4 10 191 https://www.frederickparkercollection.org.uk/files/original/4e087631f27e4c96bbd9e4bd8fdc7187.jpg a7d39ff815840eb1e87df96325ff9063 https://www.frederickparkercollection.org.uk/files/original/75fd519be10936d9f4b9bb7bee356213.jpg 14efca42839b152777957dbb7291f25b https://www.frederickparkercollection.org.uk/files/original/fef3daa51cf48997ddef83f3227b0cbc.jpg 6de7859322d43c80980e5e94e5368b87 https://www.frederickparkercollection.org.uk/files/original/132d84b8c63c4de7edcd0fce305fa7af.jpg dec953dd4c415ad44c753883aa038ce3 https://www.frederickparkercollection.org.uk/files/original/cc9beabe6ef53642b51f8b6ce055901d.jpg 3270a2aba7b5995a525c237ab8003988 https://www.frederickparkercollection.org.uk/files/original/4f13e1bdd89e4059a189d5af5d226f18.jpg e927d45c551178dc4780555b7af687b5 https://www.frederickparkercollection.org.uk/files/original/31fd2e7a6cec4ecead74986e1a66c31f.jpg 1858c9bcbb513423adcccf131a5305a0 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This child’s high chair is made of ash turned to simulate bamboo. The back posts are joined by two double rails each with two turned balls, and a single rail below. The back legs are continuous with the posts. The seat is a narrow oval frame with a caned centre. All four legs are splayed with flared toes; the legs are joined by turned stretchers, pairs at the sides and singles to the front and back. The chair is stained and grained to give the appearance of rosewood. This form of high-chair was designed in c.1810 by Sir Astley Cooper of Cambridge (1768-1841), a notable physician, both to allow a child to sit at a dining table and to encourage good posture. Such chairs were sometimes referred to as deportment or correction chairs because they could be used to force a child to sit still or risk falling off. In this case the chair is too finely made and detailed for punishment to have been the primary purpose. It was probably intended for use in a dining room alongside other rosewood chairs and furniture. A painting by W.P. Frith, Many Happy Returns of the Day, dated 1856, shows a well-to-do, middle-class family celebrating a child’s birthday at a dining table, and two of the children are seated on high-chairs similar to this, although a little later in date. Condition One stretcher has been replaced. The front stretcher is very worn from being used as a footrest. The seat has been re-caned. Materials Ash. Cane. Physical Dimensions The physical size of the object H. 96 W. 30 D. 28 Parker Numbers 4160 Provenance Purchased by Frederick Parker & Sons on 26 March 1918 from Young for 10 shillings. Notes The oil painting by William Powell Frith (1819-1909), Many Happy Returns of the Day, 1856, Mercer Art Gallery, Harrogate, is illustrated and described in Home and Garden, Paintings and Drawing of English, middle-class, urban domestic spaces, Geffrye Museum, 2003, p. 164. There is a similar chair in the V&A, also faux bamboo, c. 1835, accession number W.80-1929 See: <a href="https://collections.vam.ac.uk/item/O98698/chair-unknown/">Chair | Unknown | V&A Explore The Collections</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF272 Title A name given to the resource Child’s high chair, ash turned to simulate bamboo with caned seat. Date A point or period of time associated with an event in the lifecycle of the resource 1830-1850. Description An account of the resource A child’s high chair, ash turned to simulate bamboo, with a caned seat. https://www.frederickparkercollection.org.uk/files/original/ea529dcdb439fac74934e2c7b3e6e2a7.jpg 94127c7cbab23f97ea10b42cb4354dbd https://www.frederickparkercollection.org.uk/files/original/a89eada67f3b683fa25bb4e40edae336.jpg 702c956dc9d4c3bdc2e4c76dc8ac9a80 https://www.frederickparkercollection.org.uk/files/original/f83b4d95ae59d603e42b4d28f3b4dc3a.jpg 7bfd21d324f8ee2628a52ff6891369cb https://www.frederickparkercollection.org.uk/files/original/bcf5ed099e7c2eff6784e2060f080ad3.jpg 777c5f728134f771de2d26c70f015df6 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This upholstered armchair in the form of a diamond-shaped shell is made of a welded steel mesh and underframe, with chromed finish, and a moulded latex foam cushion covered in woollen fabric. It was designed by Harry Bertoia in 1952 for Knoll Associates, Chicago and was innovative in its use of steel and foam to create a dynamic form of chair, very different from