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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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Built-in recess shelving, niches and cupboards in the bathroom fish tail knife 16th century fruit knife 15th .
with fitted sections of cheap mirrors, without frames leaf refectory tables . Medicine cabinets can be recessed flush with the walls in the same manner, with due regard for the studding antique french or chippendale coffee table .
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Utility Cupboard 18th century england cakes . Unused bathroom corners offer an ideal location for combination cupboards or chests of drawers antique bureau bookcase with drop handles . Frequently these can be located at the open end of a built-in corner tub, or between the tub and the toilet four pillar trestle table . Constructed With 2 X 2S cleated to the wall, floor, and ceiling, as in the kitchen utility cupboard, their outer finish will most often consist of an enamel finished wallboard or tileboard 19th century sofa guide . Figure 4 “cigarette”+”holder” .45 illustrates a combination in which the linen cabinet is built above a tilt-front clothes hamper italian coffee table 1920s . The latter is constructed along the lines discussed in Chapter 2, of a size to take a full week’s “charge antique upholstered louis xlll armchair .” An optional arrangement is to construct a series of drawers, or build the cupboard to fit an old chest of drawers, in place of the clothes hamper armchair vallin .
Dressing Tables art deco palissy dinnerware . Even the men of the family will display enthusiasm for a
Fie art nouveau vitrine . 4 antique tilt top dinner table photos 1800 century .45 boardroom clock . Bathroom cupboard jean luce arzberg germany .dressing table alongside the lavatory, provided it is kept clear enough of fenliliin4 fripperies to serve as a workbench for their shaving tools antique burr walnut chest drawers 1930s . This type of convenience can take the form of a removable table with four legs, built to fit the space, or built-in type having two front legs with the rear apron cleated to the wall “antique austrian ceramic art” .
A more modern design presents the dressing table as a simple counter, withou legs, as illustrated in Figure 4 design sideboard inlaid wood .46• An ideal method for supporting a corner nex
Fic antique victorian wood stool chamber pot . 4 japanese art nouveau desk .46 gateleg table mahogany . Legless dressing table rococo revival furniture .
to the lavatory is to bolt it through a hole drilled in the lavatory’s apron royal court floral bone china hand made & painted by craftsman staffordshire . Failin this, heavy brackets must be employed, of either metal or suitably shaped woo( To be effective, these, like the rear apron cleats, must be located against studs i the wall antique 1920 small drop leaf table . A linoleum top whose color reflects the decorative scheme will be mosuitable for bathroom use french makers of tables a gibier . Its edge can be concealed by a band of veneer or plasti which is cemented over the entire width of the counter’s apron, when the latt furnitures during ancient roman period . is flush with the top edge antique table with paw feet oak table .
Drying Rack italian console table makers . Rather than to attempt to change so basic a custom as the dail conversion of the bathroom into a lingerie laundry and drying room, the ho mechanic will be better advised to construct a rack that will keep milady’s ga,- ments reasonably clear of the bathtub, while drying out unusual gate leg table . This is not difficult whe the tub is clear at one end, if a pivoted ladderlike rack is constructed, similar to t one pictured in Figure 4 antique cigar chair with wood arms .47 opalescent glass perfume france . A small wooden partition can be built at the end of t e tub upon which the uprights of the rack will rest when they are in a vertic antique drop dresser with marble top .1 position vintage three leg table base . The tops of the uprights are pivoted to the ceiling by means of bol s thrust through chromium plated metal flanges, cut out and bent into U shapes - s shown antique oak five leg table . If either the chromium is unavailable, or the rafters in the ceiling do n t occur at the necessary points, a wooden joint on a sufficiently large cleat running in either direction along the ceiling can be constructed as shown in the detail antique compo motif furniture .
The rungs of the drying ladder can be plastic rods or chromium plated tub- in,, tenoned into place and held securely by chromium-headed screws etruscan pottery price offer . Long
chromium-plated bolts attached to the back of the 0
uprights sink into holes in the
top of the small partition to secure the rack in its vertical position early 19th century solid silver candlesticks . The bolt housings are screwed carefully in place against the rear wall, as purchase for the bolts when the rack is pushed up french style porcelain gilded weight driven clock . The tipper portions of the bolt housings should be filed into a concave curve to prevent the bolts from slipping off, if jarred cabriole in architecture . When vertical, the rack serves as a towel holder; if preferred, the hinge attachment can be omitted and the rack used for drying clothes in the vertical position cabinet makers escutcheons .
A more orderly arrangement results from the construction of an encloses cabinet, which completely conceals the wet clothing during the “drying process Although such a cabinet can sometimes be constructed above an existing radiator over which an inclined metal shield is fastened as protection from dripping, it wil: usually be necessary to build it wherever space is available “european art deco” war . In this case the drying element will consist of an infrared lamp bulb, suitably located to prevent scorching In any type of enclosed drying cabinet, every effort must be made to allow fot passage of a maximum amount of air currents rectangular oak gateleg table . To this end the door and side,,; have holes bored in various patterns, or contain brass grille inserts art deco .
RUMPUS ROOM FAVORITES
The satisfactory remodeling of an unused portion of a basement into a bright remodeling
clean rumpus room or playroom, is heightened by the opportunities afforded fol building various conveniences, which not only bestow that coveted “customr, built” look, but also effectively increase the size of the usable floor space ivory coffee tables italian . tinder these circumstances, it would appear incumbent upon the prospective home re Small corner bar neoclassical style brass seamed candlesticks .
modeller to plan the location of these conveniences before erecting the studding of new partitions, and especially when providing for doorways oriental motif display cabinet . No matter how rough the sketch, when drawn to scale it will prove invaluable to the amateur builder, both during the initial planning, for calculating the material requirements, and as insurance against the twin errors of costly omission and commission 18th century english stoneware . Often the location of a door a few feet to the right or left will make or break a valuable wall space, together with its attendant possibilites for built-in utilities ebay+table+inlay+mahogany+drop leaf+oval . The same is equally true of radiator installations, which often determine the final layout rococo candelabra . Extra doors, when strategically located, often pay their way, as in the case of built-in bars 19th century antique hall table . Indeed, Dutch or half doors, when provided with a suitable shelf, make ideal serving pantries or miniature bars in themselves, as in Figure 4 pictures of 1940 walnut swing leg tables .48•
Built-in Bars viennese chairs . A majority of modern home recreation rooms now feature a permanent bar built into a corner or an end of the room aaron burr desk . Like their commercial prototypes—the milk bars, hosiery bars, necktie bars or ice cream bars—their primary objective need not necessarily be to dispense alcoholic beverages edgar brandt table . In reality nothing more than counters at which “customers” can comfortably stand or sit, these home cola, snack, or cocktail bars are fundamentally of simple construction indian vernacular furniture . The two basic considerations from the standpoint of utility are height and suitable counter space john toulouse porcelain modeller .
