ANTIQUE SCREENS

Although made from Tudor times, antique screens furniture mostly date from the 18th century onwards, the majority from after 1750. A few screens were intended to block draughts or, in the bedroom furniture, to
protect modesty, but by far the majority were designed as fire-screens - particularly important for women, whose make-up was often wax-based. At all times these were principally decorative objects.
A good vehicle for wood carving. Needlework was always fashionable for the screen panel, but prints, paintings, imported Chinese wallpapers, embroidery, filigree paper, Berlin woolwork, bead and other handiwork are also found (frequently executed by ladies of the house). Around 1750 panels often contained fabric matching the upholstery, wall hangings and so on.
Cheval screen with sliding panel, about 1810,
There are three hree main types of screens antiques:
Cheval, (called a’horse’screen until about 1815): A panel set between two uprights (or standards), supported on feet projecting to the front and back. Sometimes a stretcher below. Cresting often rounded or shaped.
Panel occasionally adjustable in height, moving through grooves in standards.
Generally design followed fashionable styles and showed exuberant scrolling carving (particularly on crestings and stretchers) around 1700, rather less bold carving during Queen Anne’s reign, followed by curvaceous and often asymetrical rococo designs during the Chippendale period, finally becoming straighter and squarer towards 1770. Overall size was gradually reduced. Screens in neoclassical style were far simpler, often with panels of oval or shield shape, straight and simple uprights, and small carved neo-classical details. Uprights often ended in vase finials.
Considerably less popular in 19th century, but available in many revival styles - rococo, Queen Anne, ‘Sheraton’, Gothic, even Elizabethan screens . Ornament often excessive. Many made in papier mch, usually of scrolling outline. Gilded screens also fashionable, with carving of scrolling and naturalistic design, sometimes with double panels of glass enclosing stuffed birds, butterflies and so on.
Pole screens: First made around 1700, but few have survived from before 1750. Also gradually reduced in size. Originally made in pairs to stand either side of fireplace. Designed specifically to protect the face from
heat. Standard pattern was tripod base with turned pillar supporting pole to which a small adjustable screen was attached. Pole topped by finial, often ivory.
Tripod base similar in design to occasional tables (see p. 175) but generally lighter. Shape of panel rectangular in mid-century, more varied after - circles, shields or ovals common, often with shaped edges.
Particularly popular during Regency, though by 1820 bases were clumsier and detail fussier. ‘Banner’ screens introduced in which screen was replaced by similarly attached tasselled fabric banner hung from a wood or
metal cross-bar.
Folding ‘panel’ screens: Relatively seldom seen today. In the 17th century and 18th century mostly a feature of very large houses. Could have simple frame completely covered with decorative leather or painted cloth,
fixed around the edges with decorative nails. Imported Oriental lacquer screens, which could have up to twelve panels, were highly prized.
Some small and simple wood-framed two-leaf screens made around 1750, generally with straight legs, their principal feature being the fabric or print contained within them.
Early Victorian pole screens.    George I// mahogany pole screen, about 1770.
Two-leaf mahogany screen containing Chinese wallpapers, about 1765.
Victorian mahogany cheual screen containing needlework picture.
Large three- or four-leaf folding screens with straight or arched tops popular during Victorian times, covered with leather or cloth, sometimes pasted with ephemera.
Typical woods of their day; beech (when painted, gilded or japanned), walnut, mahogany, rosewood, satinwood, papier mache, bamboo and wicker. Occasionally cast iron used for the bases.
Standard methods employed. Height of pole and banner screens adjusted by tightening the brass ring attached to the back of the panel with a wing screw. Sheraton introduced a new mechanism with a hollow pole and counterbalanced weights adjusted on a pulley and cord system. The lower weight was hidden within a tassel below.
Carving of fashionable details according to date. Typical papier mache decoration, often enclosing popular views.
Victorian screens decorated with ephemera are very collectable today. Though often damaged, relatively easy to repair as reproduction ephemera is widely available.
Polish, gilding, japanning, paint (sometimes simulating bronze or gold).
For both cheval and pole screens, an 18th rather than 19th century date makes all the difference to value; four figures for the first, seldom more than three for the latter, though an exceptionally fine or interesting panel filler could push the price up. Folding screens really too scarce and varied to evaluate in general terms.
Late-Victorlan Japanese 19th century painted leather folding bamboo’ and lacquer screen.