Antique Furniture FAQ

Here's a few furniture tips that may prove useful to you.

-You can often date a piece by studying nails and screws. Furniture predating 1790 will include "rose-head nails," that were hand-forged by blacksmiths. These nails can be identified by their irregular, rose-shaped heads. "Square-head nails," employed from 1790 to 1830, were machine cut and finished off by a blacksmith who squared the heads. From 1830 to 1890 cabinetmakers used headless "machine-cut nails, that are tapered and rectilinear in shape. Modern "brad" and "penny" nails were introduced around 1890. Screws were occasionally used in furniture pre-dating the beginning of the machine era (Circa 1830). Blacksmith forged examples can be identified by inspecting for thin and slightly off-centered slots and off-round heads.

-The "circular saw" invented in the 18th century, did not come into wide usage until after 1830. Thus, boards displaying "circular saw marks" will not be found on furniture pre-dating the "Empire Period" (1830-1850). Unfinished pre-1830 boards cut from vertical motion "ripsaws" will often display small, somewhat parallel, saw lines.

-Before the introduction of power driven woodworking machinery in the mid 19th century, lumber was worked by hand. After hand-sawing, cabinet makers dressed their boards with a jack plane and draw knives. On authentic furnishings pre-dating the "Victorian Period," (1850-1910) unfinished non-visible "secondary" surfaces like backboards and drawer bottoms will show evidence of "hand-planed" by feeling for subtle undulating rows in the wood.

-Small wooden pins known as dowels can be helpful in authenticating age. Machine era pins will be perfectly circular and flush to the surface. Antique dowels are non-round and will protrude slightly from the surface because of shrinkage in the wood they are securing.

-Wood shrinks in a direction opposite the grain. The degree is determined by softness of the lumber, age, and environment. Therefore, authentic antique furniture can be discerned by inspecting for evidence of: gapping between boards, shrinkage cracking, buckling veneer, protruding pegs and breadboard ends, and legs extending slightly beyond the frame or "skirt." Early circular tabletops will measure somewhat oval, 1/8" to 1/2" longer in the direction of the grain.

-Outline and thickness on early hand-wrought iron and brass hinges will be non-uniform.

-The top rail on early 19th century chairs will be joined with non-round tenons that can be viewed by slightly pulling the yoke from the stile. Circular dowels are evidence of "non-period" chairs.

-Visible surface planks (primary wood) on genuine antique furniture will be wide, varying in thickness, and relatively free of blemishes. Knotty pine was not employed by earlier cabinetmakers.

-Although it has been stripped and refinished back to the original wood, much old-time non-mahogany furniture was originally painted. Analysis of wood pores and fissures with a jeweler's loop will often show several layers of paint residue. This "paint history" can help authentic a piece and determine whether individual components-the feet, the top, etc.-are original or undesirable replacements.

-Unless you get a go-ahead from several acknowledged experts, don't refinish quality antiques in old or original surface.

Three reasons:

1. In some cases, the coloration is truer to original intent. A mahogany-like pigmented finish was often applied to cherry, maple, and other native woods by American cabinetmakers trying to upgrade the look of their wares. Tiffany and other artisans commonly "antiqued" bronze and other metals used in lamps and other products.

2. Grungy untouched paint, varnish, and oxidation is considered beautiful by many of today's top curators and collectors.

3. Un-refinished surface is a valuable clue in determining antique integrity. Be it painting, paper, metal, textile, or wood; one of the biggest challenges for fakers and restorers is mimicking old surface. Undeniable integrity heightens price.

Come visit us at the Montreal Antique Center, Centre d'Antiquites de Montreal and see our latest choices.

Major Furniture Period or Style Definitions

Gothic: Medieval church architecture influences this style-characterized by pointed arches, counterbalancing buttresses, open tracery and vertical grandiose emphasis.

Elizabethan: Elizabeth I Reign 1558-1603 England's Renaissance interpretation.

Renaissance: Derived from Italian Renaissance style-mainly oak functional furniture with scroll & arabesque carving, etc. with horizontal emphasis. A "pendulumatic" reaction to Gothic style.

Pilgrim: Spartan utilitarian American furniture reflecting 17th C. English country styles

Jacobean: Roughly spanning James I (1602-25) & Charles I (1625-49) reigns. Restrained ornament, Moorish influence.

Louis XIII: King reigned (1589-1643), Baroque style including cherubs, cartouches, gilding, and spiral turning.

Cromwellian: Also known as Carolean era. Probably alluding to Irish influence in the era roughly surrounding Charles I.

