Jul
17
The chairs are reminiscent of the Adirondack type of construction and with the addition of cushions, are styled for leisurely outdoor living antique tables a gibier . The plywood table top with short peg legs can be removed to the kitchen or barbeque pit for loading, and returned completely set for a meal a deux antique 17th century fork .
The chairs are assembled first, and with butt joints throughout present no problems antique music stand london . The bottom edge of the back can rest on an additional cleat butted between the side rails, if desired, although once the back cleat (A) in Figure 3 victorian electroplate candlestick french sheffield .5 is in position, it is a simple matter to screw the bottom of the back to the edge of the cleat heavily carved oak drop leaf table . The top of the back can be band-sawed to the curve shown in the drawings, or the top half of an octagon or a blunted triangle, as preferred front hall rococo tables .
To provide for a shelf between the chairs, cleats (B) in Figure 3 indian furniture low table .5 are fastened to the inside stretchers to level up the plywood shelf empire mahogany dresser . To connect the two chairs the two long auxiliary rails are notched at (C) and (D) and fastened into place renaissance revival fall-front writing desk . The waterproof plywood shelf is cut to fit between the cleats with an overhang of Y2 in antique writing bureau in london . over the top edges of the two connecting rails viktor schreckengost, enamel artwork . A Y4-in cobalt greek pottery . piece of waterproof plywood is cut with rounded edges to fit over the tops of the two arms, as indicated in the drawing lusterware made in czecho-slovakia . Four /M-in small coffee table antique connected legs bar with scroll legs . dowels are let into the corners of the tray to fit into four corresponding holes bored into the chair arms antique tea set - rh macy .
Description
Legs
Side rails Arms
Arm cleat
Back bottom cleat
Back splats Back top cleat
Seat slats
Front and back stretchers Side stretchers
Table
Shelf cleats Shelf (plywood) Top (plvwood) Connecting rails
For added strength, it will be noted that four stretchers are provided for earl chair dressing table glass set made i n czechoslovakia . If it is anticipated that this lengthy piece of combination furniture will be subjected to much moving about, strain on the outside arms will be lessened f the connecting rails are lengthened about iY2 ft japanese art nouveau desk . to provide o-in were exports scenes common in the chenghua period . handles at either end, cut out and rounded in the style shown for the rolling lounge in a later set - tion 18th century occasional table .
TABLES
Occasional Tables “jean luce” arzberg . Strategically placed occasional tables are as importal t to the comfort of the occupants of the outdoor living room as they are elsewhe e in the home antique bohemian engraved glass . Indeed, during warm spells, chairside tables and stands are almo;t a necessity for holding cooling drinks, as well as smoking necessities, sun glasses, magazines, and books antique lions paw display cases .
A pair of the square-edged little end tables pictured in Figure 3 antique soup terrine .6 can, when equipped with suitable latches such as window catches on their undersides, be According to the formula for finding the dimensions of a polygon, the sides measured off in a 23Y2-in chinese porcelain wall decoration mask history . square will be 9,Y4 in chippendale antique tables . The pieces forming the top can therefore be cleated together as shown in the detail in Figure 3 turn tripod into table .6, and the four sides cut to dimensions “perspectiva cabinet” . The cleats are attached so that they will permit a 2-in george scheidt enamel . overhang when the legs are screwed to the cleat edges drop leaf walnut table gate legs .Modern End Table walnut small queen anne oval top drop leaf table . Knocked together from rough lumber with butt join s and section of rollings pins or wooden poles found in the centers of rolled-lip rup, this streamlined table when painted will not only present a smart appearance, bi, t will also offer a welcome amount of handy shelf space antique credence . The round members can Le doweled in place, or plugged and screwed tripod pedestal .
21-”
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FIG early renaissance italian furniture ebonized . 3 1741 antique eagle claw chair .7 meissen tureen marcolini . Modern end table antique japanese bedside cabinet .
The dimensions in Figure 3 cherry gate leg rectangular table .7 can be varied to conform to the furniture the table is destined to fit doucai ming . If constructed of bleached hardwood stock with mitered corners and dark, sanded columns, or selections of brass or chromium pipe, the table can take its place indoors with the latest examples of modern styling kotahya ceramic .
Cocktail Table empire table lyre base . The mention of rolling pins as bona fide aids in furniture construction brings up other possibilities meissen porcelain antic . One of the simplest yet most effective uses for rolling pins in furniture design is as legs for a modern low coffee or cocltail table thonet rail styles .
The top can be of -Y4-in queen anne gate leg table 18th century . waterproof plywood for outside use, cut oblong, octagonal, or round chinese porcelain wall decoration mask history . After the handles of the rolling pins are removed, they ca-i be doweled into the plywood without the use of cleats or rails arts and crafts slant front antique desk . If screwed from the top, a formica, A-licarta, or treated linoleum covering can be cemented ov(r the top antique empire marble top pier table,mirrored back ,marble posts .
Used with a well-grained piece of hardwood or hardwood veneer top, sucb antique earthenware spirit dispenser . I table would be a handsome addition to the indoor living room 19th c. federal style occasional tables .
Ratchet Table mid eastern style shell drawer . An unusual table that takes the form of a wooden Jack s nevertheless quite useful and easy to make (see Figure 3 1920s draw leaf dining set turned legs .8) tea collectors . Capable of being raised or lowered at will, it is available for various purposes as well as to functim beside chairs with or without arms art deco ceramics . Uprights
Crosspiece
Ratchet leg
Ratchet foot
Pawl
This is a piece of furniture that will give better service if the ends of the two uprights are mortised and tenoned, or at least doweled into their base and crosspiece, and the ratchet leg into its foot and cleat william taylor antiques .
FM- 3 french bedside table with cabriole legs .9 social elements of art . Ratchet table french draw leaf dining table .
After the open mortise in the top crosspiece (E) is cut to permit a sliding fit of the ratchet leg (F), teeth are cut in the latter, and its pawl (H) whittled and mortised, as shown in Figure 4 medieval antique collectors .9• In commencing the assembly, the ratchet leg is first attached to the cleat (B) to which the table top ( derby-porcelain>18th>cetury .4) is screwed, then to its foot (G), before the uprights (D) are tried for fit and secured to their base (C) and the upper crosspiece or bridge (E) 18th century king george red velvet arm chair value . The pawl (11) is attached in place with a copper nail or bronze screw reupholster chair french 18th cenyury .
Magazine Stand sofa 1920 . A handy movable porch table (Figure 3 wooden oyster stand .9) for holdir,g magazines, books, or tea things can be quickly knocked together out of scram lumber or plywood blue glass antique tables .
Thickness, Width,
Pieces in inches in inches
LUMBER LIST
Length, in inches
Description
2-3 Y4 6-9
6-9 Y4 6-9
4 Y4 3 -Y,1
I Y4 3,Y4
18 Top (18 in silver candlesticks faceted turnings . wide)
18 Shelves and bottom (17 in antique napoleon lll . wide)
24 Uprights
7Y2 Corner blocks (4)
The shelves and top can be either glued up or cleated together near the end >, after which the uprights are screwed in place as pictured in Figure 3 wooden dresser box antique china .9 primevera crackle glaze bird . Fot r corner blocks are sawed out, and after being drilled to receive the casters, ate glued and screwed in place song dynasty bluish green glazed earthenware . Screw-on casters requiring no holes are preferable, since they cannot come loose andre hunebelle glass .
Better practice would be to lap the uprights into the shelves and bottom aimone mfg co furniture . The top could then be left with all overhang, if preferred rare antqiue marbels .
Flower Table antique drum table . If carefully constructed and finished, the flower table wit recesses for potted plants illustrated in Figure 3 a dutch walnut and burr-walnut longcase clock .io will be a source of year-rouiLl pleasure names of art deco furniture makers . Such a table is especially appropriate in a glassed-in porch where the OUTDOOR FURNITURE 207
Sun will help to keep growing plants green all year long interior design drawing room . The two recesses are lined with copper, having a central portion available for magazines and smoking accessories, with a handy drawer for cards and games old silver lustre, myott & son .
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FiG old gate leg table ball feet . 3 elizabethan era furniture .io 17th century bombe commode . Flower table commode chairs 19th antique .
The legs are styled according to the maker’s personal whim, those shown in Figure 3 borromini apprentice with a woodcarver .io being tapered to i in antique neoclassic furniture . on four sides ansbach tin-glazed earthenware . The tops of all four legs have
laps cut 5% in revolving chipendale bookcase . long on the two outer sides for the aprons antique 1700 small desk . The latter are mitered at the corners and screwed to the legs from the inside meissen figures 18th century . The two sections of the front apron are dovetailed to the upper and drawer rails art deco upholstery .
Before the partitions are inserted, all interior side cleats should be screwed into place 19th century oak turners chair . After the partitions are in position, the end cleats can be fitted and fastened french art nouveau pottery marks . The plywood bottoms can then be bradded into the plant recesses shearers cupboard heavy .
Copper for the pans in the plant recesses is cut according to the detail in the drawing english furniture dressing table . ‘>’his leaves a Y4-in emile-jacques ruhlmann rugs . lap at the top to be turned down, and a Y4-in rhombic depression glass . lap at the side for soldering 19th century casters . Owing to the overhang of the top, the pan must be set in place before the top is fastened in position antique new england pine dresser .
The top is mitered at the corners after the center section is doweled into Legs
Rear apron
Side aprons
Front aprons
Partitions
Front and drawer rails
Side cleats and drawer slides Drawer end cleat
End cleats
Recess bottoms (plywood) Front edging, top
Side edging, top
Top (153/4 in antique inlaid desk built for a duke . wide)
RUSTIC FURNITURE
Appropriate for gardens and terraces, as well as for week-end cabins ard cottages, furniture constructed from rustic materials has retained widespre, d
popularity throughout the years writing desk slanted top 17 th century . Its rough-and-ready appearance brings to wi> d n
the hardy pioneers of America, who with the simplest of tools built their o%-n houses, barns, fences, and furniture from materials they chopped out of t re wilderness wolfgang hoffman sofa .
These same materials are at hand today, together with a selection of liar d and power tools not available to those early settlers czechoslovakia silversmiths . For those who have accc-;s to lumber mills or portable sawmills where logs are cut into rough lumber, t ie trimmings, in the form of slabs, are easily obtainable for the construction of sh b furniture japanese antique silver tray . in cities, such slabs can usually be secured from fuel dealer-, in 44t lengths antique streamline stapler . Where possible, slabs should be selected that run between 3 and 6 iin west indian antique mahogany bed . in thickness and 12 in holophane antique . or better in width 1840 american clock . For the backs of chairs or bencl-L-s it is well to choose a few slabs about 6 in antique display . wide and 2 in 1930s club chairs . thick see a silver sauceboat with a heated base .
Saplings whose diameters run between I and 3 in ebay uk kidney dressing tables . are require for legs, arn s, and stretchers british antique wardrobe designs . If available, tamarack will prove an easy wood to work 17th century trestle refectory table . Otherwv,,e any tough wood reasonably free from knots will prove satisfactory gueridon tripartite base table .
wood shrinks considerably, only seasoned material should be used, except when saplings are to be bent antique dresser with drawers stamped 54 . Uniform curves in two or more saplings can be secured by bending them around wooden forms and leaving them to season for a few weeks in a warm dry place arc design in drawing room . Sometimes branches that have grown to the appropriate curves or crotches can be picked up 19th century pennsylvania furniture prices .
In the construction of outdoor rustic furniture, oak, cypress, redwood, pine, and cedar are most satisfactory “chest of drawers” +cherry +1840s . For indoor use in a cabin, or as atmosphere in a rustic rumpus room, lighter woods can be used to advantage because their added thickness will present a sturdier appearance antique oak buffet with bowed sides .
As in all furniture construction, screws are preferred to nails, which are apt to pull out wedgewood neoclassical . This is particularly true of flexible slats on the backs or seats of chairs or benches art deco antiques paris . The screws need not be of brass, bronze, or coated material since their ultimate rusting will blend with the bark or stained effect zebra on a plate made in italy .
The preparation of slabs for furniture depends upon personal preferences freedom nouveau range . If the bark is left on it would appear inconsistent to plane and sand down the cut side of a slab to a commercial smoothness antique spanish candlesticks . Sufficient planing and sanding should be done, however, to insure comfort and remove splinters beilby glass prince of wales feathers newcastle . The presence of saw marks and drawknife strokes serve to enhance the pioneer aspect of rustic furniture epergne antique for sale .
To bugproof the bark a thorough brushing with a mixture of three parts of boiled linseed oil to one part of turpentine will prove effective antique 16th century chestnut spain . Because the application of this mixture to cut surfaces will darken them, it is best to apply spar varnish to the slab tops antique german furniture for sale . In fact, the best practice is to apply spar varnish not only to the raw surfaces but all over the bark, to prevent moisture from seeping in, and eventually causing the bark to loosen and peel off antique table with hided extentions . Should this occur, the loose pieces can be tacked down with uncoated shingle nails oak refectory tables, netherland .
Because of the variation that will be encountered in the available supply of logs, slabs, and saplings, few dimensions are included in the following explanations of rustic furniture construction chinese lacquer bar . Suitable diameters should be selected proportionate to the strain to which the various members will be subjected, and over-all dimensions must be consistent with comfort for a person of average size lacquer artistry art deco .
Stools and Benches vinyl red 1930’s chair . With wide slabs for tops, rustic stools can be constructed in much the same manner as the Early American coffee table described ill t’ e previous chapter (page 81) curule friedrich schinkel . In this case 17-in table antique empire style campaign . saplings for the legs should e selected first, in order to determine the smallest diameter of the tenons antique black secretaire cabinet . As a gage, the bark of the smallest sapling is whittled off with a drawknife to make s nearly round a tenon as possible, which will equal the diameter of an availa e auger bit antique arts and crafts writing table . The latter can then be centered at the cut ends of the other three lets and turned just far enough to scribe circles as gages for whittling antique hepplewhite drop leaf table information . The same I’t can then be jigged to bore the four holes in the slab top pieces epergnes .
When relatively thick slabs and seasoned saplings are used, the leg tenons do not go all the way through the slabs, but can be fox-wedged into their holt,, as shown in A, Figure 3 queen anne antique bureau photo .11 table octagon inlaid drawer european austrian . With green saplings, however, it is best to bore t,e holes all the way through the slabs and wedge the tenons from the top, as in
When the wood dries and shrinks, the wedges can be driven further in or replaced with thicker ones venalainen hopeakalusto .
Rungs and stretchers of smaller saplings are inserted into their holes ill t e legs before the latter are wedged into the top slabs; they can be fastened 1 y means of nails, as illustrated in C viennese chairs . Ali optional method is to wind heavy co rafia, or rawhide thongs around the joint empire pier table . Rawhide should be dampened a> d pulled tight when applied; all wound joints should be spar-varnished to prot• t them from the loosening effects of dampness meissen harlequin kandler .
By lengthening the top slat) and tyingthe two leg assemblies together with a
long centralsapling as a stretcher, backless benches call be constructed to al y
desired dimension brass skimmer antique . To provide a back with arms, it is necessary only to add fo 1 r slanting uprights to the upper surfse of the slab in the same manner n which the legs were inserted white art deco cabinets . The re: r uprights for the back have a sufficie t rake for comfortable sitting, a bask slat) consisting of a thin slab doub
lapped into the back of the uprights, s shown in Figure 3 italian library tables .I z english baroque pottery . If a curved sl b is available it will be more comfortab and a second slab can be added desired; both are screwed in pla e
Fic burr walnut antiques . 3 18th century bureau .12 signatures of art deco cabinet makers paris . Rustic bench artdecoantiquepottery . from the rear american art deco furniture office chair .
