The rounded overhanging birch top has a tiger-maple inlaid edge. The chest is comprised of four graduated drawers, each with vivid tiger-maple fronts.
The drawers have mahogany cross-banded borders with ovolo corners and wonderful period pressed brass pulls. It’s a lovely quality desk in a very decorative and reflective maple veneer which will really sparkle once repolished. Few minor scuffs/marks on surface, can be easily corrected. The 5 drawers all run smoothly and fitted with original handles.
It has a few small areas of damaged veneer (see photos) but is still in great vintage condition. It’s a great looking desk that could work in a variety of different surroundings wether study, office, work place, reception area etc etc. To hanging rails if you want, high polish finish, not very often you see such a nice wardrobe of this. Plenty of hanging space and extra storage. Made of solid sycamore wood with mahogany banding and mouldings. There is treated woodworm in the chair see photos.
Simply scroll down the page to view them. Ladies wardrobe – 1950 high x 540 deep x 1200 wide. Dressing table – 1200 w x 550 deep x 1500 high to top of mirror. Obviously buyer to collect, cash n collection preferred. Removable glass top to display a set of fine collectables. Really attractive quality mirror that would look fantastic in the right setting. Very unusually the mirror folds opens to reveal three more mirrors inside, all of identical size. Adjusting the angles of the side mirrors allows a complete view of your outfit as you stand at the centre. The chairs are newly upholstered in a superb quality brocade type of fabric in jade green. Columnar cambered body on round cantilevered floor slab. In the articulated front three drawers of varying size. Temple-like mirror front with columns and cupola. Before proceeding too much farther into the remaining steps, it’s first necessary to confirm that the material in question is actually a solid piece of wood, and not a man-made composite or piece of plastic made to imitate wood. Look for growth rings—formed by the yearly growth of a tree—which will be a dead-giveaway that the wood sample in question is a solid, genuine chunk of wood taken from a tree. Viewing the end of this “board” reveals its true identity: particleboard. If you see a large panel that has a repeating grain pattern, it may be a veneer. In such cases, a very thin layer of real wood is peeled from a tree and attached to a substrate; sometimes the veneer can be one continuous repeating piece because it is rotary-sliced to shave off the veneer layer as the tree trunk is spun by machines. Assuming it is a real wood veneer with a distinct grain and texture—and not merely a piece of printed plastic—you may still be able to identify the outer veneer wood in question, but you should still realize that is it only a veneer and not a solid piece of wood. Large repeating patterns suggest a veneer. Is it painted or printed to look like wood?
Many of today’s interior hardwood flooring planks are good examples of these pseudo-wood products: they are essentially a man-made material made of sawdust, glues, resins, and durable plastics. If there is even a chance that the color isn’t natural, the odds are increased that the entire effort of identifying the wood will be in vain. Many woods, when left outside in the elements, tend to turn a bland gray color. Is it possible to sand or plane the board to see the natural raw color of the wood?
Inventory Marcia’s Second Time Around Furniture Store
The most predictable baseline to use when identifying wood is in a freshly sanded state. This eliminates the chances of a stain or natural aging skewing the color diagnosis of the wood. If the wood is unfinished, then look at the texture of the grain. Can you tell if the wood is quartersawn or plainsawn?
By observing the grain patterns, many times you can tell how the board was cut from the tree. Some wood species have dramatically different grain patterns from plainsawn to quartersawn surfaces. Consider the weight and hardness of the wood. If it’s possible, pick the piece of wood up and get a sense of its weight, and compare it to other known wood species. Try gouging the edge with your fingernail to get a sense of its hardness. How does the wood’s weight compare to other species?
Obviously softwoods will tend to be softer than hardwoods, but try to get a sense of how it compares to other known woods. Density and hardness are closely related, so if the wood is heavy, it will most likely be hard too. If the wood is a part of a finished item that you can’t adequately weigh, you might be able to test the hardness by gouging it in an inconspicuous area. Also, if it is used in a piece of furniture, such as a tabletop, a general idea of its hardness can be assessed by the number and depth of the gouges/dings in the piece given its age and use. Many times we forget common sense and logic when attempting to identify wood. Knowing as much as you can about the source of the wood—even the smallest details—can be helpful. If the wood came from a wood pile or a lumber mill where all the pieces were from trees processed locally, then the potential species are immediately limited. If the wood came from a builder of antique furniture, or a boat-builder, or a trim carpenter: each of these occupations will tend to use certain species of woods much more often than others, making a logical guess much simpler. As with the wood’s source, its age will also help in identification purposes.