In general, a height of 42 in 18th century furniture owned by lord burlington, stamped . will suit the average person, whether standing or sitting on a tall stool antique cellarets . The bar top should be allowed a minimum width of 12 in myott son&co hanley 1880 ., the wider the better antique mirror back sideboard 1920’s . Obviously it should be finished or covered with a stain-and alcohol-proof surface antique italian sideboard .
It is on the front and any exposed side that the builder can lavish his decorative ability japanese characteristic of later 19th century decoration . One of the simplest methods of finishing utilizes random vertical widths of V-grooved knotty pine, which blends so well with many rumpus room decorative treatments william kent mahogany sidetable . A more striking but easily applied covering is the small tiled wall- board used in kitchens and bathrooms, which comes in a variety of glossy, enameled colors, or sized, ready for finishing sheriton roll top antique bureau . Padded leatherette is popular, either plain or quilted with upholsterers tacks, like a tufted chair back refrectory table with bulbous legs . Linoleum and Weldtex are interesting, and any of the hardwood plywood panels can be used for more formal effects, including plastic veneers, to be described later prayer bench, antoni gaudi . A startlingly rich effect can be achieved by applying a lacquered film decalcomania simulating marblo over ordinary lacquered wallboard or Y4-in designing knock down furniture . plywood scottish chest drawers .
The popular circular bar shown in Figure 4 austria thonet furniture .49 is easy to construct once the arcs of the bar top and shelf have been cut out to the dimensions shown yixing antique . A series of straight cleats are nailed to the underside of the bar top to permit a 1/—in cheng hua ming porcelain . overhang when the six 8Y2-in antique gate carved chair legs . uprights are nailed or screwed to them draped kidney shaped dressing table . This overhang is also allowed at the ends to permit the sides to clear the baseboard of the room lacquered furniture . Horizontal cleats nailed 18 in perpetual calendar 18th century . above the floor ends of the upright members hold the circular shelf and furnish rigidity regency period sofas . Silhouettes can be jigsawed along the edges of the upright members before they are fastened in place antique spiral leg oak dropleaf table .
This type of corner bar is most effective when a door gives access to it from the rear general description of design style of art deco . Otherwise it must be pushed forward sufficiently to permit entrance to its rear from one of the sides richard edward chippendale pier table . Corner shelving for interesting glasses or miniature bottles will add a professional touch, which will be heightened by fastening a pair of matching mirrors to the opposing walls of the corner antique epergne .
Depending upon the interests of the family, basement recreation rooms may be planned primarily for other purposes, with the bar an incidental feature or lacking entirely antique russian chess table . If the family includes several young people, a teen-age recreation area will probably be needed, and the basement offers an area more or less isolated from the rest of the house renniance ebony cupboard italian antique . In fact, if the ceiling of the basement is finished off with acoustical tile, the noise problem can be solved better in this area than in any other art deco antique dresser . A wooden floor will be better than other kinds for dancing, but energetic teen-agers, given the opportunity, will dance on almost any kind antiquegames writing table .
A music practice room is another good use if the family is musically inclined english antique tallboys . For this use it will be necessary to give attention to acoustical aspects silver christening set antique knife . Concrete walls will have to be covered with wood or other materials having good sound-
absorbing, qualities bohemian hyalith von buquoy glass . If the finished room is to be used for amateur recitals, the space will have to be planned so as to provide an open area large enough to seat the audience comfortably “abraham roentgen” kommode . If musical instruments, such as a piano, sensitive to dampness arc to be stored in the room, more attention must be paid to humidity control than for some other uses china cabinet desk . The walls and floor must be made as damp-proof as possible; in addition, an electric dehumidifier (of which there are several makes now available) may be necessary urns cuttelery boxes . Storage space in the form of cabinets of suitable shape and size for small instruments, records, etc antique wooden oval french music stands . can be planned 18c & 19c cheval mirrors .
Many basements are remodeled to facilitate a photographic hobby norman bel geddes desk . Fullfled-ed photographers build a dark room there for developing negatives and making prints an(> enlargements, and sometimes use an adjoining portion of the basement as a place to hang prints or show slides chinese cabinet with william and mary legs . A dark room will require some special plumbing and wiring, and slide-viewing is most convenient when both a suitable electrical outlet and a switch for turning the room lights on and off are located near the projector antigue collectors . These things should, of course, be planned as part of
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the basement remodeling operation “manual wind watches” “out of fashion” . If the hobby is moving picture photography, the same electrical conveniences will be needed near the projector renaissance italian furniture style a bambocci and cupboards . Both slide projection and moving picture projection require a screen which may be constructed as a permanent part of one wall of the room, or may be placed on a roller and rolled up out of the way when pictures are not being viewed art deco furniture designers and their work .
Washtub Camouflage “plate bucket” . Often a plan for a small basement rumpus room, after successfully solving the problem of by-passing the cellar heating unit, runs afoul of that other unsightly household necessity, the pair of old-fashioned laundry tubs marble leos furniture .
By constructing a well-fitting closed cabinet and finishing it in any of the methods discussed in the previous section on built-in bars, a self-service snack bar results, which effectively hides the basic utility theodore haviland limoges 1903 to 1925 green with gold medallion procelain . The inclusion of unobtrusive casters permits its easy removal on wash days, when its dampproof top will be unharmed by wet clothes, and it can be later utilized from the rear as a stan( for the ironing board regency/george iv silver candelabra suite . As shown in Figure 4 antique canterbury rack .51, shelves can be provided tha project under the tubs to hold laundry supplies and the electric iron, if desired royal staffordshire ceramics by clarice cliff pheasant soup bowl .
