American Furniture of the 18th Century

The definitive reference on American furniture of the eighteenth century. Furniture maker Jeffrey Greene chronicles the era's history, craft and construction. You'll learn about the evolution of design and construction in this classic period. Greene explains and illustrates its furniture-making techniques, including authentic joinery, construction, carving, turning and finishing. You'll discover how to make working drawings from existing pieces and how to incorporate classic designs into today's construction. You'll also learn how to create accurate period details such as ball-and-claw feet, cabriole legs and veneering.

Greene examines 24 important examples of period furniture to show readers design, construction and artistic details that are still the basis of over half of all new furniture sold today. He also discusses the four new design styles of the period: William and Mary, Queen Anne, Chippendale and Neoclassical, as well as Jacobean, Hepplewhite, Sheraton and others.

Introduction


Part 1 The Origins and Evolution of American Furniture Styles

Chapter 1 Prelude to Change: The Jacobean Period (1607-1690)

Chapter 2 The Century of Cabinetmaking Begins: The William and Mary Period (1690-1725)

Chapter 3 Elegance and Refinement: The Queen Anne Style (1725-1760)

Chapter 4 Opulence and Stately Presence: The Chippendale Style (1760-1785)

Chapter 5 Designs for the New Republic: The Federal Period (1785-1810)

Chapter 6 Revisiting Ancient Splendor: American Empire (1810-1830)


Part 2 The Methods and Materials of the 18th-Century Cabinetmaker

Chapter 7 Period Surfaces and Their Making

Chapter 8 Construction Joinery

Chapter 9 Cabriole Legs, Ball and Claw Feet

Chapter 10 Surface Ornamentation

Chapter 11 Turning

Chapter 12 Finishing Materials and Techniques

Chapter 13 Measurements and Drawings


Part 3 Examples of Style and Structure

William & Mary
Queen Anne
Chippendale
Federal

Appendix I: Wood and Wood Movement

Appendix II: Chronology of Illustrated Publications

Appendix III: Period Varnish Resins

Appendix IV: Period Colorants

Appendix V: Period Finishing Formulae

Glossary

Bibliography

Index

American furniture of the 18th century stands as one of the pinnacles of human creativity. In a newly settled land, often torn by political and economic strife, one would not expect the design and construction of household furnishings to advance to such a high state of refinement as to be considered among the greatest of artistic achievements. What occurred in America in the 18th century was a rare combination of resources, tradition, inspiration and determination. The forms and structures that resulted remain as standards of design and construction for all furniture that followed.

During this amazing century, furniture design seemed to awaken from a long post-medieval slumber and literally burst onto the world stage. The 18th century was witness to four totally new design styles: William and Mary, Queen Anne, Chippendale and Neoclassical. These styles followed one another in rapid succession, each a reaction to, or an advancement on, the previous style. The designs were a reflection of the changing world at the time. Commerce, politics, social structure and economics all contributed to the new designs.

Antiquarians, furniture historians and furniture makers have often approached the subject from different points of view.

To these groups, 18th-century furniture is art, artifact or craft, but rarely a combination of all three, and that is reflected in the literature. Every museum and major collection has a catalog that documents its holdings in great detail, and includes as much of their historical background as possible. For those of us who have a strong interest in period furniture, these books are valuable resources. Without them, few of us would have been exposed to the full depth and breadth of American furniture.

In addition, a number of superb furniture-history books have been published that painstakingly trace the development of styles and place them in context with trends in interior design and social and political movements. The two landmark books by Albert Sack, Fine Points of Furniture (New York, 1950) and The New Fine Points of Furniture (New York, 1993), are among the few that address the artistic merits of originals and define their value to collectors.

Within the last 30 years, books dedicated to the craft of furniture making have proliferated. The methods and techniques that were once the secrets of the apprentice system are now available in print. These books illustrate some of the classic designs, provide measured drawings and often give step-by-step descriptions of the building process.

What seemed to be missing from the literature was a work that sought common ground between art, artifact and craft: a book that presented the viewpoints of the connoisseur, historian and artisan to one another. Antiquarians and furniture makers look at the same subject matter, but with different perspectives. This book is intended to present the craftsmans art to the connoisseur and connoisseurship to the craftsman. It is not primarily meant to be a book on how to make furniture, but rather on how period furniture was made -- and why.

