By Jeffrey P. Greene
American furnishings of the 18th century is prized for its old and creative price by means of museums and creditors, and as a benchmark in layout and craftsmanship by way of modern day furnishings makers.
In the 1st a part of the publication, Jeffrey Greene chronicles the evolution of the layout and building of 18th-century furnishings, drawing on ancient affects and the tastes of the interval. within the moment half, he explains and illustrates the options of the interval furnishings maker, together with joinery and genuine building; carving, turning and inlay; well-known completing tools; and making operating drawings. the ultimate half examines 24 vital unique examples intimately for his or her layout, development and inventive merit.
Written via a certified interval furnishings maker, this booklet is meant for a person with an curiosity in 18th-century furnishings. For antiquarians, it's going to function a close consultant to the furnishings maker's equipment. For cabinetmakers of any interval, it is going to be a vital reference on connoisseurship and historic methods.
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Additional info for American Furniture of the 18th Century: History, Technique & Structure
Th ese caned chairs date from th e first qu art er of th e centur y. Anot her important su bset of William and Mary chairs is a leath er-upholstered design th at is called a Boston chair (photo at right below). Th ese chairs were in vogue sta rt ing about 1715 and were made for about anothe r 35 years. Boston chairs used turned fro nt legs and stretchers, Spanish feet and verti cal prop orti ons like other chairs, bu t th e narrow back panel and seat were uph olstered in leath er fastened with decorative round-headed brass tacks.
T he light ness of d rawers and cases afforded by dovetai l joinery allowed for th e mor e vertical forms of th e William and Mary period. CA SE C ON ST RUC T I O N T he cases of chests, including th e upper half of high chests and desks, shared sim ilar str uctures. In each of th ese examples, th e cases consisted of two sides, a top and a botto m. Th e beginnings of th ese cases resembled a vert ical box wit ho ut a front or back. Rath er th an being a panel set inside a frame , each of th e parts was one wid e board or two glued side to side.
While it was to be anot her two centur ies before com me rcially prod uced pain ts were available, a number of naturally occurring pigments cou ld be grou nd with linseed oil from flax seed to make a very good paint. Some of thes e pigments were available locally, and others were imp orted. In urban areas th ere was enough of a demand for paint and decorati on to support a separate profession by the end of th e centur y. It is not known for certain wha t kind of stains (if any) were used in 17t h-cent u ry Am erica.