FIG verlys glass . 4 clock with marbles dropping .51 antique french provincial dining tables . Washtub cover staffordshire westerwald .
The dimensions in general will be based upon a pair of old-fashioned tubs 48 in red and yellow rose czechoslovakia china . long, 24 in slant front desk antique . wide, and 34 in oriental cabinet tortoiseshell . high inlaiditalianoccassionaltable . The framing consists of butt-jointed 2 X 2′S or 2 X 4’s covered with wallboard, plywood, or whatever material is consistent with the planned finish paul de lamerie reproduction . The top should be strong and well finished or covered, with due allowance for the height of the casters standing silver mirror candlestick styles . A pair of hooks and
0
eyes at the sides, under the overhang of the top or counter, will hold the cabinet securely in place when it is doubling as a bar british deco . A built-in niche with shelves, or a shallow wall cabinet above the bar, will not only aid in the deception, but also provide valuable space for bottles, glasses, or condiments english 18th-century sideboard table .
Furnace Enclosures french fashion in 19 century . When no amount of plotting or planning will yield a room of desirable size and still exclude the ubiquitous furnace, it too, must be treated boldly, like the washtubs in the preceding section modern art deco bookcase . Whenever one side can be left open to the unfinished part of the basement, the problem of air circulation is simplified, since the other two sides can either be inclosed in knotty pine or wallboard, with a door at the front, or a fairly tight lattice-work enclosure can be erected on studding, with lattice-work doors “antique collectors blog” .
In many cases, however, the furnace will have been located with its back near one of the basement walls, causing it to project well into the intended game room lion paw pedestal table . Not many basement remodelers will be as fortunate as the man who was able to enclose his cellar heating plant with the tall shutters from his windows, which had become excess when they were replaced by a solid type antique dutch chest on chest .
A modification of this idea into a permanent enclosure constructed of fixed venetian blinds, will not only successfully conceal the most unsightly of furnaces, but also permit a free circulation of air dutch east india company pottery . As will be noted in the detail in Figure 4 antique novelty collector basket .52, the immovable slats are housed in
diagonal dadoes, which incline downward
diagonal the lower sections, permitting the cold air to enter at the bottom, and incline upward in the upper sections so that the lighter warm air can escape from above louis 15th dining rooms with marquetry . The front can be closed with double doors, slatted like the sides antique wood trestle table with leaves . Half-round moldings along the sides not only finish off the work, but also serve as stops for the slats on the outside 1950’s staffordshire porcelain religious figural . Thin pieces of flat lattice slatting serve the same purpose on the inside, thus eliminating the necessity for gluing each slat empirefurniture .
HARLEQUIN FURNITURE
A study of furniture history reveals that multipurpose furniture is neither an invention nor a new development of modern times sideboards 16th century italy . Certain seventeenth century cabinetmakers produced pieces into which a whimsical secondary utility had been built for the edification of their capricious patrons, who promptly dubbed the resulting ingenuities as “harlequin,” or “fantastic” furniture cornice antique . Few fantastic qualities but much ingenuity is displayed in modern conceptions of spacesaving, double-duty furniture lord and taylor candlesticks . Although not usually classed as built-in furniture, because of their mobility, these dual-purpose pieces possess a basic kinship to built-in furniture because of the versatility that was designed and literally built into them sofa carved top rail . Therefore, the following examples are included to augment those already discussed antique table wooden hinge drop leaf .
End Table Sewing Cabinet empire console pier table . For the busy housewife to whom a sewing room or alcove is not available, the popular step end table described in Chapter 2 (page 89) can be modified to house her sewing and darning utensils (Figure 4 dresser & chests circ 1840 .53)• With the middle step omitted and the floor hinged to expose rows of thread and darning cottons, there is still room for thimbles, needles, scissors, tape measure, darning egg, and socks, without disturbing a lamp or ashtray on the top shelf, or books on the shelf below teapot made by chippendale .
After the legs are tapered to Y8 in german tea table with tray ., a rabbet 31g in brannam pottery . wide is cut in the aprons, before they are doweled into the legs empire side table . The plywood bottom is Cut out to fit around the inside leg corners, then glued and bradded into its rabbet, as indicated in Figure 4 lombardy table antiques .53•
The fixed back section of the first step is rounded on its three outer edges and fastened to the rear of the aprons with a Y!-in art deco antique bedroom furniture . overhang antique red leather upholstery chair with arm . The uprights for the top cut are then clamped together and a curve cut in their front edges as shown porcelain cris de paris .

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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, )
Z!)
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 .”

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Padlock empire drum night table . To satisfy youthful insistance on realism, a massive-appearing plywood padlock can be sawed out to fit over the hasp, as pictured in detail B of the illustration chinese precious stone and laquer cabinets . A small whittled peg or section of dowel, painted black, will serve to confirm the youthful owner’s contention that his treasures are safely locked up meubles decoration antique europe .
FIG 18th century display cabinets . 2 regency console table .72 1920’s art deco ceramics earthenware . Bureau catchall years of art deco period .
Bureau Catchall georgian tripod pedestal handkerchief table . By decreasing the pirate chest’s measurements to those indicated in Figure 2 antique brass teapot inlaid india .72, a small box for odds and ends on the bureau or dresser will result nathaniel russell, porcelain, drawing room . Glued together from Y4-in milanese cabinet ebony ivory . plywood, it represents a satisfying one-evening project prices and pictures of antique small tables made in india . The cleats can be omitted, and small brass hinges and padlock hasp used for hardware chamber pot table .
Pennsylvania Dutch Dower Chest antique dressers by northern furniture . A sturdy hope chest of early Pennsylvania origin (Figure 2 inexpensive antique wardrobes .73) makes a colorful addition to any room circular tilt top tripod tables . When lined with cedar it affords desirable storage for woolens, as well as for the traditional bridal linens regency ironstone marks blue .
To obtain a templet for the arched construction of the front and side panels illustrated in Figure 2 jacob-desmalter .73, two marks are made on one of the upper side rails, 3Y2 in 1900 antique mahogany dresser drawer . in from both ends on the lower, horizontal edge how to build a refrectory table . A curve with a 6y2-in english 16th century tables . radius is marked off between these marks and cut out with a compass or band saw antique furniture jugendstil . The rail can then be used to mark off identical arcs on the other rails perpetual calendar 18th century . The top rail for the back can be left straight regency secretare .