Federal tiger maple inlaid chest NH
Not only will it help to determine if the wood should have developed a natural patina, but it will also suggest certain species which were more prevalent at different times in history. Some species of trees are typically very small—some are even considered shrubs—while others get quite large. Simply knowing what the wood was intended for—when considered in conjunction with where it came from and how old it is—can give you many clues to help identify it. In some applications, certain wood species are used much more frequently than others, so that you can make an educated guess as to the species of the wood based upon the application where it was used. While it’s not a 100% guarantee, “profiling” the wood in question will help reduce the number of possible suspects, and aid in deducing the correct species. Sometimes, after all the normal characteristics of a sample have been considered, the identity of the wood in question is still not apparent. In these instances—particularly in situations where a sample has been narrowed down to only a few possible remaining choices—it’s sometimes helpful to bring in specialized tests and other narrower means of identification. Although new scents can be very difficult to express in words, many times the scent of an unknown wood may be similar to other known scents. Although difficult to directly communicate, with enough firsthand experience scents can become a memorable and powerful means of wood identification. This phenomenon is known as fluorescence , and certain woods can be distinguished by the presence or absence of their fluorescent qualities. They work by detecting differences in the composition of heartwood extractives.
A chemical substance (called a reagent) is usually dissolved in water and applied to the wood surface: the surface is then observed for any type of chemical reaction (and accompanying color change) that may occur. If the heartwood extractives are leachable by water, then a corresponding color change should quickly occur. Melanorrhoea spp.) are also noted for their readily leachable heartwood extractives. Because this property is quite uncommon, it can serve to quickly differentiate these woods from other lookalikes. Perhaps no other technique for accurate identification of wood is as helpful and conclusive as the magnified examination of the endgrain. Looking at the endgrain with a magnifier shouldn’t be a mystifying or esoteric art.
In many cases, it’s nearly as simple as examining small newsprint under a magnifying glass. When working with wood in most capacities, it becomes quickly apparent that endgrain surfaces are not nearly as cooperative or as easily worked as face grain surfaces. However, in this case, it is absolutely critical that a clear and refined endgrain surface is obtained. For a quick glance of a softwood sample, a very sharp knife or razor blade can be used to take a fresh slice from the endgrain. However, in many denser species, especially in tropical hardwoods, one of the best ways to obtain a clear endgrain view is through diligent sanding. It’s usually best to begin with a relatively smooth saw cut (as from a fine-toothed miter saw blade) and proceed through the grits, starting at around 100, and working up to at least 220 or 320 grit, preferably higher for the cleanest view. It need not be expensive, but whatever tool is used to view the endgrain should have adequate magnifying power. In most instances, 10x magnification is ideal, however, anything within the range of 8 to 15x magnification should be suitable for endgrain viewing. These stronger magnifiers, sometimes called loupes , usually have a smaller viewing area than standard magnifying glasses. Fancier models—with built in lights, or larger viewing surfaces—are available at a premium; but the most basic models are usually only a few dollars. The third element that constitutes a proper endgrain examination is simply knowing what to look for. Yet, if these elements have not been pointed out and learned, the array of features will simply seem like an unintelligible jumble. The discipline of recognizing anatomical endgrain features is not easily summed up in a few sentences or even a few paragraphs, but it is nonetheless critical to the identification process.
To this end, an in-depth look should be given to the various categories, divisions, and elements that constitute endgrain wood identification on the macroscopic level. Could you have a look at identifying this armoire?
Yew is known to leach deadly toxins into food and beverages when used as a container. Thanks for your help in me identifying this type of wood. It doesn’t really look like maple to me, at least, not in this photograph.
