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See also:LOCK, See also:MATTHIAS , See also:English 18th-See also:century See also:furniture designer and See also:cabinet-maker. The See also:dates of his See also:birth and See also:death are unknown; but he was a See also:disciple of See also:Chippendale, and subsequently of the See also:- ADAMS
- ADAMS, ANDREW LEITH (1827-1882)
- ADAMS, CHARLES FRANCIS (1807-1886)
- ADAMS, HENRY (1838— )
- ADAMS, HENRY CARTER (1852— )
- ADAMS, HERBERT (i858— )
- ADAMS, HERBERT BAXTER (1850—1901)
- ADAMS, JOHN (1735–1826)
- ADAMS, JOHN QUINCY (1767-1848)
- ADAMS, SAMUEL (1722-1803)
- ADAMS, THOMAS (d. c. 1655)
- ADAMS, WILLIAM (d. 162o)
Adams, and was possibly in See also:partnership with See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry See also:Copeland (q.v.). During the greater See also:part of his See also:life he belonged to that flamboyant school which derived its See also:inspiration from See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XV. See also:models; but when he See also:fell under the See also:influence of See also:Robert See also:Adam he absorbed his manner so completely that it is often difficult to distinguish between them, just as it is sometimes easy to confound Lock's See also:work with the weaker efforts of Chippendale. Thus from being extravagantly See also:rococo he progressed to a See also:simple ordered classicism. His published designs are not equal to his See also:original drawings, many of which are preserved in the See also:Victoria and See also:Albert Museum, See also:South See also:Kensington, while the pieces them-selves are often bolder and more solid than is suggested by the author's representations of them. He wasia See also:clever craftsman and holds a distinct See also:place among the See also:minor furniture designers of the second See also:half of the 18th century.
Among his See also:works, some of which were issued in See also:conjunction with Copeland, are: A New See also:Drawing See also:Book of Ornaments (n. d.); A New Book of Ornaments (1768) ; A New Book of See also:Pier Frames, Ovals, Giran oles, Tables, &c. (1769) ; and A New Book of Foliage (1769).
End of Article: LOCK, MATTHIAS
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