most chairs at that time. It was called the Diamond Chair. Bertoia said of his wire chairs, "They are mainly made of air, like sculpture. Space passes right through them.". These chairs were initially handmade, since a suitable mass-production process could not be found. The original design included two thin wires welded on either side of the mesh seat. However, this design had been patented by Charles & Ray Eames for their own wire chair design, produced by Herman Miller. So Bertoia and Knoll redesigned the seat edge, using a thicker single wire with the edges ground at a smooth angle by hand, a method still used in their production today. Harry Bertoia (1915-1978) was born in Italy and moved to America in the mid-1930s. He studied art and jewellery design at Cranbrook Academy of Art, where he became close friends with other pioneering designers including Charles and Ray Eames. From 1950 Bertoia worked in Pennsylvania with fellow Cranbrook graduate, Florence Knoll. During this period he designed five wire pieces of furniture which became known as the Bertoia Collection for Knoll. Among them was the Diamond Chair. Bertoia’s legacy lives on and his Diamond chairs are still in production. Bertoia’s Bird Ottoman is also in the Collection, FPF469. Condition The chrome frame is showing uniformly distributed spots of rust. There is extensive degradation of the latex foam filling. Conservation repairs were carried out on the fabric cover in December 2019. Materials Chromed steel. Latex foam. Wool. Physical Dimensions The physical size of the object H. 67 W. 112 D. 84 Provenance Purchased by the Frederick Parker Foundation at auction, February 2010. Notes Sources for this piece: <a href="https://en.wikipedia.org/wiki/Harry_Bertoia">Harry Bertoia | Wikipedia</a> <a href="https://www.knoll.com/shop/by-designer/harry-bertoia">The Bertoia Collection | Knoll</a> <a href="https://www.swiveluk.com/uk/designers/harry-bertoia.html">swiveluk.com</a> <a href="https://harrybertoia.org">harrybertoia.org</a> See also: Mateo Kries, Vitra Atlas of Furniture Design, 2019, pp. 422-3. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF468 Title A name given to the resource Chromed steel mesh armchair with moulded cushion, designed by Harry Bertoia. Date A point or period of time associated with an event in the lifecycle of the resource Designed in 1952, manufactured c. 1970 Description An account of the resource A chromed steel mesh armchair with moulded cushion known as the Diamond Chair, designed by Harry Bertoia and manufactured by Knoll. https://www.frederickparkercollection.org.uk/files/original/6cf7092eef24b69b7b45bc9ab91b4cc6.jpg 8eddbf9c1dda246883e0801fe153770f https://www.frederickparkercollection.org.uk/files/original/d0e7fff254c332c96635fb2dea864a5a.jpg e048b9405ccff7620245002096f5df23 https://www.frederickparkercollection.org.uk/files/original/6e6156846a2cf15444dc9b231b7aa030.jpg 4a31c9aaa57e1b5441d96752eb88fd9a Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This footstool, or ottoman, has a steel mesh top of rectangular convex form with curved sides, originally with a moulded latex cushion with a wool cover (the latex filling has now disintegrated and the cover is kept separately). The seat is supported on a leg frame of bent and welded steel rods. All of the steel is chrome-plated. The cushion was originally stretched over the steel frame and attached with hooks. The ottoman was designed in 1952 by Harry Bertoia for Knoll Associates, Chicago as a companion piece to his Bird Chair. These wire pieces were initially handmade, and even today they still require a certain amount of handwork. Bertoia (1915-1978) was born in Italy and moved to the USA in the mid-1930s. He studied art and jewellery design at Cranbrook Academy of Art, where he became close friends with other pioneering designers including Charles and Ray Eames. From 1950 Bertoia worked in Pennsylvania with fellow Cranbrook graduate, Florence Knoll. During this period he designed five wire pieces which became known as the Bertoia Collection for Knoll. They included the Bird Chair and Ottoman. Bertoia’s legacy lives on and his furniture is still in production by Knoll. Bertoia’s Diamond Chair is also in the Collection, see FPF468. Condition Latex foam degraded, the remains were discarded in 2019; wool cover retained separately. Materials Steel. Latex foam (now discarded). Wool cover (now separate). Physical Dimensions The physical size of the object H. 34 W. 60 D. 43 Provenance Purchased by the Frederick Parker Foundation at auction February 2010 Notes Online sources: <a href="https://en.wikipedia.org/wiki/Harry_Bertoia">Harry Bertoia | Wikipedia</a> <a href="https://www.knoll.com/shop/by-designer/harry-bertoia">The Bertoia Collection | Knoll</a> <a href="https://www.swiveluk.com/uk/designers/harry-bertoia.html">swiveluk.com</a> <a href="https://harrybertoia.org">harrybertoia.org</a> See also: Mateo Kries, Vitra Atlas of Furniture Design, 2019, pp. 422-3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF469 Title A name given to the resource Chromed steel stool with a curved rectangular seat, designed by Harry Bertoia. Date A point or period of time associated with an event in the lifecycle of the resource Designed in 1952, manufactured c. 1970 Description An account of the resource A chromed steel stool with a curved rectangular seat and a moulded cushion known as the Bird Ottoman, designed by Harry Bertoia and manufactured by Knoll. https://www.frederickparkercollection.org.uk/files/original/341de5f20b74b7ac88b82484d6c78c45.jpg 8858b76b7c0615558051d5b7c906fc5a https://www.frederickparkercollection.org.uk/files/original/cef92aa3b30a61ebebaaeb8a1b62e017.jpg 0d9de28be0257767e0b20609afb7ec93 https://www.frederickparkercollection.org.uk/files/original/f1955050c4ff476e7edc3103f6b1cf4a.jpg 3ab4ff8e3f5f55799904a2421438d680 https://www.frederickparkercollection.org.uk/files/original/45df65aa35846cbbf8db4731c7bd027d.jpg 637ec7e502ca3c48d3772f873d62c4f9 https://www.frederickparkercollection.org.uk/files/original/5865dec5ee3109f58221492ecd928bd0.jpg 1436a9773e0734fe19c442fc7689b4d6 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This beech and elm armchair is based on traditional Windsor chairs but was made by Ercol Furniture Ltd. using precision manufacturing technology. The chair has a double bow, one for the back and one for the arms, of steam bent beech; the back has a shaped central splat and four turned spindles on either side, while the arms, which rise towards the front, each have a turned arm support and three further spindles. The splat, spindles and arm supports are all fitted into the top of the elm seat, which is curved and sculpted to provide a comfortable sit. The turned and shaped legs are splayed and joined by a ‘crinoline’ form stretcher, i.e. a curved stretcher between the front legs and two short rails to the back legs. The legs are dowelled through the seat from the underside, with the dowels wedged from above in the traditional manner, creating an extremely strong joint. The chair was designed by Lucian Ercolani in 1962 and was initially referred to as the 472 Double Bow Fireside Chair; it was later known as the Chairmaker’s Chair. It was awarded a Guild Mark by the Worshipful Company of Furniture Makers in the same year and has become a classic, still in production to this day. This example was made in 2001. Ercolani said of the chair, ‘My new chair was inspired by an old one that I bought 40 years ago for £35. The old chair is badly warped because when it was made craftsmen did not know how to condition wood, but it is still a comfortable chair. I have wanted to use its basic design for years but only recently have we the machines able to make it better than the old craftsmen.’ (Jackson, Ercol, 2013). Ercolani re-invented the traditional Windsor chair in the 1940s by mechanising its production, using steam kilns to dry the wood accurately and developing or adapting machinery to ensure every part was made with engineering precision. Ercol’s first production model Windsor chair was a simple kitchen chair with the reference number 4A, manufactured from 1947 (ibid). They proved to be durable, economical and elegant and were in great demand both during the Utility years and for decades after. Ercol has since developed the Windsor theme to produce not only chairs but a wide range of furniture. Lucian R Ercolani (1888-1976) founded his company, Furniture Industries Ltd., in 1920 in High Wycombe, having previously worked for Frederick Parker & Sons (later Parker Knoll). The company grew rapidly in the post-war decades as a result of the successful development of the Windsor Contemporary range and have maintained that success in producing high