A Y4-in apostle spoon fruit pattern . groove Y,,i in french art deco porcelain jaguar . deep is cut in each arc, with the aid of a drill press, or hand-chiseled cockerel mark on pottery . The same-sized groove is routed in one edge of each stile and bottom rail, and on both long edges of the two center stiles, front and back antique+chippendale+dressing table+pictures .
Haunched tenons are cut in the top of each stile and on each end of all bottom Fu: 17th century gravy bowls . 2 antique pedestal end table mahogany with inlay scalloped edge .73 painted sideboard pine maryland . Pennsylvania German (lower chest mahogany console table monopodia .
rails antique table mirrors, standing lady . The corresponding members are mortised to form stuck panel frames neo classical console table antique . After the plywood panels are tried for fit, the mortise and tenon joints are glued and clamped antique brass table with animal legs . No glue is applied to the plywood caddyspoons . At the same time the top can be doweled and glued jugendstil furniture .
When the glue is dry, the corners of the four panels are rabbeted as shown ir the detail, Figure 2 antique english bone china tea sets empire .73 etruscan pottery olive . They are then glued and screwed at side and rear corners, with diagonal braces to insure true squaring art deco secretaire 1900 . Since the contemplated finish involves the peasant painting described in Chapter 5, flathead screws can be used, countersunk, and puttied complete antique porcelain sauceboat, stand and ladle .
The base has mitered corners with a simple cutout at the lower edge, whose rounded corners commence 3-YI in antique dresser names . in from both ends to form “legs edmund etling glass bird .” After being checked for a tight fit around the lower 2-YJ in mahogany hepplewhite table antique . of the chest, the base is glued together with four 2 in mid 17th century foods france . X 2 in “european art deco” war . blocks screwed to each corner from the inside oriental round table with ivory inlays and elephant head legs . Each block is bored to take a caster nancy daum butterfly lamp .
When the corners of the chest have dried, the bottom is butted to the frame and screwed on, after which operation the chest is inserted in the base, where it will rest on the four corner blocks scottish flame mahogany chest of drawers . It can be fastened firmly to the base by screws, countersunk lightly from the inside ivory handle sheffield flatware antique . The cove moldings are mitered and Lid (2I 1n kidney shaped dressing table antique . wide) Front and back stiles
Front and back top rails
Front an(> back bottom rails Front and side panels (plywood) Back panels (plywood)
Side stiles
Side top rails
Side bottom rails Bottom
Base, front and back
Base, sides
Blocks for casters
Cove trim, front and back Cove trim, sides
attached to the tipper edges of the chest and the base with countersunk finishing nails wood round pedestal with claws legs .
Cedar lining comes tongue and grooved in V4-in, strips approximately 3/1/4 in heated silver food dishes . wide antique indian ivory inlaid coffee table . Cedar plywood makes an excellent but more expensive lining late 19th century oak claw foot dining . The bottom is laid first, then each course, tongues up, is carried around the sides and ends, and butt-jointed george 3 style . The corners of the chest should be adequately braced from outside to withstand hammer blows from within 19th century chinese silk works . The top course is fitted so that it extends to within 141 in antique imari porcelain . of the top of the chest, when tongues are ripped off and it is sanded smooth antique blue glass kidney shaped end table .
To insure the proper overhang, two cabinet hinges are screwed to the underside of the lid and caught with a minimum of short screws on the top of the chest’s back edge dolphin sideboard . When the chest is upended, a pencil line can be run accurately around the outside edge of the chest, on the underside of the lid west indian art deco chairs . Another line drawn parallel to and Y4 in english stoneware . inside the first outline will mark the outer edge of the cedar lining for the lid maggiolini style inlaid furniture . A third line I in revolving bookcase drum table . outside the first outline marks an equal overhang for the lid designs for dressing table glasses .
The lid is then removed and its excess overhang cut off with rounded corners; the edges are beveled round and sanded swan plate kandler . Next a mitered course of cedar lining with its tongueless edges facing outward is bradded to the lid along the inside edge of the inner pencil line antiques table clock 1700 . “The interior of this mitered frame is filled with parallel strips to complete the g linin of the lid antique enamel drop leaf table .
A lock is recessed in the front edge and its keyhole framed with a suitable wrought-iron escutcheon plate, if desired clarice cliff style imitators . The hinges are screwed back on with longer screws and a chain fastened to hold the lid open 15th century chamber pots . Appropriate wrought-iron handles may be added jean claude chambellan . All edges and corners are beveled and thoroughly sanded to represent the roundness of age antique oak drawleaf trestle table .
Colonial Knotty Pine Cedar Chest antique nest of tables mahogany . Several methods may be employed to construct a simple pine storage chest william iv antiques . In the one described below (Figure 2 louis cube parquetry .74), random widths of knotty pine, either plain or V-grooved, or tongue and groove stock left over from a paneling job, are fastened with exposed dowel “pegs” to carry out the Colonial feeling antique 1700 silver tea pot . Pieces with the most knots and the handsomest grain are naturally chosen for the front, lid, and ends chippendale style coffee table tilt value .
To conceal the corner joints the ends of each side- and endpiece of the chest shown in Figure 2 antique empire marble top pier table,mirrored back ,marble posts .72 are cut with rabbet miter joints ormolou decoration . In Y4-in examples of anthemion designs on ceramic tableware . stock this is accomplished by cutting Ys-in french fluted legs . rabbets Yt in spoonback armchair . deep, then mitering the protruding ledge, which automatically reduces it to a length of Y8 in eastern antique dressers ., or half the thickness of the board jennens & bettridge tole tray .
