Posts Tagged ‘drawer construction’

PITCHER IN ‘AGATA’ GLASS
New England Glass Company, U.S.A., after 1885.
Ht. 101 mm (7-5 in.)
‘Agata’: Joseph Locke secured the patent
for the making of ‘Agata’ glass shortly
after 1885. According to his patent, it was
made in the following way. The object to
DC decorated was first partially or wholly
coated with a metallic stain of the desired
colour. The part that was stained was
spattered, or had applied to it a volatile
liquid such as benzene, alcohol or naphtha.
When the volatile liquid evaporated, it
left a mottled surface on the glass, which
was fixed to it by firing in a muffle kiln.
The result was an all-over pattern sug-
gestive of a fanciful golden spider-web on
the glass. Sometimes so-called ‘oil spots’
of a blackish-blue colour appear within
the pattern. This type of decoration is
more usually found on glossy pieces than
on matt-finished ones. The New England
(ilass Company, Mass., produced Agata
glass, mostly confined to decorating their
Wild Rose Peach Blow ware.
VASE IN “SECOND GRIND’ POMONA GLASS WITH
BLUEBERRY DECORATION
New England Glass Company, U.S.A., 1886 r .
III. 121 mm (475 in.)
‘Pomona’ glass was yet another invention
of Joseph Locke’s for the New England
Glass Company. His first patent, issued
in 1885, referred to what is now called
‘first grind’ Pomona, and involved cover-
ing the glass with an acid-resistant coating
carved with thousands of minutely en-
graved lines in the parts where a frosted
appearance was required. When the piece-
was plunged into acid, this cut into the
lines, producing the frosted effect once
the acid-resist was removed. Locke-
achieved a cheaper alternative in his
second patent of 1886, now called ’second
grind’ Pomona. To produce a stippled or
frosted ground, the area required was
covered with a thin layer of some finely
pulverised acid-resisting powder; this
adhered to a thin layer of oil or varnish.
All parts of the vessel protected by these
fine particles were not affected by the acid
bath, which produced a fine stippling
over the body of the article. Pomona
glassware was decorated with amber, blue
and rose-coloured stains.
‘Royal Flemish’: The patent for ‘Royal
Flemish’ glassware was issued to Albert
Stcftin in 1894. Raised gold-enamelled
lines divided the glass article into sections,
which were later coloured to give an
appearance rather like a stained glass
window. The different segments were
painted in transparent enamels in con-
trasting colours, usually brown, beige and
gold. The background of this glass is acid-
finished to give a matt appearance. Royal
Flemish glassware was manufactured by
the Mt. Washington Glass Company,
New Bedford, Mass., about 1890, several
years before the patent was registered. It
is noted for its painted enamels with the
designs in high relief, the old Roman
motif medallions often being used, as in
the jar illustrated. Designs include winged
creatures, cherubs and ‘guba-ducks’.
Sometimes Royal Flemish is marked with
‘RF’, the initial ‘R’ being reversed to the
initial ‘F’, and enclosed in a four-sided
diamond, orange-red in colour.
‘Feloton’ glass was patented in 1880 by
Wilhelm Kralik of Newclt, in Bohemia.
According to his specifications a gather of
glass would be dipped or immersed —
cither before or after it was worked into
shape— into a container that held filaments
or threads of coloured glass, this being
continued until sufficiently adhered to the
metal. He stated that these filaments could
be thrown on to the hot paraison, or the
paraison could be rolled on a surface where
the filaments lay, in order to catch them
up. The article would be reheated at the
glory-hole until the filaments became
homogeneous with the original body of the
glass, and it would then be pressed or hand-
tooled to the desired shape. Clear, coloured
and opaque white backgrounds were used.
Sometimes the finished article would be
given an acid bath for a satin finish.
Occasionally, heavy enamelled surface
decoration was added to give a more ‘busy’
effect.
‘Onyx’ glass was produced by the Dalzcll,
Gilmore, Leighton Company, Findlay,
Ohio, from about 1880; it was in this year
that George W. Leighton of Findlay
secured the patent for the firm. Prom the
Specifications il is apparent that “onyx’
glass was made from a sensitive mix con-
taining metallic constituents capable of
producing silver, ruby and other lustres.
The colours were made In subjecting the
glass to heat and gaseous fumes. Lustre
colours applied to the patterns are usually
in contrast to the main bod) ol the piece.
A moulding process was used that involved
two moulds, one lor pattern, one for
ultimate size and shape. Owing to the
difficulty of the technique, il is rare for any
two similar-shaped pieces to be of ihe
same shade. Rough rims arc quite com-
monplace in onyx glassware, since fire-
polishing these extremities could have
caused the sensitive material to change
colour; the rims were therefore cut and
ground to a tolerable smoothness.
K. Varnish, London. England, about 1850
I II 134 mm (o in.)
Silvered Glass: li was not until F. Hale
Thomson’s patent for silvered glass that a
satisfactory and reasonably economic
method of producing it was successfully
introduced. The British patent for the
production of this glass in quantity was
taken out in December, 1841) by Hale
Thomson and Edward Varnish, the piece
illustrated being made by E. Varnish of
I .ondon in about 1850. The goblet consists
of two layers ol glass, with silver mercury
applied to the back of the glass. The silver
has not discoloured, since goblets made b)
Varnish were permanently sealed. In
addition to a clear outer layer of glass, a
coloured transparent outer casing was also
used; this was carved through, to reveal
the silver-reflecting inner layer. Silvered
glass was made in various parts of Europe,
but Varnish was undoubtedly the best
exponent of the technique. Varnish, Hale
Thomson and others used a stamped
metallic disc J-inch in diameter, embedded
underfoot to mark the factory name on the
piece.
Glass with silver decoration was popular
from the last quarter of the 19th century
to just after the First World War. Several
means of depositing silver and other metals
on glass were patented in the last half of
the 19th century, the most notable being
those of Oscar Pierre Krard, a Frenchman
residing in England, and John H. Scharl-
ing of the U.S.A. Erard produced such
exceptional items as the jug illustrated lor
Stevens & Williams of Brierley Hill,
England. In 1889 he and John Benjamin
Round patented their method for electro-
depositing gold, silver, copper and other
metallic designs on glass, porcelain and
earthenware. They prepared a special flux
containing silver, which was formed into
a wash by being mixed with turpentine.
The design was painted on the glass in this
wash and was then fired in a kiln. The
article was placed in a solution of the
particular metal required, and an electric
current caused this to be deposited on the
glass.
Iridescent Glass: From 1863, when Ludwig
Lobmeyer exhibited the first iridescent
glass to be commercially produced in the
19th century, numerous patents were filed
for methods of making this attractive
glassware. The object was to imitate the
iridescence found on ancient pieces of
glass as a result of burial. In 1877 Thomas
Wilkes Webb of Stourbridge, England
was issued with a patent. The secret of his
method lay in the use of a closed muffle
furnace, where the fumes from the evapor-
ation of tin and other metallic salts were
allowed to come into contact with the
surface of the glass vessel. The hot surface
of the glass has an affinity to the acids being
used, thus causing them to remain perm-
anently attached to the glass. The result is
a rainbow-hued, mirror-like appearance.
In 1878 the patent was amplified to include
a fine crackled effect, in conjunction with
iridescence on the surface of the glass.