Arms are provided in the sa e
manner as rungs for the legs are assembled corinthian column + solid silver . They are added not so much f-r comfort as to give added support to the back french dining table parquetry stretcher draw leaf . Their front ends should be beveled down and sanded 18th century soup urn .
Slab Chairs enterprise porcelain italy . In assembling chairs from slabs, the main consideration is o secure a slab wide enough for the seat 19th century bavarian side chairs . This should be at least 18 in 19th century danish commode .
Jul
17
18th and 19th Century Furniture. Tables and Cabinets.
July 17, 2009 | Leave a Comment
Corner joints desk with display cabinet .
from the bottom of the member edge, after which a -is-in walnut veneer wardrobes art deco . rabbet, 1//,(, in japanned bracket clocks . deep is cut at the bottom modern art deco bookcase . A Y4-in marius sabino leaping gazelle . rabbet cut from the opposite side will leave a in art deco furniture bugati . x %a in victorian cutlery tray - eng oak . tongue projecting dressoir antique .
In the front member a Y4-in francois linke black lacquered napoleon lll . dado is cut ‘//If, in herbert hoover antiques . down from the top or inner face to a depth equal to the thickness of the side member, in this case Y8 in naples 1771-1834 porcelain cherub . As illustrated, the top or inner side of this dado is now cut off %C, in antique claw foot card table . from the bottom finmar alvar aalto stool . If the work has been carefully done the two pieces will interlock, and, when glued, will require no other fastenings flemish antique table .
To complete the survey it should be remembered that blind dowels can be employed, with or without mitered corners sheraton cutlery urns . As previously stated, some Earl)? Georgian pieces make no attempt to conceal frontal peggings knockdown furniture .
Lock miter and rabbet and miter joints are included in the plate for informa antique meissen clock .
tional purposes coffee table base rococo antique . Their construction with hand tools requires some ingenious clamping and jigging antique dragon carpets .
Dovetail joints chippendale pedistal drum table . Perhaps one of the strongest of joints in fine cabinetmakin; is the dovetail joint (Figure 1 american empire daybed 19th century .33), because it resists separation in every directiol but the one from which the tenons were inserted, and even this weakness can be eliminated by gluing or pinning inlaid spanish table antique . As a corner joint, the dovetail is considereo a mark of good workmanship because its close fit is achieved at the price f accurate, painstaking labor and craftsmanship george bullock drawing . Although such a joint might be considered a postgraduate cabinetmaker’s subject, yet the enthusiastic woodworker will probably attempt its construction at some time in his career antique metal table with porcelain top . Its precision of fit is obtained by an elementary set of measurements, carefully executed antique 1800 century chest of drawers 7 drawyer mahogony .
Since the open, or through, dovetail is in reality but a modification of th, mortise and tenon joint, the first question facing the uninitiated is: Which are tenons, or pins, and which are the mortises, sockets, or dovetails (”tails”)? 01 a drawer, it is obvious that the dovetail joint must be so cut that it will withstaitl separation when the drawer is pulled out by its front antique square gateleg table . Therefore, the wider, fa
tailed mortises, sockets, are on the sides to hold the (often) narrower tenons, pins, of the front member against withdrawal antique drop leaf gate leg table .
Single through tenons are useful when edging drawing boards or work-tabl tops or for jointing stiles to upper drawer rails utensils used in britain for cooking . To insure a strong joint the to (mortise) is generally cut so that it is 4/10 of the width of the member along th-depth line chippendale dining table with 3 curved legs . The sides of the tail generally slope i in marius sabino leaping gazelle . in 6 in william taylor antiques . The procedure is a simplification of the methods explained in the following paragraphs antique perpetual calendar .
A finger (or box) joint consisting of the series of multiple square tenons and mortises is familiarly observed at the corners of small boxes such as honeycomb containers wood with mother of pearl inlay wall art . A multiple through dovetail, however, is a horse of another color venetian micromosaic mirror .
Certain general rules can be profitably applied to the art of dovetailing 18 century display cabinets . In the first place, the pins may be smaller than or equal in size to the tails, but in
Multiple Dove softwood are customarily wider than in hardwood construction new york antiques light art deco . For hardwood a good rule to follow is that the thickness on the (widest) face of the pins shall be approximately three fourths of the thickness of the wood antique dowry caskets . It is also good practice to insure that the distance from center to center of the pins is more than twice and less than three th-nes their width chinese chamber pot . In laying out muliple throng dovetails, the two outer or end pins are usually scaled down to half size, pl s Y8 in coalbrookdale neptune dish . for necessary strength japanese characteristic of later 19th century decoration . Both pins and sockets can be of equal width f desired, although, as previously stated, many craftsmen prefer the thinner pins
approximately one third of the width of the sockets at their wide ends multipurpose dressing table . Pin widt s are seldom cut less than Y4 in chinoiserie embossed tables . wide, however ancient chair design .
For the purpose of laying out a series of sockets, let us assume a drawer front Y8 in antique talavera . thick and 7Y2 in serving table . wide, with the mating side Y2 in collecting antique hair combs . thick table octagon marquetry drawer . The fir–t thing to do is to check to see that both ends are accurately squared 1930 art deco french armchairs . Since it s the side member that is to be cut into sockets or tails, it is first necessary -* estimate the number of pins to be cut in the front victorian candlesticks . On the basis of a Y8 in beilby glass prince of wales feathers newcastle . thit, drawer front, pins -Y4 of this thickness in width would average about -Y8 in 16th century spoons london . their faces george 1 walnut kneehole chest . For the distance between centers, if the mean of 2Y2 times the wid of the pins is selected, the resulting measurement will be i’%(, in mirrors design for dressing tables ., which wh- mahongony antique sideboards . divided into the 7Y2-i” occasional table dropleaf vintage . width of the drawer goes approximately 5 times, that i 5 centered spaces or sockets antique wood inlayed wine cellaret photos . However, there is to be a half pin at either end t the joint; therefore there will be but 4 full pins in all period hepplewhite cherry gateleg table .
Since a pin of half thickness is usuall too thin for safe cutting, it is customs to add an extra Y8 in antique italian marble box with fish legs . at each end to strengthen these half pins antique concertina door linen case . Accordingly, two lines are drawn Y8 in desk cabinet 18 century . in from each edge of the side member to represent the centers of the end sockets, the socket the maximum thickness of -Y8 in marble topped “robert adam” table . is next centered and connecting lines scribed between the joint edge and the back line to form the complete pin flatware forks types . An alternate method is to mark only the width of the pin along the board’s edge; then, by setting and clamping a bevel to register a slope of i to 6, the parallel sides of all pins are projected across the depth line art nouveau era used nesting tea tables . The bevel is then turned over and the other sides are marked and later joined horizontally across the center lines 19th century daybed .
FIG small antique specimen queen anne display . 1 early 18th century oak gate leg dining table .35 empire chest of drawers . Completed layout for dovetail wedgwood cache pot .
When several dovetails are to be layed out, a convenient device for speeding up the work is the T square shown in Figure 1 1840 gate leg tables .36 6′ chestnut refectory table . A I ill 1700’s tilt top bird cage tea table . x 3 in v shaped sideboard . piece of 3/ t antique.new.dresden.large.figurine .-in desk aaron burr . transparent plastic or celluloid has i in eastern breakfast tables . of one end accurately cut or filed on each side to a ratio of 1:6 antique drop leaf side table with 4 legs . This is fastened with
4 screws at a measured right angle to a squared block of hardwood Vic, in myott son & co from the 1920s . x li in 1828 sideboard buffet . x 4 in thomas hope chairs curule legs . The use of this T square will be greatly facilitated if a baseline upon which to proportion the average width of the tails (or pins) is squared off on the member to be measured, midway between the first depth line and the end of the board biedermeier bedside tables . The parallel spacing lines are then projected across or down to this baseline, indicating the average width of the tails thuringia biscuit . If the T square is applied at this point, no further measurements will be required art nouveau artist .
The actual cutting of the tails is as simple as sawing a double tenon english writing desk spiral legs . For the mechanic who has mastered the brace and bit, it is feasible to bore the proper sized holes at the depth of the tails antique table standing mirror . Then after clamping the piece vertically in a vise, the sides of the tails can be sawed with a backsaw french animal chairs . The socket bottoms can be finished off with a coping saw or chiseled across, cutting halfway through one side of the stock at a time galletables . For a perfect fit the saw kerfs must always he cut ‘n the waste material antique dining room sets empire style .
The dovetailed piece of drawer siding is now used as a templet for laying out the pins on the drawer’s front edge antique metal double candelabra . The dovetailed member is held firmly at a right angle while the tails are traced to outline the pins acanthus 16 century italian design . The depth of the pins is equal to the thickness of the drawer side, in this case Y2 in antique pembroke . Mark and cut as for tails hanoverian pattern forks . When several dovetails are to be cut to the same size, the members of each set of pins or tails can be clamped together and sawed out at one time palissy british .
Although the preceding instructions were based on a drawer whose carcass was jointed with through dovetails, such a joint is seldom encountered in the front of a drawer butterfly table in the eighteenth century . Instead the pins and tails are camouflaged by one of the three metlods shown in Figure 1 depression swizzle stick .33 antique octagon table brass wood . Half-lap dovetails are cut so that the side members lock into two thirds or three fourths of the thickness of the drawer front 19th century chinese silk works . Except for diagonal saw cuts along the sides table clocks 18th century american . the mortises in the front members must be chiseled out, after they are scribed from the tails, as in through-dovetail layot t cabriole antique chairs styles . Half pins are essential for a finished appearance at the top and bottom antique 18″ square drop leaf table on casters .
In a stopped dovetail the tails are cut only part of the way through the thic Hess of the side member, so that the pins are concealed in the final assembly thonet bentwood chair queen anne legs . n this case the pins are cut first antique english bone china tea sets empire . to be used as a templet for the stopped tails antique wheel engraved glass patterns .
A more satisfactory method of hiding the mortises in a dovetail joint is y means of a double-lapped dovetail, which fits together in the form of a rabbet d corner with the stopped pins in the drawer front leaving a sufficient projection of the front edge to cover the half end grain of the sides etling france 110 “opalescent glass” .
The height of perfection is achieved in the construction of the secret mit•r dovetail, as illustrated 19th century french furniture . This precise example of fine cabinetmaking, like the oth r modifications noted above, rosewood antiquite - decoration . must be chiseled out, with the exception of the rnit•r saw cuts that joint the shoulders, followed by triangular kerfs sawn as in t e stopped-lap dovetail antique alexander tables .
GLUING
Glue is a fastener that penetrates the entire surface of the wood, forming ti V tongues that lock into the microscopic mortises or pores between the fibers round rosewood breakfast table . Unli e nails and screws, which bind two pieces of wood only at single points of contact antiques antique oak sideboards dutch style . a good gluing job literaliv welds the pieces together with a strength usually great r than that of the members forming the joint antique tray table white . For successful gluing, (I) the gl ie must be good; (2) the joint must fit accurately: (3) due allowance must be male for shrinking; and (4) pressure must be properly applied for a sufficient time antique oak dresser base .
Animal glue emile-jacque ruhlmann/chairs . Professional cabinetmakers have long favored hot animal gut e, original;v because of its relatively short drying time as well as for its suitabili y for rubbed joints 19th century antique furniture makers . Animal glue comes in sheets and in crushed or powdered for 1 new york skyline metal pieces . It is heated in a cast-iron glue pot in the form of a double boiler collectors of paul frankl . Stich a pot c antique art deco furniture black lacquer . n
I
be improvised from a tin can, with its top cut off flush, fitted into a larger c n with space for the hot water small antique bowed front serving buffet european . Bits of brick, stones, or small an austrian antique furniture designers .-le irons on th•ir sides should be placed in the bottom of the large call to separate the two bottoms “gordon russell” “oak furniture” . The glue is placed in the smaller receptacle, covered with water, and allowed to soak from 3 to 8 hours, until it swells to a jellylike mass without liquefying antique chamber sets .
When the glue is to be used, the bottom section of the glue-pot assembly is filled with sufficient water and the glue is heated to about 150° F chamber pot cabinet commode 1800 ., being stirred the while but not with sufficient force to produce air bubbles art-deco-1920-1930-wood . A good glue will give off no objectionable odors while being heated antique german chamber pot .
When the glue becomes creamy and drips from the stirring paddle in long strings, it is ready for use vintage chinese porcelain with two swords marked . It should be maintained at room temperature thereafter until the work is completed ivory collectors . In using hot glue the wood should be warmed first to prevent chilling the glue into setting before pressure call be properly applied antique half table . Animal glue is not waterproof antique games chest .
Fish Glue arts and crafts furniture, antique collectors . Fish glue comes in liquid form, which is especially useful for the occasional worker because haste in its application is not required soup turrene . In fact, after it has been brushed on to both of the surfaces to be joined, it is permitted to stand for a few minutes to observe whether excess absorption will require further touching up before the joint is permanently assembled value of william and mary butterfly table . Although not as strong as animal glue it is excellent for softwoods figurines from the pastorals of porcelain . Fish glue is not waterproof and may require warming during cold weather german ebonized cupboard .
Casein Glue silver jockey cap tea caddy . Casein glue has become increasingly popular in the home workshop, oNving to its strength and quick-setting and slow-curing properties green wedgewood plant pots . It comes packaged in powdered form with full directions for mixing it with cold water 1950’s staffordshire porcelain religious figural . Since it sets within 4 hours, only enough should be mixed for the job on hand front ornaments for sofas . It should be applied like liquid (fish) glue, and the clamps should be put on within 2o minutes lou sue art . The result is a waterproof, heat-resistant joint, stronger than the wood itself early 18th century dining table . Casein glue will deteriorate when exposed to salt water or the action of molds maple art deco . Latest reports indicate, however, that glue can be made resistant to mold in warm, wet, tropical climates, by adding 5 per cent of an organic mercury fungicide-bactericide to the (Iry glue; before the wood joints are bonded together, one side is treated with a diluted formaldehyde solution turn tripod into table .
Plastic Glue antique kayseri silk carpet pictorial hunting . Plastic glue also comes in powdered form to be mixed with cold water, according to directions boulle tortoiseshell . Unlike casein glue, however, the mixture will last longer—about 6 hours at 7o’ down to 45 minutes at ioo’; in hot weather the life of the mix can be prolonged by setting it in cold water antique engraving hanoverian spoon crest . It is heat resistant Lip to about l5o’ F meals in eighteenth century england . and waterproof to both fresh and salt water 1800 italian dining room sets .
Resin-type plastic is an excellent, waterproof adhesive, which comes in two forms burr coffee table . The full-strength liquid plastic is syrupy and light colored, and requires the addition of a hardening agent just before being used 1710, 1735 japanned high chest . This is made by adding C decorative writing styles .P walnut veneer wardrobes art deco . hydrochloric acid, 3 volumes to i volume of distilled water, well stirred in a glass or porcelain container paul de lamerie reproduction . A thin laver isbrushed on both surfaces to be joined, before pressure is applied art nouveau tables galle . Ar room, temperature from 4 to 12 hours will be required for full hardening acanthus leaves rococo period furniture . This time call be reduced to about a half hour if the work can be heated to 150° F find small antique tables inlaid with ivory made in india .
Emulsified plastic consists of a thin, white suspension of plastic in water and is slower setting and subject to more shrinkage than the full-strength liquid reclining chair, philip webb .
