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APPROXIMATE TABLE OF FABRIC COVERINGS (WITHOUT DESIGNS)
Number of 90 to 54 in “josef hoffman” signature sevres .
Type of Furniture cushions fabric
Armchair (seat only) ‘ george 11 pad foot dining table .\ one Y8 yd
Boudoir chair None 2 Y2 yd
Boudoir chair 1 3 yd
Nk7ing chair None 4 yd
Wing chair 1 5 Yd
Club chair None 4 yd
Club chair 1 5 yd
Loveseat None 6/ yd
Loveseat 2 7% yd
Couch (6o to 84 in 17th century english trestle table .) None 7 yd
Couch (69 to 84 in staffordshire westerwald .) 3 9Y2 yd
Most domestic covering fabrics come 5o in 18th century silver mote spoon . wide, with a few at 54 in english curved middle sideboard .; sonic imported fabrics are woven in 36 in 18th century english lancaster dresser base . widths arts and crafts etagere . For fabrics with large designs as much as 3 yd must be added to allow for matching the individual figures early electric clocks .
Fabric coverings antique.new.dresden.large.figurine . The table on the following page lists and describes some of the popular fabric coverings:
Replacing webbing artdeco gilded lacquer furniturs . Under ordinary use and care damage to upholstered furniture will first be manifested by sagging seat springs, as the result of loose or worn-out webbing wedgewood porcelain swan base for pots de creme . Sometimes only one or two strips will have come loose and can be refastened, but usually the failure of a few strands is indicative of the need for replacement of the entire webbing base, particularly if its resiliency has dried out through age 4 foot drop leaf table . The cambric dust covering should be unfastened on three sides to facilitate a thorough examination expensive marble tables .
It will of course be necessary to cut away the loops of twine that bill( the bottoms of the springs to the crossed webbing papier mache tray-c19th . If the entire webbing base is to be removed, this will afford an opportunity for examining the cord ties, which should be replaced if broken world market carved brass charger plate . If a longer webbing stretcher is used and the piece under repair propped bottom side up, the webbing can be stretched by footpower, leaving both hands free (Figure 6 antique wine jugs .22) allegorical groupe “europe” meissen . Longer nails must be used in replacing webbing, unless each tack can be so placed as to avoid old holes english antique silver plated forks . Cement or rosin-coated shingle nails are a useful size for this type of work chamber pot table .
In order to avoid the removal of the webbing and the many loops of twine, if the springs have not burst apart from their tying cords, it is often possible to reinforce them permanently by stretching and nailing steel strapping over each fabric webbing strip, and lacing each metal strand in the same manner as the webbing was attached rococo revival marquetry-inlaid wardrobe . As shown in (J) of Figure 6 expensive well made sideboard .1, the steel strapping is sold with an iron stretcher that levers each strand taut as it is being nailed chippendale mahogany antique table . Heavy tinsnips will cut off the required sections of strapping antique painted drop leaf table .
FABRIC COVERINGS
Fabric
Description
Hand-blocked or machine-printed
Unglazed “prattware” horse . printed cotton fabrics
Of finer texture and more tightly woven than cretonne jules leleu display cabinet . Glazed chintz has stiff, varnishlike finish; semiglazed chintz is softer
Hand-blocked linen or cotton replicas of early French designs
Woven from plain or mercerized cotton yarns upon which the design was printed prior to weaving; also woven from silk, linen, or rayon
Design woven into base yarn of silk, rayon, cotton rectangular drop-leaf table . wool, linen, mohair or metallic thread or combinations Woven pattern is superimposed, in relief, on cotton, damask, satin, taffeta, and other weaves
Usually a silk ground with a cotton filling in a heavy, cross-ribbed effect antique walnut drop leaf extending table . May be of silk, cotton or wool A small raised pattern with a pebbled or embossed effect
A corded or ribbed effect
A cotton fabric showing a twilled weave
A fabric into which has been woven a design whose perspective has been created by the manipulation of contrasting colors
Silk 1930s french art deco slip shade chandelier . cotton antique ming ware+dragon motifs . rayon, linen empire curved bureau . ramie, or wool fibers or pile that stand upright above the ground fabric georgian mahogany bidet square tapered supports . Xlay be woven or shorn into patterns
Of longer pile than velvet, mohair plush is more satisfactory than silk, cotton, or wool plush
Frizzed or curled plush
A sleek antique gate leg table . smooth collecting art deco and bauhaus . and lustrous silk weaving in which either the filling or the warp covers the surface completely Woven the same as satin, except from cotton
Originally a handicraft chair 18th queen rococo revival . they are usually produced by machine
Replicas of sixteenth to eighteenth century English embroidery with colored yarns on a plain linen ground “Petit point” consists of fine stitches through one opening in the canvas ground to the next Rugged english george iii hepplewhite satinwood bedside cabinet . durable imperial gillow dining table . and sanitary; favored in masculine clubs
Less durable than genuine leather
Being water-repellent india brass table tray . these fabric-backed materials are superseding imitation leather as their fabrication improves with experience
Printed linens Cretonnes
Chintzes
Toiles de Jouy
Warp (shadow) prints
Damask Brocade Brocatelle Armures Rep
Denim Tapestry
Velvet, velours
Plush
Frieze
Satin
Sateen
Embroidery
Crewel work Needlepoint Leather
Imitation leather Vynol-plastic materials Seats and backs art deco ceramic figurine london uk . In most chairs and sofas the springs are not removable and, as previously stated, are tied from rear to front, after the webbing base has been repaired or replaced antique.italian.porcelain. . Otherwise, when necessary to replace or renew the stuffing, the procedure is the same as for a removable spring seat (page 359)• When re- movable spring cushions are used, they should be covered as soon as the seat has been completed, in order to determine the amount of stuffing that will be required for the back and arms, which must be filled out to touch the cushions the biarritz english pottery .
Fie raoul dufy, plates ceramique . 6 candle sticks antique porcelain victorian couple .22 franche comte . Foot-power webbing stretcher 16th century antique chests .
A spring back is tied in the same manner as a spring seat (page 382), except that diagonal ties are omitted list of 18th century library desk makers . The burlap, muslin, an(> fabric coverings are pulled down behind the seat and through the aperture behind the lowest member of the back frame, so that it can be tacked to its bottom edge, or to the back of the back rail, as the case may be walnut marble slab dining . Once anchored, the material call be pulled up smooth and tacked to the front of the upper frame for a rolled edge, or to the rear for a final covering furnuture pieces supboards style bambocci .
Top and bottom front bands empire furniture and france . Depending upon the style of framework, several relatively slight variations in the application of the top and bottom front bands may be encountered antique maple drop leaf dining table . In general, the top front band consists of a piece of covering fabric the width of the seat, and long enough to extend from a line at least 4 in leon and maurice jallot french dining chair . to the rear of the front spring edge all(> down over the front to where it can either be tacked above the exposed bottom rail all(> covered with gimp, or sewed to the welt cord of the bottom front band as in Figure 6 french manner .23 19th century british furniture style . In either case its rear edge is first sewed to a piece of undercover material such as denim, sateen, or service velour that is large enough to cover the seat springs french antique bedside chamber pot cupboards .
To fasten the top front band in position, the best practice is first to pill it in place so that the design will match the cushion typical art deco furniture . It can then be stitched w antique frankart company .th a curved needle through the burlap, being caught under the springs where%er possible directoire furniture . A layer of cotton is placed under the band and feathered off by gently tearing it even with the front edge italian painted furniture empire . If the band is not to be tacked and gimped above a finished bottom rail, it can be stretched down and tacked under the concealed rail, if desired, thus eliminating a bottom band german neoclassical secretaire .
FiG the most expensive antique furniture . 6 louis xvi chair balloon back .23 historical development of art deco . Attaching top and bottom bands trestle tables refectory .
To attach the bottom band to the top band, a welt cord is sewed to the top edge of the bottom band, then tacked down above the tacks holding the lower edge of the top band antique tudor tables . The chair or couch is then turned upside down and a th n layer of cotton laid across under the bottom band (optional) edwardian utensils . The latter is th;n stretched smoothly down and tacker: underneath the bottom rail john widdicomb donald deskey . Another meth d is to hand-stitch the bottom of the top band just beneath the roll of the spri
edge, and attach the bottom band with a welt at this point furniture makers 18 c .
It is assumed that the burlap spring covering has been properly padded wi h stuffing stitched to the burlap, which has in turn been covered with the usual lay r of cotton and muslin 18th wood carved chair fabric cabriole . It should be remembered that when covering a seat that is the base for a removable cushion or cushions, its top should always be lower th 19th century porcelain religious figural . n I lie front edge, so that the underside of the cushion will not be visible dining tables with wood inlay work . TI e undercovering can now be pulled back smoothly and tacked to the back and sive rails of the seat, without compressing the springs 1685 bookcase .
The arms dresser and mirror and rosette and antique . Webbing is usually tacked from the side rails to the inside of t e arm frames to reinforce the burlap lining that provides a base for the side stuffin georges rouard . wardrobe of a 17th century lady .
As previously mentioned, the thickness of the latter is determined by the size of the seat cushions, which it touches drawing for bun feet . Therefore the double stuffing with its burlap covering and final layer of cotton and muslin is applied with the cushion in place to insure proper thickness antique cylinder desks . In furniture with wide flat arms, similar to the chair illustrated in Figure 6 collectors guide to antique console .20 or 6 antique rectangular dropleaf table .23, the edges of the arms should be built up with roll edges as shown antique bread rack . The muslin and fabric covering can be forced down past the seat and tacked to the side rail, then carried smoothly up the inside and over the top, and tacked under the outside arm roll antique george washington porcelain figures . With a figured fabric covering it is good practice to slip-tack the bottom edge first,
to permit adjustment of the pattern ch antique ceramic light socket .pulling the material tightly to the rear and tacking
it to the back post vincennes gilded porcelain asian design . As the tacking proceeds, the tWORM padding on top of the arm should be molded to a comfortable contour by patting it with the palm of the hand, from front to rear fall front timber writing desk . With a rounded front post the material is pleated as the tacking progresses
I
around the curve (see Figure 6 magnificent table 18 century marble .24) writing cabinet officers antique . In order to ME
IN`
protect the front post panels, it is customary to
I
apply them after the back covering is in place typical features of rococo . N
S
The back george iv oak writing desk . With the cushion still in place, the
piece of furniture is turned over on its back so that
the inside of the back can be covered in the same Fic, 6 antique store brass tea kettles .24 rococo tureens . Front post panels american 19th century antique sideboards .
manner as was the spring seat chenghua foot rims . Although sonic up-
holsterers omit diagonal tying in the back, there is no reason why it should not be applied to the back springs east indian antique silver . The dictum that “whatever is worth doing at all is worth doing well” is most applicable to upholstery, where once the fabric cover- ing is in place no further tinkering is possible antique french saxon china flowers with gold .
The covering of the back is carried out as if it were a spring seat, except that more filling is required, so that out back
like the arms it will bulge f over the 1 rail touch
the cushion antique collectors guide carved ivory . In a sofa or loveseat, the back fabric cover may be divided into as many sections as there are cushions, with welt cord sewed between the panels led table clocks . The material is tacked in the same manner as for the arms, at the bottom first, then stretched evenly over the cotton- padded top and back posts, to which it is tacked in the rear antique drop leaf table carved edges .
Outside arm covers swedish armchairs . To insure a straight edge for the tops of the outside arm covers, they can be tacked under-
25 czechoslovakia pottery mark lion . Concealing neath a cardboard strip directly below the arm, as shown
eked edge period art nouveau galle bronze table lamp . in Figure 6 furniture designersgerman .25 de lamerie porcelain . Stuffing or cotton may be added under a deep arm, if desired, although it is often omitted, and the material drawn do% n and tacked under the bottom rails english early ‘victorian upholstered round . The front edges are tacked alternately to tic front, then to the back, posts to stretch the material smoothly brass serving tray with italian inlay wood .
Outside back furniture makers 1920’s french style . The outside back can be attached with brads, tacks cover;d by gimp, or by blind g
stitchin, as preferred antique desk when thay were made . The bottom edge is tacked under t e
stitching
rail see a silver sauceboat with a heated base .
Front post panels thomas sheraton games table . The best way to conceal the tacked pleats oil a curv;d front post is to cut out a pattern from ?!s-in lion paw pottery . plywood and tack a properly match piece of the fabric covering to its back 18th century cabinet-makers in germany . A welt cord tacked around the edge as a binder will present a finished appearance to the job “furniture ornaments” . The panel can be nailed ‘o place with brads that are long enough so that their heads can be snipped off befo e they are driven home, as in Figure 6 tin glaze pottery .24 art deco dining table .
Worn-out, or broken, springs in loose cushions go hand in hand with worn-o t covers, hence cushion recovering is usually done after the insides of the cushi have been rejuvenated antique small tables made in italy . If the cushion originally contained a soft stuffing, such -s cotton, it can be improved, as mentioned above under Upholstering Loose Cushion
by rebuilding it over a coil spring unit staffordshire william kent . In these factory-assembled bled units, musli covered springs are fastened together with steel clips to forma unit of a standar size, such as 18 in utilitarian tableware 20th century . X 18 in techniques of andre-charles boulle and chinese laquer work ., 21 in early provincial furniture . X 21 in art deco window frames ., and (for two-cushioned sofas) 21 in empire furniture company . 33 in escritoires . If the cushion originally contained steel coils, one of these units ca undoubtedly be used for replacement silver candelabra parts .
Foam rubber is a much more convenient material for cushion stuffing bombe drawers . IVIolde I foam rubber cushions have a natural cushion shape: they are thickest at the center and gradually taper to a thinner edge 18th century writing table cabriole ball claw feet . A common thickness, for example, is 5Y2 in development of clocks between 1350 and 1750 . the center with a gradual taper to 3Y2 in 18th century brass seamed candlesticks . at the edges sideboard types .
Foam rubber cushion units are available from dealers in upholstery materials an also from dealers specializing in foam rubber products antique english creamware . Typical dimensions f molded rubber cushions are: 18 in louis fourteenth chair . X 20 in antique card table with one flap ., 20 in klimpt furniture . X 20 in pembroke style end tables ., and 22 in harlequin patterned furniture . X 24 i Special shapes, such as T cushions for chairs and oblong cushions for two-cushio sofas, are also available the value of a mallard dresser . Furthermore, foam rubber padding one inch thick an I in various widths can be purchased delftware t.i holland . If a furniture cushion is of an odd size whic cannot be matched with a factory-made cushion, this one-inch-thick padding ca sometimes be used to build up an undersized foam rubber cushion to the desired dimensions macassar bookshelves . The padding can be stuck to the cushion unit with any adhesiv suitable for use oil rubber italian coffee table 1920s .
Partial Recovering console table telescopic . The fabric covering on the tops of the arms of ove Stuffed furniture is likely to receive the most abuse and to wear out first georgian sideboard tables . It i often possible to cut the threads or remove the tacks holding the outside bac so that it can be removed and used as replacement material for the worn arm: A plain fabric of the same general color can be used to replace the outside bac piece, where it will probably remain unnoticed, particularly if the chair or sof is located against a wall wrought iron tripod candlestick 16th century . The same procedure call be followed in the case of worn-out or badly stained cushion antique pottery bottles lambeth .
Caning the biarritz english pottery . The hand weaving of caned seats, backs, and other parts of furniture is rather a tedious process, involving the boring of a series of evenly spaced holes around the frame of the opening dresden china trinket box . The actual caning operation requires six weaving steps, plus the application of a binder antique claw footed oak table . The cane, which is imported from India, Ceylon, China, the Indian Archipeligo and the Malay Peninsula, is soaked in warm water before it is used, and must be kept tightly strung throughout the weaving, by means of removable pegs thrust through the holes 16th century spanish trunk .
Although the popularity of caning as a decorative effect declined sharply at the turn of the century, many households retain examples of handsome caned pieces american oak drop leaf table antique . Nowadays the repair of seats which were formerly hand-caned has become a relatively simple operation through the use of machine-woven cane webbing burr walnut tallboy with sunburst inlay . Procurable in various widths and lengths, the webbing can be chosen in plain or diagonal weaves, open or close woven italian revolving bookcase construction .
Replacing Cane Webbing 16th century silverware . Machine-woven cane webbing is anchored to the seat or back of a piece of furniture by a spline glued into a groove that parallels the opening george rectangle tilt top tea table mahogany . Its replacement is not difficult provided the spline is care- fully removed by softening the glue with water sabino marks . Assuming that a satisfactory
M
gluing job was originally performed, and the spline remains solidly in place regardless of broken strands of cane, it will probably be necessary to cut a V groove in the top of the spline to retain the water,
which should be allowed to remain there overnight, M17er
(see Figure 6 art nouveau display cabinet .26) holland antiques forniture columns . Naturally the seat or chair easel back must be blocked up so that the grooved spline is in a horizontal position marquetry patterns flower . The water should be renewed if necessary, for it should not be allowed to dry out until the glue has softened “pembroke table” . One end of each segment of the spline can then be prized out with an icepick or other sharp-pointed tool, in order to release the old webbing antique two tier dessert table .
Prefabricated webbing comes in rolls of indefinite length, 8 to 12 in cabriole leg patterns . wide 18th century chest . The new piece of webbing should be soaked in warm water until thoroughly pliable, so that when it shrinks in
position it will dry out drum tight 18th century rococo copper candlesticks . A paper pattern aids in cutting the new piece
0
of webbing, so that its front edge will be parallel with the horizontal line of the mesh french style porcelain gilded weight driven clock . A hardwood wedge, a heavy bent wire, or the back of a curved upholstery needle can be used to press the flexible edges of the webbing into the groove antique library table with arcs . The
0
ragged edges of the cane can then be cut off with a chisel and mallet, or trimmed off with a sharp knife after the spline is in place oriental drop front .
Wedge-shaped hickory splines are obtainable from the same sources as the webbing expensive forks and knives set . Unless the opening is round, or the corners of the groove are curved, the four splines should be carefully measured mitered at the corners to insu e a snug, neat fit when were claw feet intoduced to teapots . Liquid glue will give the amateur more time to apply the splines and tap them into place antique ladies writing cabinet . Although the glue may be run into the groove and i s webbing, less spattering will occur if it is applied directly to the splines “william wyatt” architect sussex .
The spline along the front edge is inserted first and tapped into position wit a plastic-faced mallet, or a wooden wedge to prevent marring; then the rear s splined, to draw the webbing taut, after which the side splines are installed antique queen anne style burr walnut coffee table . For a rounded groove the spline should be first soaked in hot water until it can be ben
Rush Weaving london or british art . The renewal of interest in Early American and Coloni I furniture and accessories has automatically revived the craft of rush weavill! The use of woven rushes for the seats of stools and chairs in England after 1720, as a utilitarian, rather than as a decorative measure, was adopted by Coloni cabinetmakers late 1920s patek winged lugs . That it has since been employed harmoniously in modern furnituris but proof of its functionalistic appeal antique rosewood armoire with claw feet .
Rush arita kraak style dish . Chairmaker’s rush is twisted from water-loving plants, such as fla 18th century victorian toilet in dining room . and cattails furniture art pieces . Gathered in the middle of August as the leaf tips begin to turn brown, the leaves are tied in loose bundles and dried in a darkened room edwardian wardrobes . Before being used, they are soaked in warm water for eight or ten hours, and the stiff butt ends cut off from the base period dressing tables . One, two, or three leaves are then twisted in on direction to form long, smooth strands for weaving 18th century native american pottery .
A very satisfactory substitute for the genuine rush is manufactured fro machine-twisted paper in the form of an art fiber cord staffordshire fakes . Obtainable in variou jules leleu display cabinet . sizes and colors, it is an excellent medium for the amateur chairweaver becaus art deco legs . it comes in continuous lengths, either in i-lb cartons or 25-lb rolls tables with chamber pots . A pound o the ‘Yw-in antique deer chest . size will measure approximately 280 ft austrian marquetry bureau . For the ladder-back or Mexica, side-chair seat described in Chapter 2 (pp antique wardrobe art deco on wheels . io&q), about 3 lb will be required lion’s foot mahogany furniture .
Another excellent material for rush weaving is Hong Kong marsh grass 19th century england wardrobe . Thi antique dining table sutherland . is also twisted into continuous hanks weighing from 3 to 4 lb, up to diamete
i
Weavng technique french neo-rococo marble top table . Rush weaving is a simple operation requiring no speci tools pemmbroke tables* . If art fiber cord is used, little or no splicing will be required; if necessar, it can be knotted under the seat, or neatly spliced by flattening the two ends ana gluing the overlap together, the splice being secured with a tight wrapping o thread antique worcester porcelain factory+grainger . For easy handling, the endless cord can be wound upon a short lengti of Y2- or Y4-in antique “empire sideboard” furniture . dowel, or looped and held together with rubber bands burr walnut .
Since modern chair seats are seldom constructed in a rectangular shape, th weaving of a standard flare-front seat of the type described in Chapter 2 (paglog), will be described step by step classic italien easy chairs . Once mastered, it is a simple matter to appl the final weaving operations to any square or rectangular stool, should the nee arise identifying victorian chest of drawer legs .
As indicated in Step One, Figure 6 xuande floral blue and white vase .27, the initial “weaving” consists of sho t windings around the front corners to reduce the irregular opening to a rectangl The beginner can accurately mark off a width oil the front rail equal to back Rush weaving wash stands for center bowl .
butt against the inner edge of the corner of the back rail antique deco tub chair . By dividing the remaining distances by the thickness of the fiber cord, in this case -Yi4; in french cabriole leg tracing pattern ., the number of short strands required to fill in the flare can be determined in advance antique mahogany handkerchief table . As shown in A of Step One, the ends of the first strand and all succeeding strands are tacked to the inside of the left-hand side rail (L) a short distance from the front, then wound over and under front rail (F), and carried over and under side rail (L) antique dining table sutherland . ‘These loops should be pulled tight and pushed firmly against the left chair leg before the cord is brought across to the right-hand rail (R) chateau de tuileries . Here it is looped over and under side rail (R), then above the horizontal strand and over and under the front rail (F), before it is pulled taut, cut off, and tacked to the inside of (R) at the same distance that its starting end was tacked to (L) are unmarked antique blue and white porcelain expensive .
As illustrated in B of Step One, this procedure is followed with succeeding
Start strands of fiber until the last strand reaches the marks on the front rail paralle to the back rail (B) tambour commode .
For illustrative purposes, the short strands shown in Step One have bee omitted in Steil Two, Figure 6 antique crockery chinese pattern .28 william hallett, cabinetmaker . Step Two, as shown in the sketch, consists o a rectangular weaving of a continuous piece of cord in the samemanner in whic
the short lengths are wrapped early electric clocks . Commencing at either rear corner, the right rea in this case, the cord can be tacked tinder or knotted around the back rail (B) and brought down and over the front rail (F), then over and under side rail (R) and so on pembroke table antique . By examining the diagrams it will be obvious that the basic techniqu of rush seat weaving is nothing more than an over-and-under winding of the chaff rails at each corner, in succession toilet habits during 1800th century . Analysis of the drawings in Figures 6 deco ruby stemware martinsville .27 an 6 satinwood cabinet chairs .28 will show that the cord always leaves a rail from underneath and passe over the top of the next rail, whether right or left antique cups 17 century napeleon . Thus, when properly woven all cords will be either parallel or at right angles to an imaginary center line etling de cie .
Rarely does the weaver encounter a perfect square tables with chamber pots . Step Three, also show in Figure 6 table lamps .28, illustrates the method to be followed when the short rails hav been filled with cord early 19th century solid silver candlesticks . This is simply a matter of passing the remaining cord ove and under each long rail in turn, bringing the free end of the cord out throng
the center of the weaving each time, alternating over and under, as shown rene prou chairs .
In order to give fullness to the seat, it may be padded with newspaper cu into narrow strips which are thrust under the bottom layer of the three layers o cord dutch silver octagon trinket box . To do this the chair should be turned upside down, and the paper force into place with a screwdriver or whittled stick antique tureens . A better procedure is to appl light stuffing between the upper and lower layers as the weaving progresses art deco dining chairs with arms . Car must be exercised not to break the strands, or reduce the elasticity of the wovei seat by overstuffing stoneware watercoolers with raised decoration .
Finish antique ivory and silver tableware . For protective purposes, the porous art fiber cord is usually given sizing of hot glue thin enough to be applied with a brush john dwight stoneware . When thoroughly dry
the sizing provides an excellent base for one or more coats of white shellac o clear varnish linenfold coffer antique or antiques -auction -auctions -auctioneers -ebay . Some weavers omit the glue sizing, using at least two coats of
serrurier-bovy, silex .1 sizing
elastic varnish 18 the century pie coolers . Hong Kong grass re quires no sizing; the shellac or varnish coat on seats woven of this material call also b omitted if desired hepplewhite revival fold over dining table .
Variations in Design pendule religieuse kauf . The type of Mexican chair described in Chapter 2 (page Fro) often has a woven seat of a simple diagonal design 19 century inventions . The familiar rafia of basketwork offer: an interesting medium for this primitive furniture, particularly if a contrasting color i employed for the diagonal insertions 17th century silver “perpetual calendar” .