Description
Sides silver forks made in london . lid framing
Ends, lid framing
Filler strips
Top panel, lid
Front and back, chest (18 in french heart chair black . wide) Ends, chest (18 in antique maple desks . high) Bottom, chest
Front and back, subbase Ends, subbase
Corner blocks, subbase (4) Front and back, base Sides, base
Drawer front
Drawer sides (over-all) Drawer back
Drawer bottom, plywood Drawer slides
Drawer guides
Molding, subbase, front and back
When all miters are cut and checked for fit, holes are drilled along the front and back sides of the corners to take -N-0 antique wine cooler and stand . 7 F makers of antique table clock with music in china .H chelsea moons porcelain . screws, countersunk /4 in black leather rocket chair with metal arms . and plugged, after glue has been applied to each rabbet wedgewood antiques tea service . If preferred, the corners can be fastened with dowels ogee bracket front foot . The bottom members of the chest’s sides and ends are also rabbeted and mitered into the bottom boards to preserve a finished appear- ance if it is ever decided to use the chest without its base forks and spoons in the 18th century . The bottom screws need not be plugged spanish table antique turned legs .
To make the base the four outside corners are mitered tea collectors . The drawer opening is sawed out of the front of the subbase, leaving a l:/-in antique “trestle table” kent . rail at the top drop leaf gate leg side table . The subbase can then be tried for easy fit around the bottom of the chest before it is glued and fastened together with plugged screws old oak dressers with the middle open . When the glue is dry, corner braces are cut into mitered halves and screwed in 0/8 in antique english ironstone . down from the top edges antique octagon desk .
The front and sides of the base can be cut out in a simple series of flowing curves typical of Colonial craftsmanship english rose porcelaine drawing and motif . (One such design is illustrated in Figure After the subbase has been glued and fastened together with plugged screws at its corners, the base is screwed to the subbase from the inside, so that the latter extends 2 in one drawer antique rectangular desk on pillar base . into the base chinese plant stands .
The construction of the drawer follows the conventional lines for center-slide drawers, with emphasis on strong joints to bear the weight of heavy linens victorian electroplate candlestick french sheffield . The dovetailed drawer described in a previous section devoted to drawer construction will admirably fill the bill art deco china sets from czecho slovakia .
Two 1% in fauteuil bureau . X iY2 in italian immigrant porcelain figures mantelpiece flatbacks . center slides are lapped, doweled, or lap-dovetailed into the lower rail nicholas sprimont silver spoon . Two smoothly sanded guides -Yg in xiv marking furniture pictures . X xY2 in brass railings marble furniture . are lap-dovetailed into the bottom of the drawer’s front- and backpieces, for each slide 1800’s library table . They are later glued in place along the drawer bottom with a few short brads inserted from inside silver candlestick pillar . The lower extension of the back of the drawer is cut out to receive the slides, 1/us-in dresden german antiques . projections being left in the center of the slot to ride over the slides dinner table english .
Quarter-round moldings are mitered around the top of the chest, the upper edge of the base, and its subbase antiquarian style 19th century furniture . The piece of molding along the front edge of the base is cut the width of the drawer, to which it is attached by finishing nails, countersunk, and puttied english hepplewhite revolving rent table .
The lid is constructed of a mitered frame of 6-in meissen porcelain rectangular plate . boards, covered by a glued-up panel of two shorter 6-in antique dresser names . boards, lapped back 2Y8 in silversmiths london england 19th century . all around, and screwed to the frame from the underside mobilier neoclassic antiques francais . Two filler strips are screwed 8Y2 in myott son & co hanley 1880 . apart across the width of the recessed panel to hold the cedar lining to the underside of the lid sidetable vignettes .
The interior of the chest is lined in the same manner as already described for the Pennsylvania Dutch dower chest silver plated corinthian hexagonal base three light candelabra . The lid is attached with a piano hinge, and a center break lid stay is installed craftsman oak . In this type of chest the keyhole can be left without an escutcheon plate circular glass pedestal dining table .
Pine Woodbox lombardy style dining room table 1800 antique . By reducing the dimensions and simplifying the base of the Colonial pine chest described in the preceding pages, a sturdy matching container for firewood can be easily constructed (Figure 2 myott son compagnie .75) antique wooden gate card table .
Suitable dimensions will provide a chest 36 in antique glass epergne . long and ig in antique box of some sort…..iron shaped ,hinged..with a leaf type engraving . wide with a total height of 17 in circular glass pedestal dining table . Since there is to be no drawer, the subbase is eliminated and the base proper constructed of separate legs and filler strips as will be noted in Figure 2 serpinetine leg table antique oak .75•
For added strength, as well as for experience, lock miter joints can be more easily constructed with hand or power tools in the narrow widths of siding used to build up a chest of this style antique italian bracket clock . If a simpler joint is used it can be strengthened by corner braces that have been ripped lengthwise into triangular strips (B) neoclassical sheraton style butlers sideboard . If heavy logs are used for firewood, it will be better to raise the bottom and reinforce it by strips screwed underneath to the edges of the chest (C) english george 111 silver .
In place of hinges the combination hinge and lid stay pictured in detail A can be installed 17th century german antique furniture commodes . The fabrication of the seat cushion will be described later in Chapter 7 lacquer artistry art deco . If the box is to be used as a window seat, its height will, of course, be dete>mined by the distance the window is set above the floor french neo-rococo marble top table .
KITCHEN CONVENIENCES
The culinary department of the modern home has made noteworthy advances during recent years as the result of scientific planning george hepplewhite stringing . Not the least important factor in this “wife-saving” campaign has been the development of well-proportioned cabinets for the compact and convenient storage of utensils and dishes queen’s lusterware .
Kitchen Cabinet drop leaf table wall semi circle . The one-piece job (Figure 2 candelabra baroque .76) described below can be easily altered to suit circumstances victorian sutherland table . It provides a working surface of 24 in antique ladies writing wedgewood . X 36 in de hua blue and white characteristics . with a 16-in “stickley brothers” quaint furniture reclining chair . clearance at the rear for tall articles such as electric mixers artdeco gilded lacquer furniturs . A plywood counter is specified on the assumption that it will be covered by linoleum, or other suitable material furniture makers of the 16th century .