I put some oil on the end to see what the grain looked like. This is caused by interlocked grain in the tree that is most prominently displayed on the quartersawn surface. Probably the most likely and most commonly used wood to have ribbon stripe are various types of mahogany, including sapele. Esta madera se parece al cedro, una madera más ordinaria, con granos largos y profundos.
I automatically thought, what q great help you are to so many people. Not sure what type it would be from that distance. What you see on this page is a partial assortment.
I mean……we all know that solid wood is the almighty indication of quality furniture, and to slather on a superficial coat of paint??–gasp!– how dare thee. It’s paint–it can be stripped years from now if you’d like.
We should actually get an award for being so green, eh?
But there are some cases where you should not paint furniture. Because although paint can be professionally stripped off of wood and metal (or you can strip it yourself), the amount of time and cost can be astronomical. Plus, you might be ruining something valuable. Before you jump into a project, you do have to consider these situations to make sure you’re making the right choice.
Artisan and Post Bedroom Maple Road
Here are those times when you should put down the paint brush and step away slooowwwly. If you can’t bring yourself to do it because of guilt, then just leave it alone. Maybe pay someone to strip it and re-stain it back to its original beauty. Or, if you want to try to strip and stain it yourself, check out my post on how to strip furniture and stain it. Horrible black chipped paint that destroyed the wood. And some parts of the wood were stained due to the pigment in the black paint. In the last few years, a huge number of options for furniture paint has totally exploded. But now, you don’t necessarily have to do that as long as your surface is smooth and not chipped. And they can be used both inside and outside, too. If it looks really valuable, it probably is. Don’t paint it if you’ve got a real gem on your hands!
Painting chevron stripes all over a perfectly good wooden buffet that had not one scratch on it may seem like a good idea. Then you may need to buy a book on how to strip furniture , creating more cost and work for yourself.
You can also hire professional furniture strippers to dip-and-strip your wood or metal , but that can be very expensive. Only paint furniture because you love the look of it, not because you’re trying to emulate someone else’s look. The best product to use would be a clear wax-free shellac. Use your own gut to determine which pieces of wood furniture you want to paint and not paint. These are merely guidelines for when you take on your next furniture painting project. But the “after” was too pretty and updated.
I ended up stripping the top and re-staining and then painting the body.
I can imagine that in 15 years, when painted furniture has run its course, we’ll all be diving for the paint stripper, huh?
In the meantime, let’s enjoy the beauty of painted wood when we can and keep making our homes a little more colorful :). Leave a comment below to add to the discussion!
It cleans, shines, fills in scratches and is a heckuva lot easier than stripping furniture. Drape a bright seasonal runner over a sideboard and leave the wood as is if it is in good shape!
Small pops of color that are not destroying something that is almost an antique!
It’s probably not worth anything but honestly, it would only ever be worth anything to me or my brothers. If ya like the piece and it will have a place in your home, do whatever you want. It has two manual loafers which support the drop. French sideboard from the first half of the 20th century. Furniture in walnut, burl and maple of beautiful line and pleasant decor. Furniture inlaid in walnut, burl, maple and ebonized oval of great pleasure. English sideboard of the early 20th century. Furniture nicely inlaid in burl walnut, rosewood and maple woods. Furniture of beautiful line and pleasant decor in mahogany, maple and painted wood. Furniture in walnut wood with maple inlay of beautiful. Italian furniture in walnut, burl walnut, maple and rosewood. Furniture pleasantly inlaid in mahogany, maple and fruitwood.
