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The first-ever book on the suites of travelling furniture used by British soldiers over one-and-a-half centuries. For the travelling British soldier, campaign furniture - chairs, desks, and other items, brought the comfort and civility of home to life under canvas. Made to be carried on the march and assembled on site, campaign furniture reached an aesthetic apex in 18th- and 19th-century England.
- Sales Rank: #1085606 in Books
- Brand: Brand: Harry N. Abrams
- Published on: 2001-04-01
- Original language: English
- Number of items: 1
- Dimensions: 11.25" h x 1.00" w x 9.00" l, .0 pounds
- Binding: Hardcover
- 232 pages
Features
- Used Book in Good Condition
Amazon.com Review
"The first axiom for camp is... do not make yourself uncomfortable for want of things to which you are accustomed," advised The Complete Indian Housekeeper and Cook in 1890 to high-born Brits living in India, most of which England had by that point colonized through a succession of wars, or military "campaigns," throughout the 18th and 19th centuries. This impeccably curated, insightfully narrated, and richly illustrated volume proves that the homesick subjects of the Raj took such advice deeply to heart. It showcases nearly 200 years of furniture designed expressly to approximate all the refinement of a proper British household inside the canvas tents of ranking officers afar, but also to break down and fold up fast for easy, compact transport (hence campaign furniture's other appellation, "knock-down" furniture). Masterfully put together by independent curator Brawer, previously a researcher in the Indian and Southeast Asian departments of London's venerable Victoria and Albert Museum, this handsome volume succeeds on two levels: it amply highlights the stylistic elegance and technical ingenuity of this kind of furniture--a bureau that becomes a bed when its drawers are removed; a lady's bidet that folds into a leather case; or a dining table seating 20 that fits inside a 10-inch-deep box--while putting it (often quite wryly) in the historical context of an expatriate society that sought to re-create Britain wherever it went and had little or no interest in adapting to or learning about the customs or designs of the people it conquered (and essentially enslaved). Throughout, Brawer includes excerpts from a fascinating array of letters, journals, and other documents of the period, and an excellent pictorial directory of the furniture's craftsmen and manufacturers helps make this impressive tome invaluable for collectors, design historians, Anglophiles, and Merchant-Ivory set designers alike. --Timothy Murphy
About the Author
Nicholas A. Brawer earned his Master's degree in art history from the Courtauld Institute in London. Currently an independent curator, he has held research positions at the Victoria and Albert Museum in London and the British and Commonwealth Museum in Bristol. He has written on decorative arts and architecture for Antiques magazine. This is his first book. Jerome Phillips is an antique dealer, and an authority on British military furniture. He lives in Oxfordshire.
Most helpful customer reviews
5 of 5 people found the following review helpful.
Great picture book
By A Customer
I just had to have this book. The subject matter was unusual and touched on the social aspects of camp life in the British Army.
The pictures are fabulous.
4 of 4 people found the following review helpful.
Review from Art & Auction Magazine, April 2001
By A Customer
Collapsible or 'campaign' furniture has been standard issue for people on the move for centuries. Armies in ancient Greece and Rome relied on folding chairs, cots and the like as they advanced from battlefield to battlefield. In the Middle Ages, furniture that handily collapsed was among the important domestic possessions of peripatetic aristocrats, who carted their chairs, tables and beds from castle to castle and disguised crude carpentry with costly silk hanings and tapestries. But according to British Campaign Furniture, Elegance Under Canvas, 1740-1914, it wasn't until the late 18th century that campaign furniture became a sophisticated accoutrement almost entirely of the British empire, outfitting the homes of Anglos abroad. A cultural constant, often found in paintings of conquering heroes, campaign furniture was hip, too. As elegantly explained by author Nicholas A. Brawer--an independent curator formerly with Sotheby's New York and the Victoria & Albert Museum in London--the craze for campaign furniture was fueled as much by its practicality as by its owners' desire to preserve their national image. Challenged to set up thoroughly British encampments in distant colonial outposts, soldiers and memsahibs set fail for India and points beyond with entire housefuls of furniture--most of it cunningly designed to be disassembled and packed tightly into trunks and boxes. When Mary Bolton and Captain Benjamin Simner, an officer in the Duke of Wellington's Regiment, arrived in Madras in 1865, the first thing the newlyweds did was to upack two crates, each measuring about three feet square, and out tumbled an entire living and dining room: a dining table, four dining chairs, a settee, a sideboard and an easy chair. Ingenious but also luxurious. The suite, a wedding gift, was made of hand-carved walnut upholstered in button-tufted brocade. Dozens of now-obscure firms like John Jacques, Morgan & Sanders and John Ward dominated the campaign furniture industry; the Simners' suite was made by Ross & Co., a Dublin concern. Such was the demand by aristocratic soldiers, travelers and diplomates that high-profile cabinetmakers produced their share of campaign furniture as well. Thomas Sheraton designed camp beds for cavalry officers and other collapsible furniture, as did Thomas Chippendale, A. Hepplewhite & Co. and Ince & Mayhew--all of whom, Brawer notes, 'furiously competed for commissions' from outward-bound Britons.
