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recamier A long chair designed for relaxing and semi-reclining, usually upholstered. Adapted from the French 18th-century style, it is also called a chaise lounge. Regence French - Transitional period in French furniture design between Louis XIV and the Rococo style developed by Louis XV. Named for the time frome in France from 1715-1728 when Philip, Duke of Orleans, reigned. Characteristics are graceful curves, the cabriole leg, and ornamentation copied from nature rather than mythology. Bright veneers of rosewood and satinwood were widely used.

Refectory Table With its hospitable length and air of solidity, the refectory table, gradually transmitted westward from the beginnings of the Christian era, is not only a modern American dining room accessory, but it serves a useful and decorative purpose in living room and library. Made of oak, walnut, pine or maple, it provides a contrast of wood for many settings-for in the Early and Middle Ages the refectory table swept through all Europe. Contemporary designs derive from the Italian, Spanish, French, English; a favorite one gives the top of the table a generous overhang, especially on the ends, and places the heavy stretchers low. The Tudor type of these tables had bulbous legs, enriched with carvings which today, in a rare English antique or in a modern reproduction, are found in Elizabethan rooms with oak paneled walls and decorated plaster ceilings. Later, in Jacobean times, the legs of the tables became less heavy, and the baluster and other turned legs came into fashion. These English types of refectory tables are always of oak, the wood used in England for furniture at that time. Refectory tables take their name, of course, from their use in the long refectory of monasteries or castles. Before the dining room was developed in England, when the great hall of a castle was living room and dining room combined, long trestle tables were in use. One referred to by Jourdain, in her book, "English Decoration and Furniture," was fiftyfour feet in length, this allowing ample room for the noble lord and all his retainers to sit down in a patriarchal manner that has since been lost. When the collapsible trestle table was superseded by the solidly built table, the new type was known as a "joined" table, because it was put together by a skilled carpenter, or "joiner." Antique examples of these collapsible types of refectory tables are, indeed, rare today. Yet, in early America, they were much more often found than the four-legged, solidly joined table. Made of oak or of pine and maple, the trestle table was so constructed that it could be taken apart and placed out of the way when not in use. Its supports consisted of a pedestal at each end, and sometimes one in the middle, connected by a single stretcher, held in place by stout pegs or tendons. The trestle table apparently remained in use in the Colonies much later than in England; as did, in its turn, the four-legged stretcher type, with all its parts solidly joined. Comparatively few of the "joined" type of refectory table were used hereexcept in the Southwest, where they had a mission type for Colonial joiners in these latitudes were making pine and maple tables more suitable for the habitations of the less opulent Colonial pioneers. A useful form of modern refectory table has an extension top. This style, known generally as a draw table, is constructed with extension leaves placed under the top, which can be pulled out on occasion, and which, by an ingenious arrangement of supports, provides additional table surface at either end. This is a convenient arrangement where the table is to be used in the living room. Furniture makers of today, keeping up with the increasing demand for authentic copies of the old forms, have made excellent reproductions of both the draw table and the solid-top table. In the best of these copies the craftsmen, while taking advantage of some modern methods of construction, retain all the old methods that helped to achieve durability and decorative effect. Refectory tables, except, perhaps, the highly individual Tudor style with the large bulbous legs, fit into many kinds of interiors. They make useful side tables in a library or living room which may have chairs and couches and hangings of a period much later than the early American. The low-placed stretcher and wide overhanging tops give them picturesqueness; and, even in the simple ones made by country carpenters of Colonial days, there is a grace that can be made use of by the judicious even among more sophisticated furniture. With the growing custom of combining dining room and living room an adapted aspect of the great castle hall is coming back-English or Spanish. Perhaps that is one reason why these long and hospitable looking tables fit in well at one end of a large living room that has a capacious fireplace and a gallery-both characteristic of European periods and architecture when refectory tables were used. Reproductions in pine and maple can be made of a pattern to fit in with room ensembles in the simple early New England style. Especially appropriate for a room paneled with straight pine boards, or for a renovated farmhouse kitchen, with its plastered walls and ceiling of open beams, is a primitive trestle table made a little broader than, the single wide board of pioneer days, so as to accommodate our present-day dining table arrangements. Source: http://www.oldandsold.com/articles03/hf1.shtml

Regency English Period of severe Neoclassicism from 1810-1820 influenced by the French Empire.

relief Forms of molded, carved or stamped decoration raised from the surface of a piece of furniture forming a pattern. (2)Decoration that protrudes from the surface.