quality in a distinctive style ever since. The company name was changed to Ercol Furniture Ltd. in 1958 (Jackson, Modern British Furniture, 2013). For comparison with an 18th century Windsor armchair in the Collection see FPF142. Condition Good. Materials Beech. Elm. Physical Dimensions The physical size of the object H. 108 W. 60 D. 63 Marks Small metal Ercol label on the underside of the seat. Provenance Donated to the Frederick Parker Collection by Ercol Ltd. in 2001. Notes Lesley Jackson, Ercol, Furniture in the Making, Richard Dennis Publications, 2013, pp. 31-43 and p. 109. Lesley Jackson, Modern British Furniture Design since 1945, V&A Publishing, London 2013, pp. 41-9 See also: <a href="https://www.ercol.com/en-gb/about/ercol-ethos/">About Us | British Furniture Designers | ercol</a> <a href="https://www.lercolani.com/en-gb/furniture/chairs/7911-chairmakers-chair?variant=899">Chairmakers Chair | ercol Originals | L.Ercolani</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF411 Title A name given to the resource Double bow beech and elm Windsor armchair made by Ercol. Date A point or period of time associated with an event in the lifecycle of the resource Designed by Lucian Ercolani (1888-1976) in 1962, this model made in 2001. Description An account of the resource A double bow beech and elm Windsor armchair made by Ercol and marketed as the Chairmaker’s Chair. https://www.frederickparkercollection.org.uk/files/original/7cf2b02bc61f1cc1e0e328708911871e.jpg a9d193ce61f75debd48f8d299060cacc https://www.frederickparkercollection.org.uk/files/original/a9fea240ef797f15a4d97be3318fc7b5.jpg e59e1f49289d48a10d1a9f5bc07861c1 https://www.frederickparkercollection.org.uk/files/original/5cad77f78d0796c3cb1077e68e0a22d5.jpg b39758b7193df412aa0cc9b8c4c15a31 https://www.frederickparkercollection.org.uk/files/original/2b18ff91dd94d7b53bd16c6c28856099.jpg e6229ca4b1ba56fa349b6c1eff86fa51 https://www.frederickparkercollection.org.uk/files/original/4a1f4361e670f56bc801991c9acf68bc.jpg a82897c116488f6a900e0a13f09d80d8 https://www.frederickparkercollection.org.uk/files/original/9cc82e75ee3be0c3d86f1c9482a96fab.jpg 13345d14a800f3033eac9e9dbd8cc769 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This beech chair has a tall back with an arched, carved and pierced crest rail with scrolls at each end, fitted to the tops of banister-turned and raked back posts. Set within the back posts there is a wave-moulded oval frame which at the top forms part of the crest and at the bottom is joined to the back posts with short rails. The centre of the oval frame is fine-caned. The tapered and moulded seat frame is also fine-caned and is supported on top of the front legs, which are turned at the top and diagonally set moulded cabriole below, terminating in scrolled-over feet. The back legs are continuous with the back posts, turned and raked and with squared blocks at the joints and heels. The stretcher is H-formed, turned and with squared blocks at the joints, and there is a higher back stretcher, also turned. The caning in the back could be original, but the seat has had a seat rail replaced and the caning must have been replaced then. The ebonised finish appears to be original. This style of chair, with the tall back, banister-turned posts, superimposed crest rail, the seat frame resting on the front legs and the early form of cabriole leg dates to around 1715-20 (Bowett, 2002). Made of beech, this would have been more affordable than a similar chair in walnut; it was stained black to give the appearance of ebony, which was in fashion at this period but was a much more expensive, imported wood. The fine caning was achieved using thinly split cane and closely set holes; it involved more work for the caner and therefore added to the cost. The initials ‘IT’ on the back post are the mark of the maker, either a journeyman or a joiner, as yet unidentified, but the chair was almost certainly made in London, since there were very few cane-chair makers outside the capital at this period (Dewing, 2008). Like FPF032, the front legs are early examples of the cabriole form, here with a turned section above the cabriole indicating that perhaps the seat might originally have had a squab cushion with a fringe hanging over the sides. The replaced scroll feet may have been copied from FPF032, although they are not identical. Condition All