Practical and stylish, campaign furniture allowed designers and inventors to pack as much furniture into as small a space as possible. Chairs, tables and a sofa could be packed into the lower half of a chiffonier. Canopy beds were conjured out of nothing more than a few metal rods and tightly rolled curtains dripping with fringe. Once its deftly turned legs and leaves were stored away in a secret compartment, a 10-foot mahogany dinign table could be reduced to the size of a small area rug. And at the Crystal Palace exhibition in 1851, Benjamin Taylor offered a line of campaign furniture with cork-fiber cushions that doubled as life preserves. Several items depicted in Brawer's book will be seen in 'Britain's Portable Empire: Campaign Furniture from the 18th and 19th Centuries,' an exhibition curated by Brawer opening in July at the Katonah Museum of Art in Katonah, New York. Fascinating, erudite--and spiced with often comical excerpts from expatriates' letters home--British Campaign Furniture is a delightul glimpse into one of design history's oddest yet most compelling detours.
6 of 7 people found the following review helpful.
Review from The Birmingham Post (UK) March 3, 2001
By A Customer
When Georgian and Victorian top-brass set off on military campaigns during the 19th century they took the furniture with them. It was simply taken for granted that when a military officer set off for Africa or India he expected the same standard of living he obviously enjoyed at home. While he was 'under canvas' as life in camp was called, an officer assured himself of a high degree of comfort by taking along carefully chosn and sometimes privately made campaign or 'knock-down' furniture.
There was really very little difference between normal household furniture and the knock down variety. It was simply that the latter could be taken apart at a moment's notice, folded up, packed into boxes, transpoted to wherever and then re-assembled, without the use of nails, screws, tacks or tools, in some corner of a foreign field 'that was forever elegantly furnished England.' When these things turn up on the furniture stands at the NEC fairs or in the sale catalogues, the first thing that strikes you is their absolute elegance. The superb designs of these canvas and wood lunging chairs, bureaux, beds or whatever, reflects the sense of calm superiority which belonged to the officer class, its social and military rank and its unflurried attitude to travel, camp, battle and other people--particularly inferiors. Campaign furniture included chests, writing boxes, silver cutlery sets, much favoured by people like the Duke of Wellington, brass candlesticks which folded down into two tiny little doughnut shapes which could be slipped into the pocket, bookcases, inlaid games tables, sofa-beds, washstands and even collapsible bidets for officers' wives who were also equipped with rubber knickers to combat the unhealthy climate of India during the monsoon. The illustrations of these things (not the knickers of course which have long since perished) shown in the recently published British Campaign Furniture--Elegance Under Canvas, 1740-1914 by Nicholas A. Brawer (Abrams) show the sheer beauty of the bookcases, sets of chairs, dining tables, side tables...The folding bookcase shown, for example, on page 21, has the metal grilles of its more superior brethren but is a finished piece of cabinet work in its own right. And the pictures tell an extraordinary story, since it was not only the purely utilitarian pieces which were taken halfway across the world, we can also read that the Memsahibs looked for, expected and received, complete dining suites, tables to seat a dozen people with beautifully upholstered chairs to match and found it unloaded at the docks in a DIY box set. The sofa-beds which we use today to put up guests are obviously nothing new. One is shown here opening out from an elegant bergere sofa, into a king-size double bed. And astonishing dining tables could form an elegant piece of furniture or be made so portable as to go with the regiment. But then, officers in the Georgian period would require a large dining table in their tents. It meant that they could maintain their prestige and rank during the battle. And it was needed when the port went round. These things were taken seriously enough by Sheraton, Chippendale and Hepplewhite, wonderful furniture makers and designers, all of whom concentrated their minds on problems of portability. Interestingly enough, in this excellent book, which examines a fascinating and little known area of furntiure collecting in a scholarly way, Nicholas Brawer makes the point that although we tend to associate Chippendale and company with up-market wildly expensive drawing room masterpieces, these men were quite happy to place campaign furntiure in the main steam of early 19th century furniture making. But how you got all this gear from place to place was amazing and it is shown in this book in some extremely funny Indian watercolours, themselves obviously highly collectable. As late as 1910 Harrods were advertings equipment for exploreres, miners and sportsmen who might wish to make homes in Lucknow, Suez or the Australian outback. Harrods claimed their furniture could be packed in cases suitable for 'Camel Loads, Mule Loads, Pony Loads and Native Head Loads.' Presumably, little tins containing anti-insect oil also went with the furniture to combat termites in unfriendly climates. And the amount of local camp followers anxious to earn a few pence a day carrying the Sahibs and their endless baggage was inexhaustible. A delightfully silly photograph shows Mary Curzon, the Indian Viceroy's missus crossing a stream in India in 1904 with enough elephants, horses and locals to fill up the Indian army. When Captain Hope Grant of the 9th Lancers (an avid violinist and composer) was posted to Simla, it took 93 men to carry his bits and pieces. Flora Annie Steel in 1890 advised military wives sailing for India, that 'a piano must be carried by coolies of whom 14 or 16 will be needed.'
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