Renaissance Revival of interest in classical design, beginning in Italy during the 14th century and continuing to spread throughout Europe until the 17th century. Design is simple in structure with a generous use of classical ornament, such as the acanthus leaf, animal forms, and pilasters.

Replacement Value Method Replacement Value - The highest price in terms of cash or other precisely revealed terms that would be required to replace a property with another of similar age, quality, origin, appearance, provenance and condition, within a reasonable length of time in an appropriate and relevant market. This definition includes various anticipated costs such as: a) Purchase from an appropriate gallery or dealer b) Purchase at a well publicized public auction where comparable property is regularly sold c) Engagement of an interior designer, commissionaire or any other consultant. ASA Int'l Personal Property Committee

Replacement Value New Replacement Cost New - The cost to replace property with a substitute which is new, using modern materials, techniques, and standards which, however, satisfy the description or use of the replaced property. ASA Int'l Personal Property Committee

repousse A decorative technique in which sheet metal is punched and hammered from the back, usually followed by chasing from the front as a finishing touch. Another word for repousse is embossing

Reproduction Cost Reproduction Cost - The total cost to reproduce an exact replica of property, at current costs, using a similar or the same artist or craftsman, materials and design as the original property. ASA Int'l Personal Property Committee

Retail Market Level Retail Market Level - This is the most common retail price at which property is offered for sale in a geographical region. ASA Int'l Personal Property Committee

Rococo Rococo is a style of 18th century French art and interior design. Rococo rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. It was largely supplanted by the Neoclassic style. North side of the Catherine Palace in Tsarskoye Selo - carriage courtyard: all the stucco details sparkled with gold until 1773, when Catherine II had gilding replaced with olive drab paint. The ballroom of the Catherine Palace in Tsarskoye Selo The Rococo Basilica at Ottobeuren (Bavaria): architectural spaces flow together and swarm with life The word Rococo is seen as a combination of the French rocaille, or stone garden (refering to arranging stones in natural forms like shells), and the Italian barocco, or Baroque style. Due to Rococo love of shell-like curves and focus on decorative arts, some critics used the term to derogatively imply that the style was frivolous or merely modish; interestingly, when the term was first used in English in about 1836, it was a colloquialism meaning "old-fashioned". However, since the mid 19th century, the term has been accepted by art historians. While there is still some debate about the historical significance of the style to art in general, Rococo is now widely recognized as a major period in the development of European art.

Rococo Period in French design originating in the 18th century following the Baroque era. An assymetrical motif, it was often overly ornamental. The name is derived from the French words rocaille (rock) and coquille (shell), which are prominent rococo decorative elements.

Rose Canton Rose Canton china is similar to Rose Mandarin and Rose Medallion, except no people or birds are pictured in the decoration. It was made in China during the nineteenth and twentieth centuries in greens, pinks, and other colors. Source: http://kovels.com

Rose Medallion Rose Medallion china was made in China during the nineteenth and twentieth centuries. It is a distinctive design with four or more panels of decoration around a central medallion that includes a bird or a peony. The panels show birds and people. The background is a design of tree peonies and leaves. Pieces are colored in greens, pinks, and other colors. It is similar to Rose Canton and Rose Mandarin. Source: www.kovels.com