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UPHOLSTERY AND
SEAT WEAVING
IN Mr days of feudalism when the strength of a castle’s walls was the primary consideration, the ladies of the baronkil families who shivered within those cold confines early applied themselves to their needlework 1930’s rectangular drop leaf table cabinet . The resulting tapestries not only hid the rude stone walls of the primitive rooms, but also served to diminish the continuous draughts of cold air antique napoleon plaster coin reliefs . Skilled artisans who were proficient in hanging these draperies in a manner th
insured retention of their shape came to be known and valued as “up-holders (later upholsters) edwardian bookcases .
Although that branch of upholstery that was concerned with the insertion of stuffing or springs under textiles, in order to give the outer fabric a permanent form was practiced by the Egyptians, the craft was slow to infiltrate into Eoglan all later, America william birch sofa . The loose “squab” cushions provided for the backs and sea of chairs during the Jacobean period were later replaced by leather, but for utilit rather than comfort antique liberary stands . It was not until the accession of James I to the throne cf England that the hard, carved furniture of that country gave way to the comforts of padded upholstery antique table with cast iron legs .
UPHOLSTERY
In spite of the small number of tools required in upholstering, many a home craftsman has shied away from this form of furniture finishing because ofthe apparent complexity of the job sofa french 4 legs . As a matter of fact, when analyzed step by stet 0, the upholstering of an overstuffed chair or a sofa is no more complicated or difficu t than any other handicraft project requiring a modicum of care and attention longcase dutch 2009 . One of the best means of self-instruction is to take a screwdriver and a hanlill(r and carefully pry up the tacks, section by section, from an upholstered piece that has reached the stage where it must either be reupholstered or hidden antique empire or regency style mahogany bookcase .
A list of the various upholstering materials required for a variety of jobs appears below antique walnut desk on pillars . The few tools required will be described as their need is encoun tered furniture + small drop leaf table with drawers .

Hassock anglo-indian furniture - thomas hope master chair . A simple upholstery project that will demonstrate several basic principles involves the conversion of a round cheesebox or butter tub into an attractive hassock or skirted vanity stool antique rectangular dropleaf table . A cheesebox constructed to contain a wheel of cheese has the advantage of a standard diameter of z5 in scandinavian art deco furniture . on each end, while the average butter tub when upended presents a bottom of only 13 in antique rococo pedestal table . diameter french tableware antique . Both average some 14 in antique oak pedestal table rectangular with leaves . in height, but the cheesebox will probably need to be reinforced with at least three uprights, and may require a disk of solid stock at its upper (seat) end to hold the necessary tacks how high above a sideboard should a mirror be hung . Either container should be washed with a solution of trisodium phosphate or hot soapy water and thoroughly aired to remove all odors art deco china cabinet . It may be necessary to cut the butter film with benzine or naphtha biedermeier inlaid birch chest .
Rolled edge antique 16th century chestnut spain . The fundamental purpose of upholstery is to cushion the hard surfaces of a seat frame so that no sharp edges can come in contact with the occupant antique drop front desk one drawer and cupboard . A simple method for preventing this unwelcome contact is by means of a hard, tight roll of stuffing around the edges of the frame or seat to be padded antique gateleg drop leaf table with chairs . Such a roll not only softens the sharp edge it covers, but serves as a low retaining wall that prevents the displacement of the padding it surrounds antique kayseri silk carpet pictoral niche .
For the hassock under discussion, a piece of zo- or 12-oz burlap is cut so that it overlaps the round hassock top by about 6 in king george 1v tankard sheffield plate . This is tacked closely around the upper edge of the top of the hassock frame, then rolled back and filled with cotton, or other selected stuffing to form a hard roll that will bulge about Y2 in hepplewhite revival fold over dining table . beyond the seat all the way around, as in Figure 6 emile galle, orchids, 1900 .2 empire hall bench . The roll is closed by firmly tacking the pinched-in edge of the burlap to the top of the seat antique christening flatware .
Fic french word for cabinet . 6 george 11 pad foot dining table .3 bureau furniture . Cross section of upholstery american made ceramic french figurine .
The top can now be filled with stuffing, which should be thick enough to pad out the rolled edges and form a crown in the center cooking utensils used in 1935 . This is covered by a layer of thin burlap, which is tacked down tightly over the edges to the side of the hassock carved oak draw-leaf refectory table . The burlap is then covered with muslin tacked in the same manner mahogany spider leg double flap table . A layer of cotton batting placed under the muslin will provide additional resiliency cumberland action table . A piece of the fabric cover about 24 in figural silver antique candlesticks . in diameter can then be stretched over the padded top and tacked down tightly over the muslin liner, directly under the rolled edge, as illustrated in the cutaway drawing in Figure 6 gillows lancaster talbert .3 william and mary chest of drawers .
Welt mid century decor mahogany rectangle divided tray . A familiar upholstery device use(> to conceal or embellish joints betweei sections of the fabric covering is known as a “welt repaint ceramic lamp .” This is nothing more tha welt cord covered with a section of the same or contrasting material, which sewed or tacked at the seam between (in this case) the top padding and t side upholstery or skirt, as the case may be rococo music . After a piece of covering material
4 or 2 in prohibition parlor clock . wide is folded over the welt cord and closed with a seam, the material
is opened at the seam and the skirt sewed s the outer side of the lower piece, as in Figu,e 6 dressers with shelves on the side .4 antique tile painted in puce .
A pleated skirt can be cut 16 in antique 18c urns . wide
allow for a hem at the bottom, and about i i •
in gateleg drop leaf table cherry cabriol leg . long for the i 5-in glass candlesticks uk . cheesebox seat pottery epergne . Plea s
tacks sewsh-lrl to 7-1″1,5 17ap long
21″ in antique drop leaf table federal period . wide spaced at 13/ -in napoleon empire secretaire . intervals a,e
formed before the lower edge of the welt s
sewed on, and the ends left open antique silver roll top warmer . By turnh the skirt upside down over the padded seat, the other half of the welt seam can be tacked above the tacked edges of the seat fabric so that when the skirt is lowere right side out, all tacks will be concealed victorian hinge topped chests of drawers . After the pleats are adjusted, the oper ing in the skirt can be sewed up floral painted dials thomas of edinburgh .
Instead of a pleated skirt, plain tailored sides can be formed in much the same manner by using a 5o-in japanese imari 18th . piece of the seat fabric 15 in serpentine centre table mahogany . long, over a layer of cotton batting around the circular side of the cheesebox or butter tub painter dufy . The we t is sewed or tacked in place as before and the side fabric carefully “skinned” dos
to form a smooth covering kidney shape dressing table . Its bottom edge is turned under and tacked to tl e bottom of the frame, commencing in the middle, opposite the open ends, whicl are stitched together when the tacking is complete, an the sides smooth ani unwrinkled india epergne . A black cambric disk is cut large enough to cover the bottom, wh
edges are turned under and tacked in place most expensive antique glass vase .
Padding a Removable Seat inlaid biedermeier square coffee table . The simplest form of upholstery is that (f padding the board surface of a footstool etruscan pottery . Since this operation was covered in the description of the sectional stools in Chapter 2 (page 114), it is proposed to examine a webbing job for the seat of the side chair described in the same chapter Unless an unusually thick covering is to be applied, the dimensions of the remov able chair seat frame will provide for an extra -3/1,3 in marinot - acid-etched clear glass bottle and stopper 1934 . all around, which shoull be sufficient small sutherland table . Before the covering operations are started, the outer edges of
should be beveled or chamfered to protect the fabric covering antique directoire desk .
As indicated in Figure 6 18th century french occasional table .5, the seat is springless, so the webbing can be tackel directly to the upper surface of the detachable frame antique oak pedestal table rectangular with leaves . After the positions of the webbing at suitable intervals are determined, the end of the first central long -tudinal strip can be fastened in place french gesso painted 18th century console .
Webbing stretcher james 1 sideboards antiques .
upholstery project is a fundamental operation, upon whose proper application the future durability of the work will depend everest patent for two-seater sofa . The basic principle involved is that the webbing strips must be so stretched and interwoven that they will mutually compensate for single sags, while providing a stable foundation for padding or springs brass mote spoon .
This being the case, the first consideration must be a strong anchorage for all strips at both ends; that is why each one is cut to allow for folding over at the ends lighting art deco/japanese style . The end of a strip is attached to the frame by at least 3 tacks within approximately iY2 in french draw leaf dining table . of the cut end, which is then folded over inward and fastened in place with 4 or more large tacks (depending on the width of the webbing and the softness of the wood), which are driven between the first holding tacks sought after greek pottery . The strip is then carried directly across the frame and tightened with a webbing stretcher, as in Figure 6 marble leos furniture .5 wooden slant front desk antique . It is then tacked, cut, folded over, and fastened with as many tacks as the width will permit putti on dutch delftware .
Webbing stretcher holophane verlys . Whittled from a piece of -1,~,-in austrian empire furniture . scrap 31/–, in antique chippendale coffee table leaves . wide by about 7 in federal desk . Ion,-, a webbing 0 stretcher has 6 small nails driven into its working edge,
0
filed to sharp point-, about i in french bedside table with cabriole legs . lone tin glaze pottery makers . As illustrated, once the sharp points are engaged in the free end of the webbing, the wooden handle is wedged in place to webbing, wedge
the webbing while it is being tacked down with the holding tacks spanish pottery 16th century . The holding free end is then folded over and tacked in place to complete the strand mythological scenes . Once th longitudinal strands of webbing are in place, the lateral pieces are interwovei through alternate strands and fastened firmly, after being stretched antique henry 2nd breakfast sideboard . The webbing is covered with burlap in much the same manner as the webbing was appliec except that no webbing stretcher is used, the burlap being tacked to the woo( surface of the seat frame beyond the webbing, and folded back american empire revival furniture .
Stuffing tableware expensive . To prevent unwelcome contact with the chair a hard roll can b attached to the outside edge of the frame before the stuffing is put on hepplewhite sofa . A >aye
of narrow burlap into which a roll o
stuffing material has been inserted i
folded back upon itself, and tacked down
as shown in Figure 6 antique sutherland coffee table .6 chippendale pinecone . If tow is used
it should be pulled out and rolled betwee
the palms to produce an even roll abou stufflqs Y4 in circular extendable dining table england . thick; rolled webbing can be prof
itably substituted 19th century cutlery pennsylvania dutch . The burlap should b
tacked in such a way that the first, o
lower series of tackheads are even wit
the outside edge of the seat, to insur that the roll itself will pad the edge vintage wooden handled three tined dinner forks .
After the roll is secured, sufficient stuffiing material is placed on the seat to produce a crown effect when the material is pressed down firmly with the hands Whatever stuffing material is selected, it should be pulled out thoroughly to make it even and fluffy antique art deco furniture black lacquer . It is then covered by muslin tacked to the underside of the frame myott son blossom . To stretch this muslin covering tightly, it is held in place by slip or loose tacking at the center of each side, with tacks that are only partly driven in rococo candelabra . Th- antique occassional table drop leaf small . muslin should be turned under at the corners, and retacked after it is stretches, tightly in all directions by stroking and holding as the slip-tacks are removed an replaced campaign chairs furniture .
The stuffing can then be regulated or redistributed evenly by sticking an icepic through the muslin and manipulating it to remove any lumps or humps french art deco walnut club chairs . The oute fabric is tacked to the underside of the frame, over and beyond the muslin english column candlestick creamware .
A Hard Edge Spring Seat european antique rolltop desk 1700’s . The use of springs in upholstery has come to be expected in not only the finest pieces of upholstered work, but also the mediu grades russian empire antiques . Three types of bases may be used under the springs, and expert opinio is divided as to which is the most desirable iron garden kidney bench . Wooden slats, in the early day-before the front and back rails of chairs and sofas were lowered, could be utilize) only with the shallower, cheaper type of springs macassar in paris . Enameled, cone-shaped spring-used with tempered steel webbing provide a satisfactory resiliency, which lasts a long as the anchoring tacks or nails antique white chamber pot . Manufacturers of stout, interlaced webbinn bases that employ deep, double cone-shaped coils, claim that this type of construction affords greater comfort 1820 antique empire mahogany dining table . As an easy transition from the removable seat described in the preceding paragraphs, it is next intended to examine the operation of installing springs in a seat equipped with a webbing base (Figure 6-7) chinese porcelain wall decoration mask history .
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The webbing is attached to the underside of a wooden frame, which can be of varying depth islamic arts ivory inlaid wood cabinet . The spacing between the webbing strands, however, must be adjusted so that each spring can be centered upon the lap formed by the crossing of the longitudinal and lateral webbing strips markings on antique vase . A frame with inside dimensions of ig in florail inlay antique dresser . by 24 in 16th century english chamber pot ., for example, can house
only six springs 4 to 5 in breakfast serving tables . in diameter camillo marcolini portrait . Therefore, in order to center the springs on the crosswise laps of webbing which is 4 in aantique*display*cabinets*com . wide, the two longitudinal strands must be spaced 3Y2 in antique creamware tankards . apart with their outer edges 3Y4 in chippendale gateleg table . from the inside edges of the long sides of the wooden seat frame kotahya pottery . The three lateral strands can be spaced at equal distance of 3 in 19th century bureau with spiral legs . The folded ends of all strips are fastened with as many tacks as the webbing and framework will accommodate drop leaf table top and folded legs .
The springs are placed in position with the bent-down ends uppermost, in order to protect the stuffing “manual wind watches” “out of fashion” . They are then sewed to the webbing laps with stitching twine by means of a 6-in occasional table . straight, double-pointed upholsterer’s needle japanese 16 century furniture . The stitching is commenced from the bottom, goes through the webbing, over the bottom of the sprint; and back to complete four double loops, the last pair nearest the next spring as in Figure 6 most valuable antique silverware .7 antique dresser with claw feet from 1800 . The stitches should be small in order to prevent undue wear, and the twine knotted, preferably after the last one of each pair of stitches, and certainly after the last of each of the four pairs, to prevent the loosening of all six springs if one stitch should break antique furniture 1800 . When the base consists of wooden cleats, large staples can be driven in to fasten the spring bottoms ruhimann table .
Tying the springs hunting chest french 18th century . After the stability afforded by the base, the most important factor in this type of upholstery is that of the proper tying of the springs british regency furniture . The hempen twine not only holds the springs in an upright position, but also provides
spring
solid support for the burlap covering, which in turn supports the stuffing prohibition style furniture . For
this reason each spring is tied with a minimum of eight knots in four directions thomas sheraton dresser .
Expert tiers employ their own time- and labor-saving methods and reduce the
number of separate pieces of twine to a -minimum original antique type galleys . The amateur upholsterer, how-
ever, will do well to estimate the amount of twine required by means of a rough
rule of thumb, such as multiplying the total dimensions of the frame by I%,
afterwards cutting the individual pieces for lateral, longitudinal, and diagonal
tying, with a minimum allowance of at least 18 in early nineteenth century german desk . at each end for “return ties cedar cassone genoa 16thc .”
In tying built-in springs it is customary to commence operations from the rear lion coffee tables dining antique .
Disregarding individual professional whimsies, the easiest method for the beginn
who is faced with tying six springs in a removable base 3 to 4 in picture frame style american empire . deep is to worl from the top of all but the outermost springs art moderne furniture inlay . The twine is laid across the tops of the three longitudinal springs, for example, with the ends thrust through the centers of the two external springs 1840 wood grained pine wardrobe . One end is knotted approximately 18 in makers of ceramic beehive honey pots . from its free end to a tack (>riven into the edge of the frame next to the spring baroque girandole .
FiG antique drop leaf table hardware . 6 vinyl red 1930’s chair .8 art deco entry door handlesets . Tying springs antique creamware tankards .
A secondary reason for tying springs is to keep them compressed to about two thirds of their expanded height so that the spring action will be limited by, and fall entirely upon, the tying cord french manner . Therefore the spring nearest the tacked end of the twine should be depressed to a height of about 7 in antique round gateleg dining tables ., with its oute, rim compressed to 6 in escritoire chest . before it is fastened to the twine by means of a clove hitch (Figure 6 scottish cabinet antique .8) early meissen figures . The long free end of the twine is then hitched or knotted across the top of the spring to the opposite side, then across to the middle spring, where it is tied with two hitches in such a manner that the tops of the spring are spaced the same distance apart as are their sewed bottoms art deco upholstery . The end of tht twine is looped around a tack driven into the frame oil the opposite side of th frame from the first tack, and the twine tightened to compress the springs properly before the tack is driven home myott son and co hanley est 1880 swing time in england china . A second tack can be added for extra security
As indicated in Figure 6 antique games chest .9, the return ties consist of knots to the outside edges that hold them down to a 6-in antique dresser from 1700 with paw feet . height vintage french lady figurine porcelain .

