The patterns of his chair-backs are very similar to those of his contemporaries, and four of his designs which were reproduced in "Furniture and Decoration," two years ago, only differ in detail from those illustrated here as the work of Ince and Mayhew. Manwaring also designed china cabinets, fenders, balconies, and other decorative items, and he is believed to have been a leading member of the Society of Upholders and Cabinet Makers, alluded to in page [182].
Two other designers and makers of mahogany ornamental furniture, who also deserve special mention in the discussion of eighteenth century English furniture, are W. Ince and J. Mayhew, who were partners in business in Broad Street, Golden Square, and contemporary with Chippendale. They also published a book of designs,[16] which is alluded to by Thomas Sheraton in the preface to his "Cabinet Maker and Upholsterer's Drawing Book," published in 1793. A few examples from Ince and Mayhew's "Cabinet Maker's Real Friend and Companion" are given, from which it is evident that, without any distinguishing brand, or without the identification of any particular piece of furniture with one of their designs, it is difficult to distinguish between their work and that of Chippendale and other contemporary makers.
It is, however, noticeable, after careful comparison of the work of Chippendale with that of Ince and Mayhew, that the furniture designed and made by the latter has many more of the characteristic details and ornaments which are now generally looked upon as denoting the work of Chippendale; for instance, the fretwork ornaments finished by the carver, and then applied to the plain mahogany; the open-worked scroll shaped backs to encoignures or china shelves; and the carved Chinaman with the pagoda. Some of the frames of chimney glasses and pictures made by Ince and Mayhew are almost identical with those attributed to Chippendale.
CHINA SHELVES, DESIGNED BY W. INCE.
(Reproduced by Photography from an old Print in the Author's possession.)
Other well known designers and manufacturers of this time were Hepplewhite, who published a book of designs very similar to those of his contemporaries, and Matthias Lock, some of whose original drawings were on view in the Exhibition of 1862,[17] with interesting memoranda attached, giving the names of his workmen and the wages paid: from these it would appear that five shillings a day was at that time sufficient remuneration for a skilful wood carver.