The furniture makers viewpoint would help antiquarians better understand the methods of work that yielded the forms of period pieces. It would also explain the evolution of woodworking techniques that enabled new styles to develop, as well as design trends that forced advances in techniques. It illustrates the limits placed on designs by materials and methods, and presents the dynamic nature of wood and its implications on structure and joinery. For example, an antiquarian could better understand the degree of development of a cabriole leg if he or she were familiar with the process of shaping one from rough stock, and could better determine the level of sophistication achieved by the original maker.

The antiquarians view would benefit cabinetmakers by explaining the important aesthetic points of American furniture, and what differentiates a great expression of style from a mediocre one. The antiquarians perspective stresses the importance of form in furniture, and how that form applies to the style determines its merit. Students of American furniture know that ornamentation does not make a piece great and that not everything old is worth venerating. Antiquarians have a sense for the historical evolution of design and how world events helped shape it. Similarly, they understand the effects of time and have a reverence for the color, surface and radiance that period pieces achieve over centuries.

All of this cannot be achieved without some risk. I know that exploring the area where the fields of the connoisseur, historian and craftsman converge is bound to generate some discord. For one thing, some long-cherished myths may be endangered. Folkloric explanations and romantic notions are fascinating, but practical reasons take precedence. I have also been so bold as to make aesthetic judgments. While every piece of period furniture is important for its contribution to the body of knowledge on the subject, some pieces uphold the design ideals of their era better than others. Subjective evaluations are by their very nature not quantifiable and therefore arguable, but such is the nature of the discussion of artistic achievement.

In addition, this book is full of references to the various periods or styles of furniture design that emerged over the course of the 18th century. I have noticed an increasing reluctance to use the traditional period names of Jacobean, William and Mary, Queen Anne, Chippendale, Hepplewhite and Sheraton. Being nonjudgmental can easily extend to being nondescriptive, and avoidance of labels can mean avoiding the fact that there have been and will continue to be preferences in popular fashions. Granted, the names that have come to be associated with some of these styles are not wholly appropriate. The names of English monarchs have only the loosest association with the designs, and the furniture designers probably wouldnt recognize much of what in America came to bear their names. However, these names do represent certain popular styles of furniture design that were in keeping with the ideals of the day, and they are very useful for that purpose.

With each phase of 18th-century furniture design, underlying philosophical goals manifested themselves in the various styles. These styles were more likely to be part of a desirable look, with common distinguishable attributes, than any consciously stated objectives. In each there are common proportions, elements and ornamentation that are characteristic of that trend in design, and which differentiate it from preceding and following styles. Despite the colloquial origins of the style names, they can be useful and descriptive in identifying these trends, their evolution, and the spread and duration of their popularity. Taken for their general descriptive value, style names are valuable in establishing a common ground of understanding among historians and enthusiasts.

With such a broad subject to cover, this cannot be an academically detailed history of furniture design. As a result there are some areas that cannot be explored in the detail they deserve. Among them are clocks, looking glasses and Windsor chairs. I have purposely chosen to concentrate on the main body of 18th-century American furniture and would refer the reader to sources that address these subjects in detail (see the bibliography on pp. 302-303).

As a professional furniture maker who specializes in the 18th-century American styles, I learned the subject by studying the originals in depth and by building hundreds of examples. I feel that this has given me a practical perspective on the techniques and designs of the era. Building these pieces on a daily basis imparts an insight into the way the original makers thought and worked and adds another dimension to even the closest examination of a finished example.

If I can impart some insight into how the cabinetmakers of the 18th century thought, worked and approached their designs, I will consider this effort a success. Some of the finest furniture ever made was crafted with relatively simple hand tools two or three centuries ago, which underscores the original makers skill as designers as well as builders. Their work verifies the fact that aesthetic achievement and technical skill are equally important, and it is a reminder that a solid foundation in design and craftsmanship is essential to the successful practice of any craft. It also speaks to the capabilities and importance of fundamental hand tools, a point that is becoming lost amidst the proliferation of modern equipment. To build furniture by traditional methods, furniture that has a soul, one has to work with the wood. Machining wood is just something done to it.

History can often be reduced to a dry series of events, and a similar view of the history of furniture can rob it of its ingenuity and spontaneity. I have come to view this history as a vibrant account of human effort and try not to forget that the people of this country two or three centuries ago were not that different from we who have inherited it. From the surviving fruits of their labor, I give the original makers great credit and respect for their efforts and ingenuity, and for their skills as consummate artists and craftsmen.