Patents for iridescent glassware continued
to be registered until the 1800’s, then for
a short time this ware was made only
sporadically. After 1000 the technique
took on a new lease of life both in the
U.S.A. and on the Continent. The best-
known makers of iridescent glassware in
the U.S.A. in the early 20th century were
Tiffany Furnaces, the Quezal Art Glass &
Decorating Company, the Durand Art
Glass Company, the Union Glass Works,
and the Steuben Glass Works. The last-
named produced iridescent glassware
under the trade name ‘Aurene’, which was
granted to Frederick Carder, Samuel
llawkes and W. II. Hawkes of the firm in
Corning, New York, in 1004. Fred Car-
der’s ‘Aurene’ and ‘Verre de Soie’ glass
ranks very highly. He introduced the
technique of spraying the heated glass in
a muffle kiln with a solution of tin crystals
dissolved in distilled water, which attacked
the surface, causing a shining, iridescent
effect.
‘Verre de Soie’, which translated means
literally ‘glass of silk’, shows the iridescent
finish just described. As in the case of the
example illustrated, practically all the
ware is of a soft grey-white appearance.
Occasionally, a very pale green colour is
added in the manufacture. Frederick
Carder, who had been co-founder of the
Steuben works in 1903, looked after most
aspects of the firm’s glass-making until
igi8, when the plant was sold to the
Corning Glass Works. 1 le continued as art
director until 1034, producing a massive
range of new art glassware. Besides the
glasses mentioned, he was responsible for
such specialities as Jade glass, Cluthra
glass, Cintra glass, Acid Cutback, lvrene,
Calcite glass, Intarsia glass, Bubbly glass,
Paperweight glass. Moss Agate glass,
Millcfiori glass, Rouge Flambe glass, and
others.
Louis Comfort Tiffany (1848-1934) de-
veloped many unique forms of art glass,
including iridescent ware. With Arthur J.
Nash and his sons A. Douglas and Leslie
Nash, he set up a factory at Corona, Long
Island, New York. Between the years 1894
and 1920 Tiffany’s registered several trade
marks. Leslie Nash, an accomplished glass
technologist, was granted a partnership in
the Tiffany In maces for his creation of the
‘Peacock’ Iridescent Glassware, which
made Tiffany’s world-famous. It should
be noted that it was also he who developed
‘Cypriote’ glassware for Mr. Tiffany. This
glass, an example of which is shown here,
was an imitation of the pearly and pimpled
effect one sometimes finds on the surface
of ancient pieces of glass that have been
buried for a long period. Tans and blues
are used most frequently as colours for
‘Cypriote’, and the surface looks as if it
were constructed of groups of minute
burst bubbles, the size of pinheads.
Tiffany Furnaces made single-colour iri-
descent glassware in which the surface is
broken up into thousands of fractures that
split ordinary daylight into rainbow col-
ours. They also decorated their iridescent
glass with trails from marvered-in coloured
fibres of glass. The quality of the wares
was enhanced by shapes to complement
the decoration; these include flower forms
such as bulbous tulips, or lily tops on long
stems and wide bases. ‘Lava’ glass is
usually found in deep blue and iridescent
gold glass, as in the example shown. A
splotchy iridescent gold is also found
amongst the deep blue. Tiffany became
famous for many other forms of art glass,
particularly for his Paperweight glass,
Agate, Marbleised ware, Cameo Glass,
Intaglio, Millefiori and Diatreta ware.
Other Tiffany products, apart from vessel
glass, were stained glass windows, mosaics,
enamels, jewellery with iridescent glass
and lamps with shades of floral or insect
design.
VASE IN IRIDESCENT GLASS
J. Ltttz Witwe, Austria, aboui iuoo
in pair de verre
Henri Cros, France, late ii|ih centur) ‘early aoth
». en tun
Some excellent iridescent glassware was
made, during its revived popularity, by the
Austrian firm of Ldtz (Loetz of Austria),
also known as L6tZ Witwe of Klastcrsky
\ll\n. The shapes and surface iridescence
show great similarity to some of the best
American iridescent glass products, not-
ably those of Tiffany furnaces. A com-
bination of iridescent and glossy finishing,
however, is usually restricted to Lbtz, and
is not seen on any Tiffany pieces. Other
makers of fine iridescent glassware were
the Quczal Art Glass & Decorating Com-
pany already mentioned, founded b>
Martin Bach (formerly an employee of
Tiffany Furnaces), in Brooklyn, New
York. The Durand Art Glass Company
produced beautiful iridescent glass at its
factory in Vineland, New Jersey. Late-
pressed iridescent glassware was produced
notably by the Northwood Company of
Wheeling, West Virginia, and Indiana,
Pennsylvania, the Fcnton Art Glass Works
of Williamstown. West Virginia, and the
Imperial Glass Company ol Belaire, Ohio.
Pale de verre, which was known in
antiquity, was revived in modern times by
the Frenchman Henri Cms (1840-1907).
The making of pate de verre is a technique
which lies somewhere between pottery and
glass-making whereby a plastic material of
powdered glass can be made into sculp-
tural forms or vessels by a process of
moulding. Henri Cros started his career as
a sculptor and painter, but was continually
fascinated by ancient techniques, so he
combined both arts in producing models
in coloured wax as craftsmen did in the
16th century. He evidently wished to
discover a plastic substance which could
be used for polychrome sculpture, so he
set to work to discover the lost secret of
plastic glass or pate de verre. It was only
after many years that he found a com-
position of powdered glass that could be
coloured and moulded. At home, and later
at the Sevres factory, he conducted
numerous experiments, and finally suc-
cessfully produced his own pale de verre.
Between 1893 and 1903 Henri Cros
produced a famous series of reliefs in
several colours in pate de verre. To produce
them, he placed in a hollow mould of
refractory clay a mixture of powdered
glass and other constituents in a soft pasty
condition, which was allowed to dry for a
time. It was then fused in a muffle furnace,
the mould breaking away, and the baked
shape was then ready to be polished or
wiped clean. The exact constituents or
how they were worked were never dis-
cussed by Henri Cros; the only informa-
tion he disclosed was that he used ‘un-
coloured powders made from blocks of
glass produced in crucibles’ which was
something of an over-simplification. His
son Jean was the only person to directly
follow in his footsteps, producing works in
pale de verre in his style. Dammouse,
Dccorchcmont and the rest found their
own individual interpretations of pate de
verre.
Albert Dammouse (1848 1926) was a
potter at the Sevres factory and began
experimenting with small vessels in pale
de verre in 1898. The material he used was
a soft enamel paste somewhere between
soft porcelain and glass, basically different
from that used by Henri Cros. The
products had a slight translucency. He
moulded this material into fragile vessels
with delicate flowers in pastel shades. It
could be said of his work that he showed
off the technique of pate de verre to the
best advantage and achieved the finest
harmony between form and material in the
vases he produced. Another worker in
pate de verre who deserves a mention is
Georges Despret (1862-1952); in the
Exhibition in Paris in 1900, he showed
some small bowls in ‘natural’ shapes, of a
heavier pate de verre in dark shades.
Despret’s pate de verre was a dense, almost
opaque, yet richly coloured paste, remin-
iscent of precious stones, which was some-
times engraved. Emile Galle also occasion-
ally made objects in pate de verre.
By Francois Decorchemont, France, i.iuio
Hi. 178 mm (7 in.)