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These braces are now screwed to the top edges of the forms so that the plug centers are each 8 in antique tables small . from the inner edges of the ends of the form crockery cupboard design .
Once poured, the concrete should be covered with wet burlap, and the form left undisturbed for twenty-four hours, or during cold weather, forty-eight hours victorian dome revolving re serving dishes . Great care should be exercised in unscrewing and removing the form in order to prevent injury to the green concrete furniture swag frieze 19th century commode . The latter should be cured by covering it with dampened burlap, sand or straw for at least ten days antique bombe commode louis the xv with marble top .
Meanwhile the form or forms for the supports can be constructed as shown in D antique queen ann drop leaf tables . The two curved sections are band-sawed out of 4-in rococo serving dish, italy . stock according to a
according
pattern such as E delatte nancy . Here, too, individual preference in design should have full sway, with due regard to the fact that it is advisable to line the inner surface with sheet metal to insure a smooth finish sought after greek pottery . The wooden plugs are accurately centered 7 in antique occassional table drop leaf small . apart as shown demilune chest makers antiques . After the form is shellacked and oiled concrete can be poured without recourse to reinforcement japanned black corner cabinet .
If the bench is to be placed oil the lawn or in the garden a solid g footin should
footing
be provided to prevent settlement into the ground longcase dutch 2009 . A good rule to follow is to dig a footing 6 in pop up cigarette deco dispenser . deep whose surface is approximately double the area of the base it is to support antique oak tables manufactured in 19th century . The same mix as that used for the bench can be poured into the square-cut hole, which is dug for the footings furniture design spider table . It should be well tamped and allowed to harden at least twenty-four hours before the bench is set up antique tea table glass serving tray .
In assembling the bench hardwood plugs can be use(> as dowels octagon oak table antique . The bench should not be set up for at least four, and preferably six, weeks library wood armchair .
Concrete and Wood Bench robert jupe extending circular table copy . A bench with a back and arms is easy to assemble when the concrete sides are poured with apertures for wooden slats forming the seat and back pembroke sheraton furniture mahogany string inlay . As shown in Figure 3 art moderne furniture inlay .37, these slats have tongues that protrude and are keyed to the concrete supports thomas sheraton dresser .
The slats should be of oak or other suitable hardwood, iys in macassar ebony vintage antique dining table . thick and 6 ft long british sideboard . The back slats 6 in antique ribbed bucket mahogany . wide and the seat slats 5 in antique wood legs design in 19th . wide chippendale silver table . All have tongues 9 in russian oak parquetry refectory table . long, which are 2 in davenport cupboard desk . narrower than the width of the slats weimar germany china antique . Mortises are cut in the manner described in the instructions for the construction of the sawbuck table; the wedges or keys can be of the same dimensions 1680 meissen porcelain .
Four band-sawed pieces of s-in cooking utensils from britain . stock are necessary for a pattern with the curves pictured in pattern A italin furnture drawer . These can be inserted in a square form screwed together as indicated in B blue glass kidney shaped table . Well-oiled sections of the seat and back slats can be nailed from the underside of the platform in their proper spacing and held at the top by cleats across the form 1930 art deco french armchairs . A decorative opening under the seat can be any form fastened in place in the same manner as the molds for the slats silver george foot mask . Certain sizes of tin cans can be filled with sand, gravel, or cement after they are nailed and braced in place, as forms 17th century brass candlestick rectangle .
Since the openings of the back slats are located 2 in development of clocks between 1350 and 1750 . from the rear of the form, a reinforcing rod can be laid in as shown, after 23/2 in drop slant desk shell carved . of concrete is poured into the 5-in sheriton clock . form 19 century sewing table . This can be tied in with horizontal rods above and below the seat antique drum shaped table .The remainder of the work is similar to that of the concrete bench, including -he level footings frieze drawers mean fake drawers .
Concrete Table 19th century casters . By increasing the width of the top of the bench previou ,ly described to 3o in antiques sofa table look ., and raising the supporting legs to 27 in wooden tables with brass leaves inlay ., a weatherproof to )le will result, capable of seating at least ten people antique hepplewhite sofa . Such a table will have mass ve legs, requiring a considerable amount of concrete 1930’s germany’s furniture . If a lathe is accessible, a m ire graceful design with four separate legs is possible, with some additional effort sideboard examples .
One turned wooden leg similar to the pattern in A of Figure 3 urn cutlery box .38 is required as a core for molding all four legs coffee table campaign furniture . It is easiest to shellac this model while it is still mounted in the lathe, so that no surfaces remain exposed gateleg “sheraton games table” . The next step is the construction of a rough wooden box with screwed ends, large enough so that a minimum of i in milanese ebonized antiques . of plaster of paris can be tamped around the widest surfaces of the wooden core frenchswiss antique pocket watches . Holes are then bored in the center of each end to take a length of available iron pipe, such as Y2 in antique carved tea table . The box is now sawed exactly in half, and the inside coated with two coats of paint or shellac antique clerk’s desk .
A
FiG italian old furniture from norten italy . 3 16th century pedestal desks .38 staffordshire figures of royalty . Concrete table collectors cabinets -jewellery trays/draws for stamps/beads .
Next the core is laid in the lower half of the box, surrounded with well-tamped plaster of paris, and set aside to dry for about twenty-four hours antique salt cellars . It is then thoroughly shellacked to form a “parting antique drop leaf sofa table .” Then the upper half of the box, with its top unscrewed, is placed upon the lower half, and plaster of paris poured in to complete the mold antique marble slab .
When the plaster in the upper mold is dry, the top of the box is screwed back into place and the halves carefully separated so that the wooden core can be removed chippendale mahogany coffee table 1900 . If small portions of the plaster mold chip off in this process, they can be repaired by more plaster antique oval brass coffee tables from india . The inside of both halves of the mold is then thoroughly shellacked, then oiled, after which operations the two boxes are reassembled and tightly bound with wire antique sewing work table with bag . The ends are unscrewed and a length of iron pipe inserted that will extend iY2 in giovanni lorenzo bernini . at both ends ringtons flasks .
The concrete mixture to be poured into the mold consists of equal parts of fine sharp torpedo sand and cement, without aggregate india brass coffee table . It is tamped into p as- aggregate
with a length of light rod or heavy wire chamber pot cabinet .
When the four legs have been cast, forms for a suitable base for each pair niube prepared palissy dishware . Detail B indicates satisfactory dimensions; the silhouette will depen upon the number and type of wooden moldings employed slim drop leaf table . Care must be exercsel, to exactly locate the holes for the iron pipe dowels antique wooden gate card table . The latter are cemented nt! their recesses in the bases and the top with a grouting of cement and water art deco console and germany .
As in the case of the bench, adequate footings for the bases must be dug an poured antique 2 drawer sheraton end table . The table should not be set up until all parts have dried out for six week
Terrazzo charles crescent furniture maker . To dress up the top of a concrete table or bench in colorful firms - pattern, individually molded blocks of terrazzo can be cast and imbedded in shallow recess in the top empire style antique desk . This recess is provided for in the original casting b nailing rough lumber Y8 in antique butterfly drop leaf table . thick to the platform so that its edges are 1Y4 i inside the bottom edges of the sidepieces of the form, oil all sides silver french chest of drawers . The edges i this lumber should be straight and smooth, but the rougher the flat faces t better apostle spoon fakes .
Terrazzo is a mixture of cement and marble chips, with color added to var stoneware watercoolers with raised decoration .o parts of a design clawfoot dinner table . Its surface is polished so hard as to be everlasting, making an ideal material for outdoor use european antique lectern pedestal table .
A design is first marked out on a pieoce of wrapping paper the size of t recess being cast in the table top ball and claw mosaic tripod table antique . The decision as to colors is made at the s I time, and marked oil each segment of the paper for ready reference german leaf table . The var o parts of the pattern can then be cut out, so that identical forms can be assernLle,
All forms are %2 in antique french walnut draw leaf table . deep, and since it is difficult to mix the same color second time, all forms containing one color should be poured at one time 1930’s mahogany dining room table rectangular 2 leaves chinese style . B
0
using a single base, forms can be made by means of cleats having common side
The terrazzo mixture is made up of one part white cement and two partE b> volume of white or colored marble chips what types of materials were used in george hepplewhite furniture . Only enough water is added to n a a stiff, workable mixture chinese porcelain cockerels . It is poured into corners and acute angles first a allowed to mount Y8 in antique spiral leg writing desk . higher than the sides of the mold antique kayseri silk carpet pictoral niche . It is then troweled an, left to set for a while demilune chiffonier . Next it is rolled with a rolling pin to squeeze out t surface cement kidney shaped pedestal table with side drawers . The latter can be removed with a clean, moist paintbrush historical development of art deco . ‘I h: the terrazzo is allowed to set for an hour english pottery colours 19 century .
The rolling process also impacts the marble chips more evenly, yet the sulfa of the terrazzo must be repeatedly troweled to a hard finish neoclassical style brass seamed candlesticks . When the sur-_’a4 feels hard to the touch it should be covered with clean waxed paper to pre le staining, then covered with clamp burlap and allowed to cure for six days painted classical figures furniture’ .
The last process is that of grinding and polishing silverware sets real fake . Three methods ma) used, depending upon the tools available curule friedrich schinkel . The fastest, and probably the file work can be done with a flexible shaft grinder equipped with a silicon-car)i run wheel and a wet spindle head mahogany knife box . Coarse wheels are changed for progressi;e > finer grades, care being exercised to avoid grinding rings in the surface walnut marble slab dining .
The remainder of the work is similar to that of the concrete bench, including tie level footings mahogany pembroke table with lyre design .
Concrete Table shapland and petter art nouveau . By increasing the width of the top of the bench previouAy described to 3o in pendule religieuse ., and raising the supporting legs to 27 in antique bookcase with decorative beading ., a weatherproof toile will result, capable of seating at least ten people 17th century oak tables . Such a table will have massile legs, requiring a considerable amount of concrete english rose porcelaine drawing and motif . If a lathe is accessible, a mere graceful design with four separate legs is possible, with some additional effort victorian reaissance revial credenza .
For dry-grinding a portable sander can be used meissen scattered flowers . Lacking these machines, the work can be done entirely by hand, using a coarse silicon-carbide brick fitted with a handle, followed by a finer oil stone for the polishing silver soup turrene . During the grinding, clean water must be used and constantly sponged off to observe progress rectangle table pilar foot . The surface should be ground down until it is free from all scratches dresser accessories trinket box with drawers . Air holes can be patched with a grout mix, which must cure overnight before it is ground british antique joyned stool . After the polishing is completed, the terrazzo should be cleaned with several applications of fresh water, and permitted to dry for twenty-four hours gabriel viardot .
A simple waterproofing and stainproofing preparation consists of equal parts of boiled linseed oil and turpentine italian provincial furniture . This is applied to the dry terrazzo repeatedly, and the surplus wiped off, for three days 1700 to 1800 longcase movements . After the final coat has dried for twenty-four hours a good coat of automobile wax can be applied and the surface polished how to distinguish a 19th century empire sofa .
As A consequence of the postwar tren I toward compact living, attention has become more and more widely focusei ol built-in furniture and accessories antique stanford refectory table with end leafs . Formerly tolerated as ingenious convenie-im, they have emerged, in many cases, as necessary expedience jules leleu chairs . As in urban rep l estate, when the floor space shrinks perceptibly, the value of height, or wall spa(– increases in proportion antique sideboard with harp design . Thus it is not unusual to encounter snug little I vin; quarters with built-ins skyscrapering up the walls, leaving the moderate flour space uncluttered and hence, larger appearing west indies tall console .
The versatility of available wall coverings affords a variety of selection, whit i gives unlimited scope for harmonious treatments history woods ware wincanton . Sheets of plywood wit handsome hardwood veneers, or with wavy-textured faces bonded to their outer surfaces, are excellent mediums for built-in doors, panels an(> sen-lipartidow antique drawing drawers . Wallboards are available in a variety of textures, finishes, and shades that len> themselves to attractive combinations wooden antique table 16th century inlay . Knotty pine in random widths, applied vertically, horizontally or in panels, is stealing into kitchens and even bathrcom, examples of flatwares ceramics . Glass blocks and cloudy plastic insets accent the modern note ill lighting effects borromini apprentice with a woodcarver . The list of materials is limited only by the imaginations of the designers, the st;liN Of the room what is a plum pudding octagonal table . and the utility of the piece or part to be constructed pedestal leg english trestle table parts .
Built-in furniture is understood to comprise units that are constructed as part of the walls or floor of a room antique walnut trestle table . Thus a console may be fastened to a wall, an i for convenience, have its legs removed, leaving little more than a decorated
So, too, various pieces of furniture such as bureaus, dressers, vanities, desks, cl est reverse serpentine sideboard ., sideboards, all(> bookshelves find themselves flanked by wardrobes or closets inter a continuous type of construction from wall to wall andrea baccetti . ‘ antique plate piercing styles .\Ianv older homes ha\~ eked out a scarcity of closet construction by the use of wardrobes and chests (f drawers, which necessarily jut out into the room at irregular intervals late 18th early 19th century chambersticks . In other , large, deep closets are not rendering the complete service they are capably o’ islamic arts ivory inlaid wood cabinet . Such being the case, it would appear to be highly appropriate to examine into the possibilities of these built-in wardrobes brass drum tables .
Before becoming involved in the details of construction, however, a word of warning at this point is of urgent importance art nouveau daum candlesticks . Briefly stated it is the oft-repeated caution that when new construction or alterations are contemplated in an old house, it is a dangerous fallacy to assume that floors and ceilings are level, and that walls are plumb and meet at right angles biedermeier style furniture .
Depending upon the integrity of the builders, the width and thickness of the footings, and the character of the soil or fill, all houses settle to a greater or less extent decorative carvings . Headaches and heartaches can be avoided if all seeming right angles are viewed with suspicion, and all vertical and horizontal lines checked and double-checked with level, plumb line, or square ” american card table” .
In the interests of time and lumber saving, some sort of jig similar to the wall-angle gage illustrated in Figure 4J will accurately speed up the installation
0
FIG french aristocracy aftername . 4 draw leaf table spiral shaped .1 18th century french silver makers . Wall-angle gage
of shelving, or the horizontal members of built-in conveniences gillows dining table . Extended and applied vertically it is also useful for insuring snug-fitting side members between ceilings and floors, although a sliding T bevel, if clamped tight, can be used to advantage in transferring existing house angles to the material being used edwardian bookcases . Provided he learns to view such angles as suspect, the home craftsman will evolve his own method of measurement, thereby saving himself untold grief a french renaissance carved walnut bed second half 16th century .
NICHES
A common form of built-in furniture, and one of the easiest to construct, takes the shape of the bookcases described in Chapter 2 antique spanish wooden gates . Modern decorative trends, however, as well as the demands for economy in floor space, frown upon protruding bookshelves in favor of cabinets set flush into the wall antique immigrants chests . When these are to be constructed in a pastered or otherwise finished wall, the home mechanic ni concern himself with certain details of house construction russian chair lion .
The vertical 2 in 18th century chippendale dresser . X 4 in poole potery est 1873 . studs which back up the average wall are us as fastened oil 16-in doucai plates ming period . centers, which means that when they are i-Y8 in “german pier glass” . thick, they spaced 14-Y8 in roll top art deco cigarette dispenser . apart vintage mahogany drop leaf table 1940 . Therefore, unless the box to be sunk into the wall to ‘o the niche can be built with an over-all width of only 143/8 in value of a william and mary chest of drawers ., one or me P
—S&(CIS —1
PIY4,10-11
FIG antique neoclassical . 4 19 century sewing table .2, Niche sideboard serpentine wood inlay brass .
the studs must be cut out the length of cabinet daum mythology crystal vase . This requires a little deteati work in the form of tapping the wall with a hammer, to disclose the location the studs continental porcelain . The dimensions of the proposed cabinet are then marked on the teall with due allowance for 2 in williamson’s cabinetmakers of guildford, uk . X 4 in elkington epergne centerpiece . headers, which must be nailed horizontall! across any severed studs antique music cabinete with mirror at the top . The procedure of boring holes and cutting out the at! and plaster with a cold chisel and compass saw is explained in detail in Chapter 1 under Constructing a New Inside Doorway designs for italian occasional tables . The cabinet or bookshelf is me -e an open box made up of 3/4-in antique silver rings wheat sheaf pattern . stock with a plywood back antique oak and fabric dressing screen with fretwork . It cannot be de(p& than the width of the studding, plus the lath and plaster wall, and should be (o structed to fit snugly between the headers and the studs, to which it can be fastene by finishing nails myott son compagnie .
The edges may be finished off by moldings, as shown in Figure 4 antique small tables sutherland .2 and Fi,’ 19th century german furniture makers .Ilr 4 painted sideboard pine maryland .3 first antique table de chevet . In new construction, the plaster is often brought flush with the inside edge; o the cabinet, without molding examples of anthemion designs on ceramic tableware . This requires that bits of metal, lath, screenvir
Wallboards are available in a variety of textures, finishes, and shades that Ii n( themselves to attractive combinations 1940’s decco furniture . Knotty pine in random widths, applied x–r tically, horizontally or in panels, is stealing into kitchens and even bathroo is Glass blocks -,in(> clotidy plastic insets accent the modern note in lighting effe antique vitrine table .
or a series of tacks be fastened to the edges of the wooden cabinet to provide a bonding surface for the plaster tekke gul . A straightedge is tacked along each edge in turn,
against which the plaster can be troweled and allowed to dry normandy antique clock longcase . The g shelvin can be
shelving
nailed permanently in place from the outside of the box-cabinet before it is inserted
Courtesy Western Pine Association
Fic “holland & sons” cabinet . 4 burr walnut antiques .3 goldscheider wren made in audtria . Well-designed cabinet built in wall niche portuguese pallissy ware .
into its recess, or a series of holes bored part way through the inner faces of the sides, into which pegs or commercial plugs can be inserted, for adjusting the shelves to various heights “spiral leg” table antique .
When built into dining room, bedroom, bathroom, or kitchen walls, to hold dishes or cosmetics, the sides and tops of these open cabinets are often edged with decorative scallops in French Provincial style, as in Figure 4 1800’s reproduction dining room tables .4 wells coates . Tubular lights can be concealed by the top cornice, with the shelving graduated in depth in a stepladder effect 1877 antque dome trunk vaule .
Other favored uses for long but narrow niches include locations over the lavatory, or in a wall beside the bathtub, to hold miscellaneous toilet articles or cosmetics antique half leaf table . A similar location over the kitchen sink will care for the soap and cleansing materials art deco harlequin fine china . Recessed above a modern fireplace mantel are often f(ut tall, shallow trinket niches for clocks, vases, or curios design of fix dressing tables . More frequently the el phone handset is found recessed on a shelf in a flush niche in the wall mid seventeenth century dutch chests oriental influenced . When a nets protrude from the wall, niches between them may be utilized in a numb:r
Courtesy Western Pine Assoc di
Fic rare willow pattern coloured ironstone china patent . 4 antique furniture bureau desk .4 european porcelain marks 1742 . Niche cabinets with scalloped (, british deco table .dges rare antqiue marbels .
ways, for example, for a desk, as in Figure 4 card table neoclasical .6 antique kneehole desk . Last, but not least, the ubiqu to ironing board has acquired a niche of its own, in or near the kitchen antique writers desk . The rec; ss cabinet shown in the kitchen utility cabinet later in the chapter (page 29, )
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of a width that will fit between studs on 16-in antique serving table . centers gateleg drop leaf mahogany table .
VALENCES
Frequently referred to by their true architectural description as cornices, i, box valances over the tops of interior window trim are rapidly becoming a ms e “must islamic influence furniture .”

Tags: antique music, antique oak, antique oak tables, antique tables, armchairs, back, botto, box, butterfly, cabinetmakers, chamber, chest of drawers, Chippendale, claw, cold weather, color, concrete furniture, corner cabinet, craftsman, dining, drawing, dressing tables, drop leaf, drop leaf table, due regard, edge, english, fle, frieze, furniture design, furniture makers, hammer, hand, harden, hardwood, inner surface, Legs, marble, material, mixture, pedestal, pedestal desks, piece, plastic, porcelain, pottery, provincial furniture, recess, refectory table, reference, repeat, russian, Scraper, segment, serving dish, serving dishes, sewing table, shelf, sideboard, sofa, top edges, twenty four hours, variety, walnut, work