Louis XIV: The Sun King's reign (1643-1715) noted for splendor of courts in Versailles and Paris. Marquetry inlaid furniture distinguished by opulence and grandiose size.

Baroque: Flamboyant, heavy, decorative rectilinear style derived from 17th C. Italian architecture.

Commonwealth: Unadorned style that flourished under protectorate of Oliver Cromwell (1649-60) in a revolt against aristocracy.

Restoration: Restoration of kingly Charles II 1660 to the abdication of James II 1688, walnut replaces oak, C and S scroll supports introduced. Not as restrained as the Common man style preceding.

Early Colonial: With some wealth attained, carved oak Hadley chests and turned Great Chairs start making their way into American homes.

Rococo: An exuberant curvaceous style characterized by asymmetrical lines and shell, floral and foliate motifs.

William & Mary: Roughly influenced by William III reign 1689-1702, heightened English style and cabinetry introducing: domed cresting, the American highboy, lacquer work, ball & bun Spanish feet; strong Dutch influence.

Queen Anne: Reign (1702-1714) Along with Chippendale, the finest hour of English and American cabinetry. Feminine petite lines, beautiful proportioning and balance, restrained use of ornament. The cabriole leg and cyma curve are prevalent.

Regence: Transitional melding of baroque into rococo. Romantic elements supplant heroic.

Louis XV: Continuance of the rejection of weighty forms. Rococo exuberance replaces angularity in flowing curves and elaborate scrollwork. Gilded cabriole leg fauteuils are introduced.

Chippendale: Masculinity supplants femininity in furniture. Cabinetmakers like Thomas Chippendale take lead over monarchs in design. Queen Anne form puts on a bowtie and goes rococo, mahogany rules. Oriental influence comes to shore.

Neo Classic: Inspired by continuing excavations and discoveries at Pompeii and Herculaneum (begun 1738) classic Greek and Roman decorative motifs like dolphins, guilloches, lyres and urns emerge everywhere. Straight lines and swags supplant rococo curves.

Hepplewhite: Neo Classicism influences English and American design. Tapered rectilinear legs supplant the cabriole leg. George Hepplewhite's, "Cabinet Makers and Upholsterer's Guide" is published in 1788.

Louis XVI: Beginning before 1774, 18th Century French Art climaxes under King Louis XVI, Marie Antoinette and exuberant neoclassic style.

Sheraton: Thomas Sheraton's "Cabinet Maker's & Upholsterer's Drawing Book" is published 1791. Turned Corinthian column legs supplant tapered legs. Square shapes round out.

Directoire: Transitional phase from Rococo to Neo Classic. Soft painted surfaces supplant ostentatious gilt. Rectilinear columnar design replaces curves and cabriole legs.

American Federal Period: The new, emancipated country's beautiful interpretation of graceful lines and form over excessive ornament. Eagles emerge in great numbers.

Empire: Beautiful at first, then severe in treatment-especially in America-of Classical forms. Surrounded by wreaths, Napoleonic ormolu bronze mounts highlight mahogany.

Regency: Several styles emerge in Britain based on a blending of traditional English lines with Gothic and Neo Classic influences.
Biedermeier: The great German reaction against English and French rococo style. Generally rectilinear or slightly draping lines. Beautiful woods, generally with little or no ornament. Comfort and common sense supplants ostentation.

Victorian: The machine age takes hold. Ornament and busyness supplant the weightiness of Empire in its last days. More is better.

Arts & Crafts: Rebellion against the Victorian Industrialism. Objects that appear to be made by hand are in again. In America, Gustav Stickley spearheads the Mission Oak furniture movement featuring mortise & tendon joining and rectilinear lines.

Jugendstil: Germany's brilliant Arts & Crafts and Art Nouveau movement. Strongly influenced the path toward modern art developments.

Art Nouveau: Probably born in a Parisian art shop (Samuel Bing c. 1895) the new "Moderne" kind of art and design influenced by nature, Japanese style and flowing feminine lines. A continued reaction against the Victorian era of the "machine."

Art Moderne: Art Nouveau gives way to technology. NYC's Chrysler building is a standing testament.

Art Deco: Who needs humanistic/naturalistic lines and earthy tones? Chrome and plastic supplant wood. Bon Voyage, Art Nouveau. The rocket age is born and furniture, art and design are going for the ride!
 
Empowered slightly by societal change, and mostly by society's obsession for change itself, furniture and art movements have historically swept from country to country.  Sometimes, the "Period" or "Style" titles in those various lands are much more differing and confusing than the inspiration behind them. 

Come visit us at the Montreal Antique Center, Centre d'Antiquites de Montreal and see our latest choices.

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