Clamps gustav klimt porcelain . Good glued joints cannot be achieved unless subjected to sufficient pressure while the glue is setting georgian sideboard tables . Woods of ordinary densities require from too to 200 lb of pressure per square inch or, roughly, i bar clamp per foot for edg2- glued stock i in seventeenth century english stoneware . thick george i folding card table antique . Close-grained hardwoods require greater pressure 18th century knife boxes . T
pressure, however, must not be great enough to distort the wood what types of materials were used in george hepplewhite furniture . Although weigh ropes, chains, or wedging in frames can be employed, the london, england silver, antiques . old stand-bys are the hand screws, C clamps, and bar clamps 1930s curved dining chairs .
The hand screw is the oldest form of clamp and, when thoroughly mastered, is quite versatile 1940’s mahogany dining chairs . To open its jaws evenly, the handle of the middle spindle (nearest the jaws) is grasped with the right hand and the handle of the end spindle in the left hand, jaws facing outward modern tripod table monopodia . Hands rotate in a clockwise manner as the ja rs are swung down and toward the operator until the desired opening is obtaine 1 lidded urn with hole underneath . When being applied to the work, the middle spindle adjusts to the work size, th n the end spindle applies the pressure until the jaws are parallel dutch furniture marquetry antiques .
Face-to-face gluing requires heavy, equalized pressure, and may utilize a y or all three types of clamps, depending upon the sizes of the members to be bonde 1 american spoonback armchair . When wide boards are to be joined, small brads tapped into one member ai d snipped off short will prevent creeping value of satin birch chest of drawers . Top and bottom bearers or battens c n be used with hand screws or C clamps at both ends, when bar clamps are not ava
able antique dining room table rectangle +connected double pedestal . Dowels are very useful for reinforcing boards glued face to face orrefors blown glass & stemware & smoky gray .
In selecting sides to be glued it must be remembered that the sap site 0
tends to cup because it contains more moisture than the heart side federal cylinder desk . Therefo in face-to-face gluing the sap sides are joined with the grain parallel—never -t right angles carl walters ceramics . Since the force exerted by shrinkage is tremendous, it is unfair o expect glue to perform a miracle makers of silver table ware in late 1800’s . In view of this, whenever possible, lumber shoo d be cut roughly to size and planed several days before the actual gluing is to take place chinese influence to rococo .
Edge-to-edge gluing will be more successful if heart and sap pieces are alter nated, so that whatever shrinkage results will produce a slight waviness, rather
than a deep bulge patent imperial dining table . Bar clamps are convenient for securing this type of glued joint, with large hand screws or C clamps and bearers along the edges antique library book trough stand . Bar clamps may be improvised, as shown in Figure 1 antique victorian porcelain jars .37 or, if a heavy bench or table top is available, a frame of 2 x 4’s call be screwed to the flat top and the work wedged into place, as illustrated in Figure 1 4 foot walnut drop leaf table .38 early meissen figures . In all cases, the boards being glued must be kept flat with suitable wedges, to prevent their arching under pressure barley twist english antique writing desk . Before the glue is applied the edges should be checked carefully against the light to insure that the ends meet closely leon and maurice jallot french dining chair . A slight bulge in the center will be rectified by the clamps louis xiv dining table .
End grain can be glued provided it is first sized with a weak glue solution to prevent suction antique spring loaded drawer arm . By thus filling the pores the final, extra-thick glue coat will not be too much absorbed spider legs folding card table . An end-grain glued joint is weak at best, and where conditions permit, a scarf joint should be substituted potters stoke on trent empire rococo . For hardwoods the slope of the scarf should be approximately 15 times the thickness of the stock antique 19th century tilt top tea tables .
Framing is the classic example of “cramping” operations, and is of prime importance in furniture construction antique wassily chair with breuer signature in the leather . As in all gluing procedures, the first step is to assemble the parts “dry,” to see that the fit is exact antique rectangular gate-leg tables . At this time a thorough check for wind and surface flatness should be made, and a test for squareness carried out by means of diagonals and the try square at each corner examples of anthemion designs on ceramic tableware .
After the glue and clamps have been applied, if the work leans or twists in any direction, the clamps must be shifted or screwed in that direction for the necessary correction, or a long bar clamp may be applied as a diagonal enamel top antique table drop leaf . In all
long
cases the clamping action must parallel the true pressure line viktor schreckengost, enamel artwork .
Miter gluing is an art in itself and various jigs can be devised to secure a well-glued joint rococo tureens . There is a simple miter clamp commercially available that gives excellent results when it is possible to bore half holes in the back of the miter lacquer tray round antique black . Other satisfactory homemade jigs will be explained later under picture frame construction in Chapter 2 demilune chest makers antiques .
In general how high above a sideboard should a mirror be hung . joints in hardwood should remain clamped 2 or 3 hours longer than those in softwood patent ironstone . The minimum drying time depends upon the room temperature and the type of glue, with the casein and plastic glues setting in from 4 to 7
setting in hours value of hand painted wales china tea set .
A full 1 2 hours of setting will insure a sound fit art deco table lamps new york city . At least 24 hours should be allowed for seasoning circular antique library steps .
Finally, it must be realized that although glue will fill gaps it cannot be relied upon to tighten loose-fitting joints, because it cracks when hardened in the air perspectiva cabinet . Because of the shrinking and expanding effects of temperature on wood, panels should never be glue(> in their grooves, nor should the shoulders of tenons be touched with the glue brush regency/george iv silver candelabra suite . Successful gluing operations are insured when the clamps are opened to their approximate size before the even film of glue is applied to both members of the joint robert adams marquetry . Waxed paper used freely under the jaws of clamps will prevent sticking as the glue dries thomas sheraton dresser .legend indicates that each square measures i in used walnut drop leaf tables . on a side, a full-sized pattern can be laid out in squares of the indicated size empire art style -borderlands -pictobits -nintendo . The points where the lines of the pattern cross the horizontal and ver how to value lowboy queen anne . tical lines of the graph or squares are spotted on the draw antique american oak writing table . ing and transferred to the full-sized pattern french fashion in 19 century . By connecting these spots the design is reproduced gillows burr walnut desk ormolu mounts . When only half
pattern is graphed out into squares, the opposite, identica jiajing ming porcelain . portion can be reproduced by folding the pattern over wedgwood blu porcelain pagoda .
Jul
16
Antique Furniture Restoration and Sale
July 16, 2009 | Leave a Comment
Bits art deco candlesticks . (Fig jugendstil macintosh . 7 russian empire style .) The twist-bit is one of the most important eighteenth century women dressing in front of men in their bedchamber . It is for precision boring of deep holes frieze drawers mean fake drawers . The test of a good twist-bit is that it will not “run” from its true centre chestnut tables antique . Besides this, of course, a twist-bit with good cutters will have a long life extending dining table . Twist-bits are used mostly when dowelling, and they are indispensable for this purpose “john cogswell” chest engraved . The most usual dowel sizes tire “perspectiva cabinet” .1 in charles catteau figure lion ., -1% in antique wall console with cabriole leg . and in antique walnut chippendale style recessed sideboard ., and twist-bits of these sizes can be bought at the beginning of making up the kit, or if and when required original amber bakelite and nickel handles art deco 1930s dressing table . Larger bits are useful for boring holes for bolting together the framework of wooden buildings and the like brass iron half tester bed side curtains .
The centre-bit is a low-priced bit suitable for boring holes through timber up to I in meissen porcelain animals+frederick augustus . in thickness lyre based sheffield candlesticks .
In more recent times the simple centre-bit has been superseded by one having a screwed central point which, drawing itself through the wood, cuts cleaner and speeds the work of boring meubles wooden antique amsterdam . Because of its construction it is known as a screw-nose centre-bit putti on dutch delftware .
Either type may be bought in 3-in blue glass liners. antique ., 7-in william kent antique console tables .,
4 8 1-in cornices for beds ., 11-in earliest tilt top tea table . and 11-in french baroque cabinet (or any form of storage piece with chinoiserie or boulle work) . sizes gilbert rhode tubular stool .
The shell-bit is used to make clearance holes for screw shanks antique dining room table rectangle +connected double pedestal .
Other bits are the rose-bit, and the screwdriver-bit drop leaf gate leg side table . The former is for countersinking screw-holes, so that when the screw is entered it will sink level with the surface of the wood, or even below the surface if necessary 3 leaf antique extending dining table . This type of bit is recommended in preference to a so-called snail-hit antique furniture secretaire abattant empire . It should be about jk in antique dressers by northern furniture . in diameter vine used as makers mark german furniture . The screwdriver-bit takes the place of the screwdriver english antique trays . It serves to drive home screws more speedily and with less effort than when a screwdriver is used silver candlestick pillar . It is, however, sometimes necessary to start the screws with an ordinary screwdriver, because one hand is required to support and steady the screw antique collapsible tables .
Punches austere style . (Fig hanoverian pattern flatware changes . 8 cabrio legs pattern .) Three kinds of punch are of interest to the woodworker biedermeier automaton clock . They are the nail-punch, the centre-punch and the pin-punch french restoration period . The centre-punch is for “centring” metal work for boring (sometimes blank hinges, etc art deco dinner service ., have to be drilled for the screws in special positions) “ironstone china” and fake marks . A nail-punch has a flat “point,” but the point of a pin-punch may be flat or hollow vintage art deco rococo watch . Hollow points are by far the best mahogany knife urn . A punch measuring Is in “art, nouveau”"chiparus”"deer” . Cranked brace and bits: also a wheel-brace and twist-drill antigue dressing tables walnut .
across the point is useful for carpentry expensive sofa tables . For finer work a point diameter of -11g in palladian bookcases . is more suitable, while for punching down fine panel pins in cabinet work the point should be even smaller antique german bureaux .
Glass-papering Rubber chamber pot . This s essential when glass-papering flat surfaces bureau de coene art deco . The best type is of “manufactured” cork, the stock size being about 41 x 2j x 11 in empire table lyre base . While a piece of deal to this size, with all corners and edges rounded, will serve, it is not as good as cork dutch bureau with shelves .
Cutting Knife and Marking Point marquetry roll top desk . The cutting knife is often called a marking knife antque lecterns . This gives a wron~ impression, as the business of th knife end is to cut, and not to marl At the opposite end to the knife is
marking point art deco stoel de coene . A cutting knife is essential for some kinds of work, as may be seen in later sections of thD book 18th century american antique furniture .
Marking Awl dresser with mirrors & teardrop pulls & ogee bracket . (Fig extending glass table with wrought iron legs . 8 round painted pillar dining table .) The marb ing-point end of the cutting knife wi I do the work of the marking awl, so marking awl is not essential 17 century french lead dining plates . It is often used in carpentry work for squaring across shoulders instead of using a pencil antique silver plate vegetable warmer with lid . In finer work it i; employed for centring for holes that have to be bored with precision 17th century dining table .
Bradawl painted art deco dining table . (Fig scottish furniture designers art deco . 8 rockingham porcelain cottages? .) The usual p
of a bradawl is to bore for th entry of screws antique+duncan phyfe+8 leg dressing table+pictures . Two sizes are useful the larger (for carpentry work) will show about 3 in antique octagonal islamic table . of blade, and the smaller about 11 in pendule religieuse kauf . These, in coin-
4
bination with the Morse-pattern drills, will fairly cover the needs o the woodworker “cigarette”+”holder” .
Mallet 1925 antique floding desk . (Fig porcelin tables, antiques . 6 french club chair .) Choose a joiner’s mallet the beech-wood head of whicl, is hard and heavy; 61 in dresser & chests circ 1840 . is the most suitable length for the head marble table inlaid antique .Spokeshave antique 17th century drop leaf tables . (Figs silver pillar candlestick . 5 and 6 (chinese+export+porcelain+coffee+service) .) In these days of straight lines, spokeshaves are not widely used mason’s patent ironstone china england regeney . There are two main kinds: wood and metal andre hunebelle glass . Metal spokeshaves are the easier to handle, but they are slow in working antique gateleg extension elite . The part in front of the cutter may be flat (for shallow hollows or convex shag: s) or it may be round (for “quick” hollows) antique worcester porcelain factory+grainger . A spokeshave is not essential in the small kit, but at least a flat-faced one should be included in a larger kit bentwood chair glasgow .
Router poole pottery plates flowers est. 1873 a . (Fig maples of london cabinetmakers . 2 reproduction rococo etagere .) This tool is for cleaning up and levelling the base of housings or across-grain grooves rosewood demilune table . It may be made by the woodworker, or it may be bought drop leaf tea table spanish . As a rule the trade craftsman makes his own, and this is known as an “old woman’s tooth” (Fig what is a harlequin pattern . 3) widdicomb china cabinet . While the home-made router does the job, the metal tool is more useful royal sheffield candlesticks . It should be 61 in redwood trinket box . long english stoneware with transfer . It will not have its own irons, but these will be chosen from the plough- irons, according to the width required royal sheffield silver salt cellar . In the absence of plough-irons, a grooving-plane iron, or possibly a broken chisel, can be used emile galle nest tables .
Scraper rare willow pattern coloured ironstone china patent . (Fig cabriole leg pattern . 8 spanish puente pottery .) Scrapers are for smoothing surfaces after they have been planed, to remove the flaws left by the plane scottish inlay antique furniture . The scraping is followed by glass-pap dehua antique .-ring antique 2 drawer sheraton end table . The ordinary cabinet scraper is a flat piece of steel 5 or 6 in value staffordshire engine turned redware teapots 18th century . long aaron burr antique furniture . A stout 5-in mahogany knife boxes . scraper is recommended rene buthaud vases women . Other scrapers, of various patented types and fitted with handles, can be bought antique hanging corner display cabinet . They are easier for the amateur to use, but are usually frowned upon by the cabinet-maker chest eighteenth century chamber pot . Some craftsmen use both, generally reserving the cabinet scraper for high-class work how much would an antique clawfoot dresser cost .
Scratch Stock and Scratch vintage french lady figurine porcelain . This improvised tool is convenient when
AND FILES
PIN-PUNCH
40000MM00- OLNIRE•PUNCH
GNNWM0W==_ I
NAIL-PUNCH
SCRAPER
MARKING AWL
BRADAWL
FIG biedermeier armchairs with encrusted roses . 8 silver spoons forks knives . Various items of woodworker’s equipment, in•hidingfiles and punches oak trestle dining table antique turned legs .
making small mouldings 1930’s germany’s furniture . The mould is worked roughly to shape with other tools, the scratch being used only in the final stage cabriolet table with carved duck inlay . To make the stock, prepare a piece of hardwood 7 x 11 x J in antique edwardian bedroom suite ., and saw and trim it to the measurements shown in Fig art deco burr walnut veneer chest with green border . 11 (a) early nineteenth century german desk . Next carefully enter three 1-in scottish 19th century antique furniture . x 8 screws from one side modernist czechoslovakia enamel dish . Remove the screws and saw carefully down the middle antique chests from 1884 . Plane the pieces and re-screw 19th c. federal style occasional tables . The cutters (b), (c) and (d), which are fitted in position between the two pieces and held by the screws, are made from pieces of steel from ,+ in qualities of gilt metal . to -& in antique gateleg table and chairs center drawers . thick by filing square across mahogany bow fronted chest of drawers scottish . When blunt they are sharpened by re-filing a 19th century mahogany square front chest .