Before the sides (A) and (B) of the cabinet are glued, a Y4-in “glass liners” plates lead . rabbet Y2 in normandy antique clock longcase . wide is cut along the inner sides of the back edges to take the plywood back english stoneware . After the sides are glued, instead of using clamps, the base cleats (E) can be screwed 3 in antique english column candlesticks . back from the fronts of the bottom edges, and the drawer guides (P) fastened in place, including the three on the right side art deco woman figure porcelain . Cleats (R) can also be lined up and screwed into place at this time, ready to hold the rear of the counter’s sides lyre based sheffield candlesticks . Blind dadoes are cut io in danish traders flora danica . apart in the upper sides for the bottom (G) and the shelf of the upper cabinet, (T) west indies bedroom furniture .

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Plywood Screens trestle table antique german . For the cabinetmaker who has access to rabbeting or dadoing planes or equipment, the construction of a screen with an exposed frame holding plywood panels will prove a worth-while project antique dressing tables .
Such a screen can be constructed, however, of narrow tongue and groove flooring strips with the tongues ripped off and planed down wood secretaire . The uprights are cut the same length as those of the wallpaper screen with grooved sides inward, facing each other recipe for “soft paste porcelain” . The top and bottom stiles are haunch-tenoned into the uprights, with the grooves toward the center of the frame porcelain french imitation planter . The interior stile, tenoned two thirds of the way up in the frame, must have its tongue replaced by a groove to receive the plywood panel forks ivory handles . Panels are cut and fitted into the grooves of the frame before the tenons are fastened and glued dutch provincial furniture . No glue is used on the panels nabeshima shi shi porcelain .
A more workmanlike job would include curved top stiles and varying widtlis in the interior and bottom stiles aimone mfg co new york . The framing should be at least Ys in cherry table with lift up top antique . thic I C, with widths as shown in Figure 2 ebay - 8 legged mahogany drop leaf dining table .4 angouleme guerhard . The inside of the stiles are grooved (detail A) or rabbeted (detail B) to take the plywood plus quarter-round moulding 19th century sideboards . After their positions are marked on the uprights the latter are rabbeted and the fra
glued together with mortise and tenon joints (or dowels) antique octagon oak table . The plywood pants are held in place by the mitered strips of moldings, glued and bradded into place 1930 british chairs .
Tapestry Screens dresser with open area . If desired, the panels can be covered by a favorite tapestry, embroidery, or other material vintage porcelain plate with brass pedestal . In the interest of economy, as well as minimum depth for the rabbet, beaverboard or heavy cardboard can be substituted for the plywood when the surface is to be concealed by fabrics or other materia 19th century secretary .
d
Nautical Screen decorchement glass windows 1930 . For the marine rumpus room, porch, or boy’s den, wid stiles and rails of well-grained wood are doweled, or mortise and tenoned, so that sailcloth or unbleached muslin can be whipped taut with white cotton rope as shown in A, Figure 2 ebony breakfast table 18th century .5 furniture in neo classical style,east india company, india . Metal grommets are riveted into the four hems of ea(h of the panels, which can be stenciled with appropriate salty designs 18th century english furniture coffee table book .
moldings lion leg decoration table . For additional security the moldings are bradded together at tops and bottoms antique knife sheffield marbles . It is well to brad the first and last pair at intervals throughout their lengths brass skimmer antique .
The resulting screen can be painted to match the other furniture, or the trim 4 the room captain’s davenport with working drawers on both sides . If desired, a design can be painted oil either or both sides, likewise ():, austere style .e side can be painted in one color and the other in another color wrought iron tripod candlestick 16th century .
PICTURE FRAMES
With the variety of moldings available at most lumber yards it requires only a bit of care on the part of the home craftsman to enable him to construct his own picture frames 1840 gate leg tables . In fact, a large
amount of the accuracy required in cutting and fitting the sometimes tricky miter joint can be eliminated by using the combination miter board and clamping jig shown in Figure 2 antique black lacquer japanese mirrors .6 dining furniture design in 1900 .
Miter Board and Clamp art deco candle sticks . The dimensions of the jig will of course depend upon the sizes of the frames to be constructed cabriole legs desk . To accommodate an average-sized picture with mat, measuring approximately ioY2 in antique gateleg table rectangular . x 14Y8 in “17th century dining table” ., a piece of heavy plywood or glued-up stock 21 in trestle table refectory tables oak . x 2 - in hand blown romer glass . will
en Outer 1 of
suffice antique bureau sideboard . liter cleats 0 1/2 in drop front desks . to
2 in french inspired desk commodes, imitation . hardwood are screwed around
the four sides as shown in the di-
agram deco cabinet making . At one corner, oak strips Fie 1800’s cylider desk . 2 antique spiral leg writing desk .6 antique mahogany card table .
are screwed down to form the miter
board spanish puente pottery . These strips must be cut and fastened accurately and square dutch 17th century bombe commode . Wedges are inserted when the miters are cut, and again for clamping the four mitered corners after gluing dropleaf suppertable with pedestal base .
Scratch Stock art deco wooden armchairs . Simple frames can be
Blodc beveled or rounded with a hand plane antique kayseri silk carpet pictorial hunting . Beading and other designs can be gouged out of close-grained hardwood with a homemade scratch stock, shown in Figure 2 art nouveau display cabinet .7 16th century english joyned table . This tool must be “made to order” for the size of the molding it is to shape english baroque furniture . It consists of two hardwood blocks notched to the width and thickness of the piece of old saw blade, which has been filed or ground into the desired shape antique gateleg tables . The blade is held tightly by six bolts with wing nuts, and pushed away from the operation against the clamped molding preformed plywood . Commencing with a shallow cut, the blade is lowered successively to increase the “bite antique silver bread basket .” Sanding is required for a smooth finish davenport drop slant desk shell .
If the molding is to be shaped, it is preferable first to cut the rabbet for the glass in the back extending tables . Should the molding be too thin to take a rabbet, thin strips
glass
can be glued and bradded Y4 in 19th century european cabinet makers . to Y8 in staffordshire figure prince “zebra” . from the inside edges to form ledges reproduction 18th century tea bowl .
In cutting the miters in the miter block the main requirements are tight wed’ ing and accurate measurements birdseye maple side tables . If the opposite sides of a frame are not exact y equal in length, the corners will never come out square “hunt diederich” woodstock, ny . To allow for the mit r, in measuring the length of a molding, twice its width must be added (minus the rabbet) to the over-all picture or glass size on that side thonet bentwood rocking chair . If a faulty miter is cut, it can be repaired by clamping it tightly at a known right angle and making one )r more saw kerfs through the joint to even up both sides 17 century french lead dining plates .
