Your office will exude an aura of strength and power!
You can just look at the details and tell these folks take pride in their work.
Parcel paint and gilt decorated in a slightly distressed finish. The backs of these pillows have been finished in a chocolate brown velvet. Dark pink, velvet upholstery in excellent condition. Solid walnut wood frame fully restored with original walnut finish.
A beautiful piece that will add to your décor!
This writing table has excellent quality bronze mounts reflecting its fine quality craftsman ship. Upholstery on the backs is pink, the front/face of upholstery is a plaid with cream ground and stripes in pink, pale green and orange. The legs have lovely carved reeding and are joined by a carved stretcher and carved apron. Straight body with unique curved ends joined by cuffed and fluted legs. The back features a charming black and gold tassel.
After re-finishing this wonderful arm chair with white lacquer, some selective distressing, and a dark wax – then there was the question of upholstery. Solid hand carved oak wood joined by exquisite fluted legs. This beautiful timeless piece will match with many interiors. The carved frame has scrolled arms and decorative rosettes. Beautiful carved ribbons, and fluted legs. Everything we produce is hand crafted with great care and attention to all details.
We would love to talk with you about your next project!
The bed may have been the earliest form; it was constructed of wood and consisted of a simple framework supported on four legs. A flax cord, plaited, was lashed to the sides of the framework. The cords were woven together from opposite sides of the framework to form a springy surface for the sleeper. In the same tomb was a folding wooden bed with bronze hinges. Instead of pillows, wooden or ivory headrests were used. These were so essentially individual, being made to the measure of the owner, that they were often placed in tombs to be used by the dead man on his arrival in the land of eternity. Folding headrests were probably for the use of travellers. Early stools for ceremonial purposes were merely squared blocks of stone. When made of wood, the stool had a flint seat (later shaped concavely) covered with a soft cushion. In time the stool developed into the chair by the addition of a back and arms. Such throne chairs were reserved for use by personages of great importance. Carvings of animal feet on straight chair legs were common, as were legs shaped like those of animals. Boxes, often elaborately painted, or baskets were used for keeping clothes or other objects. Tables were almost unknown; a pottery or wooden stand supporting a flat basketwork tray held dishes for a meal, and wooden stands held great pottery jars containing water, wine, or beer. Egyptian furniture in general was light and easily transportable; its decoration was usually derived from religious symbols, and stylistic change was very slow. Documentary evidence is provided chiefly by relief carvings. Ornament was richly applied in the form of cast-bronze and carved-bone finials (crowning ornaments, usually foliated) and studs, many of which survive in museums.
Goebel and Co. Furniture
First was the decoration of furniture legs with sharply profiled metal rings, one above another, like many bracelets on an arm; this was the origin of the turned wooden legs so frequent in later styles. From this old hierarchy of furniture derived the cumbersome court regulations concerning who may sit and on what, that persisted for centuries in the palaces and ceremonies of monarchs. From about the 6th century bce , the legs projected above the couch frame; these projections became headboards and footboards, the latter eventually made lower than the headboards. Turned legs largely replaced rectangular ones. The legs often terminated in metal feet and sometimes were encased in bronze moldings, and the rails also were sometimes covered with bronze sheathing. Like the couches, they were supported on turned legs, legs cut from a rectangular piece of wood, or legs with animal feet; they frequently had arm rails. The klismos chair was lighter and had a curved back and plain, sharply curved legs, indicating a great mastery of wood-working. The diphros was a stool standing on four crossed, turned legs, sometimes connected by stretcher bars and sometimes terminating in hoofs or claw feet. The convenience of folding stools was realized at an early date, and the diphros was popular. Greek tables were usually small and easily portable. An interesting type had an oblong top supported by three legs, two at one end and one at the other. Rectangular tables with four legs were also used, as were round tops. This armchair was often of wickerwork , wood, or stone. Tables with round and rectangular tops and three and four legs were common. Tables with round tops and three legs of animal form became increasingly popular from the 4th century bce onward. Another type of smaller table is round or rectangular with only one central leg. Pompeian wall paintings show that plain, undecorated wooden tables and benches were used in kitchens and workshops, and some household possessions were kept in cupboards with panelled doors. Rectangular footstools, sometimes with claw feet, were used with the high chairs and couches. Clothes and money were stored in large wooden chests with panelled sides, standing on square or claw feet.