Files meissen scattered flowers . (Figs antique stanford refectory table with end leafs . 5 and 8 table gateleg .) If the woodworker is to sharpen his own saws (which is not recommended) there must be some three-cornered files antique drop leaf gateleg trestle . These may be single- or double-ended unusual gate leg table . The size of saw-files chosen will depend upon the size of the saw-teeth drawer makers . The file should cover about
HAND- LE
FLAT-FILE
RASP
HALF-ROUND
FILE
BAR CRAMP (HEAVY TYPE WITH T-SECTION BAR)
BAR CRAMP (LIGHT PATTERN)
44 gateleg table antique mahogany .4-184i
CRAMP HEAD i,
J PLUMB-
BOB
CRAMPHEAD (USED ON WOODEN BAR)
HAND-SCREW G-CRAMP
s
FIG drop leaf gate leg table . 9 18th century knife boxes . A selection of cramps and holding devices 18th century music stand . At least one hand-screw desirable ,For securing bench work, and most glued lion paw pottery .joints require eramphA
two-thirds of the tooth’s longer side antique architect drawers victoria . Apart from saw-files, a heavy 12-in silver antiques food seafood . flat file, of coarse cut, and about 11 in 19th century furniture archives . across, is useful for carpentry as well as for other work antique sideboard cabriole . A 4-in sideboard stretcher . and a 6-in louis xiv dining table . fine file will also be useful “alexander roux” pietra . A 4-in antique oak games table . half-round file (smooth grade) will be necessary ifmoulding scratches are to be made, this being used in conjunction with the ward files art deco cigarette dispenser .
Rasps otto wagner furniture early art nouveau . (Fig antique swansea porcelain . 8 king george drop leaf gateleg table .) Rasps are for working up shapes and shaped edges antique hinged mold blown gilded egg . An 8-in a pair of sheffield 1765 silver candlesticks . half-round rasp of medium coarseness is useful, and when used this should be followed by a fine rasp of similar shape and size, prior to finishing the job of shaping with Middle 2 glass-paper art deco stemware .
Cramps toby jug westerwald . (Fig art nouveau desk chair . 9 library chest of drawers vintage london uk .) There is available a variety of cramping or holding
appliances theatrical furniture . The first is the T-cram It is given this name because of t cross-sectional shape of the bar along which the jaws slide antique english oak sideboard grape engraved . It is the mot suitable type of cramp for use after gluing up a framework or carcase, but the amateur woodworker wi I often have to fall back on the sas cramp, because of the high cost ofth~ correct tool swedish furniture 1930 . The T-cramp is made in two weights: heavy and light, the light cramp is recommended antique sideboard with desk . A good length is 5 ft art deco laminate ., although a 3-ft wileman/shelley vases . cramp will serve on most occasions antique islamic goblets .
The sash cramp is alternative to the T-cramp lombardy style dining room table 1800 antique . As with the T-cramp, the 3-ft french/belgian art deco table for sale . length will meet most requirements, but occasion may arise when the 5-ft thomas affleck lowboy . cramp will be necessary antique carved chair back cushion on rings . Another alternative is a home-MISCELLANEOUS EQUIPMENT
made improvisation as shown in Fig porcelain from 1500s . 11 (e) antique blue side table .
At least one hand-screw is necessary, especially for bench use porcelain rockingham . Its principal use is for holding material to the bench, while it is being worked antique walnut wood wardrobe . The best size for general work is 12 in apostle tea spoons made in england . The measurement is taken from the length of the jaw 1800 furniture desk ivory inlay wood .
The G-cramp serves similar purposes to the hand-screw, and may be regarded as an alternative turkish floral designs . It is more suitable when working on the face of a wide board (in carving for example) and is somewhat stronger than the wooden hand-screw chair lion finial henri . The cramp bought should have an opening of not less than 5 in what is a chamber pot of 1800s .
Spirit-level solid silver sauce boat no markings . (Fig art deco laminate . 5 art deco side table .) A level is a great convenience in the erection of outdoor carpentry dumbwaiter end tables . An expensive instrument is not necessary secretaire de roentgen . To test the bubble, place the level on the table and note its position gateleg tables 3 leaves . Reverse the level wooden renaissance settee . If true the bubble will be in exactly the same
position in relation to the centre mark cabriole basin table .
Plumb-bob antique draw table trestle . (Fig nicholas sprimont silver spoon . 9 photos of antique chambersticks .) This is for testing whether the work is upright, in carpentry work or joinery fittings art deco square table . The best type is the cheapest antique cabinet makers workbench + value . It consists of lead with a hole bored through to take the string, and this is tied underneath forks and spoons in the 18th century in england .
It may be mentioned here that a pair of pincers hung on a cord makes a useful substitute tilt top antique table card .
Wall-plugging Tool lion leg decoration table . The type illustrated in Fig anyone know the name of the table from pier one, mahogany with carving . 10 has a number of interchangeable points or drills japanese ceramic leaf trinket box . The tool is struck heavily with the hammer, and is turned slightly with the left hand during the process of making the hole vilas draw leaf table . A plug is then tapped into the hole, and it is ready to take the screw sterling silver art deco candelabra .
Cold Chisel luxury antique items . This is useful for cutting away brickwork and concrete, as may be necessary when fixing carpentry or joinery work antique cuttlery (silver) . A useful size for average use is 7 in chinese chippendale markings . long by 1 or in painted china cabinets + pictures . across the cutting edge george 111 period mahogany bow-fronted sideboard value . It is a useful carpenter’s tool, but not necessary in an elementary kit opalescent glass perfume france .
Glue-pot century furniture drop leaf table . Fig campaign chairs furniture . 10 shows a small, light glue-pot, which consists of an outer container for water with a removable inner one for the glue conservatism and feudal society . In these days of synthetic and liquid glue a glue-pot is necessary only in trade workshops empire period fashion . When using one of
EOOUBLE GLUE-POT
PLUGGING CHISEL
FOR BRICK
STEEL STRAIGHTEDGE
39
SAW-SHARPENING CRAMP FOR SCREWING TO
WOODEN POST OR BENCH
LEG
PLUGGING
TOOL
PLUGGING
BITS Y111
IQ
GLUE BRUSH
FIG pedestal rectangular tables . 10 best designs of dressing tables . Sundry items which, with the possible exception of the saw cramp, should find a place in the workshop 3 leg drum table with leather top .
the modern synthetic glues, it is sufficient to heat the containing tin in a saucepan of water chinese and blue and white and herb porcelain jar .
Glue Brush imperial gillow dining table . (Fig victorian cutlery tray - eng oak . 10 antique tripod table one drawer .) Ordinary paint brushes are not suitable for use with glue, as the bristles soon come out lombardy style furniture, italy, tables, 18th century . Buy a proper glue brush similar to that illustrated eighteenth century tripod table . As a test, spread the bristles across the hand : they should spread to about 21 in christening bowl used for . across tile tips antique chippendale breakfast table .
Sawing Trestle german art deco inspired carpets with geometric motifs today . A stout and rigid trestle, or better still, a pair of
11, in,
11-1/2 in art deco furniture +antique shop+california .
0 n
trestles, is a great convenience when heavy carpentry work is to be done italian cypress chest 17thc . On the other hand, one or two strono wooden boxes will take the place of trestles, although not so efficiently duncan phyfe buffet table . The trestle illustrated at (f) in Fig antique silver rings wheat sheaf pattern . 11 is easily made out of 2-in jupe craftsman table . deal antique oval dutch table . The legs are bevelled at the top, as indicated, and screwed into the housed 4 x 2 in furniture swag inlay decoration . top piece 1600 century scroll back chair . Bore the holes as shown, so that the points of the 3-in maiolica cantagalli . x 14 screws will not meet telescopic dining table . A strong trestle can be made by using a long coach-bolt to secure each pair of legs silver jockey cap tea caddy . In either case, after temporarily assembling the parts remove the legs one at a time, glue and re-fix marquetry semi-circle drop leaf . If made carefully such a trestle will never weaken antique dressers in north wales .
Shooting Board pembroke tables from 1700 . This can be made by the woodworker to the dimensions given in Fig 18th century antique sofa collectors . 12 (a) paul de lamerie reproduction . A good length is 4 ft 1930s french art deco slip shade chandelier . The block is 5 in antique regency table round four legs . long and 4 in gateleg drop leaf mahogany table . wide, the piece under it being 4 in rococo silver candlestick . wide antique cherry dictionary stand . The bottom piece is 7 in kuba floral lattice . wide art deco furniture collectors, poole, dorset . After planing the timber, the wide piece is screwed on to the narrow piece from underneath rococo display cabinet . The block is jointed and glued japanned black corner cabinet . The two larger pieces should be in good 1-in antique oriental wedding baskets . deal pastel +chinoiseries . The block is in 1-in charles masse art deco . stuff, and should be made from hardwood such as beech or sycamore draw leaf table double pedestal .
Straight-edge antique trestle, six legged table . (Fig napoleonic antiques . 10 islamic silver and brass table stand .) A straightedge is a length of wood or metal, one of the edges of which is perfectly straight and square antique kidney table lion ball legs . It is used in carpentry for testing the flatness of areas, and whether the parts of an erection are in true line decoupage cabinets . In the workshop it is for testing the straightness of edges, or the flatness of parts that are being planed “innovative styles of the 20th century did not include” .
Jul
16
Antiques. Furniture and Other Antique Items.
July 16, 2009 | Leave a Comment
The shed should be in such a position that it will receive the maximum amount of light american gothic revival furniture makers . In conjunction with this, keep it as near to the house as is reasonably possible, having in mind the frequent
1-w jackfield collectors . 3 roccoccoware . Appearance of the completed tool cupboard maples of london cabinetmakers . Easily made, it permits of a convenient arrangement of tools antique secretaire abattant oriental .
journeys to and fro for glue, tools, etc antique furniture bureau desk .
While tools may be left in the garage, outhouse or shed in the summer months when the air is dry, it is far better to keep them indoors during all other than fair weather, otherwise rust will attack metal parts, and damp will swell wooden parts chippendale style coffee table tilt value .
Therefore, the tool-container ad-
visable when the work is done outside the house will be different from that adopted when it is done inside french pilar candlestick . Fo~ outdoors, tools might well be kept in a tool-case, or in attachd cases, which can be carried to and fro monastery credence tables .
Fig dutch renaissance marqueterie cabinet furniture . 4 shows a standard fibr chippendale revolving bookcase .- attach6 case adapted for holding a set of tools; inside measurements are 1,5 in antique empire table . long, 9 in folding tripod table with brass top . from front to bac,4 and 4 in ribbon mahogany dressing table . deep deco game table with drawers . The tools are retained by loops made from a leather strap, antiques antique oak sideboards dutch style . These loops are fixed to the lid an
t
body of the case by bifurcated rivet inserted from the outside of the case and clinched from the inside, ovel the straps antique table octagon edwardian .
The choice of tools rests with th woodworker’s individual requirements, but the following list has been compiled to meet average require medieval times display cases . ments:
1/1 lid of case:
Tenon-saw, 10-in european antique tin glazed pottery . blade wheat antique dresser . Two-fold steel rule, 24 in norfolk gateleg table .
Three firmer chisels, ~ in 1900 antique mahogany dresser drawer ., J in antiques lamps made by universal statuary co. .
and I in antique japanese yellow vase .
In hodj, of case:
Metal smoothing plane with 13-
4
in thonet recliner . cutter art and crafts of a dragonfly that have inspired designers .
Ratchet brace (8-in drop desks,frech . sweep) antique turn of the century display cabinets . Ratchet auto-screwdriver, witf
two screwdriver bits, and
three fluted boring bits
When not in use the tool
are kept in hollow handle Medium-weight joiner’s ham lions paw legs on table .
me r antique drop leaf gate leg side table .
Nail-punch 1700 french porcelain, images .
Oilstone (two faces with differ ent grades of coarseness), Pincers, 7 in empire revival bed . long names of art deco furniture makers .
Mixed nails in wooden or tin box old fashioned table brass metal claw feet on casters .
Cartons of screws, as sold, each
size in separate carton types of antique tables . A handy tool container can be case which has inside dimensions
provided by adapting afibre attache of not less than 15 x 9 x 4 in after dark candelabras .
FIG antique slovakia ceramics vase . 5 (below) porcelaine mark “crossed swords with a” porcelaine . 1j’a sturdy kitchen table is to be used as a makeshift bench, working will be greatly facili fated by a 12-in antique chippendale writing table escritoire . bench-stop (a) and a hand-screw (b) fitted to the table-top makers of 1940’s american art deco furniture .
Baize roll with centre-bits and
twist-bits for brace oval loudon floral 1783-1843 .
Light tinnian’s mallet (with cylindrical head) glass platters silver decoration 1900 england .
Jobs will often be done on the kitchen table antique monks chair . Provided that it is strong, as kitchen tables usually are, this will serve as a makeshift bench antique niche cabinet . It will be necessary, however, to have some sort of a bench-screw or vice, and some kind of a bench-stop german buffet furniture . Each of these will have to be readily removable art deco console and germany .
A suitable bench-stop can be provided by screwing a piece of oak or other hardwood, measuring about 12 x 2 x I in makers of ceramic beehive honey pots ., on to the table as indicated in Fig first antique table de chevet . 5 (a) mahogany antique japanese furniture designer . Pass the screw nearest the front of the table through the top, centrally into the front rail antique filing collectors/ tambour cabinet . If a screw not shorter than 2 in antique dining room table rectangle +connected double pedestal ., and of about 10 gauge, is used it should secure the lath firmly marquetry drop leaf side table . The length of the remaining screws will
14
% louis xvi display cabinet with gilding .in FIRMER CHISEL
2-ft STEEL RULE (TWO-FOLD)
hin 16th century chairs . FIRMER CHISEL
JOINER’S HAMMER
RATCHET BRACE \ (8•m SWEEP)
TENON-SAW 10-in modern telescoping dining table . BLADE
- I in FIRMER CHISEL
SMOOTHING
PLANE
(1%rin CUTTER)
french silver candle holder .— MIXED NAILS
LIGHT MALLET
PINCERS
AU I OMATIC SCREWDRIVER NAIL-PUNCH TWO-SIDED CARBORUNDUM OILSTONE
SCREWS
IN CARTONS
ROLL CONTAINING GIMLET-BITS french word for cabinet .
ENTRE BITS AND TWIST BITS
ADAPTING A TABLE-TOP
depend oil the thickness of the tabletop; 14L in rectangle drop leaf table with additional leaves in fruit wood . x 8 will generally be suitable napoleonic campaign chairs . The screw-holes will not greatly disfigure the table-top, and if later it is desired to hide them the holes can be filled with small deal plugs so made that the grain of the plugs matches that of the table-top antuque porcelin bedside toilet pot . If on occasion wood of less than ;-in porcelan rococo teapot victorian photo . thickness has to be planed, the stop can be replaced by one that is I in antique silver apostle spoons . thick antique mahogany card table, imperial .
An improvised bench-screw or vice can be made with a 12-in william hunt genuine antiques available in kent . hand-screw antique chamber pot . The hand-screw should be screwed on to the table-top as shown in Fig large walnut veneer gentllemans cupboaard . 5 (b) antique octagon side table with scrolling . It will stand I in “innovative styles of the 20th century did not include” . forward from the front edge of the table-top table lamps biedermeier . In order to reduce the strain oil this edge, and thus prevent
it from splitting off, one handle of the hand-screw should be held down on the table-top by the small device indicated 17th century american drop leaf table . The top piece measures 8 x 2 x 7- in antique tankards ., while the two pieces glued underneath are 3 x 2 in 17th century english trestle table ., and of the necessary thickness (about
13 in antique porcelain sevres .) trestle table lyre base . 4
In using this improvised bench- screw, the timber which is being worked should, if of a fair length, be supported at the end with a box or a spare length of timber art deco console table black .
Shaving waste makes a mess in the house, and, unless it can be conveniently burnt in a stove, the shavings should be burned in the garden antique wales footed dessert platter . Incidentally, wood-ash contains potash, and is a good fertilizer for potatoes antique russian hand painted pocelian jar .and other root crops george oakley furniture .
THE WORK BENCH
To the established woodworker a bench is essential, as holding the work securely is frequently half the battle in performing an operation successfully antique silver apostle spoons . A good
bench fitted with a woodworker’s vice can be made quite easily, and two patterns are suggested here writing cabinet .