Buy Maple Antique Furniture
French bureau from the first half of the 20th century. Furniture pleasantly inlaid in walnut, rosewood, maple, tulipwood and fruitwood. Double body furniture in walnut, burl walnut and maple. Furniture richly inlaid in walnut, mahogany and maple woods. Italian sideboard from the mid-20th century. Furniture of exceptional quality, richly inlaid on the doors, in walnut, mahogany and maple wood. Furniture of nice line and pleasant decor, inlaid with palisander, walnut, rosewood and maple. Furniture carved and inlaid in walnut, burl, mahogany and maple of beautiful line and pleasant decor. Also useful as a dressing table, it is. Furniture in mahogany, rosewood, maple and fruitwood with richly inlay with floral decorations. Furniture inlaid in rosewood, mahogany, maple and fruitwood of high quality. Bring a touch of history into your bedroom space by incorporating one or more old maple pieces into your layout. Maple wood is tougher than oak, less likely to split and has a more compact grain, which allows a smoother furniture finish. In addition, furniture made from maple wood is lighter than similar oak pieces, making it easier to move. Inspect the piece for atypical repetitive grain patterns in the wood, which often indicates a veneer imposter. In addition, look for natural growth rings in the wood, as well as a darkened patina that usually builds up over time on authentic maple antiques. Run your hand over the furniture to see if it has a smooth finish, which is characteristic of real maple furniture. And, if you can smell the aroma of freshly cut wood, the piece might be genuine maple, but it is certainly not an antique. Birdseye maple is grown naturally with a pattern that looks similar to a tiny, swirling eye, resembling the eye of a bird. The tiger maple also lives up to its name, displaying distinctive curly or wavy patterns that mimic the stripes of a tiger.
For example, add an antique maple dresser, rocking chair or small accent table to your current bedroom as a functional reminder of days gone by. Place a vase of fresh flowers on top of the table or dresser to bring the old piece back to life with colorful energy. Cook, and it puts to rest the notion that it’s better to leave antiques as they are. A well-conceived restoration considers the condition of the piece, how it’s made and the existing finish. A well-executed procedure eliminates defects while changing the original characteristics of the piece as little as possible. Remove all the old hardware from the piece and set it aside. Part of the restoration process includes polishing the hardware with the appropriate polishing material, depending on the material from which it’s made, and reinstall it on the piece after you’re done refinishing.
Wash the piece down with a solution of 1 gallon of hot water, 2 tablespoons of turpentine and 4 tablespoons of boiled linseed oil. Wear rubber gloves so you can make the water as hot as possible, and wash with a soft, clean cloth. Dry the piece with another cloth after washing. In some cases, this is all the refinishing you need to do. Test the finish if you aren’t sure what it is. Dab a little lacquer thinner on an inconspicuous area, using a rag, and if the finish softens, it’s lacquer.
Wood Identification Guide
If the finish doesn’t soften, try denatured alcohol, which softens a shellac finish. If the finish stays hard, you’re dealing with varnish. Strip the finish to alter the color or fix extensive dents and scratches. If the piece is finished with lacquer of shellac, brushing on a coat of interior woodwork stripper, letting it sit for 5 minutes and then washing it off with a garden hose often removes all the finish. Wipe the piece dry with a clean rag after washing it. Scrub off stubborn finish with #0 steel wool. If you need to scrape a flat area, use a plastic paint scraper instead of a metal one, which can scratch the wood. Wear gloves, a respirator and goggles while scraping. Wash the piece with a garden hose when you’re done to neutralize the stripper and dry the piece with a clean cloth. If you’re restoring a table with laminations that are separating, re-glue and clamp them. If you have to mill a new piece to replace an old one, now is the time to do it. Sand the piece minimally, because even fine-grain sandpaper leaves telltale scratches. Avoid paper coarser than 120-grit, and sand by hand whenever possible, going with the grain. Use a progression of grits on each area you sand, finishing off with 220- or 320-grit paper.
Brush wood conditioner onto the wood with a paintbrush. Commercial conditioners contain paraffin, which soaks into the grain and seals it, preventing any stain you apply from blotching. If you don’t plan to stain, omit this step. Apply stain with a rag and rub it off after 2 or 3 minutes, if desired. Old maple develops an attractive honey color that you may not want to hide with a stain, but there’s nothing stopping you from deepening the color with a pigment stain. This works well when the piece is naturally distressed. Maple is a hard wood and doesn’t need much protection from a finish, and since the piece is an antique, you don’t want to detract from the luxurious patina it has developed over the years with a thick surface coating. Apply a single coat of material, wait for it to dry, then sand it by hand with 400-grit sandpaper and apply the second coat. Dyes are a little more difficult to use than pigment stains, however, and work best with when you add a little pigment to the first finish coat to even out possible blotching. Did you scroll all this way to get facts about maple furniture ?
The most common maple furniture material is maple. The arm rests provide perfect positioning for book or tablet reading, and the seat and back provide a comfortable respite as well.