From 1904, Francois Decorchemont dedi-
cated himself completely to the making of
vessels in pale de verre. He had been
originally a painter and potter, but found
the medium of pale de verre more satisfy-
ing. In his early work he used to put his
paste in the mould until it dried sufficiently
to be removed, then he proceeded to shape-
it as a potter did, and bred it in a muffle
furnace. In his later work he never re-
moved the paste from the mould, with
much better results. His first works were
made in a fine but opaque substance which
was rather grey and dull. It was only after
he returned from the First World War,
towards 1920, that he discovered the
formula for a hard, translucent material,
made up of silica and oxide colouring
agents in entirely new proportions. This
material was placed in a mould based on a
plaster model, the thickness being regu-
lated throughout.
vase in green pale de verre
By Francois Decorchemont. France, 1930
Hi. 162 mm (6-38 in.)
Decorchemont’s paste was baked for a
matter of 20 hours in an oil furnace he had
designed on the same lines as an oil lamp.
It was allowed to cool slowly, before being
removed from the mould, and then the
parts that were to look bright against a dull
background were polished. Until 1914 he
had made small vessels decorated with
animal or plant motifs in Art Nouveau
style. Between the wars he continued his
work in pate de verre, which differed from
that of other makers in that he worked with
a fairly heavy material, reminiscent of
natural stone in consistency and colouring.
He moulded this into plain shapes, at
times somewhat hard and angular in
outlines. The vase illustrated, in green
pate de verre, is an excellent example.
When his glasses were exhibited in 1925,
the Recorder of the Glass Section, Antonin
Daum, commented on their ’style, their
form and their sober magnificence’. In
later years Decorchemont did some ex-
quisite sculptural work, which in both
material and shape is reminiscent of jade.
plaque in white vitreous paste depicting
oliver cromw ell
Tassic. England, r.1700. Ht. 152-5 mm (6 in.)
James Tassie (1735-99), his nephew
William (1777-1860), and their successor
(from 1840) John Wilson, made original
portraits and copies of engraved gems in a
white vitreous paste related to pate de verre.
James Tassie was born at Pollokshaws,
near Glasgow, and began his career as a
stonemason. He learnt how to make casts
of engraved gems in glass paste from Dr.
Henry Quin of Dublin and in 1767
established himself in London, where he,
and later William and John Wilson, pro-
duced their medallions, casts and reliefs in
white and coloured paste. Tassie’s medium
was a finely powdered potash-lead glass or
pate de verre, which was first softened by
heating. When fully plastic, the glass was
pressed into a plaster of Paris mould,
which had the impression of the subject
being reproduced on its inner surface.
When an original portrait relief was being
made, a wax impression was first modelled,
from which a plaster mould was then made.
finger bowl and plate in ‘tortoise-shell’ glass
About 1880. Ht. 102 mm (4 in.)
‘Tortoise-SkeW Class was made in both
the U.S.A. and Europe. The ware has a
glossy finish, and the brown mottling is
enclosed between two layers of glass. An
interesting description of the process is
given by a German chemist, Francis Pohl
of Silesia, who received provisional pro-
tection only on a patent registered on
October 25, 1880. Several bubbles of
different shades of brown glass were
blown and then broken into small pieces.
Next, a bubble of plain glass was blown
and cut round the middle, leaving the
lower portion adhering to the blow-pipe.
While this was being done another bubble
of plain glass was being blown and rolled
in the fragments of brown glass, which
were carefully marvered in. This bubble
was inserted in the cut-off upper portion of
the first bulb, and the two were blown
together. The bulb was then reheated and
blown into the required article.
Steuben Glass Works. U.S.A., early 20th century
Ht 254 mm (10 in.)
Cluthra Class: Fred ( .arder of the Steuben
Glass Works of New York was responsible
for many developments in the coloured
glass field. Steuben depended wholly on
its sales of coloured glass to stay in busi-
ness, so vast ranges of colours and a great
variety of shapes were available. One ol
Fred Carder’s developments was the so-
called Cluthra glass, which is a partially
transparent, two-layered glass. The exam-
ple shown is the most common shape in
the Cluthra line. Between the two layers of
glass small air pockets in the centre of
white splotches have been introduced by
the use of chemicals; the air pockets are
slightly off-centre of the white marks.
Cluthra comes in single colours as well as
in shaded pieces; sometimes the pieces arc-
signed. The Kimball Glass Company,
Vineland, New Jersey, also produced a
cluthra-type glass. Knglish Gray Stan
glass, produced in the 1920’s, likewise-
made use of Cluthra decoration.
VASE IN ‘INTARSIA’ GIASS
Hy Frederick (larder. Steuben Cilass Works.
U.S.A., late 1920s early 1930*5
Ht. 15a mm (6 in.)
‘Intarsiu’ glass, made at the Steuben Glass
Works, Corning, New York, in the late
1920’s and early 1930’s, was considered by
Frederick Carder to be his greatest achieve-
ment in artistic glass-making. The name-
was probably derived from mlarsiatura, a
type of 15th-century Italian marquetry.
1 n tarsia pieces are made up of three livers
two clear, colourless layers encasing a layer
of coloured glass which forms the design.
To make a piece such as the one illustrated.
Carder would blow a bubble of clear
colourless glass and case this with a thin
layer of coloured glass. This was allowed
to cool, and a design was etched through
the outer coloured casing. A further gather
of clear, colourless glass was then taken up,
which sealed in the coloured design. The
bubble was then blown to the required
shape—usually a vase or a bowl, though a
few wine-glasses were made.
Powdered Glass Decoration: In 1806, John
Davenport of” the Davenport firm at
Longport, Stoke-on-Trent, England, pa-
tented ‘A New Method of Ornamenting
of all Kinds of Glass in Imitation of
Engraving or Etching, by Means of which
Borders, Cyphers, Coats of Arms, Draw-
ings, and the Most Elaborate Designs may
be Executed in a Stile of Elegance’. A thin
coating of a powdered glass paste was laid
upon the surface of the glass, and a pointed
tool was used to scrape off the coating into
the desired pattern. The glass was then
light!) fired, so that the decoration fused
with the surfaceof the glass. The ornamen-
tation does not really resemble engraving
or etching, but is entirely pleasing. It is
presumed that this patent refers to a group
<il glasses, with the word ‘Patent’ inscribed
on their bases, which arc decorated with a
\anety of patterns, including heraldic-
insignia, and elaborate sporting scenes
with costumed figures dating to the
beginning of the century.
Decorative Inclusions: Apsley Pellatt
(1791-186?) established a glass-house in
Kalcon Street, Southwark, in London. He
was interested in the French process <il
‘cameo incrustations’, or objects contain-
ing ’sulphides’. In 1819 he patented
several methods of embedding small white-
paste figures in clear glass. The process,
which he first called ‘crystallo ceramic-’,
then ‘cameo incrustations’, involved the
enclosing of medallions and ornaments ol
pottery ware, metal or refractory material
in glass. The ornament was pre-heated
then covered with the hot glass; some
difficulties were encountered, due to the
differing rates of contraction and acci-
dental air bubbles. He decorated many
objects in this technique, including paper-
weights, decanters, smelling bottles, wine
glasses, girandoles and plaques. As in the
cup illustrated, the glass vessels were often
finished by fine cutting. The process was
apparently first used in Bohemia in the
mid-18th century, and was later developed
by the French factories such as Baccarat
and Clichy.
