Satinwood Painted Chair

In the possession of Messrs. A. E. Daniell & Sons.


Date 8 in the Appendix to the Drawing Book.

The sideboard, Plate 21 in the Appendix, here illustrated in Fig. 264, is probably the most widely known, and also possibly the finest of all Sheraton's designs. It will be noticed that whereas with Adam and Hepplewhite the pedestals are always distinct, they are here connected to the centre, the one top running right through. It is in Sheraton's hands that the sideboard becomes a piece of furniture with some storage capacity, as distinguished from the side tables of Chippendale and his school. Sheraton's own reference to the design is very meagre. He points out that the vases are intended to be screwed to the hollow plinths above the top; an unusual feature, and a necessary one here, as the bases of the vases are so small as to make the whole top-heavy. These vases were probably intended as knife-cases ; the right-hand pedestal is racked to act as a platewarmer, the heater being shown in the engraving. That on the left was probably intended to act as a "pot cupboard," as Hepplewhite frankly admits in the descriptions of the pedestals in the Guide. It is exceptional to find an original cellarette fitted to these eighteenth-century pedestal sideboards.

So much has been said and written regarding the super-excellence of the workmanship of the eighteenth-century cabinet-makers, that it is interesting to compare the methods of construction as described in the Drawing Book with those current at the present day in the first-class workshops. To take the bookcase doors 011 P'ate 2Q, shown in Fig. 265, it will be as well to quote Sheraton's own remarks verbatim, the especial reference being to No. 6 of Plate 27, which has been re-drawn and is reproduced in Fig. 266, although the general instructions have an application also to the doors in Fig. 265. " With respect to No. 6, it may be useful to say something of the method of making it, as well as some of those in Plate XXIX." " The first thing to be done, is to draw on a board, an oval of the full length and breadth of the door. Then take half the oval on the short diameter and glue on blocks of deal at a little distance from each other, to form a caul; then, on the short diameter glue on a couple of blocks, one to stop the ends of the veneer with at the time of the gluing, and the other, being bevelled off, serves to force the joints of the veneer close, and to keep all fast till sufficiently dry. Observe, the half oval is formed by the blocks of the size of the astragal, and not the rabbet ; therefore consider how broad a piece of veneer will make the astragals for one door, or for half a door. For a whole door, which takes eight quarter ovals, it will require the veneer to be inch and a quarter broad, allowing for the thickness of a sash saw to cut them off with. Veneers of this breadth may, by proper management, be glued quite close ; and if the veneer be straight baited, and all of one kind, no joint will appear in the astragal. Two half ovals thus glued up will make astragals for a pair of doors, which, after they have been taken out of the cauls and cleaned off a little, may be glued one upon the other, and then glued on a board, to hold them fast for working the astragals on the edge / which may easily be done, by forming a neat

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  • meeri fr
    When was satinwood used in furniture making?
    15 days ago

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