product manual with chapter pages

Maitland-Smith Essentials

Home Furnishings Handbook

MAITLAND-SMITH

For three decades, MAITLAND-SMITH home furnishings have

combined history and tradition with craftsmanship and fine quality.

MAITLAND-SMITH is synonymous with design, luxury and sophistication.

Elegant and distinctive pieces for your home today, with quality and style to

last a lifetime. Do you have a Maitland-Smith treasure?

C O N T E N T S

Development of 18th Century English Furniture . . . . . . . . . 2

Development of 19th and 20th Century Furniture . . . . . . . . . . . 4

Style Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Periods and Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Materials, Products & General Care . . . . . . . . . . . . . . . . . . . 14

Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Electronic Component Diagrams . . . . . . . . . . . . . . . . . . . . . . 62

Suggested Reading Material . . . . . . . . . . . . . . . . . . . . . . . . . 66

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

M A I T L A N D - S M I T H E S S E N T I A L S

1

Development of 18th Century

English Furniture

2

1702-1714 QUEEN ANNE:

Distinguished by Cyma curve contours, cabriole leg,

clubfoot, simple claw and ball foot, simple shell carving

or none, marquetry and lacquer, and walnut veneering.

1714-1745 EARLY GEORGIAN PERIOD:

No one outstanding cabinet maker is known. Style of

Queen Anne period continued and elaborated, with claw

and ball or paw foot, eagle’s head and lion’s head carv-

ing. After 1735, French cabochon and leaf ornament.

The architect and furniture designer, William Kent, in-

troduced architectural design and heavy Baroque style

during the latter half of this period.

Walnut with introduction and increasing use of

mahogany.

1745-1770 CHIPPENDALE PERIOD:

Prolific in work of many gifted cabinetmakers, of whom

Thomas Chippendale was possibly the greatest, but who

is known chiefly through the three editions of his

“Gentlemen and Cabinet-Maker’s Director” (1754,

1759, 1762). Strong construction and great freedom and

originality of design: “Gothic,” “Chinese” and

“French” with many variations: straight square legs in-

troduced, though cabriole still used; lavish use of carv-

ing, gadroon edges, rococo mirrors; introduction of lad-

der backs for chairs and tripod bases for small tables.

Mahogany.

1770-1795 ADAM AND HEPPLEWHITE STYLES:

Furniture made by Chippendale, Hepplewhite and other

cabinetmakers either directly from designs of the archi-

tect Robert Adam or inspired by them. Strongly classi-

cal in feeling, delicate and restrained use of carving,

extensive use of painted decoration and applied orna-

ment, urn, swag and fan motifs; introduction of oval and

wheel-back chairs, round and square tapered legs, ped-

estal and urn sideboard tables. George Hepplewhite‘s

widow in 1788, 1789 and 1794 published the

“Cabinetmaker and Upholsterer’s Guide,” illustrating

fashion of which he was perhaps the most brilliant expo-

nent, but not the sole originator. Light, graceful and less

formal than Adam with much use of Prince of Wales

feathers, wheatear and honeysuckle motifs such as

chairs, sofas, etc. An anglicized version of contempo-

rary French styles with serpentine front chests of draw-

ers and “French” bracket feet. Also the introduction of

shield, hoop and heart-shaped backs for chairs with legs

turned and carved, or square tapered legs with or with-

out spade feet. Thomas Shearer introduced sideboards.

Mahogany, satinwood, sycamore and other light woods.

THE FOUNDATION OF THE “GOLDEN AGE OF

FURNITURE”:

Historians agree that the furniture and decorative objects

of the eighteenth and early nineteenth century are

benchmarks of quality home furnishings. The era often

called the “Golden Age of Furniture” began with the

coronation of Queen Anne (1702-1714) and continued

into the Regency period (1805-1830), the reign of King

George IV. The period has a second title, “The Age of

Mahogany,” due to the dominant wood of choice

throughout the era. The time also saw Great Britain de-

velop into a world power with a huge colonial empire.