The making of objects in crystallo ceramie
has been previously attributed to Bohemia
from the 13th, 16th and late 18th cen-
turies. However, most Bohemian examples
of the technique seem to date to the first
half of the iqth century. Dionysus Lardner
in his treatise on glass-making dated 1832
said that cameo incrustation was first
attempted about 50 years before (that is,
about 1780) by a Bohemian glass manufac-
turer. His success was indifferent, for
‘the material of which he made choice for
his figures, expanded and contracted very
unequally with the surrounding glass, and
their adhesion to it was consequently
imperfect’. Lardner later spoke of the
success of the Frenchmen Saint Amans
and Desprez and of the Englishman
Apsley Pellatt in cameo incrustation. The
most successful of Apsley Pellatt’s methods
involved the use of a mixture of china clay
and supersilicate of potash for his cameos.
These were slightly baked, and then
heated to redness in a muffle furnace,
ready for use with the glass.
Thomas  Sons. Knyiland. 1SX7
Diam. 152 mm (h in.)
A cylindrical flint glass pocket attached to
the end of a hollow iron rod was prepared.
The hot cameo was inserted into this and
the end of the cylinder was closed. Air was
then sucked out of the hollow iron rod,
causing the collapse of the glass on to the
cameo, so that glass and composition figure
became one homogeneous mass. Numer-
ous examples of cameo incrustation can be
found in tqth century glass from French,
Bohemian and English glass factories.
Objects made include plaques, pendants,
scent bottles, covered boxes, tumblers,
goblets, \ ases, and of course paperweights.
Both clear and colourless glass and col-
oured glasses were used in their manufac-
ture. The bowl illustrated is a rarity, since
the cameo incrustation is used in conjunc-
tion with Satinglass, though of course the
cameos are enclosed in clear glass and
applied to the sides of the bowl. Two
cameos of Queen Victoria of England are
attached to the front and back of the bowl,
which was made by Thomas Webb & Sons
in 1887, to commemorate Victoria’s Dia-
mond Jubilee.
doorstop (paperweight in green bottle glass
with ei.ower decoration enclosed
Norlh of Kngland, late igih century
Ml 127 mm (5 in.)
Towards the later part of the 19th century
popular glassware items were the heavy,
clear green glass doorstops or rough
paperweights produced in some factories
in England. These made decorative but
useful glass objects available to working
people. They were made of green bottle
glass, and were of a tall beehive shape, very
often containing the airy pattern of a
flower, as in the example illustrated, or
else enclosing an arrangement of spaced
bubbles. It has been discovered that a few
of these glass doorstops bear the same
stamp that can be found on the base of
bottles made at the Kilner factory in
Wakefield. It is also known that a specially
designed doorstop of this type, enclosing
a ceramic bust—presumably of Queen
Victoria—was made for the 1887 Jubilee
in a glass-works at Knottingley in the
West Riding of Yorkshire.
‘graal’ glass
Simon Gate, Orrefors, Sweden, 1917
When the factory of Orrefors, Sweden,
engaged the two artists, Simon Gate and
Edward Hald to design glass, one of the
major objects of the director and manager
of the factory was that they might be able
to improve on the factory’s production of
cascd-glass vases done in the manner of
Galle since 1914. In 1916 Albert Ahlin, the
manager, Knut Bergqvist, master glass-
blower at the factory from 1914, and Simon
Gate worked out their improvements.
They called their new technique ‘Graal
glass’. In Galle’s cased-glass the process of
cutting and etching the ornamental pattern
from two or three or more layers of glass
was all-important. In ‘Graal glass’ this was
just an intermediate stage, after which the
vessel was subjected to working in the
furnace, where the ornaments acquired
that fluidity which is their greatest fascin-
ation. Gate liked designs in many colours,
with figures in vivid movement.

METHODS OF DRAWER CONSTRUCTION
the door-opening. Fit the fillets carefully and glue and pin the front ones in position, making the neat mitre joints at the corners, as in Figs. 9 (d)
and (g). Fit the panel and fix it in place by means of further fillets pinned on the inside of the frame at the back, as also shown in Fig. 9 (g.)
DRAWERS FOR KITCHEN FITMENTS
Success in drawer-making depends primarily upon the accuracy of the drawer-opening in the carcase. If this is at fault, the drawer, however well made, will be difficult to fit and will not run smoothly. Check the opening to see that it is straight and square. If necessary, slight adjustments can be made with it bull-nose plane, or perhaps by moving the runners or kickers.
Dovetailed Drawer. Undoubtedly the best type of drawer is that shown in the first illustration of Fig. 1. It is the standard form used in all well-made furniture. The cut-away portions shown in Fig. 2 (a) give details of construction, but the reader is advised to make a careful
examination of a drawer from an existing piece of furniture. The sides are lap-dovetailed to the front and through-dovetailed to the back. The front is grooved to take the bottom, which is held in place at the sides by means of drawer slips, which also are grooved. The lower edge of the back is made level with the top of the groove, and the bottom can thus be pushed into the groove from the back, and is held in place by screws inserted from underneath into the back. The top edge of the back is
FIG. 1. 1 inished appearance of(above)
a dovetailed drawer► and (top right) a
rehmed th-awer; (bottom right) a
much simpler form of construction
suitable for small drawers.
made about I in. lower than the sides, so that there is no danger of its rubbing on the kickers.
Drawer fronts rarely need be thicker than I in., with sides and back of A in.; for small drawers these dimensions should be reduced.
Plane up the wood, making quite certain that the inside faces are quite flat and out of winding; lay them out in their relative positions as in Fig. 2 (b), and mark the inside bottom corners so that it is known where each piece will be finally fitted.
Commence by making the bottom edge of the drawer front quite true, and fit the bottom corner, X, as in Fig. 2 (c), by planing the end and testing it in the carcase. When this end is correct mark off the exact
length of the drawer front and fit the other bottom corner, Y, in the same way.
Plane the top edge of the drawer so that it will just fit the opening. The drawer front, when fitted, should only just enter the opening for about I in., as shown in Fig. 2 (d), the edges being very slightly tapered to allow this. Next saw and plane the back to length, so that it can be pushed into the opening to make a good, close fit. Plane the sides to ensure a tight fit when the drawer is pushed right back into the opening. Then saw and plane off the ends square to final length, allowing for at least 4-in. clearance at the back of the drawer inside the carcase.
Fig. 2 (e) gives details of the next stage of marking out. Using a gauge (preferably a cutting gauge, but a well-sharpened marking gauge will serve), set it to the distance D, which is the length of the lap of the dovetails. With this setting, gauge thetwo sides and both ends of the drawer front, as in Fig. 2 (e). Re-set the gauge to a shaving less than the thickhess of the drawer sides; gauge a line on the inside of the drawer front from each end, and also two corresponding lines oil the back, shown at S in Fig. 2 (e). Re-set the gauge to the thickness of the back, and gauge a line on the back end of both sides, as at B. Set the gauge to the distance of the top of the groove oil the front from the bottom edge, and gauge a line at the ends of the sides, as at G in Fig. 2 (e); this gives the final position of the lower edge of the back.