Furniture a Story
Roman treasure chests were covered with bronze plates or bound with iron and provided with strong locks. Jewelry and personal belongings were kept in caskets, in small round or square boxes, or even in baskets. There is evidence that certain ancient traditions of furniture making, particularly that of turnery , influenced early medieval craftsmen. Most of the furniture produced was such that it could be easily transported. A nobleman who owned more than one dwelling place usually had only one set of furnishings that he carried with him from house to house. Anything that could be moved, and this frequently included the locks on the doors and the window fittings, was carried away and used to furnish the next house en route. Furniture was so scarce that it was quite usual for a visitor to bring his own bed and other necessities with him. Folding chairs and stools, trestle tables with removable tops, and beds with collapsible frameworks were usual. The religious houses were an exception to this in that they enjoyed a certain security denied to the outside world. An example can be seen in the early development for ecclesiastical use of the various types of reading and writing furniture, such as lecterns and desks, that show ingenuity in construction. Panelled construction solved the problem of building large surface areas, as on the front of a chest or cupboard , which before this time had been limited by the size of individual planks.
These planks, usually hewn with an adz, were heavy and liable to warp and split. Now that it was possible to construct larger surface areas, a new range of storage furniture, cupboards and chests in particular, was developed. Other constructional improvements of the 15th century included the introduction of drawers into cupboards and similar storage furniture, and neater and more efficient joints , such as the mitre and the mortise and tenon. Panelling was frequently decorated with a flat form of ornament called linenfold , or parchment. Both panelled furniture and room panelling were decorated with linenfold. Chests were made of six planks, crudely pegged or nailed together and frequently strengthened with iron banding.
This was basically a development of the chest, and in many cases the seat was hinged, allowing the base to be used for storage. Many of these chairs had exaggeratedly high backs terminating in elaborately carved canopies; some were freestanding, while others had their backs fixed to the wall in the manner of a church stall. Settles were also used for seating during the 15th century. Tables were mainly of trestle construction (with a braced frame serving as a support for the tabletop) with long rectangular tops that could be dismantled. Cupboards, dressoirs, and credence (sideboard or buffet) tables were used for the storing of plate and for serving at banquets, the plate being displayed on the top and on shelves above and below the main serving surface. Top shelves were sometimes cantilevered or projected on brackets to free the front corners of this surface for use. Other cupboards were made to hold food and day-to-day provisions; in the case of food, or dole cupboards as they were called, the front and sides were pierced for ventilation. Medieval beds are known from documents and a few late examples. Some beds had daringly cantilevered ceilings supported from the headboards. English oak was the chief material, but softer woods also were used. The growth of a wealthy and powerful bourgeoisie caused the building of more substantial houses and a demand for good furniture. The stucco was usually gilded all over and picked out in bright colours. The cassone , or marriage coffer (hope chest), was a form on which the craftsman’s skill was lavished.
In addition to elaborate relief work and gilding, these coffers often were painted on the front and sides and occasionally inside the lid as well, with appropriate biblical or mythological scenes. The fixed writing desk is the forerunner of the writing bureau , which became an indispensable article of furniture as writing became more general. The seat was a small wooden slab, generally octagonal, supported at front and back by solid boards cut into an ornamental shape; an earlier variety was supported by two legs at the front and one in the rear; a solid piece of wood formed the back. French furniture of the 16th century was remarkably graceful and delicate; it was enriched with inlay of small plaques of figured marble and semiprecious stones, sometimes with inlay or marquetry of ivory, mother-of-pearl, and different coloured woods. Elaborately carved oblong tables were supported by consoles or fluted columns connected by a stretcher surmounted by an arched colonnade. Heavy oak tables, sometimes draw (extension) tables, had massive legs and solid stretchers. They were influential in propagating the technique of inlaid decoration, which by the end of the century was being applied to every type of furniture. From the box chair evolved a type in which the arms and legs were no longer filled in with panelling but which had plain or turned legs, with shaped arms resting on carved or turned supports. The backs of chairs were still panelled and decorated with carving and inlay or surmounted with a wide and richly carved cresting. Farthingale chairs had upholstered seats and a low, rectangular upholstered back raised on short supports a little above the seat. Turkey work (a type of needlework) and velvet were usually employed for upholstery. Draw tables , which could be conveniently lengthened by pulling out the two leaves concealed under the top, were also introduced. Various types of cupboards were made, usually in two stages, or levels. In court cupboards both stages were left open. A simple form of chest of drawers was introduced about 1620. Typical are the oak cupboards with four doors and the chairs with seats and backs of velvet or leather held in place by nails. Later, marquetry decoration and walnut-veneer surfaces became the most common decorative treatments. At the end of the century lacquered furniture became popular. Furniture was veneered with tortoiseshell or foreign woods, inlaid with brass, pewter and ivory, or heavily gilded all over.