Important to the developments of the Golden Age of

Furniture was the ever increasing wealth generated by

the British Empire and the start of the Industrial Revolu-

tion which began in England about 1760. The resultant

change in social and economic organization had a pro-

found effect on every aspect of English life.

Furniture of this period was made by hand, a key attrib-

ute in its place in the history of the decorative arts. By

1837 the first machines were introduced in the work-

rooms of Western European cabinetmakers. Since few

people could afford luxury goods, most furniture was

custom made. The result was a market place quite dif-

ferent from today. The limited number of possible cus-

tomers precluded the need for furniture stores, so each

patron dealt directly with the craftsman. The results

were unique bespoke objects designed for each new cli-

ent. Given the environment, competition for customers

resulted in an ever-increasing set of skills. Objects

made during this time were considered status confirm-

ing by their owners and were given pride of place in

their homes.


DEVELOPMENT OF 18TH CENTURY ENGLISH FURNITURE

3

Development of 19th and 20th Century

Furniture

4

1837—1901 THE VICTORIAN AND EDWARDIAN

ERA:

The period following the Georgian era has long been

regarded as a low point in the decorative arts. An im-

portant factor was the influence of British architects

who dominated designs for furniture and interiors

throughout the developed world. Many were accused of

revivalism, a sort of rehashing of the past, rather than

being original, i.e., appropriate to the time. This “cut

and paste” approach to design, combined with the com-

mercial production of furniture and decorative objects,

often leads to excessive, over-the-top furniture and ob-

jects of poor taste.

The Victorian preference for clutter, highly decorative

surfaces and collections of objects was a new phenome-

non. Newly built homes were being filled with mass

produced furnishings designed by a small group of ar-

chitect-designers catering to the newly rich. It is this

phenomenon which resulted in the negative opinion

most historians have regarding High Victorian design.

The period is now regarded, however, as a transition to

the modern designs of the twentieth century. A number

of influential people did make important contributions

to bring order to the chaos and decorative excesses of

the time. Owen Jones (1809-1874) published “the

Grammar of Ornament,” which was more than a pattern

book. He also advocated for the application of taste,

fitness, proportion and an overall resultant repose, not

jarring conflict. The advent of scholastic research as a

way to bring order to the haphazard adaptations of pre-

vious styles and other cultures begun by Owens was

adopted by Augustus Welby Pugin (1812-1852).

The designer of the interiors and exterior of the Houses

of Parliament, including the tower of Big Ben, A. W.

Pugin was responsible for the Gothic Revival of the

nineteenth century, based on research and not the whim

of a designer. This revival had far-reaching influence.

The previous Gothic revival in the eighteenth century

was a fad, a confection, which soon passed. What fol-

lowed were a number of interpreters of the Gothic, or

Medieval style, as well as a flirtation with the decorative

arts of Japan. Perhaps the most influential designer of

the era, from a modern point of view, is William Morris.

As a preservationist, poet, textile designer and socialist

revolutionary, William Morris (1834-1896) was suited

to the task of re-orienting the direction of nineteenth

century interior design and furnishing. As a respected

member of the arts community, Morris and his circle

had many distinguished admirers. He became a theore-

tician and favored simple, almost Medieval methods of

construction, a kind of honesty of materials and expres-

sion of craftsmanship which echoed the Gothic revival

style, but predicts the modern era. In much of his the-

ory, he was a prophet, preaching the availability of good

design for the masses. While Morris could not accom-

plish this, his handmade products proved too costly, his

thinking was indeed modern. Followers created what is

now known as the Arts and Crafts Movement based on

his ideas. It was the first truly twentieth century style.

It was to set the stage for the Modern Era, a creative

period equal to the great Golden Age (1720—1835).

1918-1939 ART DECO:

Art Deco is sometimes called Jazz Modern or Moderne.