Mark out the dovetails on the ends of the side pieces and cut away the waste; the groove in the bottom must be covered by the bottom tail, for otherwise a gap would show at the ends of the drawer front. Cut the tails on the back end. Scribe the pins from the tails, and cut and fit the joints. Plough the groove on the front, allowing at least I in. below the bottom of the groove. Glue the joints and assemble the drawer; make sure that the joints are close, either by cramping or by tapping them together with a hammer, protecting the work from damage by means of a block of waste wood. Test the drawer to see that it is exactly square and out of winding; this is essential if the drawer is to fit the carcase properly. Allow the glue to set, and then clean up the drawer, planing down the sides until the drawer will slide in
FIG. 3. Stages in the preparation and
fitting of slips; (d) shows a stopfitled
to the bottom drawer rail.
smoothly ; finally plane the front to allow it to enter the drawer opening.
Beware of planing the drawer without first being quite certain where it is tight ; tight spots frequently show up as shiny areas where the sides rub on the carcase, and these parts should be lightly planed. When the drawer fits the opening it is ready to receive the drawer slips; these are made, as Fig. 3 (a), by first ploughing the edge of a suitably sized piece of wood, gauging the thickness of the slip and rounding off the top edge, as indicated by the broken line, and then sawing off the required strip. Clean off the sawn surface with the plane. The thickness of the slip should be about equal to the thickness of’ the drawer side, so that the area of the running surface of the sides is approximately doubled when the slips are in place. On the front end of the slip cut a tongue equal to the size of the groove, as in This enables the slip to be located exactly in the groove on the front. At the back end of the slip the top rounded portion is removed, as at B in Fig. 3 (c), so that the top of the groove on the slip will be level with the underside of the back. Glue the slips in place and allow the glue to set.
Fit the bottom into the groove; if solid wood is being used the grain should be parallel with the front of Principal details of construction of a typical rebated drawer.
the drawer, as in Fig. 2 (a). Slots to fit the shank of the screws are cut in the bottom at the back edge to allow for shrinkage, and the bottom is screwed from underneath to the lower edge of the back of the drawer. To allow for possible shrinkage in a solid piece the drawer bottom must project beyond the back of the drawer; if plywood is being used for the bottom no allowance for shrinkage need be made.
A drawer stop should be fitted to the bottom drawer rail to prevent the drawer from running in too far; Fig. 3 (d) shows these details. In order that the front face of the drawer, when closed, may be level with the
framework, the stop must be sit back from the front edge of the rail distance equal to the thickness of t drawer front. Set a gauge to th s thickness and gauge a line on
rail. Two stops should gene ally be used; these are small blocks of wood slightly thinner than t e space below the drawer bottom Glue and pin these stops in position exactly level with the gauge mark on the rail.
Rebated Drawer. A simpler type of drawer, which can be used for small articles, is shown in Fig. 1. It is not 4s strong as the dovetailed drawer, but is easier to make, the sides beings t into a rebate on the front, and glucd and nailed in place, and the back housed into grooves in the sides. The bottom is fixed as for the dovetailed drawer by means of drawer slips; if preferred, a slip could be used oil the front as well, instead of the groove shown.
Fit the front and sides to the c r-case as described for the dovetail d drawer ; the essentials for obtairim a well-flitting drawer are the same in each case. Set the gauge to a distance which is just a shaving less than tlile thickness of the sides, and gauge tie inside of the drawer front as at S in Fig. 4.
Next gauge the amount of lap for the side, as at L in Fig. 4. Saw down the shoulder-line of the rebate, and saw or chisel out the waste down to the gauge line. Place the two sides together and square off the position of the groove for the housing of
back, the distance apart of the t~o lines being exactly equal to the thiqkncss of the back, as at A in Fig. Square these lines across on to I inside of the sides, and saw a chisel the grooves, the depth of which is fixed by a gauge line.
Saw the back of the drawer to its exact length, remembering that it is shorter than the front by twice the distance X in Fig. 4. The depth of the back must be less than that of the sides, and its bottom edge should be level with the top of the groove on the front of the drawer. Glue and nail the sides to the front and back, and be certain to punch the heads of the nails just below the surface, so avoiding damage to the plane when cleaning up the drawer. Test the drawer for squareness and allow the glue to set. Plane Lip the sides so that the drawer fits the carcase, and fit the slips and bottom, as described for the dovetailed drawer.
For a sticking drawer, candle-grease, soap or talcum powder is an excellent lubricant ; waxes such as beeswax have a tendency to be rather too tacky.
Simple Drawer. A simple construction, which could be used for very small drawers is the third example illustrated in Fig. 1. The bottom is rebated into the front and sides
FIG. 5. Drawer of simple glued-andnailed construction. Parts are cut away in the drawing to show details.
Fi(;. 6. Drawer with a groove formed in the side (a); how a drawer may he .fitted under a flat top (b and c).
(Fig. 5), and is nailed or screwed in place. The sides are fitted as for the rebated drawer, the back being the same length as the distance between the shoulders of the rebate on the front. Rebate the front and sides, and k1lue and nail the drawer; test for squareness, and clean up when glue is set. Fit and fix the bottom.
Drawer with Grooved Sides. It is sometimes desired to fit a drawer between two flat vertical members which have no horizontal members to support the runners. This can be achieved as indicated in Fig. 6 (a). A groove is made in each side of the drawer only, the front remaining Untouched. A thin fillet which slides comfortably into the groove is screwed to each side of the carcase, to support the drawer. The front of the drawer at the end of the groove acts as a stop for the drawer.
Drawer Under a Flat Top. When a drawer is required under a flat top, such as the top of a workbench, it can be fitted as shown in Fig. 6 (b). A rebated block is screwed to the bench, and a fillet, which fits the
groove thus formed, is screwed to each of the drawer sides. An alterna.. tive to the rebated block can be built up from two pieces, as shown in Fig. 6 (c), and is just as efficient. A block screwed to the bench at the back of the drawer will effectively prevent it from going too far into the opening.
CUPBOARDS
Small Cupboard. A simple cupboard built up of framed panels fastened together is shown in Fig. 1. The dimensions given in Fig. 2 (a) are for a cupboard 2 ft. high by 16 in. wide and 12 in. deep, but these proportions can be modified to suit the purpose of the article.
The front frame is jointed together by haunched mortise-and-tenon joints, while the rest of the frames and also the door have similar joints, with the addition of the groove for
FIG. 1. Small cupboard made up of framed panels and a boarded top.
the panel (which has to be allowed for in cutting the joints). Details of the grooved joint are shown in Fig. 2 (b); the variations in the dimensions of the different parts to suit the differing widths of the bottom rails of the carcase and door are indicated in Figs. 2 (d) and (c).
After planing the wood to size, all parts that are to be of the same length should be marked out together. Since all eight of the vertical members, or stiles, of the carcase have to be identical, they should be cramped together and the position of the Joints and the final lengths squared across all eight pieces together. Similarly the two front rails and the two back rails can be marked together, and then all four side rails.
Set the mortise gauge to the .’-in. mortise chisel, and gauge all the mortises and tenons at the same time, after first squaring around all the necessary shoulder-lines. Cut all the mortises, and then saw down the cheeks of all the tenons. Next set the plough so that the width of the groove made is equal to the thickness of the material for the panel ; plywood is very suitable, but solid wood may be used if preferred.