Louisiana Sinker Cypress Furniture
At times it was even completely overlaid with repoussé (formed in relief) silver. His cabinets and tables were completely covered by sheets of tortoiseshell and brass cut into intricate patterns so as to fit into one another, the tortoiseshell alternately forming the pattern and the ground: hence the two types, boulle (buhl) and counterboulle. Heavy gilt bronze mounts protected the corners and other parts from friction and rough handling, and provided further ornament. Furniture became lighter, more highly finished, and better adapted to varying needs. The general increase in technical skill of the cabinetmaker between 1660 and about 1690 is astonishing. Walnut was the favourite wood, though the use of oak continued in the country districts for many generations. New processes appeared, notably veneering wide surfaces with thin sheets of wood into which floral patterns in marquetry often were inserted. Velvet, silks, and needlework were the usual materials for upholstery. Various kinds of writing furniture were rapidly developed, including toward the end of the century, the bureau with enclosed desk and interior fittings of small drawers and pigeonholes. Chests of drawers came into more general use. Mirrors were no longer rarities, though glass remained expensive. The frames were carved, lacquered, or decorated with marquetry. Fashions succeeded each other with great rapidity. In the grander beds of this period, the tester (canopy), back, and posts were covered with material. The beds were of enormous height with elaborately molded cornices and had ostrich plumes or vase-shaped finials at the corners of the tester. Terminating in a claw-and-ball or paw foot and soon discarding the stretcher, it was widely used on chairs and tables and for every kind of support. The stretcher had become obsolete because of improved joining and gluing. Chairs had hooped uprights, and fiddle-shaped splate curved to support the back. This influence, coupled with the existence of new materials and the time lag in transmitting styles and tastes from the home country, in some instances produced highly individual furniture. By the end of the century, pine, maple, and other woods were used. Fashion consciousness appeared, though for decades to come the furniture of the average colonial home kept to the earlier tradition evolved from medieval joining. The box chest was succeeded by the chest of drawers, often placed on a stand with turned legs. The daybed appeared with its upholstered pad. Small folding tables, cabinets, and the tiered dresser to store and display tableware testify to the rapidly increasing standard of comfort among the more prosperous. Carved surface decoration was largely replaced by colour, through the use of paint , veneers, or inlays of contrasting wood. Walnut became the principal wood of the early 18th century.
Louis’s reign was gradually replaced by a lighter and more fluent curvilinear style. High-quality marquetry in coloured woods replaced ebony. The graceful bombé commode , often with marble top and two or three drawers, the surface enriched with finely modelled ormolu mounts, was popular. Commodes and other pieces were decorated with marquetry of floral or geometrical patterns, or sometimes with lacquer decoration, again combined with ormolu mounts. The ingenuity of the cabinetmaker and carver knew few limitations. Starting early in the century as a literary device, in the 1740s it began to take more solid shape in architecture, interior decoration, and furniture. One was the rapidly increasing popularity of mahogany. Within the shop there was a division of labour , with one craftsman specializing in furniture construction, another in lacquering, and so forth. The craftsmen and the shop were licensed by the government. Marquetry, ormolu mounts, and painting were employed as decoration. Symmetry of form and excellence of proportion were retained for the most part. Heart- and shield-shaped backs on chairs and settees and tapered and fluted supports for tables and other pieces are characteristic; feathers, wheat ears, and shells are prominent in the painted or inlaid decoration.