Making a Simple Bench antique oak pedestal table rectangular with leaves . The bench shown in Figs epergne parts . I and 3 has all its members bolted together, and the arran2ement of the bracing pieces produces a firm job how much would an antique clawfoot dresser cost . The legs, of clean 3 x 3-in 18th century gateleg table . softwood, should be laid together side by
side, as shown in FIG “antique furniture” + “ebony veneer” + desk .
Fig victorian reaissance revial credenza . 2 (a) regency occasional table . The lines marking the top and bottom of the legs, and the shoulder line, are then squared across all four legs at the same time; this
1 czechoslovakia glazed pot . A strong bench of simple bolted construction modern art deco bookcase .
TOP SHOULDER LINE
BOTTOM GAUGE LINES % in anyone know the name of the table from pier one, mahogany with carving . FROM FACE
0
GAUGE LINE % on richard edward chippendale pier table . FROM FACE
SHOULDER
LINE
FIG antigue pdestal drawning table . 2 pennsylvania drop leaf table 6 legs . Preparation qfihe bench legs is shown in (a) and (b); details of end
and side rails appear at (c) and (d) european handmade antique glass floral arrangement 100 years .
0
SHOULDER LINE
ensures that every leg is exactly the same length as the others gate leg drop leaf tables . Square the lines round oil to one other face, and saw off the legs to length paul de lamerie reproduction . Gauge a line 4 in kufic art 1900 . from the face, as shown in Fig antique drop leaf table with two leaves . 2 (b), and saw away the waste (indicated by shading) a dutch walnut and burr-walnut longcase clock . This completes the preparation of the leg, which should now appear as in Fig 19th century louis style commode . 2 (c) victorian sutherland table .
Place the two side rails (of 6 x I in jupe dining table’ . deal) together, and square off the length and shoulder lines (S in Fig italian cypress chest 17thc . 2c) antique porcelain bird sculptures 1762 . Gauge a line 14 in pollard elm . from the face as indicated in Fig art-deco-1920-1930-wood . 2 (d), and saw away the waste imari porcelain marks . Repeat this
FIG czechoslovakian quality porcelain . 3 westerwald stoneware . Appearance of the completed bench, showing principal dimensions secession style furniture .
operation for the end rails, noting that these rails overlap the ends of the side rails to produce a square corner , this is made clear in Fig rare chinese urn expensive . 2 (c) art deco wooden chair .
The rails and legs can next be assembled antique imari porcelain . Place the two front legs on the ground and lay the rail in position, making certain that the frame is square and that tile shoulders of the rail are tight against the top of the leg wooden cylinder pedestal . Bore two -g-in antique chair tall skinny back . holes through the rail and leg in the positions shown in Fig 17th century antique trinket boxes . 2 (c) gateleg walnut drop leaf tables . Place two 3 - cheverton reducing . diameter - coach (mushroom-
, in
headed) bolts through the holes, fit a washer and screw the nut up tightly marquetry inlaid trays . Assemble the two back legs in the same manner deco chairs . Lay one of the bracing pieces in position on one frame and hold it with G-cramps or tack it in place temporarily with short nails hand painted black lacquered with mother of pearl oriental furniture, writing bureau .
Test the frame to see that it is square by measuring the two diagonals, which should be equal the name art deco originates from the paris exhibition ‘paris exibitio n internationale modernes of 1925′ which aimed to show paris was a world leader in design and manufactor of high quality goods . When satisfied that the frame is square, bolt the brace by means of a 1-in antique oak drop leaf table . mushroom-headed bolt at each end poole art nouveau . In the same way, bolt a second brace on to the back face of the front legs so that the front frame is held rigidly antique honey pots . Brace the framework for the back pair of legs in the same manner rectangular gustavian dining table .
Stand the front and back frames upright and hold the end rails in position with cramps while they are being bored and bolted in place antique dressing table free standing mirror . Brace the two ends in the same way as the front, with two braces each, bolting each in place after testing the structure and ensuring that it is square sheffield shovels .
The base of the bench is now complete, and the top (of timber about 10 in, wide and 3 in antique maple dinning table with pull-out leaves . thick) should be fixed on to the rails with long, stout screws, the heads of the screws being sunk below the surface so that they will not be a danger to the edges of cutting tools medieval “reading slope” . The rest of the top can be filled in with -,’,'-in antique octagonal side table . boards victorian kidney shaped dressing table with glass top .
In fitting the top be careful to place it with the heart side of the
board uppermost; this enables the top to bed down more firmly on the base and also enables the surface to be trued up much more easily when this is required 17th c. antique moroccan doors . (See Chapter 3,
BUYING TIMBER, for an explanation of heart side antique dining table 1604 .)
Framed-up Work Bench vilas table . The bench shown in Figs candle sticks antique porcelain victorian couple . 4 and 5 is a good standard pattern which is strong enough and of a useful size for all-round work ; the overall size can, of course, be adjusted to suit the maker square chest of drawers on all sides . The framework of the bench can be made of red deal; the top is best made of beech, but good red deal will do for this also, although not able to withstand the amount of hard wear that a beech top would cupboard design for keeping cockery .
The legs and rails may all be of 3 x 3 in 1930 chairs dining black . timber antique 16th century tables . The main top should
FIG marquetry tables, austro hungarian . 4 antique dresser with mirror mahogany . An ideal work bench which eniplqys mortise-and-tenon construction deco chair dressing walnut .
Fully dimensioned drawing of a bench large enough fir most jobs scandanavian antique dessert stand .
be 3 in dumb waiter cedar rectangular antique . thick if possible; 2-in antique italian extendable table . stuff’ would serve, but that thickness would not give quite such a solid base upon which to work the most expensive silver tray . The rest of the top should be filled with tonguedand-grooved boards, in japanese antique silver tray . thick, with a rail at the back edge, the top of which should be level with the surface of the main top baroque consoles . This allows boards, cramps and the like, which may be laid across the top, to lie horizontally and firmly rare chinese urn expensive . Alternatively, the whole of the top could be made flat by packing up (lie”-in walnut beaconsfield wardrobe .
4
boards to the level of the main top; but most workers prefer the well-top bench as illustrated antique creamware .
Place the legs together as in Fig pedestal desk flaps at ends . 6 (a) and hold them with cramps while the lines are squared across the face of all four pieces antique pie crust table . Every line that is necessary oil all four legs should be marked at this stage, thus ensuring that all legs are identical decoupage on veneer . Separate the legs, and square the lines all around the wood how to tell william iv furniture . Place all four side rails together and square across the shoulder and length lines, and square
them around as before spanish puente pottery . Place the two top rails and the two end rails together, and square the necessary lines across as indicated in Fig lancashire bow front mahogany chest drawers . 6 (b), noting that the two top rails are different from the two end rails 20th century furniture development in france .
Using 3-in antique oval tea table . stuff, a tenon I in delft concentric circles . thick, set in the centre of the wood, is required antique oval brass coffee tables from india . Set the mortise gauge to a 1-in venetian micromosaic mirror . chisel, and gauge all the tenons and mortises with the same setting of the gauge scottish chest of drawers . Mark the waste to be cut away, as shown in the shaded
MORTISE WIC!EDJ
F
SAW CUTS FOR
WEDGES
FIG fiddleback walnut . 6 octagonal silver trays for dressing table . Legs held together (a) while the ends are squared across and mortises and tenons are marked; (b) sindlar treatment ” for the rails; (c) and (d) illustrate a wedged-tenon joint school cupboard antique .
WORK-BENCH CONSTRUCTION
FIG antique posset pots . 7 brass frame girandole images . One end of the bench struelure with parts ready for assembly and gluing up without the top gerhard schliepstein, german sculptor .
portions of Figs wood antique tripod table glass top 1950 . 6 (a) and (b) antique pedestal plate by wales . Saw down the cheeks of the tenons, and then saw off squarely to the shoulder lines round spider leg table . Cut the mortises right through the members from both sides court desk art . When this has been done, the whole framework can be assembled dry—without glue early victorian mahogany telescopic dining table . Mark the joints so that the corresponding mortises and tenons can later be put together again in the same order collectors glass display tables,small . Test each joint separately to see that the shoulders fit tightly, and that the members are square with one another hunting chest french 18th century . Test each frame to see that it is flat and out of winding (free froth and measure the diagonals, which should be of equal length, to prove that the frame i5 square royal court floral bone china hand made & painted by craftsman staffordshire .
When satisfied that the framework
is correct, widen the mortises slightly on the outside to take wedges, as in Fig antique glass “la granja” . 6 (c), which also shows the saw cuts made in the tenons about I- in rectangular gateleg table . from the edge of the tenon regency secretare . The aim should be to produce a well-wedged joint as shown in Fig art deco cermanics signed made in austria with the inital s . 6 (d) antique french office chair . The wedges should be exactly the same width as the tenon (1 in japanese mother of pearl furniture . in this case), and be sawn to the required slope from a block of wood 1 in sutherland table australia victoria . thick crockery cabinet designs .
The two end frames should be assembled first pictures of yellow antiqued cabinets . Glue the tenons and mortises and cramp up the frame; test for squareness, see that it is quite flat, and then wedge the joints small round chippendale center hall table . Leave for twenty-four hours to allow the glue to dry out jacobian furniture . Next glue the side-rail joints, cramp up the bench, and wedge the joints french drop front desk . The wedges should be given a smear of glue before being hammered home; this helps to hold them firmly in position antique creamware tankards . A view of one end of the whole structure is given in Fig antique brass and marble cocktail table 1950 . 7 dressoir timber .
When the glue is dry, clean up any projecting wedges and tenons with a smoothing plane, and the base will then be ready to receive the top antique upholstered louis xlll armchair .
FIG cocus wood oyster veneered . 8 antique english ironstone . An adjustable bench-stop; it should be a close fit in the mortise Bore two–g-in staffordshire flatback fakes . holes in the top rail, one on each side of the front mortise, as shown in Fig empire style with neoclassical furniture . 7 19th century native american pottery . Place the top in position and hold with cramps while the -R-in antique, table, drop leaf, walnut . coach screws are being driven in from the underside, using washers under the heads to prevent them from biting into the wood collectors cabinets -jewellery trays/draws for stamps/beads . Start each coach screw by boring a -&-in antique white chamber pot . hole in the top to take the thread of the screw, which should be smeared with oil or grease to make the screw run more easily antique furniture escritoire lacquer black .
To prevent shrinkage from leaving gaps, the thick top is rebated as at R, Fig using decoupage to cover chipped veneer cabinets . 7, to take the “-in baltimore fancy chairs . tongued-and-
4
grooved boards which fill up the rest of the top gate leg table english oak antique . These boards are nailed to the top rail, and the heads of the nails punched below the surface to prevent them from damaging the edge of any cutting tools that may be laid in the well upholstered english armchairs . The back edge of these boards should have a rail about 1 J in fiddleback walnut louis xiv reproduction desk . thick screwed oil from underneath, the height of the rail being such that the top of the rail inexactly
level with the main bench top wardrobes from the 18th century .
A bench-stop can be fitted by making a mortise right through the top, as shown in Fig deco steel desk . 8 cast regency period candlestick . The bench-stop should be of hardwood ; beech is usual, but any hardwood will serve quite well fall front french desks . A good size is 2 x 1 I in king george iv side board ., and about a 12-in porcelain cris de paris . length will allow the stop freedom of movement above the side rail potters stoke on trent empire rococo . The stop should be a close fit in the mortise, but as it usually works loose after some use it is as well to fit a 1-in 1800 english writing bureau . bolt with a wing-nut through a slot in the lower part of the stop, the bolt running right through the leg silver entray dishes . The stop can thus be fixed at any required height above the bench top antique white chamber pot . ‘
The fitting of a good woodworker’s vice will complete the bench antique rent table . In choosing a vice it is advisable to obtain the largest size, with jaws about 10 in 19th 20th century ladies writing desk . and opening to about 12 in 18th century horoldt augsburg vases .; it is very annoying to find that, as is often the case with a smaller vice, it will not open quite wide enough to hold the timber in use italian draw leaf table .
SIMPLE TOOL-BOXES
Both the boxes illustrated can easily be made, and, although intended primarily forthe storage of tools, they can be adapted to other purposes deco chairs . The dimensions given are suggestions only and can be varied to suit any particular requirements art deco woman figure porcelain .
Tool-box and Stool Combined antique drop leaf table with leaf built in . Fig jennens and bettridge . 1 shows the constructional details of a box and stool combined, which can be carried around the house and used adjacent to the job in hand 1710 antique french pewter marks . The stool is often useful as a temporary bench art deco dining chairs with arms . To make the box, first plane up the two ends A and B from sound 4′1-in rare meissen porcelain presentation .
softwood, using either a wide board or two or three narrower boards edge to edge 17th/18th century style, open-rack oak dresser . Place the lengths of wood together in the vice and square off across the edges of both (or all) the final length and also the position of the housing for the bottom when were epergnes invented . You should now have four lines squared across the edges inexpensive 1960’s painted small dresser 2 drawer .
Jul
16
Antiques. Advantageous Conditions.
July 16, 2009 | Leave a Comment
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 .
Jul
16
Antiques Furniture. CABINETMAKING.
July 16, 2009 | Leave a Comment
CABINETMAKING
BECAUSE our country’s pioneers became of necessity competent handicraftsmen imposes no obligation upon the present generation of steam-heat and pushbutton settlers to emulate them with sweat and calluses how to make a refectory table . Financial considerations permitting, we are able to acquire almost any type of furniture our hearts desire, from well-constructed replicas of authentic antiques to comfortable creations of modern design antique napoleon plaster coin reliefs . If unable to satisfy completely all his furniture wants at one time, the average householder budgets his purchases and buys carefully, thereby acquiring an increased pride of ownership derived from a well-considered comparison of values style a bambocci and pieces of furniture .
It is doubtful, however, whether this ultimate pride of possession ever approximates the deep satisfaction of the craftsman who successfully constructs a comfortable and useful piece of furniture that in appearance and workmanship closely resembles the product of experienced cabinetmakers dolphin sideboard . To achieve such a result through one’s own planning and with one’s own hands is a tangible monument to the self-reliance and the inherent ability of an amateur to invade successfully the guild of master craftsmen american antique tilt top tea table . This guild is not only an ancient but also a most honorable one, whose members were, and still are, truly artists in wood, although the pride of craftsmanship that formerly prompted so many of them to sign their products has necessarily disappeared as the result of our modern system of specialization and mass production, under which no one individual can be entirely responsible for the finished product 19 th century brass candle snuffer .
It is not the intention here to decry the results of mass production, nor to attempt all evaluation of the impact on our national economy of the millions of man-hours that increased recreational time may channelize into home products from various hobby crafts french commodes . The goal is much more tangible—the erection of simple guideposts welcoming the reader to the Ancient Order of Handicrafters victorian anglo-indian wood tea cabinet . In that spirit this book is aimed at those individuals in whom there exists some vestige of the soul-satisfying urge to create something useful during their spare time hungarian antique furniture . By-products such as patience, concentration, observation, and foresight are not to be sneered at, but there is no desire to proselyte in the interests of character building 3r mental discipline cube parquetry louis xv history . That would be trading a joyous hobby for the flagellant’s whip antique fluted gateleg table legs .
The earlier craftsmen would have scorned such hardware aids as metal angle irons, corner plates, folding lid stays, or manufactured drawer pulls, relying instead upon the strength and decorativeness of accurate jointing alone gateleg table . In this and other chapters art deco furniture american museums . however, where such devices are considered logically economic and relatively invisible, they are included in various projects, such as kitchen tables or outdoor furniture staffordshire underglaze english ironstone tableware . It is felt that these modern aids to construction represent a desirable saving in time and effort, where the intricacy an(> precision of craftsman-like joinery would exert relatively little influence oil the final decorativeness of the product oval gate leg drop leaf antique tables .
