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See also:SHEARER, See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
THOMAS , See also:English 18th-See also:century See also:furniture designer and See also:cabinet-maker. The solitary See also:biographical fact we possess See also:relating to this distinguished craftsman is that he was the author of most of the plates in The Cabinet Maker's See also:London See also:Book of Prices and Designs of Cabinet See also:Work, issued in 1788 " For the London Society of Cabinet Makers." The See also:majority of these plates were republished separately as Designs for See also:Household Furniture. They exhibit their author as a See also:man with an See also:eye at once for simplicity of See also:design and delicacy of proportion. Indeed some of his pieces possess a dainty and slender elegance which has never been surpassed in the See also:history of English furniture.
There can be little doubt that Shearer exercised considerable See also:influence over See also:Hepplewhite, with whom there is See also:reason to suppose that he was closely associated, while See also:Sheraton has recorded his admiration for work which has often been attributed to others. Shearer, in his turn, owes something to the See also:brothers See also:Adam, and something no doubt, to the stock designs of his predecessors. There is every reason to suppose that he worked at his See also:craft with his own hands and that he was literally a cabinet-maker—so far as we know, he never made chairs. Much of the elegance of Shearer's work is due to his graceful and reticent employment of inlays of satinwood and other See also:foreign See also:woods. But he was as successful in See also:form as in decoration, and no man ever used the See also:curve to better purpose. In Shearer's See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time the See also:sideboard was in See also:process of See also:evolution; previously it had been a table with drawers, the pedestals and See also:knife-boxes being See also:separate pieces. He would seem to have been first to combine them into the See also:familiar and often beautiful form they took at the end of the 18th century. The See also:combination may have been made before, but his See also:plate is, in point of time, the first published document to show it.
Shearer, like many of his contemporaries, was much given to devising " See also:harlequin " furniture. He was a designer of high merit and real originality, and occupies a distinguished See also:place among the little See also:band of men, often, like himself, See also:ill-educated and obscure of origin, who raised the English cabinet-making of the second See also:half of the 18th century to an illustrious place in See also:artistic history.
End of Article: SHEARER, THOMAS
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