The fashionable style of the inter-war period which sup-

planted Art Nouveau and co-existed with the machine

age styles of the Bauhaus was an important, far reaching

design movement which started in France and spread to

the rest of the developed world. It owes its name to the

first major international exhibition of the decorative arts

to be held after the First World War — L”Eposition In-

ternationale des Arts Decoratifs et Industriels Modernes

held in Paris in 1925. Major exhibitors who contributed

interiors were R. Mallet-Stevens, furniture by P.

Chareau, P. Follot, A. Groult, J. E. Ruhlmann and

Messrs. Sue et Mare. Glass and jewelry by Renee La-

lique, silver by J. E. Puiforcat and metalwork by J. Du-

nand. These now famous designers created a style

which suggested luxury, innovation in use of materials

and a sensibility which echoes the great tradition of

cabinetmaking that was part of French 17th and 18th

century decorative arts.

Rich materials are often placed against industrial ma-

chined surfaces and finishes. Forms are edited with

minimal decoration, but often refer to shapes popular

during earlier periods.

The era represents a maturing of the industrial age when

architects and industrial designers influenced the way

objects looked and worked.


DEVELOPMENT OF 19TH AND 20TH CENTURY FURNITURE

5

1900-2001 THE TWENTIETH CENTURY AND

BEYOND:

The word, “modern,” in the context of the twentieth

century has been adopted by a number of styles, some

based on theory, some on pure commercialism, and

some on nationalism. In almost every case it repre-

sented the rejection of surface decoration and ornamen-

tation for its own sake. Whether based on a utopian

view of providing good design for the masses, or sheer

commercialism, the age of technology and rationalism

would join together to characterize the designs of the

century. In fact, the only issue was the constant friction

from advocates of traditional design approaches.

The process of stripping away began early in the cen-

tury. Pioneers such as Charles Rennie Mackintosh and

Josef Hoffman created furniture and objects of simple

mathematic shapes and abstractions. For the first time a

style arose to challenge the superfluousness of the stuffy

interiors of the nineteenth century. The first real theo-

rist of this new consciousness was Le Corbusier, who

led a group founded in Germany to respond to advances

in industrial capabilities in a proper esthetic manner.

The group was composed of Europe’s leading progres-

sive architects and interior designers who presented

clean, almost bare interiors with smooth white walls and

built-in storage as an alternative to dark, ornate interiors

crowded with elaborately carved Victorian furniture. Le

Corbusier promoted the idea that a house in its ideal

modern form could be a machine for living. Ideas like

standardized industrial methods and interior fittings,

combined with economical innovative materials could

lead to improvements in the quality of life for all. His

interiors are iconic even today. He advocated open, un-

cluttered spaces with furnishings that resembled indus-

trial equipment.

It was 1921 when Le Corbusier wrote that the house

was a machine for living. The turmoil of war and the

volatile political landscape of Europe would have an

enormous effect on the progress of the decorative arts.

The most influential design school of the era, the Bau-

haus (1883-1969), which was founded by Walter Gro-

pius in 1919, became the magnet for like thinking

architects, designers and artists. Under Gropius’ leader-

ship a regional arts and crafts school became the leading

avant-garde institution in Europe. Dedicated to new

approaches to issues of industrial design and functional-

ism, it attracted a faculty of outstanding talent and vi-

sion.