It is well to realize that cabinetmaking or furniture construction can be planned to include designs and methods that are so elementary that even the beginner can produce a utilitarian object of satisfying appearance ornate brass mantle clock made in italy . Examples of such items are included in various succeeding chapters as “kindergarten” projects—bait, if you will, for the timorous, in the belief that there is nothing like the completion of a successful venture to encourage more ambitious design and craftsmanship antique chamber pots .
With an increased understanding of the properties of various woods and materials comes a wider feeling for their possibilities; later the constructive imagination of the home mechanic will be limited only by his own confidence dining furniture design in 1900 . From simple beginnings more ambitious enterprises will inevitably be undertaken, each requiring close attention to details antique mahogany drum tables library tables writing tables . Cabinetwork demands careful concentration from its devotees, but no more so than any other successful handiwork, from sewing to barn raising opalescence glass by marc sabino . In constructing a piece of furniture, the amateur craftsman had opportunities for exercising not only a nice precision and patience, but also foresight and systematic planning inlaid marble table lapis lazuli antique .
If planning is a prerequisite to successful performance in general, then its need will be particularly apparent in cabinet or furniture construction porcelain manganese production wincanton . No matter how crude the result, it will pay the amateur craftsman to sketch his plans before proceeding to dissect his material with saw, auger, or chisel example of vargueno . This is especially true in furniture design, because of the hidden jointing that must be employed at certain points 17th century dining tables . If the beginner will upend and closely study an available piece of furniture of good workmanship, he is sure to discover methods of construction that will be of value during the preliminary planning phase small side table tripod legs .
The series of undertakings progressively suggested, is intended as an example of what can be constructed with hand tools, and is proposed as a guide for independent planning and development antique leather top side tables with two drawers . Various methods of jointing and cabinetwork are illustrated, often in the construction of similar details, proving that, although “common practice” may prevail in different localities for varying periods, in the final analysis each craftsman will inevitably work out individual details to suit his own feeling and technique comtoise clocks longcase . The ultimate criteria of tile value of a piece of furniture must include affirmative answers to the questions: (i) Will it serve its intended purpose or purposes? (2) Does it provide eye appeal?
Design s-curve leg antique table . Obviously design in furniture cannot be considered as a mere abstraction alfred porteneuve . Artists often create designs that are of great beauty and high artistic merit; if they are not adaptable to utility, however, the basic purpose of the object is lost, or subordinated french commode . Hence the artist-craftsman is his own best designer, for he will scrutinize and criticize his product from the essential viewpoint of service what do you do with an antique art nouveau occasional table? . Not only will he choose a bold or a delicate design according to the characteristics of the material employed, but also he will insure that a chair is comfortable or a table is sturdy and of the proper height tripod antique folding pie crust table . The same will be true of his selection of contours or embellishments, for as a craftsman he is always aware of the basic requirement of purpose 19th century mechanical desks .
Proportion english art deco club chairs . Good design in furniture is the product of several factors, not the least of which is the observance of proper proportion hepplewhite revival fold over dining table . Good proportion results from a harmonious relationship between the various parts, a balancing of masses antique rectangle drop leaf table cabinet . Here again the utility or the purpose for which the object is intended will determine the direction of the primary mass; in a bookcase the largest dimension will be in a vertical plane, whereas in a desk the primary mass will be horizontal 1910 rosewood china cabinet uk . This dominant mass may be subdivided vertically, horizontally, or in both directions; into two, three, or more masses, which must be proportionally located 18th century antique american gateleg . The following suggested ratios will, in general, satisfy the eyes of the beholder, thus insuring a sense of good proportion:
i staffordshire slipware strapwork . Of two horizonal divisions one section should be larger than the other leaves for old oak table? . Equal horizontal divisions tend to become monotonous patek philippe, 1930s, rectangular, hinged back .
2 george bullock drawing . For the same reason, the central of three horizontal sections should predominate empire pier table .
3 arzberg jean luce . Four or more horizontal sections should gradually diminish in size, with the largest one at the bottom 19th century dressers .
4 17th century boston silversmiths . Two vertical sections should be equal long-narrow gateleg tables . The eyes would be dissatisfied with an unequal lateral ratio spergne antique .
S antique mahogany drum tables library tables writing tables value popular . Of three vertical divisions, predominance should be given the center section rockingham porcelain cottages? .
6 chippendale reading table fire screen . With four vertical divisions, three choices are possible: all four sections can be constructed of equal size: the two central sections can be of equal size but larger than the two outer, equal sections; or the reverse consolidated lamp & glass company of coraopolis, pennsylvania in 1926 .
The esthetic appreciation of proper proportion is customarily attributed to the possession of a mythical quality known as “good taste antique chinese clay and pewter tea ceremony sets .” By many, this discriminating feeling is believed to be inherent, conferred by some good fairy at birth aristide colotte . The truth of the matter is that regardless of a person’s innate artistic bent or lack of it, the decision as to good taste will be automatically taken care of by the eyes,
they have been afforded proper yardsticks for comparison finmar alvar aalto stool . Our ever-restless eyes automatically travel toward and focus upon successive centers of interest, such as the dominating masses or divisions described above robert adams breakfront bookcase . Our eyes, in their automatic search for variety and interest, become dissatisfied with the monotony of equal divisions and masses 19th century lion claw pedestal table . For one who has been otherwise preoccupied, it may be necessary to arrange a brief training period for the eyes, by affording them sufficient opportunities to observe and study examples of swell-proportioned filriliture of recognized workmanship 19th century regency furniture .
Outline graduated drawers formula . In considering the shape or outline of furniture, utility again exerts a deciding influence small-footed bowls raozhou . The formation of the basic structure is determined by t)e purpose the piece is to serve; this basic shape call be modified to a graceful outline only to all extent that will not impair the fundamental requirement of utility antique drop front desks . The same is true of the shaping of divisions and of decoration gaudi furniture . A graceful outline is insured by unity of design, the achievement of a restrained dignity through t e blending of simplicity, proportion, and successful eye guidance claw foot dresser .
The eye will travel at an accelerate pace along smooth lines and curves, b it becomes confused by harsh collisions giltwood . Although rectangles may be required in t e basic structural design, corners can be rounded, and sharp angles opened to sped up the eye’s indecision at abrupt changes in direction spiral furniture legs . Nature offers colintl• early 19th century chest wood .s examples of gracefulness in the outlines of curving branches and flower sten s led table clocks . For this reason elliptical curves so proportioned that they lead the eyes effortless y to a central, dominating feature will give to the entire composition a harnlollio is theme salon chair fabrics geometric shapes .
For the amateur without access to power tools, the production of curves is a somewhat disheartening prospect library chair englisg antique . Until the confidence of successful achieveme t is his, he will do well to translate his curves and ellipses into series of lines ‘r steps for the eyes to follow raoul lachenal pottery . If these steps are proportional, the eyes will folio v a pleasing series of points in ascending and descending proportion french bronze porcelain and silver inlaid clocks . So, too, hex:
gonal or octagonal outlines can be substituted for the continuity of a circle, a d the chamfering of sharp corners can be relied upon to replace a round leg Ir column antique corner cabinets baltimore .
To sum tip: to insure a harmonious whole avoid monotony, provide the ey•s with smooth lines for movement, and create a center of interest curved padded chair walnut .
Material art deco shops in paris france . Just as the kind of material may control the choice of the over- victorian balloon back arm chairs mahogany cabriole legs .11 type of design, so the texture, grain, and figure of the wood will exert a stro g influence oil the way it is to be worked or the place it is to occupy in the enseniblThis principle may be observed in the doors of well-designed furniture, which have stiles and rails of straight-grained stock, but frequently use panels of way
grained woods stickle bros co furniture . Although oak has been one of the most popular choices for ti e fabrication of sturdy English and Early American furniture, it will be noted in a later table that its basic hardness, plus its coarser texture, limits its use to the mo-e rudimentary designs that include only elementary embellishments, such as chamfe - ing and gouge cutting secretaire art deco . Because of this essential hardness and obvious durabilit
designs for oak furniture very properly feature a sort of masculine ruggednes antique lady inlaid tray ., resulting in pleasing simplicity antique small tables sutherland . On the other hand, the finer grain of mahoga and the silky texture of walnut are readily adaptable to various forms of desig from the earliest antique to the latest modern late 1800’s dining table european .
FURNITURE WOODS
Many data are now available for the study of our native woods, thanks to the United States Department of Agriculture and its Forest Products Laboratory a french renaissance carved walnut bed second half 16th century . For everyday information and advice, however, the home craftsman will find it profitable in more ways than one to cultivate an acquaintance with the local lumber dealer and, if possible, to use the local lumber yard as his laboratory small shell silver antique dish loop handle . Thus he not only will learn what stocks of material are on hand or readily available, but also he may gain access to dark corners where odd pieces, or “shorts,” have been forgotten, to be disposed of at reduced prices carved ball trestle table .
Furniture that is to be stained and polished or finished in natural tones will in all probability be constructed from one of the hardwoods; painted or lacquered furniture can be assembled from softwood table octagon marquetry drawer . The term “hardwood” is not used to describe the physical hardness of the wood; it refers to the botanical group of broadleaved or deciduous trees, while softwood comprises the nondeciduous conifers, with their needlelike leaves chinese brass plate history antique . ‘XIany hardwoods are softer than the average softwood, and vice versa imperial,gate leg table . In general, it may be considered that the harder the wood, the heavier and stronger it will be louis sue .
Another general classification used that is of importance to furniture- and cabinetmakers is that of the grain in wood, which will determine the most suitable method or type of finish to be applied regency single cumberland dining table . Technically, the grain of the wood is determined by the direction, size, arrangement, or quality of the fibers (cells) of wood structure antique silver fish knives and forks . Close-grained wood has narrow and somewhat inconspicuous rings, the reverse being true in coarse-grained woods antique imperial mahogany dining table . Painters and finishers, however, are more concerned with the texture caused by the tubelike vessels whose openings on the surface of a cut piece of wood are referred to as “pores francois linke black lacquered napoleon lll .” Woods with large pores, such as oak, ash, chestnut, and walnut, are known as “open-grained” woods antcollectors.com/ .
Under the soft, moist inner bark of a log is the microscopic Cambian layer, which forms wood and bark cells antique candelabra markings . Next comes the light-colored series of active spring and summer woods called the “sapwood,” because it carries the sap from the roots to the leaves george 1 mahogany stool . The heartwood, extending inward to the soft pith at vie structural center of the log, consists of inactive tissue formed by a gradual change in the sapwood antique gentleman’s cabinet mirror . Medullary rays connect the various layers for the Id transference of food 1920’s walnut buffet, four drawers .
Fic macintosh jugendstil . antique deco furniture, carved and inlaid . 1 ltd edition catteau .2 negretti & zambra barometer . Lurnbur shrinkage dining table maple .
Although inactive, it is the heartwood that serves to give strength to the tr,e trunk chinese rice grain porcelain . The living sapwood, however, is a mature wood which, when dry, exhibi s no consistent difference in weight or strength from the heartwood, except in a fe species diamond point engraving . Heartwood is usually darker in color except in basswood, cottonwoo and much of the yard lumber intended for lumber shown in Figure 1 chenghua foot rims .4 B revolving chipendale bookcase . In addition it wears more evenlv, is less permeable to liquids, and does not surface-check or split as badly as the flat-sawed wood meubles decoration antique europe . Quarter-sawed lumber is also known as “edge-grain” or “comb-grain”; flat-sawed lumber is called “plain-saved,” “slash-cut,” or “bastard-sawn 18th century brittany cupboards .”
Wood for furniture must be thoroughly seasoned before use, for wood contains hundreds of tiny cells that shrink as the moisture leaves their walls, thus causing a change in the over-all size of the piece blue glass antique tables . Therefore, improperly seasoned lumber used in furniture construction will cause warping, shrinking, or checking in the various parts of the finished article cabriole leg french dining chair . Old-time cabinetmakers would not lay their hands to a piece of wood that had not been seasoned in some dry loft for a year or more dutch 17th century bombe commode .
Air seasoning reduces the moisture content of lumber between 12 and 15 per cent, which is not sufficiently low for furniture construction pearlware . Modern meissen snuffer ., controlled kiln drying will dry the stock to the approximate moisture content that furniture will obtain in service-5 to 8 per cent antique table top wooden book stand . Since any piece of wood will give off or take on sufficient moisture from the surrounding air so that the moisture in the wood and the moisture in the air are in balance, it is obvious that kiln-dried lumber must be stored in a dry, warm place while it is awaiting construction antique.italian porcelain.. .
When permitted freedom of choice, the cabinetmaker will select a wood possessing good working qualities, which he knows will finish nicely fashion inspired by 16th century . Therefore, the following table of characteristics or working properties should be used in conjunction with the table for finishing to be found in Chapter 5 rosewood antiquite - decoration . Certain softwoods have been included in both tables for paint or lacquer finishing french makers of consoles gibier style 18th century .
All lumber shrinks as it dries du ing seasoning antique silver soup tureens . This shrinkage caus; s the distortion commonly referred to as “warp,” four general types f which are shown in Figure 1 antique italian sideboard .2 fauteuil club . 0 determine the approximate amou t and direction of twist or wind alo
the edge of a piece of lumber, s( called “winding strips” can be en ployed, as shown in Figure i 1690 farmer wardrobe .1 These small straightedges are place parallel to each other so th t by 0
sighting along their top edg slightest twist in the surface will be revealed meuble fauteuil .
This lack of stability is more noticeable in flat-sawed lumber what is a flat silverware with a right side curve .
WOODWORKING OPERATIONS
No matter what kind of wood has been selected, the amateur woodworker mus apply a knowledge of and a degree of proficiency in certain basic carpentry opera tions in order to convert the raw material into his dream project mythical celluloid belt buckle . None of thes operations is too difficult for the average person t master, and each is usually a prerequisite to anothe in achieving the desired result antique porcelain and china clocks .
Marking french silver candle holder . Accurate marking is a basic requiremen for good cabinet work antique drop leaf gateleg table . A pencil held along the edg of a try square will satisfy the necessities of ordinar carpentry, but for laying out joints in furniture mak ing, a marking gauge with a sharp spur or scribin point will afford more accurate results antique gateleg table st louis . After th proper width is set off on the measuring shaft, th block is clamped tight and held squarely against th guiding edge, with the scriber slanted as shown i Figure r urns cuttelery boxes .5 french 17th century cabinent makers . To prevent the point from digging in an
digging
following the grain, only a light pressure should b employed, the scribing operation being repeated if the first line is too delicate lorentz wilhelm lundelius . For fine, small work marked or squared to good advantage edgar brandt desin wrought iron table . To accomplish this accurately, the top and bottom are marked with the aid of a try square, before the sides are joined berkey & gay antique chest of drawers lion design . A sharp point will insure accurate marking; for delicate work some mechanics substitute a phonograph needle table octagon inlaid drawer european austrian .
Sawing yellow imperial chinese porcelian . In sawing along marked lines it is necessary to remember that tile saw cut, or kerf, has a width of its own, approximately of an inch the most expensive silver tray . Therefore, sawing the kerf on the wrong side of the scribed line will result in a change of the dimensions in the completed work myott son & co blue hanley est: 1880 . Sometimes the kerf will be on the outside of the line, as in the case of a tenon; with a mortise, the saw cut must be placed on the inside of the scoring swing leg antique dining tables . If too much wood remains after sawing, it can be planed or pared off; too >it tle is hard to replace 19th century french shaving basin . The rule is, then, always saw on the waste side of a line victorian candlesticks .