The chairs are reminiscent of the Adirondack type of construction and with the addition of cushions, are styled for leisurely outdoor living antique tables a gibier . The plywood table top with short peg legs can be removed to the kitchen or barbeque pit for loading, and returned completely set for a meal a deux antique 17th century fork .
The chairs are assembled first, and with butt joints throughout present no problems antique music stand london . The bottom edge of the back can rest on an additional cleat butted between the side rails, if desired, although once the back cleat (A) in Figure 3 victorian electroplate candlestick french sheffield .5 is in position, it is a simple matter to screw the bottom of the back to the edge of the cleat heavily carved oak drop leaf table . The top of the back can be band-sawed to the curve shown in the drawings, or the top half of an octagon or a blunted triangle, as preferred front hall rococo tables .
To provide for a shelf between the chairs, cleats (B) in Figure 3 indian furniture low table .5 are fastened to the inside stretchers to level up the plywood shelf empire mahogany dresser . To connect the two chairs the two long auxiliary rails are notched at (C) and (D) and fastened into place renaissance revival fall-front writing desk . The waterproof plywood shelf is cut to fit between the cleats with an overhang of Y2 in antique writing bureau in london . over the top edges of the two connecting rails viktor schreckengost, enamel artwork . A Y4-in cobalt greek pottery . piece of waterproof plywood is cut with rounded edges to fit over the tops of the two arms, as indicated in the drawing lusterware made in czecho-slovakia . Four /M-in small coffee table antique connected legs bar with scroll legs . dowels are let into the corners of the tray to fit into four corresponding holes bored into the chair arms antique tea set - rh macy .
Description
Legs
Side rails Arms
Arm cleat
Back bottom cleat
Back splats Back top cleat
Seat slats
Front and back stretchers Side stretchers
Table
Shelf cleats Shelf (plywood) Top (plvwood) Connecting rails
For added strength, it will be noted that four stretchers are provided for earl chair dressing table glass set made i n czechoslovakia . If it is anticipated that this lengthy piece of combination furniture will be subjected to much moving about, strain on the outside arms will be lessened f the connecting rails are lengthened about iY2 ft japanese art nouveau desk . to provide o-in were exports scenes common in the chenghua period . handles at either end, cut out and rounded in the style shown for the rolling lounge in a later set - tion 18th century occasional table .
TABLES
Occasional Tables “jean luce” arzberg . Strategically placed occasional tables are as importal t to the comfort of the occupants of the outdoor living room as they are elsewhe e in the home antique bohemian engraved glass . Indeed, during warm spells, chairside tables and stands are almo;t a necessity for holding cooling drinks, as well as smoking necessities, sun glasses, magazines, and books antique lions paw display cases .
A pair of the square-edged little end tables pictured in Figure 3 antique soup terrine .6 can, when equipped with suitable latches such as window catches on their undersides, be According to the formula for finding the dimensions of a polygon, the sides measured off in a 23Y2-in chinese porcelain wall decoration mask history . square will be 9,Y4 in chippendale antique tables . The pieces forming the top can therefore be cleated together as shown in the detail in Figure 3 turn tripod into table .6, and the four sides cut to dimensions “perspectiva cabinet” . The cleats are attached so that they will permit a 2-in george scheidt enamel . overhang when the legs are screwed to the cleat edges drop leaf walnut table gate legs .Modern End Table walnut small queen anne oval top drop leaf table . Knocked together from rough lumber with butt join s and section of rollings pins or wooden poles found in the centers of rolled-lip rup, this streamlined table when painted will not only present a smart appearance, bi, t will also offer a welcome amount of handy shelf space antique credence . The round members can Le doweled in place, or plugged and screwed tripod pedestal .
21-”
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FIG early renaissance italian furniture ebonized . 3 1741 antique eagle claw chair .7 meissen tureen marcolini . Modern end table antique japanese bedside cabinet .
The dimensions in Figure 3 cherry gate leg rectangular table .7 can be varied to conform to the furniture the table is destined to fit doucai ming . If constructed of bleached hardwood stock with mitered corners and dark, sanded columns, or selections of brass or chromium pipe, the table can take its place indoors with the latest examples of modern styling kotahya ceramic .
Cocktail Table empire table lyre base . The mention of rolling pins as bona fide aids in furniture construction brings up other possibilities meissen porcelain antic . One of the simplest yet most effective uses for rolling pins in furniture design is as legs for a modern low coffee or cocltail table thonet rail styles .
The top can be of -Y4-in queen anne gate leg table 18th century . waterproof plywood for outside use, cut oblong, octagonal, or round chinese porcelain wall decoration mask history . After the handles of the rolling pins are removed, they ca-i be doweled into the plywood without the use of cleats or rails arts and crafts slant front antique desk . If screwed from the top, a formica, A-licarta, or treated linoleum covering can be cemented ov(r the top antique empire marble top pier table,mirrored back ,marble posts .
Used with a well-grained piece of hardwood or hardwood veneer top, sucb antique earthenware spirit dispenser . I table would be a handsome addition to the indoor living room 19th c. federal style occasional tables .
Ratchet Table mid eastern style shell drawer . An unusual table that takes the form of a wooden Jack s nevertheless quite useful and easy to make (see Figure 3 1920s draw leaf dining set turned legs .8) tea collectors . Capable of being raised or lowered at will, it is available for various purposes as well as to functim beside chairs with or without arms art deco ceramics . Uprights
Crosspiece
Ratchet leg
Ratchet foot
Pawl
This is a piece of furniture that will give better service if the ends of the two uprights are mortised and tenoned, or at least doweled into their base and crosspiece, and the ratchet leg into its foot and cleat william taylor antiques .
FM- 3 french bedside table with cabriole legs .9 social elements of art . Ratchet table french draw leaf dining table .
After the open mortise in the top crosspiece (E) is cut to permit a sliding fit of the ratchet leg (F), teeth are cut in the latter, and its pawl (H) whittled and mortised, as shown in Figure 4 medieval antique collectors .9• In commencing the assembly, the ratchet leg is first attached to the cleat (B) to which the table top ( derby-porcelain>18th>cetury .4) is screwed, then to its foot (G), before the uprights (D) are tried for fit and secured to their base (C) and the upper crosspiece or bridge (E) 18th century king george red velvet arm chair value . The pawl (11) is attached in place with a copper nail or bronze screw reupholster chair french 18th cenyury .
Magazine Stand sofa 1920 . A handy movable porch table (Figure 3 wooden oyster stand .9) for holdir,g magazines, books, or tea things can be quickly knocked together out of scram lumber or plywood blue glass antique tables .
Thickness, Width,
Pieces in inches in inches
LUMBER LIST
Length, in inches
Description
2-3 Y4 6-9
6-9 Y4 6-9
4 Y4 3 -Y,1
I Y4 3,Y4
18 Top (18 in silver candlesticks faceted turnings . wide)
18 Shelves and bottom (17 in antique napoleon lll . wide)
24 Uprights
7Y2 Corner blocks (4)
The shelves and top can be either glued up or cleated together near the end >, after which the uprights are screwed in place as pictured in Figure 3 wooden dresser box antique china .9 primevera crackle glaze bird . Fot r corner blocks are sawed out, and after being drilled to receive the casters, ate glued and screwed in place song dynasty bluish green glazed earthenware . Screw-on casters requiring no holes are preferable, since they cannot come loose andre hunebelle glass .
Better practice would be to lap the uprights into the shelves and bottom aimone mfg co furniture . The top could then be left with all overhang, if preferred rare antqiue marbels .
Flower Table antique drum table . If carefully constructed and finished, the flower table wit recesses for potted plants illustrated in Figure 3 a dutch walnut and burr-walnut longcase clock .io will be a source of year-rouiLl pleasure names of art deco furniture makers . Such a table is especially appropriate in a glassed-in porch where the OUTDOOR FURNITURE 207
Sun will help to keep growing plants green all year long interior design drawing room . The two recesses are lined with copper, having a central portion available for magazines and smoking accessories, with a handy drawer for cards and games old silver lustre, myott & son .
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FiG old gate leg table ball feet . 3 elizabethan era furniture .io 17th century bombe commode . Flower table commode chairs 19th antique .
The legs are styled according to the maker’s personal whim, those shown in Figure 3 borromini apprentice with a woodcarver .io being tapered to i in antique neoclassic furniture . on four sides ansbach tin-glazed earthenware . The tops of all four legs have
laps cut 5% in revolving chipendale bookcase . long on the two outer sides for the aprons antique 1700 small desk . The latter are mitered at the corners and screwed to the legs from the inside meissen figures 18th century . The two sections of the front apron are dovetailed to the upper and drawer rails art deco upholstery .
Before the partitions are inserted, all interior side cleats should be screwed into place 19th century oak turners chair . After the partitions are in position, the end cleats can be fitted and fastened french art nouveau pottery marks . The plywood bottoms can then be bradded into the plant recesses shearers cupboard heavy .
Copper for the pans in the plant recesses is cut according to the detail in the drawing english furniture dressing table . ‘>’his leaves a Y4-in emile-jacques ruhlmann rugs . lap at the top to be turned down, and a Y4-in rhombic depression glass . lap at the side for soldering 19th century casters . Owing to the overhang of the top, the pan must be set in place before the top is fastened in position antique new england pine dresser .
The top is mitered at the corners after the center section is doweled into Legs
Rear apron
Side aprons
Front aprons
Partitions
Front and drawer rails
Side cleats and drawer slides Drawer end cleat
End cleats
Recess bottoms (plywood) Front edging, top
Side edging, top
Top (153/4 in antique inlaid desk built for a duke . wide)
RUSTIC FURNITURE
Appropriate for gardens and terraces, as well as for week-end cabins ard cottages, furniture constructed from rustic materials has retained widespre, d
popularity throughout the years writing desk slanted top 17 th century . Its rough-and-ready appearance brings to wi> d n
the hardy pioneers of America, who with the simplest of tools built their o%-n houses, barns, fences, and furniture from materials they chopped out of t re wilderness wolfgang hoffman sofa .
These same materials are at hand today, together with a selection of liar d and power tools not available to those early settlers czechoslovakia silversmiths . For those who have accc-;s to lumber mills or portable sawmills where logs are cut into rough lumber, t ie trimmings, in the form of slabs, are easily obtainable for the construction of sh b furniture japanese antique silver tray . in cities, such slabs can usually be secured from fuel dealer-, in 44t lengths antique streamline stapler . Where possible, slabs should be selected that run between 3 and 6 iin west indian antique mahogany bed . in thickness and 12 in holophane antique . or better in width 1840 american clock . For the backs of chairs or bencl-L-s it is well to choose a few slabs about 6 in antique display . wide and 2 in 1930s club chairs . thick see a silver sauceboat with a heated base .
Saplings whose diameters run between I and 3 in ebay uk kidney dressing tables . are require for legs, arn s, and stretchers british antique wardrobe designs . If available, tamarack will prove an easy wood to work 17th century trestle refectory table . Otherwv,,e any tough wood reasonably free from knots will prove satisfactory gueridon tripartite base table .
wood shrinks considerably, only seasoned material should be used, except when saplings are to be bent antique dresser with drawers stamped 54 . Uniform curves in two or more saplings can be secured by bending them around wooden forms and leaving them to season for a few weeks in a warm dry place arc design in drawing room . Sometimes branches that have grown to the appropriate curves or crotches can be picked up 19th century pennsylvania furniture prices .
In the construction of outdoor rustic furniture, oak, cypress, redwood, pine, and cedar are most satisfactory “chest of drawers” +cherry +1840s . For indoor use in a cabin, or as atmosphere in a rustic rumpus room, lighter woods can be used to advantage because their added thickness will present a sturdier appearance antique oak buffet with bowed sides .
As in all furniture construction, screws are preferred to nails, which are apt to pull out wedgewood neoclassical . This is particularly true of flexible slats on the backs or seats of chairs or benches art deco antiques paris . The screws need not be of brass, bronze, or coated material since their ultimate rusting will blend with the bark or stained effect zebra on a plate made in italy .
The preparation of slabs for furniture depends upon personal preferences freedom nouveau range . If the bark is left on it would appear inconsistent to plane and sand down the cut side of a slab to a commercial smoothness antique spanish candlesticks . Sufficient planing and sanding should be done, however, to insure comfort and remove splinters beilby glass prince of wales feathers newcastle . The presence of saw marks and drawknife strokes serve to enhance the pioneer aspect of rustic furniture epergne antique for sale .
To bugproof the bark a thorough brushing with a mixture of three parts of boiled linseed oil to one part of turpentine will prove effective antique 16th century chestnut spain . Because the application of this mixture to cut surfaces will darken them, it is best to apply spar varnish to the slab tops antique german furniture for sale . In fact, the best practice is to apply spar varnish not only to the raw surfaces but all over the bark, to prevent moisture from seeping in, and eventually causing the bark to loosen and peel off antique table with hided extentions . Should this occur, the loose pieces can be tacked down with uncoated shingle nails oak refectory tables, netherland .
Because of the variation that will be encountered in the available supply of logs, slabs, and saplings, few dimensions are included in the following explanations of rustic furniture construction chinese lacquer bar . Suitable diameters should be selected proportionate to the strain to which the various members will be subjected, and over-all dimensions must be consistent with comfort for a person of average size lacquer artistry art deco .
Stools and Benches vinyl red 1930’s chair . With wide slabs for tops, rustic stools can be constructed in much the same manner as the Early American coffee table described ill t’ e previous chapter (page 81) curule friedrich schinkel . In this case 17-in table antique empire style campaign . saplings for the legs should e selected first, in order to determine the smallest diameter of the tenons antique black secretaire cabinet . As a gage, the bark of the smallest sapling is whittled off with a drawknife to make s nearly round a tenon as possible, which will equal the diameter of an availa e auger bit antique arts and crafts writing table . The latter can then be centered at the cut ends of the other three lets and turned just far enough to scribe circles as gages for whittling antique hepplewhite drop leaf table information . The same I’t can then be jigged to bore the four holes in the slab top pieces epergnes .
When relatively thick slabs and seasoned saplings are used, the leg tenons do not go all the way through the slabs, but can be fox-wedged into their holt,, as shown in A, Figure 3 queen anne antique bureau photo .11 table octagon inlaid drawer european austrian . With green saplings, however, it is best to bore t,e holes all the way through the slabs and wedge the tenons from the top, as in
When the wood dries and shrinks, the wedges can be driven further in or replaced with thicker ones venalainen hopeakalusto .
Rungs and stretchers of smaller saplings are inserted into their holes ill t e legs before the latter are wedged into the top slabs; they can be fastened 1 y means of nails, as illustrated in C viennese chairs . Ali optional method is to wind heavy co rafia, or rawhide thongs around the joint empire pier table . Rawhide should be dampened a> d pulled tight when applied; all wound joints should be spar-varnished to prot• t them from the loosening effects of dampness meissen harlequin kandler .
By lengthening the top slat) and tyingthe two leg assemblies together with a
long centralsapling as a stretcher, backless benches call be constructed to al y
desired dimension brass skimmer antique . To provide a back with arms, it is necessary only to add fo 1 r slanting uprights to the upper surfse of the slab in the same manner n which the legs were inserted white art deco cabinets . The re: r uprights for the back have a sufficie t rake for comfortable sitting, a bask slat) consisting of a thin slab doub
lapped into the back of the uprights, s shown in Figure 3 italian library tables .I z english baroque pottery . If a curved sl b is available it will be more comfortab and a second slab can be added desired; both are screwed in pla e
Fic burr walnut antiques . 3 18th century bureau .12 signatures of art deco cabinet makers paris . Rustic bench artdecoantiquepottery . from the rear american art deco furniture office chair .
Arms are provided in the sa e
manner as rungs for the legs are assembled corinthian column + solid silver . They are added not so much f-r comfort as to give added support to the back french dining table parquetry stretcher draw leaf . Their front ends should be beveled down and sanded 18th century soup urn .
Slab Chairs enterprise porcelain italy . In assembling chairs from slabs, the main consideration is o secure a slab wide enough for the seat 19th century bavarian side chairs . This should be at least 18 in 19th century danish commode .

Tags: american, antique music, antique tables, arts and crafts, base, board, butt joints, cabriole, campaign, century, cetury, chair arms, cleat, coffee table, comfort, construction, cupboard, czecho, door, drawer, dressing tables, drop leaf table, earthenware, edge, edside, electroplate, empire style, Flower Table, harlequin, indian furniture, leaf, medieval, method, napoleon lll, overhang, peg legs, piece of furniture, plant, plywood, plywood table, Preparation, Queen Anne, Ratchet, rear apron, refectory table, renaissance revival, side rails, silver, surface, thickness, Tools, trestle, two chairs, upholstery, viktor schreckengost, wall, walnut, writing bureau, writing desk

The legs are tapered to iyt in opalescent etched glass . by sawing along the two inner surfaces only empire side table . As will be noted in Figure 2 17th century pedestal dining table .83, the upper ends are notched to receive the rails, which are cut so that the legs slant out at about 5° in both directions 19th century casters . The stretchers are tenoned into place 5 in macassar ebony chest uk . from the bottom; the tenons must be cut to allow for the slanting of the legs table round drawers claw feet . Cleats are screwed to the lower edges of the rails to support the Y4-in 18th century table top french clocks . plywood seat, which can be cut to fit from a cardboard template, after the rails are glued and screwed into place, and the stretchers inserted gateleg “sheraton games table” . Ventilation in the seat is provided by a dozen or so /-in marble table inlaid antique . holes, bored through the plywood antique cigar chair with wood arms . The upholstery of the seat cushion is described in Chapter 6 flemish religious antique collector carved .
Bathroom stool antique 18c urns .
By lengthening the legs to 28 in old chair, padded fluted back, separate seat pad, balled front feet, wooden arm rests with hole in wood ., tapering them to Y8 in antique cabinets coat of arms . at the ends, and leg
the stretchers about 9 in iron and wood refectory tables . from the floor, the little stool can be raised to kitchen or bar height with no other changes in its dimensions reverse serpentine sideboard .
change
Table lamps are being effectively fashioned from every conceivable kind of material in a profusion of highly imaginative forms antique oak drop leaf trestle . In addition to the traditional porcelain, glass, marble, and metal lamps, plastics, leather, bamboo, and curiously turned wood bases are available in a variety of graceful modelings 18th century mass produced tableware .
In addition, an amusing vogue suitable for Early American rooms has grown
up in the evolution of lamps as “conversation pieces walnut armchair josef urban art noveau .” These take the form of compositions glued or otherwise attached to rough pine, oak, or maple bases, consisting of vocational and avocational groupings of old-fashioned articles, such as a reaper’s iron tool head, including hone and perhaps a glove; a leaning horseshoe surrounded by a selection of ancient farrier’s tools; a wheelwright’s jack and wagon-wheel hub with one spoke remaining as the lamp support; an open Colonial almanac with square spectacles and case open on the pages as if momentarily laid (town by the reader; a pair of early infant’s shoes and simple toys scattered at random; old-fashioned carpenter’s wooden tools, inkwells with quill pens and faded, handwritten letters, and many other interestingly colloquial arrangements antique oak drop leaf end table . In this class, too, are lamp fixtures sprouting from old coffee mills, condiment cannisters, spice boxes, foot warmers, stone jugs, churns, decoy ducks, and children’s toys chinese lacquer bar .
jugs and Bottles deco tables . It is obvious, therefore, that the construction or assembly of modern electric lamps is limited only by the ingenuity of the home mechanic shearers cupboard heavy . If concealment of the cord from the lamp socket is not considered important, single and double socket assemblies are available from electrical and hardware suppliers that can be fitted into the necks of artistically shaped bottles, jugs, vases, earthenware pots, artillery shells, and the like how much did porcelain cost in the 1500s . Large glass acid carboys or pleasingly shaped jars or fishbowls can be filled with water tinted to harmonize with a room’s color scheme, or to complement a favorite pillow or wall hanging, to make colorful lamp bases glasgow art nouveau antiques . A pair of chemist’s flasks on a dressing table can contain water whose hue reflects the table’s ruffled skirt or the bedspread’s pastel colors antique vintage american sideboard identifying legs furniture . Wooden plugs can be whittled or turned to fit the mouth of the receptacle, and an electric fixture fitted to them as explained above “table george iv” .
A Variety of Bases from Available Materials art deco dining chairs with arms . For formal as well as informal rooms there are many materials in common use that can be easily assembled into attractive lamp bases refectory wood . One inveterate shopper of our acquaintance selects well-grained, round bread boards an(> rolling pins at the local five-cents-and-up store, sandpapers them smooth at home, removes the rolling pin handles, and burns out a through channel with a hot poker after drilling as far as possible from both ends black antique desk chair . An electric socket and nipple is held in place by plastic wood in the top hole with its cord running through the rolling pin and out the side, just above the bread board base, which is screwed to the opposite end from the underside atop an inverted ashtray (A of Figure 2 marcel goupy .84) austrian amphora vase . This type of lamp lends itself to a modern limed or off-white finish antique collectors .
For nautical rumpus rooms the above lamp, or one with a larger wooden or cardboard cylinder (capped by wood disks), wrapped with a single spiral of small rope, will blend well with the salty motif oriental round table with ivory inlays and elephant head legs .
Three twisted wood drapery rods screwed or doweled to round or octagonal the section devoted to plywood projects (page 56), when the latter is assembled with the same style of drapery rods, instead of smooth dowel legs palladian bookshelves .
Bundles of bamboo sections of equal lengths bound together near their upper ends and in the middle by seven or eight spiral turns of light brass wire can likewise be capped by walnut tops and bottom disks to form attractive living room lamps as in C type of chest constructed in the 18th and 19th century . Bamboo may be simulated by grooving i-in, dowels to imitate
A art nouveau era used nesting tea tables .B C
FiG eureka clocks . 2 pennsylvania house antique furniture prices .84 goldscheider polished stoneware germany . Table lamps edwardian utensils .
joints, and spokeshaving the central parts of the intervening spaces antique bird foots tilt table . Raw sienna with a fleck of burnt umber,well diluted by turpentine and linseed oil, is rubbed on lightly with a soft cloth and highlighted by wiping off most of the mixture from the spokeshave(> central sections art deco torch incense burner . The grooves are darkened with burnt umber 17th century french fashion .
Height austrian lacquer finish . Table lamp bases vary in height from 6 in swedish mahogany secretaire . boudoir lamps to r6-in china czecko-slavakia . library fixtures antique game table english empire . In general, an average height of from 8 to ii in italian nlaid bronze marble table tops ., when placed on a table 3o in empire sideboard antique value . high will prove most acceptable for reading 19th century antique furniture makers .
Hardware xiv marking furniture pictures . Where the electric cord is to be concealed in its “run” from the socket out of the base to the plug, threaded tubing is commercially available with nuts at both ends, as picture( in A of Figure 2 n hall norfolk .85 antique tilt top dinner table photos 1800 century . In a majority of lamps only a threaded, Y8-in small dressing table with cupboard and drawers . nipple is let in or “sunk,” like a dowel, into the top of the lamp dining table, 19th century . The bottom section of the electric socket screws onto the top of the nipple antiqu . When concealment of the electric cord is not considered important, it may be led out through a fiber bushing set in a hole that can be drilled in the side of the shell, as in detail B chess table and chairs, art deco . Detail C indicates a fixture that will raise the height of a low lamp base antique chinese ivory inlaid cabinet .
Lamp socket assemblies antique furniture bureau desk .
finials and adapters threaded over the nipple, which may in turn enclose inverted glass globes upon whose upper edge the lampshades’ wire frames are crimped antique chippendale serving table . Care should be exercised that the shade is in proportion to the height and width of the lamp base silver pillar candlestick .
Nailbox Table Lamp 1620 plate british cobalt blue . Harmonizing with the Cobbler’s workbench and other Early American or Colonial furniture, a table lamp fabricated as a replica, of a small mailbox (Figure 2 how to simulate precious stones for decoration .86) is not only one of the simplest of woodworking projects to assemble, but also a most useful accessory, whose small compartments are ideal for holding cigarettes, pipes, ashtrays, decks of cards, or potted ivy pillared bookshelves .
Although the mailbox base can be, and probably was, “knocked together” with butt joints, it also offered its maker all excellent opportunity for practicing and displaying his efficiency at rabbeting and dadoing 1940’s invitation antique . Hence the two ends of the base pictured in Figure 2 bureau bookcase writing desk display cabinet 1930s .86 are rabbeted into the sides, and the handle that divides Sides
Ends
Bottom
Handle-separator Dividers
the box lengthwise is dadoed into the ends, as illustrated french art deco walnut club chairs . The compartment dividers can be dadoed into the sides and butt-jointed to the handle-separator antique pembroke table, inlay design .
FiG lind plate brown peony style . 2 talavera de la reina ceramic .86 french aristocracy aftername . Mailbox lamp antique tankards .
A Ys-in louis xv dining table stretcher draw leaf . nipple is inserted in the center of the top edge of the handle and the light cord led down through a /-in daniel quare pocket watches made in 1674 . hole bored vertically through the handle and bottom antique ivory cigarette cases . A channel is routed out on the lower edge of the handle-separator so that the wire can make its exit through a hole in one of the ends, as shown in Figure 2 european cabinet maker tool chest .86 antique 17th century gentleman’s dresser . The wire must be in position before the handle is glued in place french antique writing secretaire . The bottom can be covered with felt antique drawer leaf dining table .
Glass Block Lamp 18c dining room cutlery urns . An effective modern lamp can be easily assembled from P drawing ornaments for furniture . 7-Yl-ill, glass building block and four pieces of 4-in craftsman for wooden vitrine . scrap lumber antique louis xiv dressing table .
As shown in Figure 2 anglo-indian furniture - thomas hope master chair .87, the glass block is set flush in a frame of three pieces The toppiece is mitered to the sides, which are let into the shaped bottom piece pillar leg sofa antique .
A Y8-in vintage apostle spoons . nipple is mounted in the center of the top of the frame, and the cord lies between the ridges of the glass block’s edges, coming out through a hole drilled in one of the sides lowenfink .
I
FIG french charles x commodes . 2 1930’s painted secretary desk .87 victorian candlesticks . Glass block lamp decorative writing styles .
3°
To hold the glass block tightly within its frame, Y4-in english antique silver plated forks . dowels, sanded on one side, are bradded and glued inside the frame to correspond with the grooves in the edges of the block 19 century pennsylvania dutch trunk .
Glass blocks are also obtainable 5,Y4 in albarelli polychrome squared bottle . and ii antique table middle leave attached .Y4 in maggiolini furniture . square, and include transparent, translucent, or prismatic dimensional glass dining table antique spiral turned legs .
Plastic Lamp antique octagon table brass wood . A modern lamp with a deceptive spiral effect (Figure 2 1800 hundred french mantel and candle clock .88) is easily assembled from sixteen Y4-in french antique bedside chamber pot cupboards . plastic 4-in, squares, separated by Y2-in pembroke sheraton furniture mahogany string inlay . rings cut from a cylinder of iY2-in sideboards 16th century italy . diameter chinoiserie embossed tables . If the plastic squares are transparent (Lucite or Nexiglass), or a translucent white, the cylinder may be of black plastic or black lacquered wood chaire willian kent . If wood, a _’ antique furniture shop biedermeier .pia-in antique secretaire empire . hole must be drilled, through which to thread the /-in marble slab dining table . pipe for the electric cord neoclassical style brass seamed candlesticks . In the case of a plastic cylinder, whose inside diameter will invariably exceed 7/w in vizagapatam furniture ., wooden spacers must be cut to center the pipe antique table with small mirror .
The base, if it is to be lacquered black, can be of any available Y “berlin porcelain” figure “four continents” .4-in rococo revival silver plate . hardwood, 5Y2 in gustavian style dinning table for 8 . square, with beveled edges bread/cake baskets 17th century . A channel is cut to lead the wire out through one edge and a hole is countersunk on the underside to receive the lock nut at the end of the pipe, as pictured in Figure 2 venetian micromosaic mirror .88 18th candelabra .
A wooden or plastic Y2-in designs of arcs and pillars . collar is cut to fit over the top square and drilled to receive the threaded top of the pipe kotahya ceramic . The latter should be accurately measured so that after the bottom lock washer is lightly screwed on, the base and all
plastic squares, - toether with their spreaders, are threaded onto the tube, pills
togethe
top collar, the tipper end or nipple can be screwed into the bottom of the pushbutton socket tightly enough to clamp the lamp assembly together antique three tined fork . A few turns of the lock washer may be necessary for final tightening antique chamber stand .

