Antique Chest of Coffer
CHESTS OR COFFERS
About 1200-1800
Typical 17thC three-panel carved oak chest.
Known as blanket chests in the 18thC, these were used for the storage of clothing and linen and, in the Middle Ages, other valuables too (hence their often elaborate, sometimes multiple locks). Originally placed at the end of the bed they sometimes doubled up as a seat or table. They were largely superseded in the mid-17thC by the more sophisticated chests of drawers. Surviving examples available for sale date mostly from the late-16thC onwards; earlier examples are rare except in churches or public collections.
Medieval forms included the dug-out, ark and clamp-fronted chests but most of those now available are:
Plank or ‘boarded’: Comprising six pieces of timber simply nailed together. Sides extend to the ground with V shape cut out to form feet. Usually carved decoration on front (and sometimes sides); simply carved border on sides of lid and vertical edges of front. Normally exterior plain, with square-plated iron lock with hinged hasp fastening. Although largely replaced around 1550 by panelled chests, boarded chests were still made in country areas in 18thC.
Joined/panelled: Made from about 1550, though panelled construction had been used in building since the previous century. Rectangular, with two, three (occasionally four) panels at front and back, one or two at sides. Lid flat, or panelled in line with base. Plain or moulded edges. Side stiles continue down to form legs. Nearly always carved decoration on front (often sides too), varying in extent; never carving on lid. Rails, stiles and muntins often moulded; sometimes chamfered around panels. Interior sometimes fitted with small, lidded, incorrectly named ‘candle box’, prob
ably to contain sweet-scented herbs.
On both types the underside of the lid was sometimes cross-battened.
Predominantly oak. Less durable woods such as elm, ash, chestnut and other local varieties also used, but few examples have survived. From about 1650 much ‘wainscot oak’ imported from Scandinavia (favoured for its fine, even grain) was used.
Cypress and (in the early-18thC) cedar occasionally used for their moth-repelling qualities.
Boarded: Front and back overlapping sides and pinned with iron nails. Timber split rather than sawn, hence no saw marks. Grain of sides runs top to bottom, other boards side to side. Should be some shrinkage along grain, probably some ‘bowing’ of lid. Rust stains on wood around nails. Lid fixed with large strap or small wire loop hinges (early chests often had pin hinges). The lockplate would also have been fixed with iron nails.
Chest fitted with strap hinges.
Panelled: Joined frame and panel construction; pegged mortise-and-tenon joints. Pegs of green willow (unlikely to split or shrink). Should be of irregular shape and size and protrude slightly above surface where surrounding wood has shrunk. Two rather than one peg per joint the norm in 17thC.
Dry panel construction (i.e. no glue) allows for shrinkage and movement of timber; panels therefore now slightly loose. Panels usually thinly cut, sometimes with chamfered edges to fit into grooves of frame.
Stiles always continue to top, the rails tenoning into their sides and muntins into rails.
The timber was either split or sawn: irregular saw marks therefore may be visible on under-sides.
On both types the interior should be ‘dust-dry’, i.e. with a smooth but not shiny surface. Recently sawn wood will have a slightly rough, splintery surface. There should be good patination from constant handling around the lock and front under-side of the lid. The under-sides of the feet will be worn and slightly ragged. Signs of repair to hinges and lock are not unusual.
Carving: Of many qualities; much simple chip-carving. Common motifs include Gothic tracery, roundels, arches, columns, Renaissance strapwork, guilloches, lunettes, lozenges, stylized foliage and flowers and arcading (the latter particularly on panels).
Some shallow ‘punched decoration’ punched on with a mallet and specially shaped metal tool especially on boarded chests.
Motifs include stars, crescents, crosses, dots.
Sometimes inlay during 16thC and early
17thC, mostly of floral or geometric patterns.
NONESUCH CHESTS
The best known and most elaborately inlaid of these are Nonesuch (sometimes spelt Nonsuch) chests, believed to have been made by immigrant craftsmen working in Southwark. All depict views of Henry VIII’s Nonesuch Palace in Surrey which was demolished in 1670. Although intriguing and beautifully made, they are small in number, seldom for sale, and not typical of other chests of their day.
Originally stained and wax polished. Subsequent dry-rubbing has generally produced a good patina, i.e. a rich, dark colour, with a deep shine. Occasionally traces of paint are seen (especially on boarded chests). Although it is known that some early oak was painted probably all over in plain colours rather than finely decorated the extent and exact procedure is yet to be fully researched.
VALUES
Plenty of variation; generally only boarded, simply chip-carved and completely plain panelled chests fail to reach the thousand mark. Plus points are: extensive vigorous carving (chip carving and punched decoration are at the bottom of the scale), no signs of repair or replacement parts, original locks and hinges, good, deep colour and patina.
Beware of large numbers of Continental chests imported for the ‘decorator’s’ market. Look at decoration and for any difference from standard methods of construction.
VICTORIAN ALTERATIONS
Some chests had additional carving executed in the 19thC when ‘Jacobean’ furniture was popular. Others were made up from old fragments of carving and discarded wall panelling. Check the construction; look for later and now discoloured staining intended to disguise new joints, and check all carving for inappropriate ornament, execution by different hands, and ‘mechanical’ appearance.
Below left, pin hinge; below light, wile hinge.
Tags: Blanket Chests, chest, Chests, chests of drawers, coffers, Comprising, DRAWERS, Gothic, grain, inlay, PANELLED, shrinkage, storage, VICTORIAN