Roseville ( Article orginally published April 1968 )Author: Albert Christian Revi ) Roseville pottery is very "late". The plant did not close until 1954 and at least some art pottery was made to the end of its days; but pieces made between 1900 and 1930 are being quietly collected today as "antiques of tomorrow." George F. Young began his potting career in Roseville, Ohio, making painted flower pots and cuspidors. In 1898 he moved his Roseville Pottery to nearby Zanesville and began to compete with Weller and Owens in art pottery lines. His "Rozane" marked with a rose in a circle and the name "Rozane Ware" duplicated Lonhuda and Louwelsa. His other Rozane lines, like "Rozane Fugi" and "Rozane Mongol" - the name was coined from Roseville and Zanesville - aped various successful wares of his competitors. Not until Roseville brought out their "Donatello" line, decorated with cherubs and fluted borders, during World War I, did Roseville take the lead. In the late 1920s Roseville's mat glazes won them reputation. This line can be credited to designer Frank Ferrell, who went to work at in Roseville in 1918. Designs were mainly conventional flowers and fruit in pastel colors, raised on pebbled ground of grey, tan, or white. These dull mat-finished pieces are what most people associate with Roseville and recognize on sight. Early pieces are marked in rasied letters on the bottom, "Roseville U.S.A." Later pieces had paper stickers, most of which have long since been wasted away. The Pine cone design, which Roseville produced for 15 years, was one that Weller had rejected when Ferrell, who worked for him. (It was revived in cheapened form in 1952.) After the depression of the 1930s, Roseville concentrated on its commercial wares, and its art pottery diminshed to minimum, cheaply made. Norris Schneider's chapter in Zanesville Art Pottery is practically the only research available. Further information about Roseville Pottery: The Roseville Place History Of American Stoneware Pots And Jars The Roseville Pottery Exchange Source: http://oldandsold.com

Rosewood Prized for its exotic and beautifully figured appearance, rosewood was a favorite among upscale cabinet makers of the 18th and 19th centuries. Unlike more common woods, rosewood is exceptionally dense, rich in color and very receptive to a high polish. Hailing from tropical forests of India and Brazil, rosewood got its name not from its appearance, but from the aroma of the freshly cut trees. Neo-classical furniture makers like Thomas Chippendale preferred rosewood to any other variety for his incredible furnishings. Brazilian rosewood was the preferred choice of 19th-century furniture makers as well. Today, rosewood pieces are highly sought after by antique connoisseurs.

Rosso Antico The name given by Wedgwood to his red stoneware.

Roux, Alexander Alexander Roux (1813–1886) was a French-trained ébéniste, or cabinetmaker, who emigrated to the United States in the 1830s. He opened a shop in New York City in 1837. The business grew quickly: by the 1850s he employed 120 craftsmen in his shop and introduced then-new industrial technologies, such as steam-powered saws. Roux specialized in the ornate Rococo Revival style, but practiced many others. His work is highly sought by collectors, with larger and more complex pieces fetching large sums. One of his sideboards was featured in a 2000 exhibit at New York's Metropolitan Museum of Art. Source: http://en.wikipedia.org/wiki/Alexander_Roux

Royal Albert Royal Albert, the world's most popular bone china, began as small pottery business established in 1896 when Thomas Wild took over the Albert Works in Longton, Stoke on Trent. The factory that was named in 1895 to commemorate the birth of Prince Albert who was crowned King George VI in 1936. In 1897, Thomas Wild and Co. produced a range of Royal commemoratives to celebrate Queen Victoria's Diamond Jubilee. Started as a family business run by Wild and his sons Fred and Tom, china produced at the factory was originally recognized as Albert Crown China. The term Royal was added in 1904 and the line soon became known as Royal Albert. In 1910 Royal Albert began international expansion by first establishing export agencies in New Zealand, then Australia, Canada, and the United States. Royal Albert was acquired by the Pearson Group in the 1960's, which was an era of prosperity for the organization. Harold Holdcroft, creator of the Old Country Roses was the most successful of all Royal Albert designers. More than one hundred million pieces of Old Country Roses have been sold worldwide since the patterns release in 1962, which is the greatest number of any single bone china tableware pattern ever produced. In 1970, the company was renamed Royal Albert Limited severing any connection to the founder Thomas Wild and in 1972, the Pearson Group acquired and merged Royal Doulton with Allied English Potteries. That union combined Royal Albert, Royal Crown Derby, Paragon and the Lawleys under Royal Doulton. The Royal Doulton Group was then separated from the Pearson Group of companies in 1993 and in December of 2002, Royal Doulton moved production of Royal Albert from England to Indonesia. This move was not well received by collectors who overwhelmingly prefer Royal Albert produced in England. Source: http://www.architecturals.net/newsletter/2007_10_14.html