Fie czechoslovakian lusterware . 2 art deco and exotic leather .88 roccoccoware . Plastic lamp louis 14th loveseat .
To form the spiral effect, the bottom square (without spreader), is placed with its edges parallel to the base english pedestal sideboard . Each square thereafter, separated by its spreader, is turned one quarter to the right, making every fourth square parallel to the fourth one below, as shown in the diagram
In sawing the squares, a fine-toothed saw will reduce the need for extensive finishing of the sawed edges; the masking paper should be left on while the material is being processed 18th century austrian porcelain . To remove saw marks the edges can be dressed down with a file or a disk sander, followed by No italian inlaid table blue . iY2 in eliel saarinen johnson furniture co . sandpaper and successive grades down to No mahogany keyhole desk . 4/0 art deco tub .
The masking paper may now be stripped off and the edges ashed on a buffing wheel with FF or FFF pumice stone worked into a paste with water cabinet legs in walnut . As in all operations with plastic, the speed of the buffing wheel should be relatively slow to prevent overheating 1700 hepplewhite candle table staight leg . Warm water and soap are used for a final cleaning 18th century,antique british sofa .
can be used old oak dressers with the middle open . Translucent colors of pink, rose, or emerald quartz are obtainable, or the stronger ruby, sapphire, ultramarine, and yellows, as desired wiener werkstatte clock . 2 louis xv antique french commode .89 what is the value of triple candelabra silver candlesticks . Colonial bridge lanp mahogany demi antique extendable 3 leaf tables with fold-over top .
Colonial Bridge Lamp art nouveau/arts and crafts sideboards . A Colonial-styled bridge lamp with an armchair-height circular shell (Figure 2 king george sofa table with lion legs .89) is a project that will yield satisfaction out of all proportion to the simplicity of its construction arts crafts lyre end table . For those having access to power tools, graceful turnings can be substituted for the simple round columns and the feet shaped by hand important collectors watches rolex 1625 . For the worker with hand tools, an octagonal base, shelf, and column can be used, with a satisfactory effect barocan roll furniture .
The diameter of the circular base is 8 in verlys chinese ., with a beveled or molded edge frankl side table . On the underside an equilateral triangle is laid out as a pattern for the holes that are to be bored, as explained in the description of the Early American table (page 81), so that all legs splay outwards at a 125° angle meissen figures on bronze bases . A -Y4-iii drop leaf table elegant legs . hole is bored through The circular shelf or table (Figure 2 cabriole leg patterns .89) is cut with a it ~-in wiener werkstatte clock . diameter upholstered english armchairs . If a drill press is available, concentric circles just inside the edge oil the upper surface and around the center can be routed out for decorative effect antique blue glass end table . A Y8-in antique dining chairs style lion head love seat . hole is bored through the center of the shelf table, down into the top of the subcolumn to the depth of i in “perspectiva cabinet” ., to take the bottom end of the upper column french mahogany table in directoire taste of curule form . A double-ended do% el screw can be employed to afford added rigidity to this joint 19th century south african stinkwood antiques .
The arm is carved out of j%-in reproduction mochaware . stock with a Y8-in marquetry roll top desk . hole bored at one end to slip over the upper column creamware tureen neoclassical acanthus . A small hole is drilled to one side of this large hole for a wooden peg to pass through into a series of holes drilled in the side Of the upper column, so that the arm can be adjusted for height early delftware . If a screw box and wood tap are available, a wooden thumbscrew call be turned to fit into the arm, elirninatin,g, the series of holes along the column antique french trestle table .
A pushbutton lamp socket with a bracket-type, pivot base is riveted to the outer end of the arm, as illustrated in detail in the drawing nabeshima antique . If this standard style of socket is not available, a bracket can be cut from sheet brass, as shown courting chair photo . T lie large hole in the center of the pattern fits over a short piece of Y8-ill art deco harlequin fine china . nipple screwed into the socket’s shell, and is capped with a flat knurled nut, through which the lamp cord is led out empire lit bateau . Under no circumstances should a pull-chain socket be used, because a balkN, chain is liable to pull the whole lamp over if the arm is swung off-center value of apostle teaspoons’ .
The finial can be a turned and doweled piece, or in the shape of a square or round pediment rococo scallop shell motif . or a simple ball, as preferred chinese decorative motifs history .
Floor Lamp Table conservatism and feudal society . The modern trend toward versatility in furniture designing is most frequently exemplified in the dual-purpose functions assigned to occasional or end tables chamber pot . One such combination is the table with a built-in floor lamp, whose simple construction is illustrated in Figure 2 berlin plaque rectangular 19th century .90 refectory styles .
The construction of the table has already been described under “Plywood Projects—Corner Table” (page 58) carlo bugatti furniture antiques . Large dowels, medium-sized wooden drapery rods, brass or aluminum tubing, or polished electric conduit can be used for the legs, shelf supports, and the lamppost boulle furniture repair .

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After a “dry” fitting, the upper edges of t le cleats are sanded smooth before they are screwed in place oil the sides to supp(rt the tray, just under the eaves renown clockmakers in vienna .
Glue is now applied to the stretcher, bottom, sides, rail and handle, which irre then inserted in their dadoes in the sides in the order named, and screwed tightly in place dolphin legged table” . Roundheaded screws may be used and left exposed, or flatheaded o es can be countersunk and plugged sofa 1920 .
After the glue has dried the lids are fitted and scored for Y4 in antique oyster pattern veneerd boxes . brass hinges antique directoire desk . Recesses are cut and the hinges screwed to the lid edges boardroom clock .
Before the lids are attached to the rail, spool holders are sunk into their in -r sides antique ladies writing cabinet . An effective type can be improvised from cotter pins whose heads have be-n hammered flat and sharpened antiques . Driven into the under sides of the lids, their lea love seat pietro piffetti .5 can be spread apart to retain the spools when upside down c j mason american ironstone pottery .
The hinges can now be screwed into the rails and small brass sash kno F, mounted oil the lids antique narrow drop leaf table .
Magazine Rack epergne glass dish . Assembled in the same manner as the sewing cabinet, t e magazine rack shown in Figure 2 rosewood chinese scroll table .15 will hold the longest weekly magazines aid
Figur
easy to move about cassone furniture -chris -vincent -antonio -gabriele . The monogram is jig-sawed out of Y4-in art-deco-1920-1930-wood . plywood aid glued in place example of 18th century wooden handle silverware .
LUMBER LIST
Thickness,) Width, Length, Pieces in inches in inches in inches
Description
One half of the end panel is laid out in the i-in graph squares illustrated in Figure 2 antique solid mahogany french armchair .15 20 century ceramic mixing bowl . The other half of the design is traced on the plywood by turning t pattern over 18 century candlesticks . Both ends can be cut out at one time by bradding them together the waste parts of the pattern antique washing mache . The same procedure is followed with the side the partition is a single job draw leaf table northern furniture company .
The ends are routed out as shown in the diagram an(> holes bored for t dowel-handle antique neoclassical . These holes are enlarged oil the outer edges to permit wedging t slit ends of the dowel from the outside century pembroke .
To design the monogram a paper circle of 3-in bureaux mazarins . radill-S, is cut out as a patter INDOOR FURNITURE CONSTRUCTION 63
(see detail B) reproduced oval shaped dinnig table with lion’s paw . This, in turn, is cut vertically into three equal segments, which are laid on another sheet of paper so that they are separated equidistantly -Y8 in swan plate kandler . Their outlines are penciled in as patterns, after which they are removed, and inner lines drawn Y4 in draw leaf table northern furniture company . inside the penciled outlines 19th century apostle spoons . A sketch of the desired monogram is made by erasing the necessary arcs and adding cross members as require(> candelabra collectors .
After the monogram has been cut and glued 2 in collecting antique hair combs . down from the top center of the side, the bottom, sides and handle are assembled for a dry fit, then glued and clamped metal plates and trays from iran . Countersunk brads or screws may be added for strength; or round-or ovalheaded screws may be left exposed antique furniture empire chest of drawers .
The ends of the dowel-handle are saw-kerfed /3e, in antique english pollard oak art nouveau sideboard . and short wedges are driven in for a tight fit meiji clock .
12″ 24″
C
Fie boulle furniture repair . 2 expensive marble tables .0 french antique style gilt chair with cabriole legs . Gateleg dinette 1930 deco wall frieze reproductions pilaster design .
Gateleg Dinette imperial gateleg table . A handy kitchen accessory is a gateleg dinette (Figure 2 c19 commodes .16) drop slant desk shell . When completely closed it presents a serving or work surface 1 ft classic furniture ornaments technical drawing . wide and 3 ft furniture 19th century . long, but when both leaves are open it will seat six to eight average persons antique french bedside commode . Constructed from a 4 ft lit louis xv antique . X 9 ft staffordshire figures of royalty . sheet of Yt in “spiral legs” table antique . plywood, a few pieces of scrap, and ten butt binges, it includes two shelves, which offer convenient storage space and add rigidity to the frame what is a spoon with forks at the end +called .
The construction of the table is diagramatically explained in A of Figure 2 sutherland table australia victoria .16 small antique french writing cabinet . Butt joints are shown, which are strengthened by the use of angle irons under the table top and the shelves, to withstand hard service jupe craftsman table . An alternate method would be to rabbet the sides to the table top and support the shelves in blind dadoes antique marquetry chairs . This would shorten both leaves and sides by Y2 in regency drop leaf writing desk .
Top
Leaves
Sides
Gates
Shelves
Blocks, casters
By cutting out the outer corner of the gates as shown in detail B the cast blocks call be mitered into place without visible joint antique card table 1920 fold over top . When facilities exist, fo croquet balls can be mitered for use as feet (see sketch C) neo grecian marble top marquetry cabinet . All screws are count( Sunk and puttied for an enamel or lacquer finish george ii pad foot tea table antique .
BOOKCASES
Built-in Bookcases wooden antique chamber pot . Well-filled, built-in bookcases lining one or more wa,Is of a room are aniong, the most friendly aids to homelike decorating available very plain 1950 jaeger lecoultre mantle clock . This is especially true where the books appear to have been selected for reading, rather than as formal decoration sets, with uncut leaves antique lamp figurine dancing .
If the bookcase is built from wall to wall, or on either side of a projectiig fireplace, construction call be simplified, inasmuch as only the base and the edges A the top, sides and shelves will be visible, as is seen in Figure 2 nasenschrank .1 7 antique regency table round four legs .
A depth of io in antique double pedestal dining room table . is adequate for the average large-sized book, and a spacing of I0in “self consuming wick” . between shelves is sufficient for height 19th century side cabinets . To vary the monotony aid provide for different sized books, the tipper shelf can be spaced at 9 in antique table with off centered middle leg . and the bottom shelf at 14 in 1800’s french carved writing table . A 3-in antique 1960’s table cigarette dispenser . base can be attached in several ways inlaid refectory table .
I french art nouveau pottery marks . The base can be finished nailed to the edges of the sides, and quarter-round or cove molding nailed to its upper edge masons persian england porcelain .
2 telescoping dining table in a cabinet . The base is recessed into the sides until its surface is flush with the ecge of the lower shelf 17th century drop leaf table .
3 origins and development of arts . By deepening the recess an additional i in antique game bird dinner plates . to iY2 in gilbert rhode tubular stool ., a modern set-back base results antique brass and marble cocktail table 1950 .
4 antique card table turned legs . The base can be doweled or angle-ironed between the sides so that it is fl sh with them and tile lower shelf antique techniques .
While dadoes, or grooves ill the sides, preferably stopped, will provide he better support, in this case, where the sidepieces will hug a wall or projection a nailing job will suffice Before cutting and marking the sides, however, it must be determined whether
the floor is level and the walls are plumb burr walnut tallboy with sunburst inlay . To proceed otherwise may result in a catastrophic inability to force the assembled case into a space that proves to be narrower at the top or bottom, or sinks at one corner so that the shelving is on a slant swedish furniture 1930 . In either event the bookcase must be dismantled and rebuilt to fit telescopic supports for tables .
FIG 1780s wine cooler . 2 duncan table claw drop leaf drawer .17 antique period china display cabinet uk . Built-in book case markings on antique vase .
Unless thick shelving is used, a bookcase that must exceed 4 ft antique campaign dresser . will require center bracing jasper 1022 writing desk . Pieces of io in antique jasper cabinet chest serpentine . X io in duncan table claw drop leaf drawer . shelving will do, but a better effect will result if they are narrowed sufficiently to permit the insertion of iY2 in victorian brass wine cellaret . vertical strips flush with the top edge of the base wileman ironstone coffee pot . These strips should run from the top to the Dase in one piece, as illustrated in Figure 2 czechoslovakia porcelain marks .17 zebra on a plate made in italy . The bookcase shown in the illustration has one end exposed and makes use of a cove molding along the upper edge of the base and the lower edge of the top johann kandler ceramic .
Using the ends of the trough fronts and backs as straightedges, it is a good plan first to draw on one of the sides, lines that will serve as a layout for he troughs’ positions, to insure proper alignment biedermeier sewing box . The front troughs can then be clamped together and the iY8 in antique convex glass . X 2 in double chairs slab antique . tenons cut out, i in knock down campaign bed . in from each edge at both ends, as shown in the drawing desk aaron burr . The same procedure is followed with he back troughs, the tenons being centered 0″to in cup and cover antique legs . from each edge walnut versus maghony drop leaf table . The double tenons of the top shelf can now be cut out 3-5/8 in english column candlesticks . apart, 0/16 in charles crescent furniture maker . in from each edge tea collectors . All tenons are 0/s, in 19th century english cabinet makers . wide and 2 in antique cutlery box scalloped sides . long rectangular coffee table + leather top + 1940 .Next the ends are clamped together and the curves at tops and bottoms cut out simultaneously in both draw-leaf tables . Without removing the clamps the 2-in antique mahogany drop leaf work table . mortises for the top are laid out, checked against the actual tenons, and bored out with a ‘Y4411 antique table with hided extentions . bit victorian ceramic antique statues from uk . The same procedure is followed with the fronts and backs of the troughs victorian cherry drop leaf table .
When all holes are bored, the clamps are removed and the mortises chiseled out or cleared with a coping saw antique commode chamber pot . If the work is done carefully the fit should be “easy,” because all tenons are Y8 in 18th candelabra . narrower than their mortises 16th century antique chest of drawers .
The bookcase should be assembled before markings are made for the Y2-in early american fall front desk . dowel holes, which should be close against the outer faces of the sides antique henry 2nd breakfast sideboard . The holes should be cut with the near sides a trifle farther in than the marks indicate, to allow for drawing up tightly antique oak buffet with bowed sides . Each dowel is sanded slightly on one side german furniture 1930 .
In place of dowels, wedges can be sawed out in pairs and chamfered on the outer horizontal edges vintage art deco rococo watch . For further refinement a /-in brass feet buffet mahogany antique edwardian . triangle can be cut off each corner of the tenons collectors wooden racks for spoons austria . By doubling the width and height, a knockdown bookcase with four shelves can be constructed with a minimum of hand tools simple design dressing table .
3
FIG tea service early 19th century . 2 art nouveau/arts and crafts sideboards .19 antique tea spoon christ handle . Unit bookcases art deco console table black .
Unit Bookcases two tier rectangular victorian table . The present trend in modern furniture design is the development of self-sufficient units that are susceptible to the addition of other units without diminution of utility or detraction from the original theme french antique furniture eagle emblem .
The bookcase units described below (see Figure 2 antique wooden oval french music stands .ig) are of a simple design, which can be varied at will carved wood leaf dining table . Scrolled members can be substituted for the straight bases, a narrow front apron added, the uprights and shelves beaded or molded, and drawers or drop fronts added as required antique cherry card table with drawers, claw feet and drop leaf sides . While the length of the units can be varied to suit the available space, it will be found that their over-all height and depth will prove satisfactory in most rooms decoupage cabinets . The shelves will accommodate average books, but can easily be made adjustable by boring equally spaced holes inside both sides, and resting the shelves on pegs or metal plugs mid century drop leaf .
The construction of the 24-in empire style antique desk . section is obvious antique cabinet makers workbench . For a paint job finishing nails can be driven through the top and sides into butt joints, then countersunk and puttied, the plywood back being relied on for strengthening antique narrow drop leaf table . Otherwise, blind dowels or screws that have been countersunk all(> plugged can be used antique decorative motif . Tile bet:er practice would be to use blind dadoes for the shelving solid mahogany tilt top table manufactured by clare company . The 3/8-in gustavian furniture copenhagen . plywood back is bradded to the shelves in decorative carvings . back from the outer edges of the top and sides, for concealment french napoleon mirrors . The top has an overhang of 312 in fiddle shape handle silverware . in the front antique round table store leaves mechanism .
LumBrR LIST
Top
Sides
Desk shelf
Desk leaf Shelves
Doors (plywood) Back (plywood) Base
Stopping strips
The end case is constructed in like manner with the shelves mitered and cut out to fit flush with the outer edge of the narrow, strip side 17th century spanish chair . The shelves are cut II in small antique table drop leaf pembroke . long oil each side of the front angle hunt roskell silver auction . The outside corner of the base is mitered and braced by the shelving nailed from above victorian side cabinets in french style . If preferred, a quarter circle can be cut in place of the angle georgian court sideboards . This will necessitate either a band-sawed base panel, or a built-up, solid piece andres rosewood solid wood .
The desk unit is of the same basic construction as the 24-in dog kennel dressers . emit with a hinged front panel between the top and the first shelf jupe patent mechanism . Two Y4-in cantagalli . plywood doors mask the remaining shelves booths pearlware marks .
Tile upper edge of the drop-leaf desk panel must be tapered or beveled rearward to prevent binding gateleg table history 16th century . A stopping strip is nailed or screwed to the underside of the top to keep the desk front flush with the sides reverse serpentine sideboard . Lid stays are added for support, and a suitable handle and bullet catch are attached to the top of the desk leaf, unless a lock is required antique desks by wilkinson and son .
A stopping strip for the doors is attached to the underside of the desk shelf, and the next shelf recessed the amount of the doors’ thickness, in this case / in raphaelle monti . Butt hinges, knobs, and friction catches complete the unit meissen harlequin kandler .
REEDED FURNITURE
Reeding usually refers to the machine-carving of wood into narrow convex serrations which are parallel longitudinally queen ann gate leg table . Large reeded surfaces can be quickly constructed with hand tools, however, by using lengths of half-round molding available at most lumberyards northern european refectory table 16th . Fastened to circular forms and painted, the result- inn reeded effect is interestingly modern antique writing utensils .
Two disks are cut with 5-in silver caddy spoon . diameters and mounted 7Y2 in knife box antique . apart on a /- n antique drum table . dowel victorian candlesticks . A piece of heavy paper or flexible semicardboard, such as a telephone b k or catalogue cover, is lightly tacked and glued flush with the edges of the disks to form a cylinder gian lorenzo bernini signature . The tacks are removed after the glue has dried pier table empire .
9°
paper
Temporary
-Dowel A
Fw identifying marquetry regency bureau . 2 french bronze porcelain and silver inlaid clocks .20 pictures of sheffield silver plate patterns . Reeded table lamp antique sideboard cabriole .
Over 30 ft inexpensive french desks furniture . of Y2-in biedermeier patterns . half-round molding is cut into twenty-nine 9-in argy rousseau box flower . lengt1s, which are then glued to the paper cylinder and bradded at each end, as in A f Figure 2 camillo marcolini portrait .20 antique english pollard oak art nouveau sideboard . When but seven or eight pieces of molding remain to be attach , it is well to check their spacing walnut armchair josef urban art noveau . If too tight a fit is indicated, the edges of one )r more pieces can be filed or sanded down; if the reverse is true, a loose spacing between the remaining pieces will be concealed by the paper backing when pai t is applied 1818 royal worcester . No molding ends should protrude beyond the outer faces of the dislis antique library table with arcs .

