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Copying furniture is a well established tradition practiced by many leading makers themselves. The process involves the highest level of cabinet making skill and a thorough knowledge of the techniques practised by crafstmen from the period involved. Every cabinet maker had own methods for approaching his work and invariably left his personality imprinted on his furniture, Initially. Therefore one must make a thorough examination of the original piece in order to copy the style of the individual maker.
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Case Study:
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Typically for the period, this table has been constructed largely from pine and veneered in a high quality flame mahogany; where solid has been required, for example the top, then a 'Honduran' mahogany was used. The next step, and sometimes not always possible, is to select timber that is a close match in terms of grain and figure as possible. Detailed scale drawings from the piece are then made and the initial task of working out a cutting list and preparing the timber. This table was then made, using hand tools and copying the same sequence of construction as the original: first, the top frame, dovetailed and tenoned - then the column turned and shaped - the quadraform base - the carved feet and freeze decoration - the veneering - the top - and finally glueing up and fitting the swivel top. The last and most difficult process is the finishing: assessing the nature of the original finish and then replicating it and in addition the fading and patination of 160 years. |
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Dutch Walnut Marquetry CabinetFrom the first half of the eighteenth century, typically Dutch with a Bombe lower carcass and floral marquetry. This cabinet needed extensive re-hydration of veneers. Click image for Larger View |
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Ebonised Bonheur De JourStamped by A Beurdelay, a late nineteenth century French ebony and ebonised beechwood desk with ormolu mounts, inlaid brass work and Serve oval door plaques. Click image for Larger View |
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Anglo-Indian Writing BoxClick images for Larger View |
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Early nineteenth century in sandlewood and ivory, displaying a high degree of craftsmanship with alla certosina work (ivory, ebony, rosewood, opal, and silver). Similar to one held in the Lady Lever Collection. |
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Boulle Card TableApproximately 30% of the brass and tortoiseshell had been lost. The whole of the top has been lifted and re-glued and the missing pieces added Click image for Larger View |
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