of the legs have been re-tipped. The top of the right back post has been replaced. The right seat rail is replaced and the seat re-caned. The back caning appears original. A re-covered squab documented in the 1950s is now missing. Materials Beech. Cane. Physical Dimensions The physical size of the object H. 121 W. 49 D. 45 Marks Stamped ‘IT’ in two places on rear of left hand back post. Parker Numbers 35/6175. Provenance Purchased by Frederick Parker & Sons, 4th April 1929, from Brackley, Brighton, £3.0.0 Notes Adam Bowett, English Furniture 1660-1714, Antique Collectors Club, 2002, pp. 264-7. David Dewing, Cane Chairs, Their Manufacture and Use in London, 1670-1730, Regional Furniture, Vol XXII, 2008. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF035 Title A name given to the resource Ebonised beech side chair with caned seat and back. Date A point or period of time associated with an event in the lifecycle of the resource 1715-1725 Description An account of the resource Ebonised beech banister-back chair with caned seat and back and cabriole front legs. https://www.frederickparkercollection.org.uk/files/original/022938c8f5e7b1118bcc2ebd3d53576e.jpg af9641d90eb247760259de9eec20aba1 https://www.frederickparkercollection.org.uk/files/original/9c4bb08862d36f9aeeff80ee74b9f6ff.jpg 71a45f86aa2e1cfb5a74042650df25a5 https://www.frederickparkercollection.org.uk/files/original/2436985536da616168c8ef35bc71d4a2.jpg 90e7c99afe8e7ee26dc5c55c2cd23759 https://www.frederickparkercollection.org.uk/files/original/0a29dda38d1b7e270bc0fe1af76ff405.jpg a7a614d5665d5b08559fd020b88b4605 https://www.frederickparkercollection.org.uk/files/original/e35a3a405cc77294d613f6eb4a8f6664.jpg 2874efe82392d6e1c845d2192295bf50 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This beech side chair has an arched bobbin-turned crest rail which tapers from the centre to each end, fixed between turned upright back posts with decorative ring-turnings which simulate bamboo. There are three horizontal rails in the back; the top two enclose two vertical spindles and four more spindles forming a diamond shape, all with decorative ring-turning and with turned balls at the points. The seat is rushed over a frame which has exposed squared corners and is finished with slips of beech along the edges. The chair is raised at the front on tapering and turned legs, also with ‘bamboo’ ring-turnings. The back legs are continuous with the posts, and are turned, tapering and slightly raked. The legs are joined by shaped stretchers, i.e., not turned, but rounded using a drawknife; the same is true of the rails in the back. The chair has an ebonised finish, i.e. stained dark brown and varnished. The rush is possibly original. A similar design of chair back with spindles and balls forming a diamond is illustrated in an early 19th century London maker’s pattern book with the initials ‘T.D.’ on the cover. Several chairs with the same or similar diamond design in the back are known, suggesting this feature may have been used by more than one maker of fancy chairs (Boram, 2010). It is not uncommon for features of fancy chairs to appear in vernacular chairs; simulated bamboo turning is just one instance. It is worth noting that the stretchers and back rails of this chair are shaped with a drawknife and not turned, which suggests it is more likely from a country rather than metropolitan workshop, despite the similarities in the design of the back to the ‘T.D.’ drawings. The bobbin turned arched crest rail is found in vernacular chairs both from the Cumberland Dales and Sussex. Traditional Dales chairs have been researched and published by B.D. Cotton (1990); Cotton has also studied the Sussex chair tradition (Cotton Archive), and his research is ongoing, but he has made a tentative attribution that the present chair is from Sussex, not from Cumbria. The Sussex chairs made by Henry Rich (1786-1867) in East Hoathly, Sussex are likely to be those which inspired William Morris and his friends to produce chairs of a similar design, made by Morris, Marshall, Faulkner & Co. from 1864 (Pennington, 1995). Recent and ongoing research by G.Poulter has revealed another Sussex maker, Henry Hook (1798-1876) of Beckley; chairs found in the homes of Beckley residents are closely related to the present chair (Poulter, 2022). Condition The chair is in good original condition. The