Set the stop of the plough to make the groove about J in. deep, and uggested dimensions for the cupboard (a) and details of the grooved
.joints (b). At (c) is shown a plate used for securing the top, and at (d) and (e)
dimensions for the bottom rails ol’the side frame and of the door.
plough the groove on all pieces of the framework, making certain that the work is done from the face side of the wood in every case. Saw off the shoulders of the tenons, and cut the haunches to fit, easing off the plough groove at the ends of the stiles so that the haunch on the tenon will fit the groove at the end. Cramp up each frame to see that the joints fit properly, and carefully measure the size of the frame on the inside to obtain the dimensions of the panel, remembering to add the depth of the groove at both sides, since the panel is to fit into them.
Cut the panel to size, test it in place in the frame, and cramp up. If the joints are forced apart when the pressure of the cramps is slightly eased, then the panel is probably a little too large; this must be adjusted, otherwise the panel will force the joint apart after it is glued up. If the
panel is of solid wood, the width must be ~ in. less to allow for normal expansion in damp weather. Without this allowance expansion would tend to push the joint open, or to cause buckling of the panel.
When satisfied that the frame and panel are correct, glue the joints and assemble, placing a spot of glue on the centre of the edge of the panel as shown at A and B in Fig. 3. This fixes the position of the panel and stops it moving in the frame. Cramp up the frame, test for squareness, see that it is not in winding, and allow the glue to set before cleaning up the frame. It must be remembered that the front frame differs from the others in that it is not grooved on the inside.
When all four frames are prepared, screw or nail the front and back frames on to the two end frames, as shown in Fig. 2 (a), and the main carcase will be complete. Measure Sectional riew showing how the shelf and bottom are fitted.
the size of the door-opening in the front frame, and make the door in exactly the same manner as the other sections. The door is made a fraction
-full” in size as a provision for slight planing down when completed, in order to obtain an exact fit. Hinge the door in place with a pair of 2-in. brass butt hinges. The ends of the hinges are usually placed level with the inside edges of the top and bottom rails, as in Fig. 2 (a).
Fig. 3 gives a sectional view of the cupboard, showing the method of fitting the shelf and bottom. The shelf is held in position by means of fillets screwed to the stiles at each side, and the bottom is secured by fillets screwed all round on the inside of the
base. The front edge of the bottoii acts as a stop for the door.
The top is of solid wood, overlapping the carcase by I in., and he~d in place by small metal plates which allow for the expansion or contra
Q-
of the wood. Details of thefe- plates are given in Fig. 2 (c). If a pliwood top is preferred, it should tie made slightly smaller than the top 6f the carcase, and secured with pan~l pins. A wooden handle is shown in the assembly illustration, and is screwed oil from the inside, but any oth r formof suitable fastening may e used.
Store Cupboard. A good-sized cup board is needed in most homes,
one illustrated in Fig. 4 could be used in the kitchen, as a store cud_ board or as a toy cupboard. The legs are out of I ‘-in. stall’ and the rails are all tenoned into them.
A convenient height is betwee 2 ft. 6 in. and 3 ft. The other dimersions are shown in Fig. 5, where the details on the right illustrate one cf the back legs as seen from the inside. The top rails have haunched tenon $, and all side rails are grooved to take the plywood panels for the sides, the mortises being cut to allow for the reduction of the tenons by the groov
FIG. 4. For a larg,
cupboard than th,t
illustrated in Fig. 1, th,
two-door design show
here is suitable. Le.,
raise the carcase cle,
of the floor.
CONSTRUCTION OF
A STORE CUPBOARD
Note that the back rails are set in from the back face a distance equal to the thickness of the plywood
panel, probably 2. or 3 in., and the
back legs are rebated to the same depth and i in. wide, so that the back can be screwed to the legs as well as to the top and bottom rails.
on them. Cut the mortises and saw down the cheeks of all tenons.
Next plough the required grooves; then saw off the shoulders of the tenons and fit all the joints carefully. Cramp up the ends dry, to make sure that the frame goes together correctly, and then fit the panels. Cramp
I ~6 In. SQUARE
FIG. 5. Principal dimensions of the cupboard illustrated in Fig. 4, together
with details of the jointing of the rails into the left-hand back leg.
‘File legs are grooved to take the side panels only, as seen in Fig. 5.
The front rails are fitted flush with the front surface of the legs, as in the detail drawings Figs. 6 (a) and (b), the ends of the tenons being mitred where they meet inside the leg.
Commence the construction by cramping all four legs together; mark out across them the final lengths and the positions of all mortises. Repeat the procedure with all rails that have to be the same length, and square across the shoulder-lines
up the front and back dry, in the same way. When satisfied that all joints are correct, rebate the back legs for the back panel. Glue up and cramp the two sides first, test for squareness and flatness, and allow the glue to set.
Clean up the ends, taking particular care to remove any excess glue that may be in the mortises. Again cramp up dry to test the final fitting; if satisfactory, dismantle for gluing and then cramp up the whole structure. Clean up when the glue is set, and fit and screw on the back panel to the rebates on the back leg, and to the top and bottom rails.
The bottom is fitted in exactly the same manner as described for the small cupboard on page 226, by screwing fillets to the bottom rails so that the bottom is supported all round. One or more shelves may be
fitted as for .the previous cupboar and supported by light batters screwed to the legs on the inside.
The doors are as described for t e door of the cupboard on page 22 ; a slight fullness in size is allowed f r a little planing down to an exact M. If the meeting stiles of the door a e left butted together as in Fig. 6 (f ?I no complications arise, but if te doors are to overlap with a rebate, is shown in Fig. 6 (c), the inside stile of the left-hand door must be made I in. wider, as indicated, to allow for the overlap, so that the two stiles appear to be the same width from the front.
A lock may be fitted to the cupboard if desired, together with x ready-made knob or wooden handle, as for the previous cupboard.
The top overlaps as shown in Fig,, 5 and 6 (e); it is held in positio by means of metal plates as suggested for the preceding cupboard.
If a larger cupboard is required th~ panels will need one or more cross rails, according to height, as indcated by the broken line in the end view of Fig. 5 (a). The doors also will need a similar rail. These rails are mortised into the vertical me
bers and have grooves on their to) and bottom edges to take the pane~ The mortise is therefore equal to th width of the rail, minus twice tht depth of the groove (Fig. 6d).
Jointing of rails and legs (a and b), and a cross rail necessary in large frames (d); the other sketches give details of the doors, (c) and (f) being allernaHres,for the meeting stiles.

Chests, Chests of Drawers and Various Small Boxes
Origins of the chest—cofferers and arkwrights—the carpenter’s planked chest—chip-carving decoration—the panelled chest of the joiner—development of the mule chest—early enclosed chest of drawers—the chest in two stages—the joiner’s slide—veneered chests—chests on stands and tallboys—bachelor, dressing and linen chests with presses—commodes and military chests—later forms—drawer construction and dating by feet and handles—Bible and ruff boxes—knife and candle boxes—tea caddies, cellarets and portable liqueur cases—sewing boxes antique christening shell .
Chests belong to the very beginning of domestic furnishing antique drop leaf painted table 1800 . Blanket chests, hope chests, even treasure chests—they served as wardrobes, as safes, as seats and sometimes even as beds antique french campaign chair . A chest is probably one of the earliest pieces likely to come the way of anyone starting to collect antique furniture in a modest manner porcelain vases czechoslovakia . Those belonging to the early Stuart period are not difficult to find and may be had for under £10 everest patent for two-seater sofa . They are not always large and a length of 3 feet or very little more is fairly common antique porcelain and china clocks .