Gently Used and Vintage Louis XVI Furniture for Sale at
When the fashion was taken up by cabinetmakers, the results were often woefully incongruous. By the 19th century, with increases in the efficiency of transportation and communication, styles became more universal in their adoption but still maintained national and regional differences. This reinterpretation often resulted in a product removed from the principles of the original style. The introduction of the machine and of the factory method sometimes brought about a decline in quality in furniture production. This style is characterized by classical simplicity. Chairs had curved legs, and sofas had rolled arms and generous upholstery. Mahogany veneers and light birch, grained ash, pear, and cherry were used. Gothic revival , heavy medieval motifs were profusely and indiscriminately applied to every type of furniture. During the first half of the 19th century (the exact date is unknown), metal springs were introduced into furniture construction. The spring construction made chairs and sofas much more comfortable than had the stuffing employed by cabinetmakers during the 18th century. He reached a height of popularity in the 1850s. Thonet was successful in perfecting a process for bending solid beechwood by heat into curvilinear shapes. His chairs, popular during the latter half of the 19th century, are still made. The straight, turned leg was also reintroduced. The only wood visible on this furniture was in the legs, the remainder of the frame being completely upholstered. In such furniture the art of the upholsterer reached its height through the use of elaborate tufting, tassels, and braids. The latter category absorbed the best as well as the most progressive talents of the era. Furniture became smaller, lighter, easier to maintain, and more widely distributed. Forms, colours, and materials hitherto confined to shops and laboratories were introduced into homes and offices with programmatic earnestness and considerable stylishness. Then wartime austerity enforced a salutary simplicity.
Italian furniture was similar in trend, more open to structural and technological experiments but more accented and less acceptable generally. American modern furniture achieved its first international influence in molded plywood and plastic chairs and in semiarchitectural storage units. Often relying on handcraft details and on wood, most factories used speeded-up variations of earlier cabinetmaking operations. It pleased the public but not critics and connoisseurs. Victorian whatnot (set of open shelves for the display of bric-a-brac) was revived, freestanding and rectilinear, as the room divider. The innovation of foam upholstery was bitterly fought by union workmen around 1940 but in 15 years had become commonplace in sleeping and seating furniture. In time a continual flow of new production methods effected basic changes.
Chinese furniture can be divided into two main types: lacquered wood pieces either inlaid with mother-of-pearl or elaborately carved, and plain hardwood pieces. Plain hardwood furniture is frequently encountered. Chinese had sat cross-legged or knelt on the floor or on stools. Buddhism introduced a more formal kind of sitting on stiff, higher chairs with back rests and with or without side arms. Rosewood in its many varieties is perhaps the most frequently encountered and the most popular for its seeming translucence and satin, soft finish. Instead, the interior architecture of the house, with the garden as its focal point, served the aesthetic and social requirements that furniture has served in many societies.
Thin mats made of rice straw called tatami covered the floors and were used for sitting. The tatami utilized only natural patterns for decoration, although they often were bound in cloth. Cloth cushions were also used, as were small tables of wood or lacquer, either folding or rigid. Dressing tables and writing tables were specialized forms that evolved from the simple table. The folding screen was an indispensable adjunct to the other furnishings as it could be moved to change the entire aspect of the room. The one stationary piece was the shoin , a type of bay window from which extended a fixed desk used for reading. Japanese furniture forms have changed little for centuries. The former is artistically the more interesting and includes a variety of furniture decorated with inlaid bone or ivory on ebony and other dark woods. Alex’s work will become an heirloom treasured for generations. Looking to create a custom piece of upholstery?
But what doesn’t kill you makes you stronger. Being built almost exclusively from cypress, a wood renowned for its durability, the pieces came through with little or no damage. Doug notes that the company buys as much as 150, 000 board feet of wood a year. Oftentimes a customer will bring in wood from a historic building with a request that a specific piece be built.
Grossie's Cypress Furniture
A few years ago they took the barn down and stored the wood. Dave uses a metal detector to find the old nails, but that won’t pick up the buckshot. Most prized are the furnishings made from pecky cypress, which only occurs in trees infected with a fungus that causes pits and channels to develop through the wood. From the seed that chances to lodge in a suitable niche, a seedling emerges. Greeting sunlight, it reaches skyward to perform its function of anchorage, support, food storage and absorption of water and soil nutrients. Our expert craftsmen take these raw boards, study their qualities, textures, grains and properties to create exquisite hand crafted furniture. Excellent service, on time delivery, beautiful piece of furniture. He completes the work on time and there are never any surprises.
We were never so pleased to see our furniture restored so professionally. Delivered and installed any where in the country in perfect condition.
I value knowing the craftsman personally. Glen has been a great asset to have available to myself and clients for custom work.