However, not everyone agreed with this new vision of

mass produced standardized “cubes” for living. Some

felt it too uncompromising, with no room for individual

expression. Alongside this, other designers working in

northern Europe and France pressed for regional varia-

tions and individuality. In Finland, Alvar Aalto (1898-

1976) used processed wood, a traditional material and

organic rather than geometric forms. In France the lead-

ing designers chose to reassert the traditional national

values of skilled artisans working for the upper class

patrons, often considered arbiters of taste. Art Décor,

sometimes called Jazz Modern or Moderne, is the name

now applied to inter-war period of the French decorative

arts. The style supplanted Art Nouveau and coexisted

alongside the Machine Age styles of the Bauhaus, Le

Corbusier and Frank Lloyd Wright. Though its origins

may be traced to the first years of the twentieth century,

it owes its name for the first major international exhibi-

tion of decorative arts to be held after the First World

War, L’Expositional Internationale des Arts Decoratifs

et Industriels Moderne held in Paris in 1925. At its best

the style is an homage to the long history of fine quality

and craftsmanship. It used surface decoration and ele-

gant forms as showpieces. This taste for complex,

highly decorative surfaces ended with the Depression

and World War II, which halted the trade in such luxury

goods.

Another “machine” style was invented in the United

States in the 1920’s and 1930’s by a new class of indus-

trial designers. Designers like Raymond Loewy (1893-

1986) and Henry Drefuss (1903-1972) were hired by

industrial giants like Westinghouse (Loewy) and Bell

Telephone (Drefuss) to apply their talents to such mun-

dane objects like the desk telephones, kitchen appli-

ances and other household products. These products

were given the look of technology by imitating the air

stream forms of automobiles and streamlined aircraft.

The style is very American, a forceful modern image of

speed and efficiency.

As an institution, the influence of the Bauhaus, with its

faculty of avant-garde architects, artists and designers,

became a target of Adolph Hitler and his fascist party.

The facility was closed in 1933. The staff dispersed,

most to the United States. Many joined the faculties of

America’s leading universities. Their impact on mid-

century American art, architecture and design would be

profound.

The taste for complex decorative surfaces would

DEVELOPMENT OF 20TH CENTURY FURNITURE


6

re-emerge in Italy in the late 1970’s and 80’s. As part

of the post modern movement Italian architects and de-

signers used historical, symbolic, associative and eclec-

tic references as an antidote to rational modernism. By

echoing other periods, the post modern designers used

motifs as far ranging as Art Nouveau and the Pop Art

movement to underscore the limited, standardized for-

mulas of pure function.

Alternative images of technology also appeared in the

United States in the 1940’s and 1950’s. The architect

Buckinster Fuller (1895-1983) and the designer, Charles

Eames (1907-1978) both favored a pragmatic, do-it-

yourself approach which sacrificed formal purity in fa-

vor of unique, inventive combinations of materials and

construction. As an industrial designer, Charles Eames

created an iconic collection of quirky metal legged

chairs with plastic or plywood bodies. By the late twen-

tieth century technology had developed way beyond the

existing stylistic situation. Miniaturization made many

familiar objects obsolete. Household appliances and

consumer electronics no longer reflected the formula of

“form follows function.” This phenomena required an

new approach, a “high tech” shift from aesthetics to

technology. The arrival of the information age and the

constant advances of technology will require a new de-

sign direction, a style which has not yet coalesced.

DEVELOPMENT OF 20TH CENTURY FURNITURE


7

Style Charts

8

STYLE CHART

9

Medieval 1050-1300 Simple Forms with Polychrome

decoration, “Romanesque” arches

Gothic 1200-1500 Lancet arches, crocketed finials,

elaborate pierced carving

Renaissance 1500-1600 Francois I (1483-1547)

Henri II (1547-1589)

Henri IV (1589-1610)

Fine and delicate intarsia, lightness,

scrolling foliage, columns

Mannerism 1550-1650 Louis XIII (1610-1643) Slight heaviness starting, profuse

carving of figures and beasts

Baroque 1650-1720 Louis XIV (1643-1715)

(Effectively reigned from 1661)

Massive architectural forms, full

relief carving of figures and swags

of flowers

Regence 1710-1730 Philippe d’Orleans as Regent

(1715-1724)