rush-work is probably original. The lower left side stretcher is replaced. Materials Beech. Rush. Physical Dimensions The physical size of the object H. 84 W. 43 D. 46 Provenance In the Collection prior to 1993. Notes J. Boram, ‘Makers of ‘Dy’d, Fancy and Japan’d Chairs’, Regional Furniture, Vol. XXIV, 2010, p. 73, fig. 33; p. 75, fig. 37; p. 56, fig. 5. B.D. Cotton, The English Regional Chair, Antique Collectors’ Club, 1990, pp.327-337. Cotton Archive, Museum of the Home. J. Pennington, ‘Sussex Chairs’, Regional Furniture, Vol. IX, 1995, p. 82, fig. 2; p. 85, fig. 6. G. Poulter, Hook family chairs from the village of Beckley, Sussex, Regional Furniture Society Newsletter, Autumn 2022, p.14. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF330 Title A name given to the resource Ebonised beech side chair with rush seat. Date A point or period of time associated with an event in the lifecycle of the resource 1840-1870 Description An account of the resource Ebonised beech side chair with rush seat, possibly a Sussex chair. https://www.frederickparkercollection.org.uk/files/original/c0c1c10d2ae844e61d48be4c63f95c15.jpg 38a1b29eab62e4d64a76a39bf2ea13e8 https://www.frederickparkercollection.org.uk/files/original/ce6d06c808c1052c98d4c40f36b5e790.jpg 282a0d672b13faa9d7d8f3d2b760e639 https://www.frederickparkercollection.org.uk/files/original/0489db48917b618c5c2afbcc1cdb6b9b.jpg 11dcb5f0ad811fca36986be8c887b606 https://www.frederickparkercollection.org.uk/files/original/f8e619db584b8c0442c70fcfe29cc281.jpg 7d4eb1a7b3c676766c71963b9a7a784d https://www.frederickparkercollection.org.uk/files/original/da2c34662d865933ec64463e7014f91d.jpg c66d6e8bf307e2ee6c212d872dd58dcc Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This elm side chair has a rectangular back with a crest rail inlaid with bog oak stringing. There is a reeded diamond lattice splat with bog oak-inlaid lozenges at the joints of the crossed bars. Square-section back posts rise above the crest rail and are continuous with the back legs, but are narrowed from just above the seat. The back legs are tapered and flared. The drop-in seat frame is pine with a rush seat which is probably original. The chair is raised on square-section front legs which are tapered on both inside faces. The legs are joined by a square-section H-form stretcher with an additional higher stretcher between the back legs. This chair is East Anglian, an attribution based on its overall construction and details, which were often influenced by Thomas Sheraton’s designs (Cotton, 1990). According to Cotton, the back design is after Thomas Hope, see his Household Furniture and Interior Decoration (1807). A photograph in the Cotton Archive at the Museum of the Home, London, shows a settle from East Anglia with three similar cross-splats in the back. The same motif was used by Stephen Hazel of Oxford for chairs he supplied to the Bodleian Library, Oxford, which are still there and in daily use (ibid.). Elm was the most commonly used wood in East Anglian chairs, and the black inlay is likely to be bog oak, which was readily available in Norfolk. For a mahogany chair with a diagonal splat see FPF307. Condition Front left leg joints loose. Seat corner blocks missing in back right corner and loose in front right. Losses to bottom of back right leg due to old woodworm activity. Rush-work is probably original. Materials Elm. Pine. Bog oak. Physical Dimensions The physical size of the object H. 91 W. 46 D. 48 Marks Chisel marks ‘I’ on back seat rail and ‘III’ on corner of seat frame. Parker Numbers OM 6261. Provenance Purchased by Frederick Parker & Sons in July 1930 from Foreman. Notes B.D. Cotton, The English Regional Chair, Woodbridge, 1990, pp. 212-231; for a chair with comparable features see p. 231, Fig EA54; for the Hazel chair see p.91, Fig. TV211. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF304 Title A name given to the resource Elm side chair with rush seat. Date A point or period of time associated with an event in the lifecycle of the resource 1800-1840 Description An account of the resource Elm side chair with rush drop-in seat, East Anglian. https://www.frederickparkercollection.org.uk/files/original/87be59b30916ad98b8f8c6d99229e011.jpg 94a6c294f18323339ca3f9e54aced109 https://www.frederickparkercollection.org.uk/files/original/ec68edf04e7d54bb6a778724cdd538de.jpg b4e287bbaa7a52b2d98507b5c6be7ee9 https://www.frederickparkercollection.org.uk/files/original/f69efb6b2d48ed30adc729583eea8018.jpg 7a010fca95ed2f47ffcbeec1828cd556 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This armchair is a single piece of moulded expanded polystyrene (EPS). It has the dimensions of a standard armchair but is lightweight and portable. It was designed by Tom Dixon and made by EPS Packaging Group, a company specialising in expanded polystyrene packaging products. The chair was one of 500 made as part of London Design Week in September 2006, when they were displayed in Trafalgar Square and then given away to the public. The event was called the Polystyrene Chair Grab. As Dixon has said: “Making a polystyrene chair has given me the opportunity to fulfil an ambition to make design available to all: this time literally, by giving away hundreds of these chairs to Londoners with absolutely no chains attached” (Tom Dixon website). The chairs were made in three colours, white, silver and orange; this white one was ‘grabbed’ by Guy Beggs, an artist and tutor at London Metropolitan University, who later gave it to the Frederick Parker Collection. Tom Dixon (born 1959) is a self-taught British designer who rose to prominence in the mid-1980s when he set up ‘Space’ as a creative think-tank and shop-front for himself and other young designers. Dixon later went on to design for the Italian company Cappellini, and in 1998 was appointed head of design at Habitat, becoming creative director from 2001 until 2008. In 2007 Dixon formed Design Research Studio, an interior and architectural design studio (Jackson, 2013). Condition Minor scuffing across the whole chair with some minimal chunks missing from the front-facing edge of the seat. Materials Expanded polystyrene (EPS). Physical Dimensions The physical size of the object H. 72 W. 93 D. 77 Provenance Donated to the Frederick Parker Collection by Guy Beggs in 2007. Notes For details on Tom Dixon see Lesley Jackson, Modern British Furniture, Design since 1945, V& A Publishing, 2013, pp.247-253. See also: <a href="https://www.tomdixon.net/en_gb/story/post/polystyrene-chair-grab">Polystyrene Chair Grab | Tom Dixon</a> <a href="https://londondesignfestival.com/activities/tom-dixon-polystyrene-chair-grab">Tom Dixon Polystyrene Chair Grab | London Design Festival</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF463 Title A name given to the resource Expanded polystyrene armchair designed by Tom Dixon. Date A point or period of time associated with an event in the lifecycle of the resource 2006 Description An account of the resource Expanded polystyrene armchair designed by Tom Dixon, manufactured by EPS Packaging Group. https://www.frederickparkercollection.org.uk/files/original/ebf5bdd6cd752bdaf2052378db73d661.jpg 4b67aa2581cfe0245eabf413bbd98a46 https://www.frederickparkercollection.org.uk/files/original/706c28532f52b17f195ac31939342f7b.jpg 90c58439447b83ef27ecbdd6771f5c89 https://www.frederickparkercollection.org.uk/files/original/bd4897acfaf78e1c4bcfd811753e3047.jpg fa5f89e692c88999493392aa8f29e872 https://www.frederickparkercollection.org.uk/files/original/f3ecf57ea55ea932a90e929e85495475.jpg 73766350d59ef2672d5a040c3975d8d9 https://www.frederickparkercollection.org.uk/files/original/3e0ae5bb6793a5aa0549d84948285755.jpg 58f073fd21211e737284f3089d7988f6 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This stacking chair has an extruded aluminium frame with a transparent red injection-moulded polypropylene seat. It was designed by Ron Arad (b. 1951) and is ingenious in being made by sliding the polypropylene sheet into grooves in the double-barrelled aluminium extrusions while still flat, and then bending the assembly in a press to create the finished chair. The tension generated during the bending process applies sufficient pressure to hold the plastic seat in place without any fixings or glue (Jackson, 2013). The seat and back remain flexible until the sitter’s weight locks the structure and makes it rigid (Sudjic, 1999). Ron Arad’s association with the Italian plastics firm, Kartell S.p.A., Milan, Italy, began in the mid-1990s. The Fantastic Plastic Elastic Chair (FPE) has its origins in a commission to design an exhibition stand for the Mercedes car company, and specifically a chair for the stand. Arad developed this model in conjunction