Very early chests, some of which may date from Saxon times, were primitive but served their purpose well antique occasional table pie crust top . Usually they were made from rough hewn logs which were sawn down the middle and hollowed out classism semicircular arc . Then the two parts were hinged together and encircled with strong iron bands to which locks could be attached small antique dresser with cabriole legs . The French word trove, meaning a collecting box, and the English trunk have the same origin and refer to this tree-bole type of chest china made in czechoslovakia . I have seen one in the church at Llan Eilean, near An-ilwch in Anglesey, with three locks furniture + finmar ltd . It was customary for the keys to be held by the priest and two churchwardens so that the chest could not be opened without all three being present chamber pot chair value .
Medieval chests for transporting money and valuables were known as coffers semichina blue ware . They were comparatively small and often covered with leather and studded with nails warm entree dish . The man who made them was known as a cofferer and another craftsman who made chests was called an arkwright antique bombe commode louis the xv with marble top . He made them with bevelled lids and wooden pins served as hinges mahogany gateleg table . These belong to the Gothic period and are very rare art deco game tables .
The early Tudor chests, made for the smaller household, were known as planked chests silver flatware wood handle . They were made by a carpenter and consisted of a number of boards or planks held together with nails or wooden pins creamware tureen neoclassical acanthus . Planked chests had thick iron wire or wrought-iron strap hinges and were often decorated with chip-carving or architectural motifs in low relief antique italian pottery marks . Some of these planked chests were quite small and make interesting acquisitions for those who like old oak antique drop leaf gateleg dining room table .
The joiner’s panelled chest appeared about 1550 and the
panels were usually decorated like the example shown in
Chapter 1 baltimore neoclassical sideboard . The panelled chest, in various sizes, was an
essential chattel in every Tudor household and the larger
establishments seem to have had a chest in every room japanese imari 18th .
Visitors to Haddon Hall in Derbyshire may care to count
the great number and variety of chests which are to be
seen there chiffonier 19th century . A type of chest, made about this time, which
is now very rare and really a collector’s piece, was one
constructed with fairly long legs, about table height soup turrene . It
was known as a counter and used by house stewards and
clerks for paying out or collecting money 17th century chairs . The modern
word counter, as in a shop, derives from this long obsolete
piece of furniture space saving rectangular drop leaf tables . In a slightly different form, with doors
opening at the front and with the top fastened down, the counter was known as a hutch 1920s draw leaf dining set turned legs . Further details of this are given in Chapter 6 small antique dressers from montgomery wards .
The ordinary planked or panelled chest had one great drawback in that only the contents at the top were readily accessible antique 19th century daybed and brass feet . To reach anything carefully tucked away at the bottom of the chest necessitated the removal of all the other things lying above how high above a sideboard should a mirror be hung . Early in the Stuart period, some ingenious joiner invented the mule chest 1930’s austrian furniture . This was a shallower type of panelled chest, under which were situated two or three drawers brass dolphin triple dining table base . This design was extremely popular and mule chests continued to be made in the country towns and villages until around the year 1800 indian antique tea kettles .
The mule chest proved to be a great improvement in its capacity for storage antique round oak dining table claw and ball feet . Not only were the bottom drawers available for the separation of items, but inside the chest itself it is not unusual to find a small box or till with a lid, situated at one end near the top myott son compagnie . This was used for keeping letters and documents and these little tills often repay a closer examination, for on several occasions I have found that the front of the box will slide upwards to reveal two or three secret drawers beneath antique chinese chamber pot . In some of the larger chests, intended for storing blankets or linen only, the till would be merely a shallow tray on which the good housewife could place a spray of lavender to sweeten her sheets and pillow slips clear glass trinket boxes or powder boxes .
To the student of woodwork history, the mule chest is particularly interesting because there can be little doubt that the chest of drawers developed from it finial silver flatware . This process was not a swift one and for a space of time, roughly between t620 and 1660, there was a type of chest of drawers in use which was really a cupboard full of trays or drawers, surmounted by one large deep drawer creamware bird on pedestal . The cupboard doors with one lock prevented unauthorised access to any of the lower drawers but this must have proved unworkable as this pattern new deco furniture . ceased to be made shortly after 1660 and the chest of drawers assumed the form by which it is known today 17th century trestle table with claw feet .
For ease of removal the first chests of drawers were made in two stages or sections english wedgewood . The upper stage of two small and one long drawer fitted on to four pegs on top of the lower section of two long drawers secretaire desk antique . These early chests in two stages also had drawers with grooves cut in the sides, known as joiner’s slides earliest tilt top tea table . They were designed mainly to prevent wear on the drawer bottoms and also to prevent the drawer from tipping downwards when more than half open inlaid silver black bone china antique . It was found, however, that the slide grooves required disproportionately thicker linings to the drawers so that the cabinet-maker, with his improved ideas of jointing and finer standard of craftsmanship, caused the joiner’s slide to become obsolete about the year 1690 dutch rococo cupboard . Any antique chest of drawers with joiner’s slides may be safely said to be earlier than this date although this ancient construction has been revived in the last few years for modern kitchen units and office furniture milanese ebonized antiques .
Cabinet-maker’s chests with their broad, flat surfaces provided suitable subjects for veneering antique glass top tea table bird . By the end of the Restoration period, chests with marquetry decoration were in fashion and it is not uncommon to find country-made oak chests of this time with panelled oak sides and the top and drawer fronts veneered scottish chest drawers . Smaller chests of drawers, of 3-feet width and under and covered with oystershell veneer, are scarce and in good condition might be worth up to £80 and more antique mahogany french bedside commode .
During the William and Mary period, the chest of drawers on a stand made its appearance and shortly after developed into a chest on a chest or tallboy what are japanese black laquer screen made screen . The chest on a stand did not last long as a furnishing piece but the tallboy remained popular throughout the greater part of the 18th century german antique romer drinking glasses . It is difficult to understand this, as access to the upper drawers of a tallboy is very awkward and necessitates standing on a chair or stool antique west indies console table . Perhaps, for this very reason, they were considered safer for the storage of valuables revolvong bookcase .
Bachelor chests and dressing chests were brought into use during the first half of the 18th century 19th century commode with chamber pot . These were intended primarily for bedrooms, the former having a folding top which opened outwards on lopers, or pull-out supports vintage mahogany drop leaf table 1940 . Sometimes, instead of the folding top, a pullout slide for brushing clothes was included in the construction turkish sofa design . The dressing chest had a top drawer fitted with a toilet set and further reference will be made to it in Chapter 9 antique french drawleaf table .
Another type, adapted for a special purpose, was the linen chest with a press 17th century marquetry bombe commode . It was usually about 3 feet long and had several small drawers near the top art deco writers . Its particular feature was a wooden screw-press, mounted on the top for the purpose of compressing the linen before putting it away in the drawers french 17th century cabinent makers . On several occasions I have come across these chests, with rectangular pieces of wood let into the top at each end to fill the spaces left where the screw-press uprights had been removed antique chippendale display cabinet .