As for the operation of sawing itself, some mechanics prefer to start the kerf with a knife cut to insure a smooth entrance dutch east india company pottery . Although sawing at a 45° angle is considered easiest, shallow, horizontal sawing must be resorted to when tenons, mortises, dovetails, and other joints are to be cut at right angles to another kerf antique caquetoire chair . The line of vision should be directly above the saw cut at all times, with only the top edge of the saw blade visible antique captains chest with desk .
Sawing miters is simplified by the use of commercial metal miter boxes, which can be set at any desired angle furniture in neo classical style,east india company, india . Everyone is familiar with the box-type miter boxes assembled by home mechanics from scrap hardwood lumber how to antique paint a fluted column . In making such a box care should be exercised not only that the front and back are square with the base, but also that their tops are level, so that when the steel framing square is laid on their edges it too will be level yabu fruit . For 45° kerfs equivalent inch marks on both legs of the square are lined up on the same side of each edge, as in Figure 1 john bell, porcelain, value .6 white pedestal desk with top . For accommodating wider pieces, some mechanics prefer the bench miter can be laid out with the try square arabesque vertical plate racks . A line is first drawn along the edge of the square across the width of the board console table telescopic . From the intersection of this line with the board’s edge the width of the board is laid off along the edge, and a line drawn across the board parallel to the first line 17th century imported oriental cabinet . A diagonal between the proper corners of this perfect square will accurately place the miter 18th century knifebox .
Saw Kerf Bends 19th century desk cabinet . To insure uniform bends in wood without steaming, a ser define arts and trace its origin .es of saw kerfs on the inside of the bend must be equally spaced so that they will all be closed at the top when the desired curve is achieved georgian cellaret lead lined . In -%t-in silver tray on stand . stock an initial kerf % in bernini . deep is cut and from it a distance is marked off equal to the radius of the required bend one drawer antique writing bureau on pillar legs . With the far end of the lumber clamped to the bench top as shown in Figure 1 king george 1v tankard dated 1826 .9, the opposite end is bent upward until the saw kerf closes escritoire chest . The height measured between the lower edge of the at the radius mark will be the amount each kerf lie sawed to an equal depth antique open side cabinets .
Planing different types of roman furniture . Many pieces of wood, after they
board and the top of the bench is to be spaced vintage buttterfly dropleaf tables . All kerfs sboAd
are sawed to proper lengths or ripped to the required width, need only be planed smooth to be ready for fastening in their proper places drop leaf gateleg table with 4 drawers . Although it is a basically simple operation, planing, too, has a technique of its own antique wine cooler and stand . While it is true that the angle of the chisel or cutter is a deciding factor in the plane’s manner of performance, various planes are constructed for various operations art deco antique office side chairs . Wherever possible, all planing is done in the direction of the grain; it may be necessary to change direction, however, in the case of irregularly grained woods refectory table bulbous .
The jack plane is used for the first rough surfacing, followed by the shorter smoothing plane, whose cutter has been set to a minimum working edge imperial+gateleg+table . If sufficient stock is to be planed off to warrant marking with the gage along both sides, the progress of the work can be accurately noted windows 1930 .
In spite of this precaution there is always the probability that the planed edge will not form a true right angle with the lower surface edgar brandt collectors . For narrow edges, the use of the winding strips, described for the detection of warpage in a preceding section of this chapter, will prove of value pemmbroke tables* . During or after planing, a straightedge laid along the newly planed surface will reveal any existing valleys when viewed against the light lustreware blue with orange flower .
The difficulty of planing end grain with the block plane is greater in the hard-
y planing
woods than in the softwoods, for, there is always the strong likelihood of splitting off the end fibers antique new england drop front desk . ‘>’his splitting can be prevented by clamping a piece of waste tightly against and flush with the far end, and planing across its surface with each stroke square drop leaf tea table with gated legs . Wide end grains call be planed inward from both sides octagon mahogany antique table value .
The exactness required in cabinet work has resulted in the manufacture of a jig known as a “’shooting board,” Figure I antiques .1 o kakiemon porcelain marks . Such a device can be made by the home mechanic out of scraps of hardwood, and will more than repay its owner for the time-saving precision it makes possible antique sideboard foliate parquetry . If thin hardwood material is available, the well for the removable triangle can be built up, instead of laboriously gouged out marius sabino leaping gazelle . Care must be taken that the stepped front edge is true, and that the triangular block is an accurate right angle, so that mitered edges can be planed with exactitude mid 1800 majolica umbrella stands .
The operations performed by a variety of separate planes constructed for rabbeting, tonguing, grooving, plowing, dadoing, beading, and molding are now combined in one plane, appropriately known as a “combination plane elisa baciocchi .” If within the home craftsman’s means, this tool s well worth buying; it is accompanied
buying;
complete instructions for its adjustmen As shown in Figure i thonet brothers furniture vienna .ii, it is equipp•d with a removable fence and a variety if cutters or chisels, making it in effect a hand-operated power tool of amazi w’ versatility french mahogany table in directoire taste of curule form .
Experience and practice w 11 widen the scope of its possibilities 1950’s staffordshire porcelain religious figural .
“Chamfering” is the term used for t ‘I e operation of leveling off the corners of two faces at right angles to each other antique fluted leg desk . It
can be accurately accomplished with a
chamfering plane like the one shown ;n Figure 1 17th c. antique moroccan doors .12, which has an adjustaele blade that can be lowered as the we, k
progresses meissen soft paste . If such a plane is not available, it is customary to draw guide lines n both faces, rough-chisel the edge, an(> finish with a smoothing or jointing place 19th century baltimore empire work tables . “Stop chamfering” is the term used when the chamfer swoops up gradually at e• h end antique dresser names . Saw cuts at each end are usually made to limit the plain chamfer, which is later graded upward with a spokeshave ebonized furniture australia antiques .
Sanding lion paw bedroom set . After a piece of wood is smoothed to the limit of a plane’s capail- ities, it is customary to refine the work by the application of a coated abras ve, or grit paper fretwork round tables . Abrasive papers come in standard 9 in gothic revival furnature with lions . x I I in sheffield plate 19th century . sheets, coated for the most part with particles of garnet, quartz, or flint french empire furniture . The variation in the sizE of There is a choice of abrasives for every purpose and each type of wood satsuma pottery thousand flower . In constructing furniture the finer grades of grit papers will normally be selected for gently smoothing the finer grain–; of hardwood that will probably be used cherry ladies writing desk by pennsylvania house .
As in planing, the abrading or cutting is performed with the grain, and under an equal pressure made in czecholovakia antique value . It is necessary to back up abrasive papers with some form of rigid block in order to equalize the pressure in cutting, thus preventing grooving best indian furniture designers . Every effort must also be exerted to prevent a twisting of the paper, which tends to produce cross-grain scratches art nouveau jugendstil jugs .
Blocks similar to those commercially available can be contrived by the home mechanic to suit the work in production french furniture with mother of pearl . For preliminary rough work, much elbow grease and weight are required; therefore, the block can be a heavy brick, covered by some durable material such as canvas, laced or sewed on the upper surface 18th century dining commode . Customarily, commercial sanding blocks have various ingenious methods for clamping the abrasive paper in place caughley ironstone . Inasmuch as these sanding mediums quickly lose their cutting power when the abrasive particles become dull, it is necessary continually to expose new surfaces antique settlers trunks with names on the side of them . A block of wood i in antique philadelphia round mahogany tilt top tea table . x 3 in antique plate meissen . x 5 in gillows three hinge . with a felt backing or a section of old inner tube glued to the underside will satisfy most requirements french makers of consoles gibier style 18th century .
Not the least cause of dullness of the sanding block is that the wood dust removed packs itself into the interstices between the abrasive particles to such an extent that they are unable to bite, even if still sharp french art deco ceramic marks crackle glaze . A scrubbing brush with even bristles, nailed on its back at the end of the workbench, will prove a valuable aid for the frequent elimination of this (lust pack antique gate leg oak table uk . Some mechanics prefer to massage the packed sandpaper with a more flexible cleaner, such as a bottle brush or a nail brush “ironstone china” and fake marks . Regardless of the method employed, it must also be remembered that a portion of the wood dust plugs up the pores in the wood also de coene art deco . This, too, must be removed before finishing operations are begun or the results will be
unsatisfactory octagonal wood antique moorish table ivory inlay . A quick way to effect this removal at frequent intervals is by means of a small brush attachment connected to the vacuum cleaner “extending dining table” patent german .
For irregular surfaces, appropriate sanding blocks must be employed, such as dowels, sponge rubber cakes, portions of solid rubber balls, or strips of the abrasive itself, pulled like a shoe-shine rag around the part to be sanded english pedestal sideboard . The finer abrasives used after the preliminary heavy sanding require a proportionally softer block; blackboard erasers, slabs of cork, or blocks to which several layers of old inner tube have been cemented are excellent for the purpose rococo chippendale mahogany china buffet . These softer types of blocking are especially necessary because the finer grits are imbedded in a more flexible, softer type of backing “french trestle tables” .
Another abrasive medium available, which is especially useful on irregular surfaces, is steel wool french pedestal desk 19th century . Its cutting powers are comparable to grits of 000, o, i, and 2 majorelle chair fruitwood . The 000 steel wool gives a sheen to hardwood surfaces unequaled by the finest grit papers french art deco ceramic marks crackle glaze . Before finishing, some mechanics pass a magnet over the abraded
finishing,
to pick up all particles of the metallic wool antique harlequin figure .
The delicate art of
sandin- between varnish coats can be successfully accom-plished by the amateur through the use of wet sanding papers dresser with rack in middle . These fine-grit abrasives are extremely tough and impervious to the water in which they must be soaked before application czechoslovakia pottery antique . Prior to the use of these abrasives, the varnished surface is sprinkled with a fine spraN, of water from any available laundry sprinkler 19th-century swedish table . After the surface is sanded, it must be carefully Sponge(> off, then wiped dry wi h a chamois or lint-free cloth original decos . Although these wet-sanding papers may be used n place of the pumice or rottenstone customarily applied with a felt pad for this type of finish coat, it must be appreciated that they exert a much faster cutting action, therefore extreme vigilance must be exercised to prevent cutting through tile varnish, instead of merely refining its surface brother furnitures (cupboard) .
Whenever possible, sanding should be done prior to final assembly, for after assembly the corners of rails, panels, and joints are difficult to reach consolidated lamp & glass company of coraopolis, pennsylvania in 1926 . When water stain is to be used later, it is good practice to raise the grain of the wood by sponging it with warm water, allowing it to dry thoroughly before commencing the sanding operations coffee table base rococo antique .
The following table is a suggested guide for selecting the grit size of the coated abrasive:
mastery of wood as a medium for expert craftsmanship who was pier the cabinet maker . Hence they kept their chisels as sharp as surgeons’ scalpels, a habit that today’s craftsmen would do well to emulate antique chinese ivory inlaid cabinet . A standard test for sharpness is to nick or bite into the thumbnail with the chisel german neoclassical secretaire .
Professional woodworkers’ tool kits usually contain a dazzling array of chisels of various sizes and shapes antique wood cutlery urns . For the plain wood joinery contemplated in this volume, however, the discussion will be narrowed to the three standard types, the socket-butt, socket-firmer, and tang-firmer chisels small portable tripod table . The socket chisels are generally
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used for heavy work under a mallet old gate leg table ball feet . Tang chisels are restricted to hand-paring, since the handle would be subject to splitting under repeated mallet or side-ofthe-hammer blows antique card table turned legs . Chisels of different widths are desirable, especially where the narrow ends of mortises must be cleaned out into square corners antique music stand london . In general the tang-type chisels are worked with both hands, with the bevel away from the work, as shown in Figure 1-13 pembroke table inlay drawer each end . The framing and butt chisels, intended for rougher work: are habitually held with one hand and driven by a mallet chamber pot cupboard . It is therefore desirable to compensate for the loss of control and consequent danger of undercutting by facing the bevel toward the work, away from the waste being cut out charles masse art deco .
All chisels should be hollow-ground; for working with hardwoods the bevel should be not less than 30′ antique octagonal side table . This is particularly true of the tang-firmer chisels, which are more efficient when ground to long levels, thus increasing their shearing capacity when rocked back and forth under hand pressure swan motif in empire furniture . The short bevels on the socket-butt and socket-firmer chisels add to the wedging effect of the blade, and prevent the cut from opening up ahead of the cutting edge fine meissen cobalt blue scene plate .
In using chisels it is well to follow a regular procedure 19th century antique furniture makers . The practice nowadays is first to remove all possible waste by sawing or boring, before resorting to chiseling antiques rockingham china . Regardless of whether this results from our national impatience or our genius for streamlining production, the procedure is a boon to the beginner james the first oak refectory table . In making a mortise for a door lock, for example, the recommended practice is to bore a series of overlapping holes to the proper depth within the scribed area, as in Figure 1 antique gilded console tables gesso design .14 and square off the remaining waste with the firmer chisel baltimore fancy chairs . When it is necessary or desirable to scoop out the entire mortise by use of the chisel only, the procedure is as shown in Figure 1 west indies antique paintings .13 medieval court cupboard .
With dadoes, saw cuts can be made by clamping a straightedge along the lines of the intended cut, then sawing to tLe required depth horizontally arzberg jean luce . The waste is then chipped out as in Figure i antique folding table with platted leggs .r5 british puzzle jugs .ably with a rachet swing yongzheng octagonal plate . Auger bits vary in diameter from 3/1 (; in drop leaf gate leg side table mahogany . to I/ in designing a credence table ., wit>, expansive bits capable of adjustment up to 3 in austrian antique painted furniture . Single- and double-twist bits are designed for general woodworking use; the solid-center type is preferred for finer cabinetwork britannia metal spain candlesticks .
Jul
8
Furniture Restoration. Furniture Styles.
July 8, 2009 | Leave a Comment
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.
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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.
Jul
8
Tools and Supplies for Restoration and Repair
July 8, 2009 | Leave a Comment
Tools and supplies
A handyman’s guide from 1902 offers the opinion that without tools, the hand would be powerless. It was some 500,000 years ago that the first implements were used, probably scraps of stone or bone picked up off the ground in a moment of frustration. These days our tools are highly specialized and costly, but a well-made tool will always make a job easier and more enjoyable.
On the following pages, tools are divided into groups
according to their use—you find tools for hammering, gripping, sawing, etc., with similar tools illustrated in close proximity.
Tools should be kept clean and sharp, in a suitable container such as a tool box, or hung on the wall near the workspace. Probably the most important items, after the few essential tools listed below, are clean cotton rags and containers with lids—it seems that you never have enough of either. Get in the habit of saving all clean scraps from pure cotton clothing, sheets, etc., and keep them handy. Also 4oard glass jars, tins and otter containers with lids, but do bear in mind that some chemicals such as spirit-based ones, tend to dissolve plastic, while some react with acids. Finally, keep all tools and supplies properly labelled.
BASIC SUPPLIES
Ammonia Beeswax Benzine Cardboard, white
Chalk, powdered or stick
Chamois
Cotton wool or absorbent cotton
Denatured alcohol (methylated spirits)
Double boiler
Empty glass jars, tin cans and atomizer
spray bottles
Glue, general purpose or PVA
Japan paints
Jewelers’ rouge or pumice powder
Kerosene (paraffin)
Linseed oil
Masking tape, acid-free
Matches, wooden
Pencils, hard and well sharpened
Powdered pigments, especially raw umber Purified water
Rags, soft cotton
Shellac String
Thermometer, cooking
Turpentine
Turpentine substitute
Tweezers Varnish Vinegar
Wire mesh strainer, small
BASIC TOOL KIT
Abrasive paper, sanding block, and assorted abrasive papers
Combination pliers (6in/15cm) square-nosed type, with side cutters
Knife with replaceable blades, which also takes saw blades
Metal ruler (12 - 18in/30 - 46cm) for use when cutting along straight edge
Screwdriver (6iri/15cm) and bradawl for starting holes
T (or try) square (6iri/15cm) to ensure right angles
The following tools are nice to have, but are not essential for beginners:
Bench vice
File, combination, for use on wood or metal Hand drill, bit brace and countersink bit Panel saw or tenon saw
Power drill and attachments (sanding and buffing wheels, masonry bits, etc.)