As the miters are cut and “dry-fitted,” it is well to number them in penc 1, after the cut surfaces are sanded coalport poisidon . A thin sizing coat of glue should be applied to close the end-grain pores late 1920s patek winged lugs .
For light frames, picture-frame nails, in addition to the final glue coat, w 11 suffice english furniture dressing table . Waxed paper should be placed under the joints before the jig is glued ar d clamped in antique harp italy end table . In heavier frames, corrugated fasteners driven into the rear can be used, provided the molding is thick enough raoul lachenal monogram .
Dowels are necessary reinforcements for heavy frames, and slip feathers or splines of veneer (Figure 2 inlaid antique side table .8) have great holding power chiffoniers court cupboard . Grooves for the latter
type of joint consist of a saw kerf through
ve,?eer both members when they are clamped to-
iaSarvKerf as shown antique card table with one flap . The grain of the feather
or spline should be at right angles to tl e
J miter cuts hirado porcelain .
Finishes dutch antique oak chair . The finish of the frame depends on the kind of wood employed, the color scheme of the room, and most of all, the picture itself antique revolving bookcase . If a clash with other hues can be avoided, an interesting trea
ment is to select a dominant color or spa e e in the picture as the principal color for
FIG does seafood damage silver dishes . 2 paper mache tray india .8 19th century. english cabinet . the frame decoupage veneer . When the frame is beaded, an inner band of silver or aluminum paint s
another pleasing variation suitable for many framings spider table supports . Gilt, bronze, and silver
paints are standard finishes silver plated furniture .
Three-Dimensional Effects how to age a refectory table . When duplicate pictures or photographs
interesting depth effects can be obtained by the use of an additional sheet of glass antique frnech empire furniture . First a piece of glass the same size as that already cut for the frame is laid over the picture and its mat, as it will appear in the frame antique gate leg table makers . Then the central, foreground part of the picture is cut out and pasted on the second glass sheet directly over the same figure in the glass-covered picture lion head and paw antique table . All that remains is to cut the rabbet in the back of the frame deep enough to receive both pieces of glass, the mat, picture, and backing, as in Figure 2 hunebelle glass .9 romans ang greek furniture .
iii
Cardboard Backing
Picture
&1QSS With cutout
Intermediate te Background Glass With Cutout Foreground
Clear Wass (Front)
Fie porcelain cris de paris . 2 orrefors blown glass & stemware & smoky gray .9 berkey gay antique furniture . Three-dimensional pictures rene jacques decorative wall pendulum clock .
Even deeper relief can be secured from three identical pictures, with objects in the intermediate background cut out and cemented in their proper positions on a third piece of glass, midway between the other two regency period chamber pot .
Trays rietveld . Heavy frames holding triple-strength window glass make excellent serving trays when backed by light, felt-covered plywood that has been glued and bradded, or screwed, to cover the entire back of the frame shallow display cabinet . The best practice is to cut a second rabbet to the depth of the plywood, / in dining table austin tx art deco japanese . inside the outer edge of the frame louis xiv dining table . A picture, design, or piece of colorful fabric call be inserted between the glass and the backing, and simple handles screwed into the ends refectorytables .
PLYWOOD PROJECTS
Plywood panels, made up of thin layers of wood glued together with the grain of one at an angle (as much as go’) from the other, have proved a boon to cabinetmakers surface decoration of the french art deco . Fabricated with one or both sides veneered with a wide selection of beautifully grained woods, these panels vary in total thicknesses from less than
in glass front marquetry cabinet . to as much as 3 in pictures of victorian era etagere with mirror addition . They come in wallboard lengths up to 4 ft lion paw bedroom set . wide antique dutch desk .
Compared with solid wood, the advantages of plywood lie in its near equalization of strength properties along the length and width of the panel, its resistance to checking and splitting, and its indisposition to change dimensions with changes in moisture content myott son & co. hanley . These advantages result from alternating the direction of grain in successive plies classical pier table . Since the strength of any wood along its grain is much greater than across the grain, equalization of strength properties is approximated by the increase of strength in one direction counterbalanced by a decrease in the other direction antique pembroke tble .The greater the number of plies for a given thickness the more nearly eq -1 will be the strength properties along and across the panel, and the greater t e resistance to splitting 17th century tool chest . The use of an odd number of plies permits a balanci g of stresses, whereas when an even number are used, each pair of plies at rig it angles tends to distort the other when changes in moisture content present n opportunity for warpage or cupping knife case with green handled cutlery antiques . In addition, the shrinkage of plywood co
strutted from five or more plies is less than that of three-ply material and me e nearly equal in directions parallel and perpendicular to the grain age of antique french refectory tables .
There follow a few examples of relatively simple projects employing plywood
to a maximum degree shallow display cabinet . In general, plywood material is not suitable for rabbeti g,
grooving or dadoing operations, w’ h
Z’
hand tools export quality porcelain . With high-speed machi e Z tools satisfactory jointing can be acco
1 immitation queen anne style bedside cabinets .* 1- -1
p s e particularly where the depth IL
Pt 11′ antique german furniture for sale . cut completely severs one or mr e
the restoration style furniture 1815 1830 .Pobbetedplies and stops before entering g the 11;0
JointA ply or crossband cherry table with lift up top antique . Exposed edges can e bound as illustrated in Figure 2 silver clocks .ro or sanded smooth and camouflaged w th darker stain than used on the face of -1 e material “pembroke table” . If preferred, the edges may ,se
painted with a suitably light undercoat -in brushgrained with the face stain reproduction bedroom furniture lancashire cherry . Beverage Tray victorian tripod tables . A straight, six-glass beverage tray is a satisfying project to
assemble from scrap lumber oak drop leaf gate leg side table .
LUMBER LIST
The endpieces are filed and sanded round on one or both top edges, and Y4411, dadoes cut horizontally across the inner faces, 2 in 17th century chinoiserie silver makers . apart and 1 in antique oak games table . lip from the bottoms pembroke trestle table . One-inch dowels or other suitable handles are screwed in place frm inside, as illustrated in Figure 2 designs for italian occasional tables .11 prices for antique gateleg table .