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The shed should be in such a position that it will receive the maximum amount of light american gothic revival furniture makers . In conjunction with this, keep it as near to the house as is reasonably possible, having in mind the frequent
1-w jackfield collectors . 3 roccoccoware . Appearance of the completed tool cupboard maples of london cabinetmakers . Easily made, it permits of a convenient arrangement of tools antique secretaire abattant oriental .
journeys to and fro for glue, tools, etc antique furniture bureau desk .
While tools may be left in the garage, outhouse or shed in the summer months when the air is dry, it is far better to keep them indoors during all other than fair weather, otherwise rust will attack metal parts, and damp will swell wooden parts chippendale style coffee table tilt value .
Therefore, the tool-container ad-
visable when the work is done outside the house will be different from that adopted when it is done inside french pilar candlestick . Fo~ outdoors, tools might well be kept in a tool-case, or in attachd cases, which can be carried to and fro monastery credence tables .
Fig dutch renaissance marqueterie cabinet furniture . 4 shows a standard fibr chippendale revolving bookcase .- attach6 case adapted for holding a set of tools; inside measurements are 1,5 in antique empire table . long, 9 in folding tripod table with brass top . from front to bac,4 and 4 in ribbon mahogany dressing table . deep deco game table with drawers . The tools are retained by loops made from a leather strap, antiques antique oak sideboards dutch style . These loops are fixed to the lid an
t
body of the case by bifurcated rivet inserted from the outside of the case and clinched from the inside, ovel the straps antique table octagon edwardian .
The choice of tools rests with th woodworker’s individual requirements, but the following list has been compiled to meet average require medieval times display cases . ments:
1/1 lid of case:
Tenon-saw, 10-in european antique tin glazed pottery . blade wheat antique dresser . Two-fold steel rule, 24 in norfolk gateleg table .
Three firmer chisels, ~ in 1900 antique mahogany dresser drawer ., J in antiques lamps made by universal statuary co. .
and I in antique japanese yellow vase .
In hodj, of case:
Metal smoothing plane with 13-
4
in thonet recliner . cutter art and crafts of a dragonfly that have inspired designers .
Ratchet brace (8-in drop desks,frech . sweep) antique turn of the century display cabinets . Ratchet auto-screwdriver, witf
two screwdriver bits, and
three fluted boring bits
When not in use the tool
are kept in hollow handle Medium-weight joiner’s ham lions paw legs on table .
me r antique drop leaf gate leg side table .
Nail-punch 1700 french porcelain, images .
Oilstone (two faces with differ ent grades of coarseness), Pincers, 7 in empire revival bed . long names of art deco furniture makers .
Mixed nails in wooden or tin box old fashioned table brass metal claw feet on casters .
Cartons of screws, as sold, each
size in separate carton types of antique tables . A handy tool container can be case which has inside dimensions
provided by adapting afibre attache of not less than 15 x 9 x 4 in after dark candelabras .
FIG antique slovakia ceramics vase . 5 (below) porcelaine mark “crossed swords with a” porcelaine . 1j’a sturdy kitchen table is to be used as a makeshift bench, working will be greatly facili fated by a 12-in antique chippendale writing table escritoire . bench-stop (a) and a hand-screw (b) fitted to the table-top makers of 1940’s american art deco furniture .
Baize roll with centre-bits and
twist-bits for brace oval loudon floral 1783-1843 .
Light tinnian’s mallet (with cylindrical head) glass platters silver decoration 1900 england .
Jobs will often be done on the kitchen table antique monks chair . Provided that it is strong, as kitchen tables usually are, this will serve as a makeshift bench antique niche cabinet . It will be necessary, however, to have some sort of a bench-screw or vice, and some kind of a bench-stop german buffet furniture . Each of these will have to be readily removable art deco console and germany .
A suitable bench-stop can be provided by screwing a piece of oak or other hardwood, measuring about 12 x 2 x I in makers of ceramic beehive honey pots ., on to the table as indicated in Fig first antique table de chevet . 5 (a) mahogany antique japanese furniture designer . Pass the screw nearest the front of the table through the top, centrally into the front rail antique filing collectors/ tambour cabinet . If a screw not shorter than 2 in antique dining room table rectangle +connected double pedestal ., and of about 10 gauge, is used it should secure the lath firmly marquetry drop leaf side table . The length of the remaining screws will
14
% louis xvi display cabinet with gilding .in FIRMER CHISEL
2-ft STEEL RULE (TWO-FOLD)
hin 16th century chairs . FIRMER CHISEL
JOINER’S HAMMER
RATCHET BRACE \ (8•m SWEEP)
TENON-SAW 10-in modern telescoping dining table . BLADE
- I in FIRMER CHISEL
SMOOTHING
PLANE
(1%rin CUTTER)
french silver candle holder .— MIXED NAILS
LIGHT MALLET
PINCERS
AU I OMATIC SCREWDRIVER NAIL-PUNCH TWO-SIDED CARBORUNDUM OILSTONE
SCREWS
IN CARTONS
ROLL CONTAINING GIMLET-BITS french word for cabinet .
ENTRE BITS AND TWIST BITS
ADAPTING A TABLE-TOP
depend oil the thickness of the tabletop; 14L in rectangle drop leaf table with additional leaves in fruit wood . x 8 will generally be suitable napoleonic campaign chairs . The screw-holes will not greatly disfigure the table-top, and if later it is desired to hide them the holes can be filled with small deal plugs so made that the grain of the plugs matches that of the table-top antuque porcelin bedside toilet pot . If on occasion wood of less than ;-in porcelan rococo teapot victorian photo . thickness has to be planed, the stop can be replaced by one that is I in antique silver apostle spoons . thick antique mahogany card table, imperial .
An improvised bench-screw or vice can be made with a 12-in william hunt genuine antiques available in kent . hand-screw antique chamber pot . The hand-screw should be screwed on to the table-top as shown in Fig large walnut veneer gentllemans cupboaard . 5 (b) antique octagon side table with scrolling . It will stand I in “innovative styles of the 20th century did not include” . forward from the front edge of the table-top table lamps biedermeier . In order to reduce the strain oil this edge, and thus prevent
it from splitting off, one handle of the hand-screw should be held down on the table-top by the small device indicated 17th century american drop leaf table . The top piece measures 8 x 2 x 7- in antique tankards ., while the two pieces glued underneath are 3 x 2 in 17th century english trestle table ., and of the necessary thickness (about
13 in antique porcelain sevres .) trestle table lyre base . 4
In using this improvised bench- screw, the timber which is being worked should, if of a fair length, be supported at the end with a box or a spare length of timber art deco console table black .
Shaving waste makes a mess in the house, and, unless it can be conveniently burnt in a stove, the shavings should be burned in the garden antique wales footed dessert platter . Incidentally, wood-ash contains potash, and is a good fertilizer for potatoes antique russian hand painted pocelian jar .and other root crops george oakley furniture .
THE WORK BENCH
To the established woodworker a bench is essential, as holding the work securely is frequently half the battle in performing an operation successfully antique silver apostle spoons . A good
bench fitted with a woodworker’s vice can be made quite easily, and two patterns are suggested here writing cabinet .
Making a Simple Bench antique oak pedestal table rectangular with leaves . The bench shown in Figs epergne parts . I and 3 has all its members bolted together, and the arran2ement of the bracing pieces produces a firm job how much would an antique clawfoot dresser cost . The legs, of clean 3 x 3-in 18th century gateleg table . softwood, should be laid together side by
side, as shown in FIG “antique furniture” + “ebony veneer” + desk .
Fig victorian reaissance revial credenza . 2 (a) regency occasional table . The lines marking the top and bottom of the legs, and the shoulder line, are then squared across all four legs at the same time; this
1 czechoslovakia glazed pot . A strong bench of simple bolted construction modern art deco bookcase .
TOP SHOULDER LINE
BOTTOM GAUGE LINES % in anyone know the name of the table from pier one, mahogany with carving . FROM FACE
0
GAUGE LINE % on richard edward chippendale pier table . FROM FACE
SHOULDER
LINE
FIG antigue pdestal drawning table . 2 pennsylvania drop leaf table 6 legs . Preparation qfihe bench legs is shown in (a) and (b); details of end
and side rails appear at (c) and (d) european handmade antique glass floral arrangement 100 years .
0
SHOULDER LINE
ensures that every leg is exactly the same length as the others gate leg drop leaf tables . Square the lines round oil to one other face, and saw off the legs to length paul de lamerie reproduction . Gauge a line 4 in kufic art 1900 . from the face, as shown in Fig antique drop leaf table with two leaves . 2 (b), and saw away the waste (indicated by shading) a dutch walnut and burr-walnut longcase clock . This completes the preparation of the leg, which should now appear as in Fig 19th century louis style commode . 2 (c) victorian sutherland table .
Place the two side rails (of 6 x I in jupe dining table’ . deal) together, and square off the length and shoulder lines (S in Fig italian cypress chest 17thc . 2c) antique porcelain bird sculptures 1762 . Gauge a line 14 in pollard elm . from the face as indicated in Fig art-deco-1920-1930-wood . 2 (d), and saw away the waste imari porcelain marks . Repeat this
FIG czechoslovakian quality porcelain . 3 westerwald stoneware . Appearance of the completed bench, showing principal dimensions secession style furniture .
operation for the end rails, noting that these rails overlap the ends of the side rails to produce a square corner , this is made clear in Fig rare chinese urn expensive . 2 (c) art deco wooden chair .
The rails and legs can next be assembled antique imari porcelain . Place the two front legs on the ground and lay the rail in position, making certain that the frame is square and that tile shoulders of the rail are tight against the top of the leg wooden cylinder pedestal . Bore two -g-in antique chair tall skinny back . holes through the rail and leg in the positions shown in Fig 17th century antique trinket boxes . 2 (c) gateleg walnut drop leaf tables . Place two 3 - cheverton reducing . diameter - coach (mushroom-
, in
headed) bolts through the holes, fit a washer and screw the nut up tightly marquetry inlaid trays . Assemble the two back legs in the same manner deco chairs . Lay one of the bracing pieces in position on one frame and hold it with G-cramps or tack it in place temporarily with short nails hand painted black lacquered with mother of pearl oriental furniture, writing bureau .
Test the frame to see that it is square by measuring the two diagonals, which should be equal the name art deco originates from the paris exhibition ‘paris exibitio n internationale modernes of 1925′ which aimed to show paris was a world leader in design and manufactor of high quality goods . When satisfied that the frame is square, bolt the brace by means of a 1-in antique oak drop leaf table . mushroom-headed bolt at each end poole art nouveau . In the same way, bolt a second brace on to the back face of the front legs so that the front frame is held rigidly antique honey pots . Brace the framework for the back pair of legs in the same manner rectangular gustavian dining table .
Stand the front and back frames upright and hold the end rails in position with cramps while they are being bored and bolted in place antique dressing table free standing mirror . Brace the two ends in the same way as the front, with two braces each, bolting each in place after testing the structure and ensuring that it is square sheffield shovels .
The base of the bench is now complete, and the top (of timber about 10 in, wide and 3 in antique maple dinning table with pull-out leaves . thick) should be fixed on to the rails with long, stout screws, the heads of the screws being sunk below the surface so that they will not be a danger to the edges of cutting tools medieval “reading slope” . The rest of the top can be filled in with -,’,'-in antique octagonal side table . boards victorian kidney shaped dressing table with glass top .
In fitting the top be careful to place it with the heart side of the
board uppermost; this enables the top to bed down more firmly on the base and also enables the surface to be trued up much more easily when this is required 17th c. antique moroccan doors . (See Chapter 3,
BUYING TIMBER, for an explanation of heart side antique dining table 1604 .)
Framed-up Work Bench vilas table . The bench shown in Figs candle sticks antique porcelain victorian couple . 4 and 5 is a good standard pattern which is strong enough and of a useful size for all-round work ; the overall size can, of course, be adjusted to suit the maker square chest of drawers on all sides . The framework of the bench can be made of red deal; the top is best made of beech, but good red deal will do for this also, although not able to withstand the amount of hard wear that a beech top would cupboard design for keeping cockery .
The legs and rails may all be of 3 x 3 in 1930 chairs dining black . timber antique 16th century tables . The main top should
FIG marquetry tables, austro hungarian . 4 antique dresser with mirror mahogany . An ideal work bench which eniplqys mortise-and-tenon construction deco chair dressing walnut .
Fully dimensioned drawing of a bench large enough fir most jobs scandanavian antique dessert stand .
be 3 in dumb waiter cedar rectangular antique . thick if possible; 2-in antique italian extendable table . stuff’ would serve, but that thickness would not give quite such a solid base upon which to work the most expensive silver tray . The rest of the top should be filled with tonguedand-grooved boards, in japanese antique silver tray . thick, with a rail at the back edge, the top of which should be level with the surface of the main top baroque consoles . This allows boards, cramps and the like, which may be laid across the top, to lie horizontally and firmly rare chinese urn expensive . Alternatively, the whole of the top could be made flat by packing up (lie”-in walnut beaconsfield wardrobe .
4
boards to the level of the main top; but most workers prefer the well-top bench as illustrated antique creamware .
Place the legs together as in Fig pedestal desk flaps at ends . 6 (a) and hold them with cramps while the lines are squared across the face of all four pieces antique pie crust table . Every line that is necessary oil all four legs should be marked at this stage, thus ensuring that all legs are identical decoupage on veneer . Separate the legs, and square the lines all around the wood how to tell william iv furniture . Place all four side rails together and square across the shoulder and length lines, and square
them around as before spanish puente pottery . Place the two top rails and the two end rails together, and square the necessary lines across as indicated in Fig lancashire bow front mahogany chest drawers . 6 (b), noting that the two top rails are different from the two end rails 20th century furniture development in france .
Using 3-in antique oval tea table . stuff, a tenon I in delft concentric circles . thick, set in the centre of the wood, is required antique oval brass coffee tables from india . Set the mortise gauge to a 1-in venetian micromosaic mirror . chisel, and gauge all the tenons and mortises with the same setting of the gauge scottish chest of drawers . Mark the waste to be cut away, as shown in the shaded
MORTISE WIC!EDJ
F
SAW CUTS FOR
WEDGES
FIG fiddleback walnut . 6 octagonal silver trays for dressing table . Legs held together (a) while the ends are squared across and mortises and tenons are marked; (b) sindlar treatment ” for the rails; (c) and (d) illustrate a wedged-tenon joint school cupboard antique .
WORK-BENCH CONSTRUCTION
FIG antique posset pots . 7 brass frame girandole images . One end of the bench struelure with parts ready for assembly and gluing up without the top gerhard schliepstein, german sculptor .
portions of Figs wood antique tripod table glass top 1950 . 6 (a) and (b) antique pedestal plate by wales . Saw down the cheeks of the tenons, and then saw off squarely to the shoulder lines round spider leg table . Cut the mortises right through the members from both sides court desk art . When this has been done, the whole framework can be assembled dry—without glue early victorian mahogany telescopic dining table . Mark the joints so that the corresponding mortises and tenons can later be put together again in the same order collectors glass display tables,small . Test each joint separately to see that the shoulders fit tightly, and that the members are square with one another hunting chest french 18th century . Test each frame to see that it is flat and out of winding (free froth and measure the diagonals, which should be of equal length, to prove that the frame i5 square royal court floral bone china hand made & painted by craftsman staffordshire .
When satisfied that the framework
is correct, widen the mortises slightly on the outside to take wedges, as in Fig antique glass “la granja” . 6 (c), which also shows the saw cuts made in the tenons about I- in rectangular gateleg table . from the edge of the tenon regency secretare . The aim should be to produce a well-wedged joint as shown in Fig art deco cermanics signed made in austria with the inital s . 6 (d) antique french office chair . The wedges should be exactly the same width as the tenon (1 in japanese mother of pearl furniture . in this case), and be sawn to the required slope from a block of wood 1 in sutherland table australia victoria . thick crockery cabinet designs .
The two end frames should be assembled first pictures of yellow antiqued cabinets . Glue the tenons and mortises and cramp up the frame; test for squareness, see that it is quite flat, and then wedge the joints small round chippendale center hall table . Leave for twenty-four hours to allow the glue to dry out jacobian furniture . Next glue the side-rail joints, cramp up the bench, and wedge the joints french drop front desk . The wedges should be given a smear of glue before being hammered home; this helps to hold them firmly in position antique creamware tankards . A view of one end of the whole structure is given in Fig antique brass and marble cocktail table 1950 . 7 dressoir timber .
When the glue is dry, clean up any projecting wedges and tenons with a smoothing plane, and the base will then be ready to receive the top antique upholstered louis xlll armchair .
FIG cocus wood oyster veneered . 8 antique english ironstone . An adjustable bench-stop; it should be a close fit in the mortise Bore two–g-in staffordshire flatback fakes . holes in the top rail, one on each side of the front mortise, as shown in Fig empire style with neoclassical furniture . 7 19th century native american pottery . Place the top in position and hold with cramps while the -R-in antique, table, drop leaf, walnut . coach screws are being driven in from the underside, using washers under the heads to prevent them from biting into the wood collectors cabinets -jewellery trays/draws for stamps/beads . Start each coach screw by boring a -&-in antique white chamber pot . hole in the top to take the thread of the screw, which should be smeared with oil or grease to make the screw run more easily antique furniture escritoire lacquer black .
To prevent shrinkage from leaving gaps, the thick top is rebated as at R, Fig using decoupage to cover chipped veneer cabinets . 7, to take the “-in baltimore fancy chairs . tongued-and-
4
grooved boards which fill up the rest of the top gate leg table english oak antique . These boards are nailed to the top rail, and the heads of the nails punched below the surface to prevent them from damaging the edge of any cutting tools that may be laid in the well upholstered english armchairs . The back edge of these boards should have a rail about 1 J in fiddleback walnut louis xiv reproduction desk . thick screwed oil from underneath, the height of the rail being such that the top of the rail inexactly
level with the main bench top wardrobes from the 18th century .
A bench-stop can be fitted by making a mortise right through the top, as shown in Fig deco steel desk . 8 cast regency period candlestick . The bench-stop should be of hardwood ; beech is usual, but any hardwood will serve quite well fall front french desks . A good size is 2 x 1 I in king george iv side board ., and about a 12-in porcelain cris de paris . length will allow the stop freedom of movement above the side rail potters stoke on trent empire rococo . The stop should be a close fit in the mortise, but as it usually works loose after some use it is as well to fit a 1-in 1800 english writing bureau . bolt with a wing-nut through a slot in the lower part of the stop, the bolt running right through the leg silver entray dishes . The stop can thus be fixed at any required height above the bench top antique white chamber pot . ‘
The fitting of a good woodworker’s vice will complete the bench antique rent table . In choosing a vice it is advisable to obtain the largest size, with jaws about 10 in 19th 20th century ladies writing desk . and opening to about 12 in 18th century horoldt augsburg vases .; it is very annoying to find that, as is often the case with a smaller vice, it will not open quite wide enough to hold the timber in use italian draw leaf table .
SIMPLE TOOL-BOXES
Both the boxes illustrated can easily be made, and, although intended primarily forthe storage of tools, they can be adapted to other purposes deco chairs . The dimensions given are suggestions only and can be varied to suit any particular requirements art deco woman figure porcelain .
Tool-box and Stool Combined antique drop leaf table with leaf built in . Fig jennens and bettridge . 1 shows the constructional details of a box and stool combined, which can be carried around the house and used adjacent to the job in hand 1710 antique french pewter marks . The stool is often useful as a temporary bench art deco dining chairs with arms . To make the box, first plane up the two ends A and B from sound 4′1-in rare meissen porcelain presentation .
softwood, using either a wide board or two or three narrower boards edge to edge 17th/18th century style, open-rack oak dresser . Place the lengths of wood together in the vice and square off across the edges of both (or all) the final length and also the position of the housing for the bottom when were epergnes invented . You should now have four lines squared across the edges inexpensive 1960’s painted small dresser 2 drawer .

