The American colonies. As in all colonial settlements, the furniture of the American colonies reflected the style preferences of the individual national groups. This influence, coupled with the existence of new materials and the time lag in transmitting styles and tastes from the home country, in some instances produced highly individual furniture. Information in inventories and wills about 17th-century furniture of the English colonies indicates that it existed in its simplest forms—stools, benches, tables, cupboards, and a few chairs. This furniture, often made of oak, recalled the tradition of Elizabethan England and was turned and decorated with chip carving, often picked-out in earth colours. By the end of the century, pine, maple, and other woods were used. The Dutch and Scandinavian settlers carried with them individual furniture forms whose influence remained local.
The more elegant pieces are the ones that get the most attention from collectors and antique furniture aficionados. “Empire furnishings with their undulating scrolls balancing heavy geometric shapes, complemented the Greek Revival architecture of the period. Ornament was carved in high relief; inlays were abandoned in favor of stenciling and gilded brass or bronze decoration. Other pieces were kept simple by omitting carving and emphasizing the overall line,” shared Schwartz. Furniture examples in the Empire style include the Klismos side chair, two daybed styles called the Méridienne and the Récamier, the popular pier table, the Scroll-end sofa (see a typical settee example illustrated above), and the sleigh bed to name a few.
France. The transitional phase in French furniture from Baroque to Rococo is called Régence. The heavy, monumental style of the earlier part of Louis's reign was gradually replaced by a lighter and more fluent curvilinear style. The leading exponent of the Régence style was Charles Cressent, ébéniste (“cabinetmaker”) to the regent Philippe II, duc d'Orléans. In his work the ormolu (a brass imitation of gold) mounts, so important a part of the design of French furniture in the 18th century, became equal to if not more important than, the marquetry decoration of the carcass. The curvilinear form was introduced not only to externals, such as legs and supports, but, in the bombé (rounded sides and front) commodes that first appeared during this period, to the case itself. High-quality marquetry in coloured woods replaced ebony.
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