In the upper shelf six holes with 3-in designing a credence table . diameters are cut out i in curved walnut dining chair . apart, start ng iY2 in art deco furniture bugati . from the ends price of antique gebruder bentwood rocker . The two plywood shelves can now be glued into their grooves and the tray finished as desired french commode . The diameters of the holes in the up-)er shelves should of course conform to the size of the glassware on hand silve filigree fish slice and fork with ivory handles .
Corner Lamp Table delftware pottery . Two pieces of plywood an a half dozen dowels when assembled as shown in Figure 2 austere style .12 will produce a modern corner lamp table of
Thickness, in inches simple but effective design oval confidante sofa . Placed in a corner between two loveseats, or units a sectional sofa, it not only serves as a lamp and smoking accessory stand, I also offers space for magazines and beverages ironstone ware craftman china willow .
LUMBER LIST
f t
Thickness, I 111″idth,
Pieces in inches in inches
Length, in inches
Description
40 Top and shelf
q/ Top legs (dowels)
19 most expensive antique glass vase .Y4 Bottom legs (dowels)
3 Dowels, through shelf
I/ Dowels, into top
Figure 2 seventeenth century english stoneware .12 illustrates the construction in detail were exports scenes common in the chenghua period . All edges are rounded and sanded dresser and mirror and rosette and antique .
In place of the wood top, plate glass with beveled edges and holes drilled above the top dowel legs would be in perfect tune with modern development antique table with rope legs and metal castors . The glass can be attached to the tops of the legs by means of screws threaded through ornamental metal rosettes antique wooden hinges gateleg .
Hanging Bookcase clarice cliff style imitators . Somewhat reminiscent of Chippendale, the restrainA curves of this Colonial bookcase (Figure 2 white bombe type chest of drawers .13) support two shelves that will hc1d at least twenty average-sized books, a top shelf for bric-a-brac, and a small drawer for oddments antique mahogany card table .
LUMBER LIST
Hanging book case sheffield silver candelabras .
This project can be cut from Y2-in victorian writing bureau . plywood or from solid stock, as preferred, and solid stock can be used for a glued-up back also dutch rococo cupboard . After the design shown in Figure 2 folding tripod table with brass top .13 is copied on x-in delatte nancy . squares it is laid out on one of the sidepieces, and the two sidepieces are then clamped together or bradded outside the usable area history of 18th century mahogany wine coolers with brass lion’s paw feet . Both sides can then be cut out at one time with a coping saw or jig saw antique mantel french clocks 1800 hundred candle set . The exposed edges of the sides, shelves, and spreader are finished smooth by sanding imperial drop leaf antique table .
Rabbets “Me, in antique dutch bombe bookcase . deep and Yj in 17th century chinoiserie silver makers . wide are cut in the inner rear edges of the sides to receive the plywood back, and in the bottoms of the drawer front and sides for the 3M6-in josef originals value . bottom panel victorian sutherland table .
Blind dadoes Y4 in 19 century sewing table . deep and Y2 in 1950’s staffordshire porcelain religious figural . wide are cut in the sides of the bookcase the lengths of the respective shelves, measured at right angles to the back rabbet, with a Y vintage drop-leaf tables .j in antique furniture from government buildings for sale . X Y2 in antique regency furniture . blind rabbet for the spreader antique english stoneware pottery . Dadoes 3/io in antique federal sofa chair . deep and -Y4 in 1930’s italian furniture . wide are cut in the center of the drawer sides for the runners antique drop front desk . After the drawer parts are sanded the runners should be tested in their grooves for smooth fit finmar alvar aalto stool .
Three screw holes are drilled along the centers of each shelf dado and countersunk %(1 in “european art deco” war . on the outside; two such holes are prepared for each end of the spreader nicolas bernard fiat . The bookcase can now be assembled with flathead screws and glue bernard palissy antique . When dry, the back panel is bradded in place along its rabbet and screwed to the back edges of the shelves regency period chamber pot . Countersunk screwheads are covered by glued plti- chenghua foot rims .s cut from close fitting dowels and sanded flush smallest davenport desk .
The drawer sides are now assembled to the front and back with glue and brats and the bottom is slid into place and bradded walnut escritoire . With the drawer as a templet t e locations of the two runners can be marked for gluing an(> bradding into place art deco side table .
A wooden or brass knob is screwed into the drawer front an(> the bookcase s ready for finishing chamber pot . Many old Colonial pieces used black paint to cover end-gra n edges sheffield shovels . For sanded plywood edges a darker stain can be used or a close gra n simulated over a light undercoat 17th century drop leaf oak gate leg table .
Since the sides are 15/1 in restoring draw leaf table . apart, the bookshelf can be hung oil nails or scre s driven into the studs of a wall french napoleon mirrors . which are customarily spaced on 16 in consolidated lamp & glass company of coraopolis, pennsylvania in 1926 . cente Holes for this purpose can be drilled diagonally in the upper portion of the sid;•, or, for greater strength, flat metal eyelets purchased or cut from sheet metal a d screwed into the back of the top ends antique writing table inlay legs . If it is not desired to drive nails into tlie walls, the bookshelves can be suspended from wires from picture hangers llook;d over the picture molding czech opaque glass batch .
Sewing Cabinet napoleon cabriole leg . Of continuing popularity with the fair sex are various for s of Priscilla sewing cabinets (see Figure 2 noveau austrian style .14) marquetry occasional tables . The compact little receptade described below can be cut from plywood and assembled with a few simple too s louis fourteenth chairs .
LuMBER LIST

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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.

Tags: African, Afzelia, Agba, ancient civilizations, aristocracy, Australian, beautiful furniture, Beech, Birch, Bubinga, Canadian, Cedar, Chippendale, craftsmanship, current trends, decoration, early seventeenth century, edge, furniture styles, hand, joiners, machine, mahogany, mass production, medieval europe, Nigerian, north ofEngland, part, personal idiosyncrasies, planks, plastic, provincial furniture, quality, regional traditions, repeat, Rosewood, sixteenth century, skilled craftsmen, status symbol, test, Tools, trestle, urban furniture, walnut, Windsor, wood inlay, wooden chests, Yellow

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)
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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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O
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.
I
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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