with Kartell for a competition for seating for the Adidas Sport Cafés. The production version that followed, created from injection-moulded plastic, was ‘visually exuberant and technically ingenious’, in addition to being cheap to produce, lightweight and stackable (Jackson, 2013). Examples of this chair are in MoMa, New York, object no. 1420.2000 and the Museum of Fine Arts, Houston, object no. 99. For another example of Ron Arad’s furniture in the Frederick Parker Collection see FPF483. Ron Arad was born in Israel in 1951. Between 1971 and 1973, he studied at the Jerusalem Academy of Art before moving to London to study at the Architectural Association, graduating in 1979. He opened his own practice, One Off Ltd., in Covent Garden in 1981, the practice later moving to Chalk Farm. He was Professor of Design Product at the Royal College of Art from 1997 to 2009. Although primarily known for his furniture designs, he has also undertaken several important architectural commissions including the Tel Aviv Opera House in 1990. Condition Good. Materials Aluminium. Polypropylene. Physical Dimensions The physical size of the object H. 78 W. 44 D. 56 Provenance Acquired by the Frederick Parker Foundation c.2010. Notes L. Jackson, Modern British Furniture Design Since 1945, London, 2013, pp. 230-231, no. 257. D. Sudjic, Ron Arad, London, 1999, pp. 140-145. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF471 Title A name given to the resource Fantastic Plastic Elastic Chair, designed by Ron Arad. Date A point or period of time associated with an event in the lifecycle of the resource Designed in 1997, manufactured 2000-2005. Description An account of the resource Fantastic Plastic Elastic Chair, model FPE, designed by Ron Arad, manufactured by Kartell, Milan, Italy. https://www.frederickparkercollection.org.uk/files/original/219f1cb79a390ae078a65412c7461b08.jpg 231ec753f3a48885baf4103beccc1bab https://www.frederickparkercollection.org.uk/files/original/5a4e7f54267138b6ea0c259176b4ab98.jpg f4a1998f1fa035bd44ba4954ae8eab24 https://www.frederickparkercollection.org.uk/files/original/2c7a2d0ea59e64a3d16d133b8ed72658.jpg 4a0564cf6e96832db68e7f4f195d2665 https://www.frederickparkercollection.org.uk/files/original/40a4f839fd07732d403533de979b0004.jpg 2fc12dd5edc2f4500319c9a68f16c471 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Full Description This pair of fibreglass patterns were part of the development of the renowned polypropylene stacking chair, Mark II, designed in c.1964 by Robin Day (1915-2010) for S. Hille & Co., London (from 1972, Hille International). The chairs were manufactured by injection-moulding which requires a two-part steel mould. These patterns in fibreglass were probably used in the development stages, fine-tuning the design of the finished seat, and would have informed the making of the steel mould. Although the initial cost of creating the mould was expensive, the polypropylene shells could be made quickly and were cost effective – their economy deriving from the fact that 4,000 shells a week can be formed from a single mould. Two examples of the Mark II polypropylene stacking chairs are in the Frederick Parker Collection, FPF410 and FPF417. Condition Good. Materials Fibreglass. Physical Dimensions The physical size of the object Larger mould marked on the front: H. 39 W. 63 D. 59 Smaller mould marked on the back: H. 39 W. 59 D. 54 Marks Written in marker pen on the front of the larger mould: ‘MOULD ‘TOOL’ GRP JB’s SAMPLE’. Written in marker pen on the back of the smaller mould: ‘1.8kg. JB’s SAMPLE SEAT MOULDING’. Note: JB probably refers to Jez Bradley, a tutor at London Metropolitan University at the time the Furniture Workshops on Commercial Road were closed, see provenance below. Provenance Acquired for the Collection, 16 June 2016, donated by Jez Bradley. Notes L. Jackson, Modern British Furniture Design Since 1945, London, 2013, p. 173. L. Jackson, Robin and Lucienne Day: Pioneers of Contemporary Design, London, 2001, p. 120. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context FPF496 Title A name given to the resource Fibreglass patterns for Hille polypropylene chairs. Date A point or period of time associated with an event in the lifecycle of the resource 1964 Description An account of the resource Fibreglass patterns for polypropylene chairs designed by Robin Day for Hille.