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THE WORKSHOP
IF there is a spare room in the house the problem of providing a home workshop is seldom difficult 1800’s flat top pedestal desks . A room on the ground floor is to be preferred, of course, but all upstairs room is suitable for most light woodworking and metalworking meissenimitators . Where there is no spare room in the house, an outhouse of not less than 6 ft mid eastern style shell drawer . square provides a suitable alternative, provided that it is satisfactorily lighted; but it must be free from dampness if tools are to be stored cellaret for sale train . The main item of “furniture” in any workroom is a good, rigid bench breakfast serving tables .
Where a room or garden cannot be provided, recourse must be had to the kitchen, where the table may serve as an improvised bench—probably with a clamp-on vice pedestal rectangular tables . In good weather an improvised bench in the garden has much to recommend it antique split barrel dining table .
A workplace which is too cold or too damp for comfort is not suitable for the storage of tools or timber antique “trestle table” kent . In such cases the tools and timber should be stored indoors when they are not in use 1700s silver trays . The more closely the work approaches cabinet-making, the more carefully must the wood be kept dry gustov klimt chairs .
Let us first consider the position when conditions are most favourable “japanese tea chest with oak leaves” . Should there be a choice of rooms, one which has ample natural light is to be preferred alfred porteneuve . If a light room is not available, provision must be made
for good artificial lighting on those occasions when good light is needed identify antique furniture . The box-room of the house is sometimes available, and if of ordinary size this should be adequate gateleg tables . It is better to have a small room with nothing in it other than what is related to the work, even if the space is a little cramped, than a large room in which other things are stored soup turrene .
Advantageous Conditions
Figs u shaped serving table with leaves and lether top . 1 (a) and (b) show in plan two box-rooms, or small bedrooms of unpretentious size table spanish octagonal brass . A fireplace is indicated in Fig chessboard biedermeier . 1 (a), and this is certainly an advantage caughley ironstone . Besides making the room comfortable in the cold weather when working, it is useful for burning shavings and waste wood cuttings antique stores gateleg tables . In this connexion, if the lightest shavings are put on first and pressed down, and then sawing waste and other sweepings are placed on top and pressed down, the fire will burn comparatively slowly picture of pennsylvania house antique cherry buffet claw feet .
When there are two windows, as in Fig antique bedside chamber pot . I (a), the bench can be placed as indicated white pedestal desk with top . Even if there is one window only, on either a long or a short wall, the best- position for the bench will probably still be as illustrated antique dining table 1604 .
There is often a cupboard in one of the chimney recesses of such a room, and there can be no better tool cabinet escritoire with kneehole sale . The cupboard door is likely to be 6 ft royal nymphenburg green enamel floral sprays tea service . 6 in tilt-top birdcage tea table . high antique portuguese pottery . Fix shelves made or 1-in “german pier glass” .deal, or, better still, from 41 -in fine porcelain arc . plywood examples of main entree food . Deal shelves can be made from old packing-cases marquetry italianate needlework box .
Put the top shelf 7 in french fluted legs . down, with a space of 41 in french leather directoire chairs . between the next two court jesters dresden saxony . Let the next space be 7 in wooden arm chair pedestal castor antique oak . Next put in a bottom shelf 31 in francois linke black lacquered napoleon lll . up british antique gate leg tables . Above this there will be a space of about 22 in sheraton occasional table .; this can either be left open or be divided with another shelf history of an antique spoon with a king and queen standing side by side each other at the top of the handle .
The top shelf will be above eye-level for persons of ordinary height, so it will be used for tools and such things as are not likely to be used often inurl:antcollectors.com site:antcollectors.com . A heavy hammer, cold chisels, plumb-bob, spirit-level and like tools may be instanced italian “lacquered furniture” .
Of the two 4~-in antique bohemian engraved glass . shelves below, use the one most readily accessible

FIG art deco furniture copies . I ironstone pottery commode . Workbench and cupboard
in a room having (a) two windows and
(b) one window and nofireplace amakusa candlesticks .
for chisels, gouges, screwdrivers and similar tools regency period pedestal sideboard . Lay the chisels side by side, handles outwards, starting with the smallest, and placing them io order of their width french inspired desk commodes, imitation . Other sundry small tools can be placed oil the other 41-in table antique empire style campaign . shelf george iii pembroke table . Use the 7-in “self consuming wick” . shel~ for small planes stone china george jones stoke on trent . It is best to lay the planes on their sides, handles facing outwards, to avoid damage to the sharpened edges of the cutting iron and to ensure safety in handling bernini .
The space below the bottom shelf’ should be used for saws, hung o nails antique oak drop leaf trestle . The trying plane will stand o the floor, resting slantwise against A wall antique silver topped dressing table glass box . The jack-plane will be housed similarly, if the cupboard is not deep enough to take it back-to-front on a shelf’ glass boudoir lamp deco . The remaining space can be used, if not for tools, for other odd and ends captain’s davenport with working drawers on both sides . When work has to be doni elsewhere than in the room it will be a good plan to carry about such tool as are required in an old fibre attach4 case, the larger tools being carried i the hand writing box table on stand .
Returning to Fig baltimore “wine cooler” claw feet . I (a), the artifil cial lighting must next be considered , wherever the bench be placed, the position of the light or lights i• highly important china cabinet & desk on side .
‘Electric light is best and most con venient antique tables civil war era drop back . We will assume that a fle passes through the centre of the ceil ing of Fig chippendale dining table tripod . I (a) antique backgammon boards . It will be best to fi a double lamp-holder adaptor in thexisting lamp-holder french table lamps identify original . In one of th;, two holders use a lamp and in thother fix a socket-holder with 2 yd art deco hamilton donald deskey mahogany cabinet . o flex fitted ; at the other end of the fle can be fitted a lamp-holder and lamp antique pine drop leaf table rectangular . Take care that the flex is not allowed to pull oil the lamp-holder chestnut tables antique . Fix two hooks in the walls at AA in Fig antique tables pictures . I (a), and fasten a piece of good string

WINDOW
reasonably tight between the hooks outdoor furniture . The lamp on the flex can then be put over the string at any position along the bench antique dining room table rectangular extension hidden under ends . By using a wooden spring-type clothes peg to grip the flex and string, the lamp can be placed at any height 1960 period style coffee table designs with lion claw feet . If the lamp in the centre of the room is in the part of the double adaptor provided with a switch, it can be left on or switched off while the bench lamp is in use renaissance woodwork cassoni .
It will be found that for many jobs the bench lamp will be best above the left end of the bench, at a height of 6 ft french fluted legs . or 6 ft antique furniture prohibition bar examples . 6 in pennsylvania house antique sideboard ., where it will be out of the way and yet give sufficient illumination antique british tea table .
Alternatively, the double lamp-holder can be dispensed- with, a bayonet plug being fixed into the lamp-holder in the centre of the room; there will be just the one light over the bench neoclassical style stools . A lamp rated at 100 watts is recommended solid mahogany tilt top table manufactured by clare company . This method of lighting can be used in every kind of workplace, be it room, outhouse or shed north staffordshire stoneware . Where there is no electricity, a gas burner or pressure-type spirit lamp may be arranged over the bench whieldon ware tortoiseshell . If the only source of light is an ordinary duplex-burner paraffin lamp, the lamp should hang on the wall and be provided with a good reflector ironstone china marks . If two duplex lamps are used more satisfactory lighting will be obtained antique circle furniture . In that case place the lamps about 3 ft 18th century austrian writing cabinet . apart antique 3 legged drop leaf tables .
The room shown in Fig duncan phyfe drop leaf buffet table . I (b) has no fireplace, and the window is to the left of the short wall english knife box . The best-position for the bench is indicated ebay pembroke hepplewhite drop leaf table . There should be a space of about 3 ft www.octagon antique table with six legs . from the front of the bench to the wall, and not less than 2 ft decorative bureau, painted . between the end of the bench and the wall vauxhall porcelain factory discovery . The lighting should be arranged over the
PW-A*
FIG 18th century,antique british sofa . 2 http://antcollectors.com . Dimensions and shelf-spacing details of a convenient tool cupboard french antique folding fork .
bench as for Fig john walton pottery . I (a), but a clear yard of flex will ordinarily be sufficicnt the gillows telescopic version of the extending dining table .
With electricity, a small enclosed heater will be excellent for warming the room ; the cost of running is low and the risk of fire practically nil art nouveau day beds . This latter point is important where there are shavings about chelsea bookcases london uk elegant english bookshelves . Failing this equipment, a gas-tire or a paraffin heater will serve serving sideboards . A gas-ring is useful for heating glue, although if necessary this can be done elsewhere in the house venetian micromosaic mirror .
Fig robert adam pier table . 1 (b) also shows the position for a tool cupboard in the place of the fixed tool cupboard suggested in Fig antique library book trough stand . 1 (a) court desk art . Its ends, top and bottom are of 1-in circular antique library steps . deal, 16 in george 111 pembroke table . wide, the cupboard being 2 ft porcelain rockingham . across art deco kneeling dancer lamp . The top and bottom may be jointed on to the ends with common or lap dovetailing “antique collectors blog” . The door will be out of’ 1-in antique biedermeier furniture . material 1840,ball and claw quartette tables,serpentine, . The panel may be of plywood, or of the synthetic substance known as hardboard, grooved into the simple door-frame tudor rose design waterfall furniture . Thin plywood or hardboard is suitable for the back antique streamline stapler . Two pieces of deal, 13 x 3 x I in carved top gateleg coffee table ., should be screwed on from underneath to keep the bottom of the cupboard off tile floor (Fig markin train antique large scale . 2) rosewood macasar . The same cupboard, fitted with tools, is shown in Fig antique regency furniture . 3 rectangle table pilar foot .
Next to the indoor workshop a good outhouse is best sofa 1920 . There is much to be said for the garage by the side of the house, for this is usually dry and well built antique glass box etruscan . The garage will generally be larger than the rooms indicated in Figs dressers with shelves on the side . I (a) and (b) poole pottery streamline coffee sets . The posi- tion of the bench will be decided according to the possible positions of the car when in the garage, in conjunction with the lighting arrangements mahogany portable bar 1920’s . The doors may be left open when working, particularly in the summer months, and this suggests that the bench be on the left of the garage, so that the left end of the bench is nearest to the doors antique inlaid wood card table . If the doors have good window lighting, so much the better art nouveau from la maison moderne .
If’ the garage is dark, it may be worth while to alter the garage doors, or to make new ones, with plenty of window space, which should commence 3 ft 18th century antique dining table . up from the bottom of the doors “empire revival” period . Alternatively, it might be advisable to put a window in the back of the garage, and to place the bench alongside the back wall king george 1v tankard sheffield plate .
The building of a workshop shed is described in Chapter 11, and a typical shed is shown in the course of erection in the photographs on this page and on page 11 1788 pennsylvania-german green painted antique blanket chests . If a shed is being constructed, take care to do the
The first step in erecting a shed is t place bricks under the floor joist
When the floor is raised and level, side and one end are erected on empire furniture.com .
After bolting together the end and sid
the other long side is positioned britannia silver candlesticks .

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FURNITURE STYLES   qpa9g6et5n
Broadly speaking, furniture styles, like most other forms of art, have followed overall trends, with different countries developing their own variations. In most settled communities, one of the first items offurniture was a box or chest for storage. Then, most likely, somebody sat on it, or put something on it rather than in it, or even put the baby to bed in it. Thus, gradually, other types of furniture evolved to meet man’s changing needs, resulting from his ever more sophisticated activities. For centuries, however, anything beyond the most basic item was a status symbol. As late as the sixteenth century, even the grandest houses were sparsely furnished, and it is only in the last hundred years or so, with the advent of mass-production, that our homes in the West have become as full ofpossessions as they are now. Until then only the well-to-do could afford the fashionable “urban” furniture; this was copied, with variations, usually in a humbler wood, for the lesser gentry; cottagers made their own few modest items or bought from local joiners, who paid little attention to current trends. Provincial furniture might be made in a style which had beeen fashionable decades earlier, or in established regional traditions, or even according to personal idiosyncrasies.
Leaving aside the stylish and beautiful furniture of ancient civilizations, furniture traditions in the West began in medieval Europe. Wooden chests, benches, stools, chairs with arms, beds, trestle-type tables and cupboards survive in many forms from this period, from primitive constructions of plain planks and nails to more sophisticated panelled examples decorated with carving, painting or wood inlay. The aristocracy, churches and monasteries were the major users of furniture at this time. Carving and inlaid work became more and more magnificent for those who could afford it, and by the early seventeenth century highly skilled craftsmen were producing showpieces such as the cabinets made at Antwerp, which have painted panels, tortoiseshell and ebony veneers, and those of Augsburg and Nuremberg with their finely executed marquetry.
In the sixteenth century, the principal items in English manor houses were boxes and chests, extendable tables known as draw tables, small folding tables, open-shelved court or buffet cupboards (ancestors of the dresser and sideboards close cupboards or presses, benches, many small stools and four-poster beds. Servants had small truckle (or trundle) beds. All these were of oak. Chairs, which were generally reserved for the head of the household, developed from a panelled, box-like structure with back and arms, through lighter forms retaining the straight legs of the original frame but dispensing with the panels, to “joyned” chairs with turned baluster legs. The common X-frame chairs were beech. Upholstery, if it was used, might be of plain velvet or worked wool.
Carpenters in theMiddle Ages had often merely nailed together a few planks to make basic furniture; but the spreading craft of joinery brought in the frame-and-panel type ofconstruction. As a result furniture became lighter and more portable and the problems of warping and splitting were to an extent overcome, since the panels were not nailed but simply rested in the grooved frame. Linenfold carving was much used on chests, chairs and on panelling for walks Renaissance motifs, such as profile heads in roundels, were often used as decoration. By the end of the sixteenth century the massive, bulbous “cup and cover” and
similar heavy motifs became common for carved supports such as table legs and bedposts, and gadrooning -L c unky, ribbed ornament — adorned the edges of many lurfices. Over the following years the styles remained rather scud , nd were often somewhat plainer than before, particularly during the Commonwealth. With the restoration of the monarchy in 660 a certain frivolity became apparent and much more ornament was used on furniture, due to Continental influences: wist-t g — giving the popular “barley-sugar” effect — was use l on hair legs and backs, table legs and elsewhere, and carved scrbll shapes were also popular. The day-bed — ancestor of the chaise lonpe and sofa
was introduced at this time, with cane often    for seats. The
chest of drawers made its appearance in about 1650 and gained in
popularity towards the end of the century.     on bun feet were
usual.
At this time oak was still the most commonly used wood in Britain; in other European countries walnut wfis more extensively used for solid carved furniture. But more ornamental finishes were catching the eye ofwealthy patrons everywhere. Inlays, veneering and marquetry techniques became increasingly advanced throughout Europe, and the finer woods were much so~ ght, after. Oriental lacquer first reached Europe in the early part of e seventeenth century, and by the 1680s had many imitatoq e lacquered or japanned chest-on-stand was a showpiece, ideally sturniounted by blue-and-white porcelain vases. The Low Countries particularly
excelled in floral marquetry. In late seventeenth fury France Andre-Charles Boulle developed his intri:ate technique of marquetry using brass, tortoiseshell and pewter, I -.ie rich, ornate appearance ofhis vast cupboards and cabinets was I ighly admired. The Italians perfected pietre dure, an elaborate inlaying method using marble and semi-precious stones such as ag4tes, lapis lazuli
and chalcedony; but by the end of the cent an artificial material called scagliola had been developed, to iinitate marble, using different pigments, in place of these materials.
__T
In the late 1680s numerous Huguenot cran=enfled to England from religious persecution in France; while Woam and Mary brought Dutch influences and workers; thus more and more European styles and techniques filtered into England. By this time walnut was increasingly used for elegant~”ture, and deal was the base fora variety of decorative veers. One of the favourite techniques brought in by the Dutch craftsmen was marquetry, and the later years of the century produced, in particular, some fine, large cabinets in various styles. The later Queen Anne period is renowned for charming, nett walnut chests
Veneer samples opposite illustrate the tonalitie, an i . n various ous woods (in numerical order): Afars (1), Afzelia (3), Agba or Nigerian Cedar (4), Ash Avodire or African Satinwood (7), Ayan or Nige (8), Beech (9), Canadian Birch or Yellow Birch Maple (11), Bubinga or African Rosewood Lebanon (13), Cherry (14), Elm (15), EucalMountain Ash (16), Iroko or African Teak (If European Plane (18), Larch (19), Laurel or J ndi Lime, Linden or Basswood (21), Mahogany (. Cherry Mahogany (23), Mansonia or African B1, and Oak (25).
I grain patterns 1frormosia (2), 5), Aspen (6), ian Satinwood 10), Bird’s Eye 12), Cedar of plus or White Lacewood or ‘n Walnut (20), 2), Makore or ck Walnut (24)

of drawers and bureaus with bracket feet, tall-backed chairs with cabriole legs and shell motifs, mid upholstered wing chairs. Walnut pieces were often copied in oak or beech in the provinces; but country areas also had their own simpler styles. These included Windsor chairs, which commonly had elm seats, with other woods used for the remainder and ladder-back and spindle-back chairs with rush seats, generally made in the north ofEngland.
For nearly the whole of the eighteenth century, France set the international styles — royal patronage ensured top-quality craftsmanship and imaginative and artistic innovations. The rather rigid formality under Louis XIV gradually gave way to a freer, lighter mood. The symmetry of the earlier style was at first retained, but lines became gently curved, and the cabriole leg became fashionable on chairs and tables. Towards the middle of the century, in the reign of Louis XV, was produced the most flamboyant, fanciful and perhaps best known of French styles: rococo. Flowing lines, asymmetrical shapes, shells and C-scrolls typify the furniture of this time, along with fine floral marquetry and swirling ormolu mounts. Lacquer — either oriental or imitation — was also used, with chinoiserie motifs. Comfortably upholstered chairs made their debut and added to the relaxed, informal air of the times. Many kinds of little tables and cabinets were also fashionable, but the piece of furniture most associated with eighteenth-century France is the commode — a highly decorative chest, raised on legs, with cupboards and/or drawers and a marble top. After a transitional period embracing old and new elements, the rococo finally gave way to the neo-classical in about 1770. Lines lost their curves and became more severe, legs straightened and tapered, and there was a fashion for furniture with ingenious mechanical devices and moving parts — little drawers opened by hidden springs, smoothly rolling cylindrical tops for bureaus, and so on. The mood was more fastidious, but still
stishowy. Ornamentation became a little more restrained and geometrical, and included the use of Sevres medallions and plainer, smaller ormolu mounts.
However, the upheavals caused by the Revolution put a stop to such frivolities. A certain austerity marked the furniture around the turn of the century, though the traditions of fine craftsmanship naturally lingered. A heavier and more angular look was now fashionable, and an “Etruscan” style was followed by an “Egyptian”, with appropriate motifs.
In England from the 1730s mahogany was used for the better pieces. The many large country houses built during the century needed quantities of good-quality ftu-niture, and this period saw
Veneer samples opposite illustrate the tonalities and grain patterns found in various woods (in numerical order): Australian Silky Oak or Prickly Ash (26), Pollard Oak or Brown Oak (27), Obeche or African Whitewood (28), Olive Ash (29), Opepe or Yellow Wood (30), Padauk (31), Aldao or Pacific Walnut (32), Pearwood (33), Beroba Rosa (34), Scots Pine or Swedish Pine (35), 7idipwood (36), Purpleheart (37), Indian Rosewood (38), San Domingan Rosewood (39), Sapele (40), East Indian Satinwood (41) Sycamore or Maple (42), Golden Teak (43), Tola (44), African Walnut (45), Australian Walnut (46), Black American Walnut (47), European Walnut (48), Zebrawood (49) and 11)”imelle (SO).
the rise of the cabinet-maker. From the mid-cen1 omas Chippendale and others published pattern-books sh •. R designs for furniture in various styles. Among these, the F chi ,luence is seen in the rococo style with its C-scrolls, naturalistic ements and asymmetrical shapes, and more generally in the curved lines and less severe look which typified the Louis X sty,Ie. Also featured are the “Gothic” style, with architectural motifs such as arches and turrets, and the “Chinese” style, with simulated bamboo, fretwork and pagoda shapes. Chippendale himself is particularly remembered for his generously proportoned carved chairs and the monumental desks and bookcases still many collections today. He also worked with Robert Ada* in he neoclassical style which followed in the 1760s, and which cofitinued, with variations, until the end ofthe century. Lighter woods such as satinwood were favoured, along with mahogany, and marquetry remained much used. Painted decoration was also used.
Inspired by the ornament of ancient Rome and the newly discovered finds at Pompeii and Herculaneum, A am fostered this lighter but rather more formal style for use oug out the
decor of the house: a wall frieze of honeysuckle or s ags A husks or bellflowers, interspersed with rams’ heads, e-daflions or be
sphinx-like figures, might    repeated or    -m red  sideboard, um, pier-glass, table and chair, with carpets echoing the ceiling decoration. While Adam designed for the greatest houses (he was not concerned with anything less), it was the designs of George Hepplewhite, published in 1788, whic helped
to fill the gap between the elite and the growing meret class. He included quantities of designs for many types) ofiniture based on the neo-classical style. Outstanding arricng t iem are drawings for chairs with oval, heart-shaped and s6lc -shaped backs, enclosing delicate openwork wheatsheaves, c assn al urns, rosettes and Prince of Wales feathers. Although he designs for many other articles of furniture, it is for “set Hepplewhite is best remembered. The next great n el Thomas Sheraton, a designer renowned for straight
chairbacks and painted decoration who adapted the n style. He was influenced both by the Louie XVI s le c France and by what followed it, and led the way into ha known as the Regency style.
Suddenly, rather than using simple classical o designers began to take the actual shapes of classier their models. Chairs, couches and stools were parti for this treatment. Also popular were round tables central leg in various stllyles supported on three or for of sideboards and smacupboards had brass grilles c pleated silk behind. Ornament included lion’s paw I mounts in the shape of lion’s heads or sphinxe became fashionable, as well as mahogany, saLinwoo painted wood.
A more ostentatious style became the vogue middle of the century. Large, heavy and somewhat mented pieces were made in imitation ofsome earlier
French and English furniture. Substantial, sprung upholster
deep buttons became popular from the 1830s, aj did military chests and desks, davenports and japanned papier mAche.