Combination oilstone for sharpening the blade
Wood chisels (Nin/2cm) bevel-edged firmer
(Y4in/2cm) and mallet (41/2in/Ilem)
8
ABRASIVE PAPERS
Store abrasive papers in a warm, dry place and never attempt to use them on damp wood. Always use at least two grades when trying to get a really smooth finish; coarse paper, wom smooth, will not give the same effect as a finer paper. While working “snap” abrasive paper to unclog it. Incidentally, there is no such thing as “sandpaper” and although these papers feel gritty, sand has been replaced by more effective smoothing agents.
The five types of abrasive paper used for smoothing woods are as follows: Glass paper, with grains made from crushed glass (once reputedly derived from crushed port bottles). It is available with a base of cloth or paper and is commonly used for hand smoothing. Garnet paper, with grains made of crushed garnet stone, so it costs a bit more but it is very durable and recommended for smoothing by hand. Aluminurn oxide paper, used when really heavy cutting action is desired—its synthetic grains are very tough. Silicone carbide paper, also known as “wet-and-dry” paper because it can be used damp (not wet) for fine smoothing of paintwork or dry like other abrasive papers. When damp it leaves a black-grey “gravy” which has to be washed off, but when lubricated with water, it lasts a long time. It can be used on both metal and wood and is also available on a cloth base. Flint paper, rarely used any more, although it is inexpensive, is not recommended because its grains are softer than glass or gamer, and it has a short life.
Both garnet and aluminum oxide papers come in “open coat” and “close coat”—with “open coat” there is more space between the grains, making it less likely to clog and therefore better for smoothing softwoods; while in “close coat” the grains are more closely spaced and are best for hardwoods.
Steel wool can be used for smoothing wood and the finer grades are recommended after smoothing with fine abrasive paper to give a final perfect finish. As with abrasive papers, always work with the grain. Wear a handkerchief tied “bandit-style” to protect your throat and lungs when sanding.
GLUES AND GLUEING
Glueing must be the simplest repair to do! Strangely it is often neglected which is unfortunate, because a little glue applied after slight damage can prevent more extensive problems. The section below deals with glues suitable for
porous materials like woodpaper, textiles, some plastics and rubber. A wooden matchstick is often perfect for applying non-water-soluble glues. Always save even the smallest splinters and chips and glue these in’pla after the main piece has set. For glueing X;s end pottery, see the detailed chapters conodmed
‘I bere are six basic types of i [ue in common use today.
Traditional glues such as animal and fish glues, casein glue and scotch glues are gradually being superseded as they are neither heat- nor waterproof Although they are not generally recommended some craftsmen~prcfer them— such as gilders, who use rabbit Glue.
General purpose glues, cellulose- or acetate-based, and usually sold .irk tubes are water-resistant, free from staring and excellent for fixing plastics, metals, and rfiost inlays to wood. Do not work with these near an open fire—they are inflammable—and avoid inhaling the fumes.
Epoxy resins are modem, synthetic-based glues. They are strong and versatile, perfect for home use, and usually come in *o part kits—a glue and a hardener. Most take about six hours to set but a warm room will speed the setting. Follow directions on the package as the mixtures vary slightly. Caution: synthetic resin glues become rubbery ifkept unused. “They should not be used for glucing wood as they are harder than the wood itself and allow nc natural movement and thus may cause splittir
Polyvinyl acetate (PVA) g~uc is a thick, white, cold-setting, inexpensive&-sin-based glue and can be used extensively, although it is not waterproof It will keep for several months (though not in a cold place) but may stain the lighter woods and tends to creep a bit. PVA is a good general purpose glue skid is often sold in a squeeze bottle with a handy poin ed nozzle. It is water-soluble.
Contact adhesives, which are isually rubber-based, are only recommended when clamping is difficult but a strong bond isidesircd. The glue is applied to both surfaces and, w* tacky, they
are brought together. The two Ofeces are immovable upon contact, so adjusting is impossible. They are very usefid when bonding other materials to wood.
Latex glues are derived ;he milky fluid of the rubber tree, although syr thctic latex is now manufactured. They can be applied either to one surface or both and are thinned with water. Their odor is slightly objectionable. Latex glues are perfect when working with textiles, although some fabric dyes seem soluble, so test an inconspicuous spot befc reapplication.
CLEANING BRUSHES
1. It is imperative to clean brushes when you have finished using them, or to soak them if leaving the project for a few hours. (Should you forget to soak the brush, the paint will harden on the bristles; only a very strong paint remover will restore the brush to usefulness and it will never be the same again.) Always remove excess paint from the bristles first by wiping them over old newspaper.
2. In order to soak the brush, prepare it by drilling a hole in the upper handle, as shown, then inserting a dowel which will suspend the brush in water up to the first of the fernile. (Use a container deep enough to keep the brush from resting on the bristles.) Some experts recommend storing brushes in white spirit, but this seems to dry out the bristles unnecessarily.
3. When you need to use the brush again, remove excess water from the bristles by 3quel zing them in soft absorbent cloth or paper
Caring for tools
Tools should be stored in a dryish atmosphere and away from children. After using tools with a metal part, it is a good idea to spread a film of light machine oil over the metal surface to prevent rusting. For this purpose, keep an oiled pad in a sealed container near the work area. Tools with wooden handles should be kept smoothed and well sanded to avoid splinters.
BRUSHES
Many different kinds of brushes are used in restoration and it is worth choosing them with care. A paintbrush has three parts: handle (I~ ferrule (2) and filling (3). The filling, or bristles, can be made from boar (used in the best quality brushes); horsehair (used to bulk out better filling); oxhair, squirrel and sable (used for thin artists’ paintbrushes); fibre (from the stem of the palm tree); or, increasingly, synthetic fibres (from filaments such as nylon). If possible, always invest in a good quality brush — it will hold more paint and apply it better than a cheaper brush and is less like1v to shed its bristles. Test brushes before purchasing by making sure the bristles fan evenly and that they are firmly set into the ferrule. Keep them in good condition by cleaning and storing as directed in Steps 1 – 6.
Three useful paintbrushes for the restorer are: a flat paintbrush (A~ a stencilling brush (B), and a lining brush (C). Another useful brush for many jobs is a wire brush (D).
4. To remove oil-based paint from a brush, fill a glass or metal container two-thirds full ofturpentine substitute. Agitate the brush in the liquid, pressing it against the side of the container to force out the paint. When the liquid can absorb no more paint, repeat until most of the paint is removed. To remove water-based paints, use the same technique in a jar of warm water.
5. Inspect the bristles near the ferrule to see if the paint is removed, then wash the bristles in warm, soapy water. Rinse and repeat Step 4 ifnecessary before washing and rinsing again.
Shake or blot out the moisture and leave to dry naturally, away from any heat source which will only dry out the natural oils in the bristles. Store the brush by wrapping it in brown paper, secured with a rubber band as shown, laying it flat if possible. Keep brushes used for water and oil-based paints separate, and reserve a 2-3in/5- 8cm brush specifically for varnish and shellac.
6. To keep small artists’ p brushes in good
condition, clean as above in S 4 and 5. Then point the brush by placing adrop oflight machine oil or linseed oil on the bristles and slowly rotating the bristles between the thumb and index finger.
Carving tools
Chisels are designed for cutting with or across gouges are used for less drastic action on wood
the grain, while
Chisels and gouges have narrow cutting edges and are each designed with a particular task in mind, so purchase the various types as they are required. The metal part is usually fitted to a bulbous handle made from boxwood or impact-resistant plastic.
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The main types of carving tools are: firmer chisel (A), available withblades in a variety of widths, often driven with a wooden or soft-face mallet although a hammer maybe used with plastic-handled chisels; bevelled-edge firmer chisel (B) with a slightly less rigid blade, used for lighter woodworking tasks such as undercutting dovetail housing joints, not designed for use with a mallet but tolerates light tapping; paring chisel (C) with longer blade, used to trim long grooves; firmer gouges (D) with curved blades of two types—one with the cutting bevel on the outside, used to make concave shapes, the other ground on the inside, used to make straight cuts that are curved in cross-section—both used with a mallet; paring gouge (F) for hand paring (without a mallet), ideal for cutting curved shapes of all kinds; and cold chisel (F) used to cut metal (for example for chain links, sheet metal and bolt or rivet heads), struck with a heavy hammer.
Cutting tools
Probably the most useful and versatile cutting tools are the knives with replaceable blades. There are four types of these, all with disposable blades which come ready-sharpened. The blades are terrifically sharp and should be stored and used with great care.The four types are: general purpose knife with replaceable blades (A), sometimes with blades that may be retracted and stored inside the handle; knife with snap-off blade (B), also retractable; and surgeon’s knife or scalpel (C), with blades removed manually.
Various useful kinds of scissors are: aviation snips or compound action snips (D) which will make straight or curved cuts in metal—they have specially firm jaws and comfortable plastic hand grips; pinking scissors (E) with a zig-zag cutting edge which makes the cut edge of fabric less likely to fray; embroidery scissors (F) with elongated blades ending in a fine point, useful for work on carpets and textiles; and cuticle scissors (G) with a curved blade, used in decoupage.
A glass cutter (H) has a hardened steel wheel mounted in a holder, and is used to score a line across a sheet of glass. Small pieces can be “nibbled” off back to the scored line using the notches on the side. (It helps to remove any grease from the glass with turpentine substitute and oil the cutting wheel before starting.)
Drilling tools
When using any drill, try to keep the pressure constant. If the drill wobbles, the drillbit may snap. When drilling metal select the appropriate bit and oil it lightly before starting; it may also help to make a small hole in the metal with a punch or awl. When using a
power drill, take care to disconnect it from the power source before making any adjustments, and be sure to examine the cable regularly for signs of damage or wear. Also, avoid wearing loose clothing or accessories that could get caught in the mo T g parts.
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A hand-drill (A) has a chuck shell at one end which turns anticlockwise to open the jaws that hold the bit. When the drillbit is central, rotate it to establish it in position, then use the drill at the desired speed. Various hand-drill bits are available for special tasks: twist bit (B) for metal and wood; dowel bit (C) for the side and end grain of wood; countersink bit (D) to recess a hole to accept a countersunk screw head; glass bit (E) for use at slow speed to drill holes in glass, mirror and porcelain; masonry bit (F) for drilling holes in brick, stone and ceramic tiles. A push drill
dri(G) can be used to make small holes in wood or plastic, using special drill points. A power drill (H) is probably the most versatile tool available; accessories include circular saws, sanding discs, grinders, rasps, even paint sprayers. Small hand tools such as augers and gimlets (I) can also be used to drill holes in wood; augers drill fairly large holes, gimlets shallow ones, often to take a screw. Bore the hole by twisting the tools in one direction only. Bradawls or awls (J) are used to start holes in timber for nails and screws and to make holes in leather. The bradawl is twisted right and left; the awl is inserted with pressure.
Gripping tools
Professionals will opt fora bench vice or a clamp-on vice (A), but these require a sturdy and steadfast table or workbench. Amateur restorer-, can make do with a variety of gripping tools, purchased as required. These include: “G” or “C” cramp (B) for clamping wood or metal work, used with a block of wood between the cramp and wood to prevent marking; spring cramp (C), a manual device to provide light pressure to an object while glueing-, mitre cramp (D) to hold mitred joins together while glue sets; needle-nosed pliers (E) to grip small objects in confined places, available in a variety of shapes and proportions, all with serrated jaws; slip-joint pliers (F}, with a pivot joint which provides two widths of jaw opening; carpenters pincers (G), with curved jaws which meet at a bevelled cutting edge, designed to extract nails and tacks from wood; and upholsterers’ pliers (11), used to stretch webbing across the chair frame by gripping the folded end of the webbing while the lower jaw touches the frame.
Hammers
The most useful hammer is the claw hammer (A), which may be used for removing bent nails as well as for driving nails home. (When pulling nails out, always protect the surface with a small block of wood placed under the front end of the hammer.) Others are: lightweight pin hammer or ball pin hammer (B), used for driving pins or tacks; upholsterers’ hammer (C), with a small rounded face for driving tacks in a confined space, and magnetized so that it holds the tack in place as it drives it home; soft faced hammer (D), used for driving or shaping materials such as soft metals which would otherwise be damaged —these usually have a socketed head into which soft bases are screwed; similar are soft faced mallets (E) with rubber or rawhide heads; and lastly, heavy carvers’ mallet (F}, designed to drive various chisels and gouges.
Fitting a new handle to a hammer head
1. Choose a new handle with an even, straight grain to the wood. Begin by cutting two evenly spaced slots across the head ofthe new shaft, two-thirds the depth of the hole. Drive the hammer head onto the shaft using another hammer.
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2. Cut the shaft flush with the top ofthe hammer head.
3. If steel wedges were used, drive th;m in with another hammer until they are level %?’th the top of the shaft. If there are no stee wedges, make some from bits of hardwood. Finally grind or file the wedges flush and varnish the expo sed wood.
Measuring tools
When making measurements, avoid using the common wooden yardstick, which is too inaccuram Instead use an engineer’s steel rule (A), ideally one scribed with both metric and imperial
measurements; a folding or zig-zag rule
push-pusteel tape (C); and (for fabric only) a
tape measure or a new digital rule (D) which is run over a surface and indicates the length in its display.’ro achieve accurate right angles, use a T or try square (E) or steel square. Cl-hc metal rule is highly recommended as it will not only measure, but also serve as a straight edge to guide a knife along when cutting veneers, plastic, leather etc.)
Sawing tools
‘There are three main kindsofsaw: large handsaws, stiff-backed saws for cutting joints, and special purpose saws. With all types, the greater the number of teeth or points per inch, the finer the cut. If a saw blade is rusty, clean it by rubbing it with steel wool dipped in turpentine substitute. If sticking occurs, rub the blade with a wax candle, but if the problem persists, the blade may need sharpening, resetting or replacing.
I arge handsaws (A) include: panel-cut saw for cutting with and across the grain, cross-cut saw for cutting across the grain and rip saw for cutting with the grain. All handsaws should cut freely under their own weight and your forward pressure. Stiff-back saws include the back saw, or tenon saw, (B) for cutting joints. Various specialist saws are: coping saw (C) for cutting curves in plastic or wood; fretsaw (D) for tighter curves in wood or plastic; hacksaws (E and F) for cutting metal; and pad saw (G) for cutting holes in a panel. Knives with replaceable blades can also be fitted with saw blades although these are only designed for sawing lightweight materials.
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Scraping and filling tools
Scrapers are indispensable to the restorer and are not interchangeable, although they, and some filling knives, look somewhat alike. Various scrapers are: paint scraper (A~ with a stiff blade for removing softened paint; filling knife (B), with a wider, flexible blade; putty knife (C), used to shape and smooth putty — available with three shapes ofblade depending on the preference of the user, palette knife (D), used to scrape pigments and mix media; skarsten (E), for smoothing timberor removing paint; and combination shave hook (F) — the most useful of the shave hooks with its curved and straight blades, ideal for scraping awkwardly shaped surfaces.