Two other varieties belong to the Chippendale and Sheraton periods 1930s frankart lamps . One was the commode, a very elaborate chest of drawers which was raised on shaped legs engliosh design consoles furniture . It often had a convex or bombe front and later types were embellished with ormolu mounts in the French style value of 18th century dressing table . The other was the military chest, used during the campaigns of the Napoleonic wars in the early 19th century 17th century dining tables . It was made in two stages for ease of transport and is easily recognised by the clean-cut rectangular shape, the addition of brass corner pieces and the sunk handles on the drawers japanese art nouveau desk . A design usually associated with Sheraton was the bow-fronted chest and these continued to be made well into Victorian times portois fix .
Certain details of drawer construction, handle design and feet are invaluable in dating a chest of drawers antiques marks on furniture . Dovetailing of a rather crude nature had been used for the corners of boxes and small chests before the Restoration kidney shaped antique furniture . During the years between 1660 and 1750 the technique of making fine dovetail joints was brought to a high degree of craftsmanship latter carving on pembroke table . Large tails and widely spaced pins are indicative of early or country production roccoccoware . Herring-bone stringing, set in walnut veneer, was used for drawer front decoration during the Queen Anne period but became obsolete soon after 1720 spanish marquetry dining table .
Oak chests of drawers, belonging to the second half of the 17th century and the early years of the 18th, are sometimes found with the corner joints lapped and nailed world market carved brass charger plate . This is, of course, the mark of a poorly made piece georgian sideboards and serving tables . I believe the idea of nailing drawer fronts was adapted from cheap, imported furniture and the practice was undoubtedly followed by our own country joiners, of whom a few were prepared to produce shoddy furniture, even in those days 1940’s decco furniture .
Until the time of Hepplewhite, drawer bottoms consisted of thin boards, fitted into a rebate on the inside of the drawer front and nailed along the under edge of the back lining earth driven electrical clock bentleys . About 1775, a new method of securing the bottom appeared whereby a centre batten running from the front to the back of the drawer held the bottom boards in grooves whilst the boards, instead of being placed from front to back, now ran parallel to the drawer front meissen porcelain blumen design .
Bun feet were the normal means of support for chests until around 1700 when bracket feet were introduced art deco kneeling dancer lamp . At first, bracket feet were high and appeared out of proportion but by 1750 they were made lower and continued so until the end of the century early imperial ming porcelain . Cabinet-makers during the Chippendale era used bracket feet of an ogee shape on the better class of work, but these lent a heavy, baroque appearance to the chest amphora czechoslovakia . A lighter type of foot, known as the French foot and associated with Sheraton furniture, is usually found on the earlier bow-fronted chests antique cabnit barley twist legs . After the Regency, this design was displaced by an uglier, turned foot which remained in use until the mid-Victorian period wooden cylinder pedestal .
The first chests of drawers had brass, drop handles which were pear shaped or flat with split ends 19th century ceramic wooden clock . These handles were fixed to the drawer by means of a split pin, which passed through the drawer front and was then opened out on the inside and the ends driven into the wood louis 16th sofas . Small wooden knobs were also in use at this time but these became obsolete and did not reappear until they were adopted by Hepplewhite for his mahogany chests about 1775 antique paper mache card table . Drop handles were succeeded by a ring type around 1700 and these are sometimes referred to as Dutch drops inlaid wood chinese duncan phyfe occasional table . From these developed loop handles with brass back plates which were first seen from about 1710 meissen porcelain marking . To begin with, back plates were simple butterfly shapes but by 1730 had become very elaborate, in a variety of fretted and saw-pierced patterns art deco lamp globe . By 1750, the back plates to drawer handles had disappeared, being replaced by small circular discs behind the handle mounts antique card table 1920 fold over top . Towards the end of the century knobs of cast brass or wood superseded the loop type of handle and were in use well into the Victorian period regency day bed . Back plates, either round or octagonal in shape and with longer loop handles attached, were revived during the time of the Regency repair antique dresser drawers .
Among the more diminutive chests and boxes which were made during the 17th century was one type, about 20 inches long and 14 inches wide 16th century antique refectory tables . It was used for storing the large, black letter family Bible or for documents antique calamander . Another box, not quite so long and narrower, was used for keeping lace and neck-ruffs victorian cedar drop leaf table . It was really an early form of collar box dinning table carved like an animal . These boxes were usually made in oak with hasp locks and were decorated with chip-carving and gouge-cuts meissen cris de paris . These small chests should not be confused with the sloping topped table desk which will be dealt with in the chapter on desks and bureaux antique octagonal tilt top tea table .
Candle and salt boxes were in everyday use in the kitchens during the 17th and 18th centuries, those for candles being long and comparatively narrow to accommodate tapers as well as candles antique monks chair . Later examples were often made in oak with mahogany cross-banded edges scottish dresser .
Table knives, particularly those with silver handles, were carefully safeguarded in the dining room furniture ornaments ny . In the Chippendale period, beautifully veneered and inlaid knife-boxes were made to stand on the sideboard, while similar boxes were provided for spoons and forks 1930 art deco french armchairs . Servants of the 18th century must have been notoriously dishonest or masters and mistresses of an equally suspicious nature, for it was the practice never to allow the cutlery and silver to be removed from the dining room gate leg table english oak antique . After a meal the knives, forks and spoons would be washed at the sideboard and the butler would then count and lock them away in their respective boxes english ironstone pottery .
Tea was an expensive commodity between 1700 and 1800 and here again a special little box or coffer, which could be kept locked, was used to hold the precious leaves rectangular drop-leaf table . Tea was always made at the tea table and the mistress of the house would keep the key of the tea caddy among the other housewifely belongings which hung on the chatelaine from her waist victorian dome revolving re serving dishes .
Tea caddies usually had two compartments, lined with lead foil to preserve the tea, but those dating from the early years of the 19th century are sometimes found with a cut-glass sugar bowl of Irish glass, situated between the compartments antique draw leaf dining table . A collection of wooden tea caddies is an admirable way of getting together, in a small space, examples of all the different types of wood and the decorative processes used by the cabinet-makers of the 18th century 19th century mechanical desks .
Reference must be made to the wine cellarets and portable liqueur cases, which were in general use between 1775 and 1830 gabriel viardot . The cellaret was a heavy, strongly made coffer about 2 feet square and lined with lead antique pemproke tables . It stood on feet and was placed beneath a side-table in the dining room andrea baccetti . Cellarets were nearly always made of mahogany with large brass ring handles at the sides barocan roll furniture .
The portable liqueur case was essentially a travelling companion and contained four or six square shaped decanters whose contents would fortify the traveller on the long coach journeys of those days sideboards . It was often finely veneered in walnut or mahogany and strengthened, like the military chest, with engraved brass corner pieces enterprise porcelain italy . These, in the finer examples, were sometimes of chased silver northern song dynasty ru ware . I have seen these little chests made in oak, shaped like a trunk and reinforced with wrought-iron bands antique table from a monastery in europe . As these oak types usually contain Liege glass decanters I think they must be of French or Flemish origin 1620 plate british cobalt blue .
Ladies’ sewing and needlework boxes, particularly those of the first half of the 19th century, can still be purchased for a pound or two chenghua foot rims . They are usually veneered in walnut or mahogany with ebony or brass inlay or with rosewood inlaid with ivory carlo zen furniture . A popular form of decoration at this time consisted of a very fine parquetry in various coloured woods, known as Tunbridge ware tables with chamber pots . These work boxes can be included, to advantage, with a collection of tea caddies and other small boxes chippendale drum table 2 drawers .