcelain is the commercial product Formula 409. I use it all the time and on most anything, with no damage at all. Liberally spray your piece with Formula 409 and let it sit on paper towels for about 30 seconds, then rinse it under warm water. Now, in the warm water and dish detergent mix, hand washes the piece. I seldom if ever use a instrument such as a toothbrush or scrubber. The emphasis here is not to rub too hard, especially on raised areas of the piece. After I have hand washed the piece, I rinse it again, and then I place it on paper towels, to drip dry. Later, I will finish drying the porcelain by pat drying it with a paper towel, before I put it away. If you come across some stubborn scotch tape residue, I have found the Product "Goof Off" very helpful with out causing any damage to the porcelain. By the way, you would be surprised how often you find porcelain which came out of a home that has small drops of house paint on it. Between using your fingernail lightly and using "Goof Off", it's Pretty easy to remove. Don't be afraid of your porcelain, but on the other hand, don't mistreat it. Keep it clean! It's much easier to enjoy fine porcelain when it is clean, and if done correctly and safely, it's not too difficult. Try it, you will like it! Essay Submitted by Stewart Hopewell www.eliterepeats.com

clock garniture A matching set of a clock and candelabra. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cloisonné Cloisonné, can be broadly defined as a vitreous, glass like coating fused on to a metallic base. The technique originated in Egypt prior to 1800 B.C. when gold ornaments were inlaid with small pieces of turquoise, lapis lazuli, carnelian, garnet, and held in position by ribs soldered to the gold base. This decorative technique reached its pinnacle as a result of the efforts of Chinese artisans. Chinese cloisonné is now the standard by which the quality and beauty of cloisonné is measured worldwide. Cloisonné is a French word meaning to be compartmentalized, to feel cut off, or shut out; referencing the wires used in construction. Thin strips of metal are bent to form the outline of a design and fastened to the surface of a metal object, either by soldering or a coat of enamel. The resulting compartments, known as cloisons, are then filled with enamel. The roll of cloisons as a means of keeping molten enamels separate is overstated. With the glass and firing methods available, early craftsmen actually had difficulty getting enamels to gloss out. These early enamels would only begin to fuse at temperatures exceeding 1500°F. The primary function of the wires was to counter the low expansion of the early enamels, which must be less than the expansion of the metal keeping the enamel under constant compression. If the degree of difference is too great, the enameled piece will warp during the cooling process, causing the enamel to fracture. Silver has the highest expansion rate between the three most common metals used as a base for enameling including gold and copper. The result, there is little mention of silver enameling during the early years. Gold, having the lowest expansion of the three metals and high ductility was the only possible medium for early enamelers. Success for early enamelers was achievable only in fragments, which gives us insight as to the primary purpose of cloisons, to divide the object into a number of small enameled fragments joined by un-enameled metal. Furthermore, the cloisons reinforced the artists design, helping to reduce warping due to excessive heating and cooling, which in turn helped eliminate cracking enamel. Source: http://www.architecturals.net/newsletter/2008_04_06.html

closed back A jewelry setting where the back of the gem is covered with metal. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cockfighting chair Chair for reading and writing or viewing sports events used by straddling the seat and facing the back. The back has a small shelf. Popular from Queen Anne to Chippendale periods.

collet setting A jewelry setting where the gem is covered with metal. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

Commemorative Wares Wares that commemorate an important or historical event, such as a battle, coronation, or wedding.

commode A decorated low chest with a bombé or serpentine shape. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

composition A mixture including wood pulp, plaster and glue and used as a cheaper alternative to bisque in the production of dolls' heads and bodies. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

console table A small table that can be attached to the wall in the back having two legs in front or can be free-standing against the wall.

core forming An early form of glass making where trails of molten glass are wound around mud or clay core. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cornice The projecting molding on the top of tall furniture. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

cornucopia Classical motif in the shape of a goat's horn out of which spills fruit, vegetables, and flowers. A symbol of fertility and abundance popular during the Baroque and Rococo periods. Also horn-of-plenty.

coromandel A very hard wood similar to ebony.

crackle A deliberate crazed effect found in the glaze of Chinese Song dynasty and later porcelain. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

craze A network of fine cracks in the glaze caused by uneven shrinking during firing. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

creamware A cream-colored earthenware with a lead glaze. Produced by Wedgwood in the 1760's and then by other factories. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

crèche crèche    /krɛʃ, kreɪʃ; Fr. krɛʃ/ Show Spelled Pronunciation [kresh, kreysh; Fr. kresh] Show IPA Pronunciation –noun, plural crèch⋅es  /ˈkrɛʃɪz, ˈkreɪʃɪz; Fr. krɛʃ/ Show Spelled Pronunciation [kresh-iz, krey-shiz; Fr. kresh] Show IPA Pronunciation . 1. a small or large modeled representation or tableau of Mary, Joseph, and others around the crib of Jesus in the stable at Bethlehem, as is displayed in homes or erected for exhibition in a community at Christmas season. 2. a home for foundlings. 3. British. a day-care center; day nursery. 4. Animal Behavior. an assemblage of dependent young that are cared for communa Source: http://dictionary.com

credenza The italian term for a side cabinet with display shelves at both ends. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

crewelwork An embroidery technique using wool thread o a linen ground. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3

crook arms Queen Anne-Style Mahogany Settee, the double chairback with shaped crests and four ladderback splats, joined by crook arms to the padded seat, raised on cabriole legs ending in tri-form pad feet

crossbanding Thin strips of decorative cross-grained veneer.

crotch veneer A thin sheet of wood cut from the intersection of the main trunk and branch of a tree, showing an irregular effect of graining.

crown molding The highest molding on a door, window, or cabinet.

cruet Cruet - A cruet is a small bottle used for oils, vinegars and other condiments. Its earliest use was ecclesiastical for wine, oil and water. A few medieval examples exist today. In the late 17th century, cruets were used domestically and were made of glass imported from Italy and adorned with silver or silver-plated mounts. Cruets were grouped together on a stand in a frame or rack typically with a central vertical handle and supporting feet. The number of bottles could vary from two to six or more and were often combined with casters

crystal Fine, high-quality glass containing lead oxide invented in 17th century England. The lead oxide is attributed to providing the glass with extraordinary qualities of brilliance, sound and a suitable texture for cutting or engraving. Some of the finest crystal ever made is from Baccarat in France (est. 1816) and Waterford in Ireland (est. 1729). cut glass - Any glass whose surface has been cut into facets, grooves and depressions aided by a large, rotating wheel. Wheel cutting glass decoration was developed in the 8th century BC, but the technique of faceting wasn't perfected until the 18th century in England. Although cutting glass is a costly and difficult process, the brilliant effects are extraordinary!

cultured pearl A pearl formed when an irritant is artificially introduced to the mollusc. Source: Antiques Price Guide 2004, Judith Miller ISBN -7894-9550-3