Floral Marquetry Lady's Desk
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A small marquetry and tulipwood lady's desk, early 20th century, the elegant desk with extended canted corners, profusely decorated to quarter veneer panels with flora, with similar decoration to the strung borders, spandrels and apron, a frieze drawer and raised on tapering strung cabriole legs. Height 75 cm, width 81 cm, depth 54 cm
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- Panels - Timber pieces, usually of well-figured wood either recessed or applied over the frames of doors and as decoration elsewhere in the carcase of cabinet furniture. The panels may take a variety of shapes rectangular, square, shield shape, oval, half-round or in the form of Egyptian pylons.
- Marquetry - In marquetry inlay, contrasting woods, and other materials such as ivory, shell and metal are inlaid either as panels or in a single continuous sheet over the surface of the piece. The design may be straightforward, such as a shell pattern or a basket of flowers, or it may be infinitely complex, with swirling tendrils of leaves, flowers and foliage, such as one finds, for example, in the "seaweed" patterns on longcase clocks of the William and Mary and Queen Anne periods.
- Canted Corners - In decorative arts, especially furniture making, a canted corner refers to a technique where the corner of the piece is angled or "canted" to create a diagonal corner. This is different from a chamfered corner which is a technique where the edges of a corner are cut at an angle, creating a diagonal edge or "bevel" along the corner.
A canted corner is typically used to add visual interest to the item. It can be found in various styles of furniture such as contemporary, Art Deco, or traditional. It is often used to create a sense of movement and dynamism in a piece.
Canting a corner is a more complex technique than chamfering, and it is typically done by tilting the corner of a piece of furniture and then cutting the wood to match the angle. It's a technique that requires precise measurements and a good understanding of angles and geometry, and it is usually done by experienced artisans. - Cabriole Leg - The cabriole leg evolved from an elongated scroll, curving out at the knee which may or may not be carved, and forming a serpentine shape as it descends to the foot.
First introduced into English furniture in the late 17th century, cabriole legs were widely used during the Queen Anne and early Georgian periods, where they frequently terminated in a pad foot or ball and claw foot. The style has had many imitators since then. The cabriole leg was re-introduced in the mid-19th century, and is commonly associated with the balloon-back dining or drawing-room chairs made in walnut, mahogany or, in Australia, cedar. The Victorian cabriole leg, on the whole, was rather more slender than the earlier form, following the French style, which emphasized the delicacy and daintiness of the chairs they were designed to support. Cabriole legs are sometimes found on windsor chairs, especially those made during the 18th century. - Frieze - An architectural term denoting the flat, shaped or convex horizontal surface of furniture, between the architrave and the cornice, usually found on a cabinet or bookcase, or on desks and tables where it may include drawers, the area between the top and the legs. In ceramics, the term refers to the banding, of usually a repeating pattern, on the rims of plates and vases.
- Veneers - Veneers are thin sheets of well-figured timber that are glued under pressure to the surface of a cheaper timber for decorative effect, and then used in the making of carcase furniture.
Early veneers were saw-cut so were relatively thick, (up to 2 mm) but is was realised that saw cutting was wasteful, as timber to the equivilent of the thickness of the saw was lot on each cut.
A more efficient method was devised to slice the timber, either horizontally with a knife, or in a rotary lathe.
Flame veneer, commonly found in mahogany or cedar furniture, is cut from the junction of the branches and main trunk. So-called fiddleback veneers, where the grain is crossed by a series of pronounced darker lines, is usually cut from the outer sections of the tree trunk.
During the 17th and 18th centuries, and in much of the walnut marquetry furniture made during the latter part of the 19th century, the veneer was laid in quarters, each of the same grain, so that one half of the surface was the mirror image of the other.
The use of veneer allows many other decorative effects to be employed, including stringing, feather banding, cross banding, and inlaid decorative panels in the piece. The carcase over which veneer is laid is usually of cheaper timber such as pine, oak or, sometimes in Australia during the first half of the 19th century, red cedar.
The important thing to remember about veneers is that prior to about 1850 they were cut by hand, and were consequently quite thick - ranging up to about 2mm deep.
From the mid-19th century veneers were cut by machines and were almost wafer-thin. This is a critical point when trying to judge the approximate age of veneered furniture. - Apron - A decorative wooden panel that sits underneath the top surface of a table or chair, and unites the top of the piece with the legs, running at right angles to the underside. On carcase furniture such as a chest or wardrobe, the apron sits below the drawers or doors and attaches to the legs.
On carcase furniture without legs the panel under the drawers or doors sits on the floor and is termed a plinth.
An apron can provide a decorative touch to an otherwise unadorned piece of furniture and at the same time provide structural support and strength. They can be carved or pierced and quite elaborate.
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