Several types of small chairs upholstered in velvet or Berlin woolwork appeared from the 1840s, and whatnots—smallish, narrow stands with a number ofshelves for displaying china, etc—came more generally into use, with many variations in shape and size. Beds were usually still of the four-poster variety, although brass bedsteads became more general from the 1850s, and by the 1880s were common. Bentwood became popular during the 1850s. The Austrian, Michael Thonet (1786-1871) was the best-known exponent of this medium, which blended well with the other popular style: japonaiscrie.
Mass-production was now well under way. Standards inevitably dropped, and such descriptions as “exaggerated”, “finicky” and “debased” have been used offurniture of this period. There is, however, an honest, no-nonsense solidity about other pieces of nineteenth-century furniture, particularly where good-quality mahogany is concerned.
A return to craftsman-made pieces and cleaner, straighter lines was heralded by William Morris and others from the 1860s; and the Arts and Crafts movement, founded in the 1880s,propagated the trend towards the integration of art and design and their application to everyday life.
British expatriate craftsmen in America naturally took with them the traditions and styles they knew. They also kept in touch with the current trends through observing what was imported into America from England, and continued to follow them, while making their own stylistic adaptations. There was inevitably some time-lag. The Queen Anne style remained highly popular for many years, the “highboy” (tall chest of drawers), for example, being made in this style, or with elements of it, until at least the 1770s. Available woods included oak, walnut, pine, maple and various fruitwoods; mahogany was used generally from the second half of the eighteenth century, though earlier mahogany pieces exist. Philadelphia, Newport and Boston were the main areas of furniture production, followed by Baltimore, and some of the smaller towns in Massachusetts.
Various innovations were made, such as the “butterfly” table (in which the hinged supports to the extending flaps have a graceful, winged shape) in the early eighteenth century. Windsor chairs were especially popular, with variations such as the Hitchcock chair with painted or stencilled decoration on the top rail, which itself might vary in shape.
In the second half of the eighteenth century the main style was American Chippendale, based on the mainstream of the English style. One ofthe specifically American features was the block front to a cabinet or chest of drawers, in which the front has the central part very slightly set back. Furniture of the Federal period followed the European swing to neo-classicism, again with adaptations, and assorted mixtures of designs from different sources, often giving a vigorous and fresh look.
Revivals of previous styles, particularly the more flamboyant, occurred in America as in Europe in the nineteenth century. New machines and other technical innovations made possible much experimentation and initiated mass-production. In the 1870s a
new style was launched by Charles Lock Eastlake, given in America to a particular style of “ar rectangular, with straight lines and elaboe ( perhaps with inlays or painted panels, flutedttlu.
turned wooden spindles. “There was also a Vogt;e for Japanese decoration. The firm of Herter was one of a number producing “art” furniture into the twentieth century TT. - work of the designer Gustave Stickley, who promoted the d of the Arts and Crafts movement, is still well known for clean, s afight lines and good hand craftsmanship. Later, the architect F K Lloyd Wright designed functional furniture specifically for in Lss-production. These men and other contemporary designers fostered a fairly widespread and continuing appreciation of theirnfirticular styles.
Throughout the West, the twentieth ~nt~~ has seen a multitude of new materials, for good rim* has become increasingly rare and expensive. In style, too, there have been changes. A general, international trend aw4Y-”in the heavy, elaborate taste of the nineteenth century, along w the demand for good design and low cost, grew through the s and Crafts movement towards various light, functional qyks using tubular steel, fibreglass, aluminum, various plastics, r bber, leather, plywood and bent laminated wood as well as more  ewly available woods such as teak. All the decorative mo ‘ of earlier periods have disappeared—although a certain arnotInt reproduction furniture has continued to be made—and mot m ern furniture of good quality is admired for its serviceability a id uncluttered lines.

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Tools and supplies
A handyman’s guide from 1902 offers the opinion that without tools, the hand would be powerless. It was some 500,000 years ago that the first implements were used, probably scraps of stone or bone picked up off the ground in a moment of frustration. These days our tools are highly specialized and costly, but a well-made tool will always make a job easier and more enjoyable.
On the following pages, tools are divided into groups
according to their use—you find tools for hammering, gripping, sawing, etc., with similar tools illustrated in close proximity.
Tools should be kept clean and sharp, in a suitable container such as a tool box, or hung on the wall near the workspace. Probably the most important items, after the few essential tools listed below, are clean cotton rags and containers with lids—it seems that you never have enough of either. Get in the habit of saving all clean scraps from pure cotton clothing, sheets, etc., and keep them handy. Also 4oard glass jars, tins and otter containers with lids, but do bear in mind that some chemicals such as spirit-based ones, tend to dissolve plastic, while some react with acids. Finally, keep all tools and supplies properly labelled.
BASIC SUPPLIES
Ammonia Beeswax Benzine Cardboard, white
Chalk, powdered or stick
Chamois
Cotton wool or absorbent cotton
Denatured alcohol (methylated spirits)
Double boiler
Empty glass jars, tin cans and atomizer
spray bottles
Glue, general purpose or PVA
Japan paints
Jewelers’ rouge or pumice powder
Kerosene (paraffin)
Linseed oil
Masking tape, acid-free
Matches, wooden
Pencils, hard and well sharpened
Powdered pigments, especially raw umber Purified water
Rags, soft cotton
Shellac String
Thermometer, cooking
Turpentine
Turpentine substitute
Tweezers Varnish Vinegar
Wire mesh strainer, small
BASIC TOOL KIT
Abrasive paper, sanding block, and assorted abrasive papers
Combination pliers (6in/15cm) square-nosed type, with side cutters
Knife with replaceable blades, which also takes saw blades
Metal ruler (12 - 18in/30 - 46cm) for use when cutting along straight edge
Screwdriver (6iri/15cm) and bradawl for starting holes
T (or try) square (6iri/15cm) to ensure right angles
The following tools are nice to have, but are not essential for beginners:
Bench vice
File, combination, for use on wood or metal Hand drill, bit brace and countersink bit Panel saw or tenon saw
Power drill and attachments (sanding and buffing wheels, masonry bits, etc.)
Combination oilstone for sharpening the blade
Wood chisels (Nin/2cm) bevel-edged firmer
(Y4in/2cm) and mallet (41/2in/Ilem)
8
ABRASIVE PAPERS
Store abrasive papers in a warm, dry place and never attempt to use them on damp wood. Always use at least two grades when trying to get a really smooth finish; coarse paper, wom smooth, will not give the same effect as a finer paper. While working “snap” abrasive paper to unclog it. Incidentally, there is no such thing as “sandpaper” and although these papers feel gritty, sand has been replaced by more effective smoothing agents.
The five types of abrasive paper used for smoothing woods are as follows: Glass paper, with grains made from crushed glass (once reputedly derived from crushed port bottles). It is available with a base of cloth or paper and is commonly used for hand smoothing. Garnet paper, with grains made of crushed garnet stone, so it costs a bit more but it is very durable and recommended for smoothing by hand. Aluminurn oxide paper, used when really heavy cutting action is desired—its synthetic grains are very tough. Silicone carbide paper, also known as “wet-and-dry” paper because it can be used damp (not wet) for fine smoothing of paintwork or dry like other abrasive papers. When damp it leaves a black-grey “gravy” which has to be washed off, but when lubricated with water, it lasts a long time. It can be used on both metal and wood and is also available on a cloth base. Flint paper, rarely used any more, although it is inexpensive, is not recommended because its grains are softer than glass or gamer, and it has a short life.
Both garnet and aluminum oxide papers come in “open coat” and “close coat”—with “open coat” there is more space between the grains, making it less likely to clog and therefore better for smoothing softwoods; while in “close coat” the grains are more closely spaced and are best for hardwoods.
Steel wool can be used for smoothing wood and the finer grades are recommended after smoothing with fine abrasive paper to give a final perfect finish. As with abrasive papers, always work with the grain. Wear a handkerchief tied “bandit-style” to protect your throat and lungs when sanding.
GLUES AND GLUEING
Glueing must be the simplest repair to do! Strangely it is often neglected which is unfortunate, because a little glue applied after slight damage can prevent more extensive problems. The section below deals with glues suitable for
porous materials like woodpaper, textiles, some plastics and rubber. A wooden matchstick is often perfect for applying non-water-soluble glues. Always save even the smallest splinters and chips and glue these in’pla after the main piece has set. For glueing X;s end pottery, see the detailed chapters conodmed
‘I bere are six basic types of i [ue in common use today.
Traditional glues such as animal and fish glues, casein glue and scotch glues are gradually being superseded as they are neither heat- nor waterproof Although they are not generally recommended some craftsmen~prcfer them— such as gilders, who use rabbit Glue.
General purpose glues, cellulose- or acetate-based, and usually sold .irk tubes are water-resistant, free from staring and excellent for fixing plastics, metals, and rfiost inlays to wood. Do not work with these near an open fire—they are inflammable—and avoid inhaling the fumes.
Epoxy resins are modem, synthetic-based glues. They are strong and versatile, perfect for home use, and usually come in *o part kits—a glue and a hardener. Most take about six hours to set but a warm room will speed the setting. Follow directions on the package as the mixtures vary slightly. Caution: synthetic resin glues become rubbery ifkept unused. “They should not be used for glucing wood as they are harder than the wood itself and allow nc natural movement and thus may cause splittir
Polyvinyl acetate (PVA) g~uc is a thick, white, cold-setting, inexpensive&-sin-based glue and can be used extensively, although it is not waterproof It will keep for several months (though not in a cold place) but may stain the lighter woods and tends to creep a bit. PVA is a good general purpose glue skid is often sold in a squeeze bottle with a handy poin ed nozzle. It is water-soluble.
Contact adhesives, which are isually rubber-based, are only recommended when clamping is difficult but a strong bond isidesircd. The glue is applied to both surfaces and, w* tacky, they
are brought together. The two Ofeces are immovable upon contact, so adjusting is impossible. They are very usefid when bonding other materials to wood.
Latex glues are derived ;he milky fluid of the rubber tree, although syr thctic latex is now manufactured. They can be applied either to one surface or both and are thinned with water. Their odor is slightly objectionable. Latex glues are perfect when working with textiles, although some fabric dyes seem soluble, so test an inconspicuous spot befc reapplication.

CLEANING BRUSHES
1. It is imperative to clean brushes when you have finished using them, or to soak them if leaving the project for a few hours. (Should you forget to soak the brush, the paint will harden on the bristles; only a very strong paint remover will restore the brush to usefulness and it will never be the same again.) Always remove excess paint from the bristles first by wiping them over old newspaper.
2. In order to soak the brush, prepare it by drilling a hole in the upper handle, as shown, then inserting a dowel which will suspend the brush in water up to the first  of the fernile. (Use a container deep enough to keep the brush from resting on the bristles.) Some experts recommend storing brushes in white spirit, but this seems to dry out the bristles unnecessarily.
3. When you need to use the brush again, remove excess water from the bristles by 3quel zing them in soft absorbent cloth or paper
Caring for tools
Tools should be stored in a dryish atmosphere and away from children. After using tools with a metal part, it is a good idea to spread a film of light machine oil over the metal surface to prevent rusting. For this purpose, keep an oiled pad in a sealed container near the work area. Tools with wooden handles should be kept smoothed and well sanded to avoid splinters.
BRUSHES
Many different kinds of brushes are used in restoration and it is worth choosing them with care. A paintbrush has three parts: handle (I~ ferrule (2) and filling (3). The filling, or bristles, can be made from boar (used in the best quality brushes); horsehair (used to bulk out better filling); oxhair, squirrel and sable (used for thin artists’ paintbrushes); fibre (from the stem of the palm tree); or, increasingly, synthetic fibres (from filaments such as nylon). If possible, always invest in a good quality brush — it will hold more paint and apply it better than a cheaper brush and is less like1v to shed its bristles. Test brushes before purchasing by making sure the bristles fan evenly and that they are firmly set into the ferrule. Keep them in good condition by cleaning and storing as directed in Steps 1 – 6.
Three useful paintbrushes for the restorer are: a flat paintbrush (A~ a stencilling brush (B), and a lining brush (C). Another useful brush for many jobs is a wire brush (D).

4. To remove oil-based paint from a brush, fill a glass or metal container two-thirds full ofturpentine substitute. Agitate the brush in the liquid, pressing it against the side of the container to force out the paint. When the liquid can absorb no more paint, repeat until most of the paint is removed. To remove water-based paints, use the same technique in a jar of warm water.
5. Inspect the bristles near the ferrule to see if the paint is removed, then wash the bristles in warm, soapy water. Rinse and repeat Step 4 ifnecessary before washing and rinsing again.
Shake or blot out the moisture and leave to dry naturally, away from any heat source which will only dry out the natural oils in the bristles. Store the brush by wrapping it in brown paper, secured with a rubber band as shown, laying it flat if possible. Keep brushes used for water and oil-based paints separate, and reserve a 2-3in/5- 8cm brush specifically for varnish and shellac.
6. To keep small artists’ p    brushes in good
condition, clean as above in S 4 and 5. Then point the brush by placing adrop oflight machine oil or linseed oil on the bristles and slowly rotating the bristles between the thumb and index finger.
Carving tools
Chisels are designed for cutting with or across gouges are used for less drastic action on wood
the grain, while
Chisels and gouges have narrow cutting edges and are each designed with a particular task in mind, so purchase the various types as they are required. The metal part is usually fitted to a bulbous handle made from boxwood or impact-resistant plastic.
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The main types of carving tools are: firmer chisel (A), available withblades in a variety of widths, often driven with a wooden or soft-face mallet although a hammer maybe used with plastic-handled chisels; bevelled-edge firmer chisel (B) with a slightly less rigid blade, used for lighter woodworking tasks such as undercutting dovetail housing joints, not designed for use with a mallet but tolerates light tapping; paring chisel (C) with longer blade, used to trim long grooves; firmer gouges (D) with curved blades of two types—one with the cutting bevel on the outside, used to make concave shapes, the other ground on the inside, used to make straight cuts that are curved in cross-section—both used with a mallet; paring gouge (F) for hand paring (without a mallet), ideal for cutting curved shapes of all kinds; and cold chisel (F) used to cut metal (for example for chain links, sheet metal and bolt or rivet heads), struck with a heavy hammer.

Cutting tools
Probably the most useful and versatile cutting tools are the knives with replaceable blades. There are four types of these, all with disposable blades which come ready-sharpened. The blades are terrifically sharp and should be stored and used with great care.The four types are: general purpose knife with replaceable blades (A), sometimes with blades that may be retracted and stored inside the handle; knife with snap-off blade (B), also retractable; and surgeon’s knife or scalpel (C), with blades removed manually.
Various useful kinds of scissors are: aviation snips or compound action snips (D) which will make straight or curved cuts in metal—they have specially firm jaws and comfortable plastic hand grips; pinking scissors (E) with a zig-zag cutting edge which makes the cut edge of fabric less likely to fray; embroidery scissors (F) with elongated blades ending in a fine point, useful for work on carpets and textiles; and cuticle scissors (G) with a curved blade, used in decoupage.
A glass cutter (H) has a hardened steel wheel mounted in a holder, and is used to score a line across a sheet of glass. Small pieces can be “nibbled” off back to the scored line using the notches on the side. (It helps to remove any grease from the glass with turpentine substitute and oil the cutting wheel before starting.)
Drilling tools
When using any drill, try to keep the pressure constant. If the drill wobbles, the drillbit may snap. When drilling metal select the appropriate bit and oil it lightly before starting; it may also help to make a small hole in the metal with a punch or awl. When using a
power drill, take care to disconnect it from the power source before making any adjustments, and be sure to examine the cable regularly for signs of damage or wear. Also, avoid wearing loose clothing or accessories that could get caught in the mo T g parts.
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A hand-drill (A) has a chuck shell at one end which turns anticlockwise to open the jaws that hold the bit. When the drillbit is central, rotate it to establish it in position, then use the drill at the desired speed. Various hand-drill bits are available for special tasks: twist bit (B) for metal and wood; dowel bit (C) for the side and end grain of wood; countersink bit (D) to recess a hole to accept a countersunk screw head; glass bit (E) for use at slow speed to drill holes in glass, mirror and porcelain; masonry bit (F) for drilling holes in brick, stone and ceramic tiles. A push drill
dri(G) can be used to make small holes in wood or plastic, using special drill points. A power drill (H) is probably the most versatile tool available; accessories include circular saws, sanding discs, grinders, rasps, even paint sprayers. Small hand tools such as augers and gimlets (I) can also be used to drill holes in wood; augers drill fairly large holes, gimlets shallow ones, often to take a screw. Bore the hole by twisting the tools in one direction only. Bradawls or awls (J) are used to start holes in timber for nails and screws and to make holes in leather. The bradawl is twisted right and left; the awl is inserted with pressure.

Gripping tools
Professionals will opt fora bench vice or a clamp-on vice (A), but these require a sturdy and steadfast table or workbench. Amateur restorer-, can make do with a variety of gripping tools, purchased as required. These include: “G” or “C” cramp (B) for clamping wood or metal work, used with a block of wood between the cramp and wood to prevent marking; spring cramp (C), a manual device to provide light pressure to an object while glueing-, mitre cramp (D) to hold mitred joins together while glue sets; needle-nosed pliers (E) to grip small objects in confined places, available in a variety of shapes and proportions, all with serrated jaws; slip-joint pliers (F}, with a pivot joint which provides two widths of jaw opening; carpenters pincers (G), with curved jaws which meet at a bevelled cutting edge, designed to extract nails and tacks from wood; and upholsterers’ pliers (11), used to stretch webbing across the chair frame by gripping the folded end of the webbing while the lower jaw touches the frame.
Hammers
The most useful hammer is the claw hammer (A), which may be used for removing bent nails as well as for driving nails home. (When pulling nails out, always protect the surface with a small block of wood placed under the front end of the hammer.) Others are: lightweight pin hammer or ball pin hammer (B), used for driving pins or tacks; upholsterers’ hammer (C), with a small rounded face for driving tacks in a confined space, and magnetized so that it holds the tack in place as it drives it home; soft faced hammer (D), used for driving or shaping materials such as soft metals which would otherwise be damaged —these usually have a socketed head into which soft bases are screwed; similar are soft faced mallets (E) with rubber or rawhide heads; and lastly, heavy carvers’ mallet (F}, designed to drive various chisels and gouges.

Fitting a new handle to a hammer head
1. Choose a new handle with an even, straight grain to the wood. Begin by cutting two evenly spaced slots across the head ofthe new shaft, two-thirds the depth of the hole. Drive the hammer head onto the shaft using another hammer.
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2. Cut the shaft flush with the top ofthe hammer head.
3. If steel wedges were used, drive th;m in with another hammer until they are level %?’th the top of the shaft. If there are no stee wedges, make some from bits of hardwood. Finally grind or file the wedges flush and varnish the expo sed wood.
Measuring tools
When making measurements, avoid using the common wooden yardstick, which is too inaccuram Instead use an engineer’s steel rule (A), ideally one scribed with both metric and imperial
measurements; a folding or zig-zag rule
push-pusteel tape (C); and (for fabric only) a
tape measure or a new digital rule (D) which is run over a surface and indicates the length in its display.’ro achieve accurate right angles, use a T or try square (E) or steel square. Cl-hc metal rule is highly recommended as it will not only measure, but also serve as a straight edge to guide a knife along when cutting veneers, plastic, leather etc.)

Sawing tools
‘There are three main kindsofsaw: large handsaws, stiff-backed saws for cutting joints, and special purpose saws. With all types, the greater the number of teeth or points per inch, the finer the cut. If a saw blade is rusty, clean it by rubbing it with steel wool dipped in turpentine substitute. If sticking occurs, rub the blade with a wax candle, but if the problem persists, the blade may need sharpening, resetting or replacing.
I arge handsaws (A) include: panel-cut saw for cutting with and across the grain, cross-cut saw for cutting across the grain and rip saw for cutting with the grain. All handsaws should cut freely under their own weight and your forward pressure. Stiff-back saws include the back saw, or tenon saw, (B) for cutting joints. Various specialist saws are: coping saw (C) for cutting curves in plastic or wood; fretsaw (D) for tighter curves in wood or plastic; hacksaws (E and F) for cutting metal; and pad saw (G) for cutting holes in a panel. Knives with replaceable blades can also be fitted with saw blades although these are only designed for sawing lightweight materials.
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Scraping and filling tools
Scrapers are indispensable to the restorer and are not interchangeable, although they, and some filling knives, look somewhat alike. Various scrapers are: paint scraper (A~ with a stiff blade for removing softened paint; filling knife (B), with a wider, flexible blade; putty knife (C), used to shape and smooth putty — available with three shapes ofblade depending on the preference of the user, palette knife (D), used to scrape pigments and mix media; skarsten (E), for smoothing timberor removing paint; and combination shave hook (F) — the most useful of the shave hooks with its curved and straight blades, ideal for scraping awkwardly shaped surfaces.

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