See also:English 18th-century 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, and was possibly in
See also:partnership with
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 inspiration from
See also:Louis XV.
See also:models; but when he fell under the influence of 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
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, 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 place among the minor furniture designers of the second
See also:half of the 18th century . Among his
See also:works, some of which were issued in conjunction with Copeland, are: A New
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) .
GOTTFRIED CHRISTIAN FRIEDRICH LOCKE (1791–1855)
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