Slight lightening of form with mas-

sive mounts, the cabriole leg appears

Rococo 1725-1750 Louis XV (1715-1724) “C”scrolls, very light fanciful carv-

ing of foliage, no straight lines

Transitional 1750-1770 Louis XV Reaction against excesses of rococo,

restraint, mixture of Louis XV fea-

tures and anticipation of Louis XVI

Neo-classical 1770-1790 Louis XVI (1774-1789) Tapering legs and classical motifs,

revival of Louis XIV side cabinet

Directoire 1790-1800 The Directorate (1789-1799) Elegant simplicity, Etruscan decora-

tion, evidence of English influence

Consulate 1800-1805 The Consulate

(1799-1804)

Rectangular and architectural forms,

plain woods and fine guilloche

mounts

Empire 1800-1820 Napoleon (1804-1815) Heavy architectural forms, often

plain with massive ormolu mounts,

masculinity

Restoration 1815-1850 Louis XVIII (1815-1824)

Charles (1824-1830)

Bois chairs, mass production, seeds

of eclecticism, Gothic and Rococo

revival

Second Empire 1840-1870 Louis-Philippe (1830-1848)

Napoleon III (1852-1871)

Muddled eclectic designs, Renaiss-

sance and Louis revival, exhibition

era

Art Nouveau 1885-1910 Reaction to mass production and

eclectic design, naturalistic and

stylized plant forms

Modernism 1885- Present day Return to simple, pure rectangular

forms, fine veneers coupled with a

return to the 1820-1840 Biedermeier

period

STYLE FRENCH MONARCH PECULIARITIES


STYLE CHART

10

Medieval 1050-1300 Simple construction forms, Roman-

esque arches, column supports, oak

Gothic 1200-1500 Pointed (lancet arches) pierced carv-

ings, crocketed finials, oak

Jacobean—William and Mary 1603-

1688 (“Carolean”) Baroque

Carolean (for Charles I and II) Baroque mannerism, bold symmetry,

scrolling curves, curvaceous legs

Queen Anne 1702-1714—Stylized

Baroque

Queen Anne Comfort, grace, elegance, English

version of European baroque, lighter

forms, more walnut, more function

and diversity

Baroque to Rococo to Neoclassic

1720-1837

Georgian—George I to George IV Continued nationalistic interpreta-

tions of baroque, rococo and

Greco—Roman inspired fashion

called neoclassic. Emphasis on carv-

ing, elaborate surface decoration

eventually resulting in a more re-

strained, pragmatic architectural look

to lines and shapes

Regency 1800-1837 Prince Regent George V Refined neoclassic style, intensely

English in spirit, Robert Adams styl-

ing

Victorian-Edwardian 1840-1900 Victorian-Edwardian Usually a reworking of previous his-

toric styles filtered through the Eng-

lish sensibilities of the nineteenth

century—comfort, surface decora-

tion, exotic

Modernism House of Windsor Machine age influences, new materi-

als, clean functional lines and forms,

color prominent

Renaissance 1500-1603 Henry VIII—Elizabeth I Tudors Fine and delicate marquetry and par-

quetry. Lighter silhouettes, column

supports, oak to walnut

STYLE BRITISH MONARCH PECULIARITIES


Periods and Styles

11


12 The Bullfinch Anatomy of Antique Furniture


13

Materials, Products and General Care

14

ABACA:

The fiber used on our decorative accessories is obtained

from the leaf stalks of the Abaca plant. Sometimes

known as Manila hemp, Cebu hemp or Davao hemp.

The Abaca plant is not related to true hemp.

The plant is native to the Philippines and became an

important cord fiber in the 19th century. It is also

grown in Malaysia and Central America in plantations.

closely related to the banana plant, which it resembles,

the Philippines remains the world’s largest producer.

The plant when mature reaches a height of fifteen to

twenty-five feet. The fiber comes from the plant stalks

when mature, which are by then eight to twelve inches

in diameter. The fiber-bearing outer layer is removed

and scraped free of the inner pulp. The fibers are then

sun dried. The strands average three to nine feet in

length depending on the height of the stalk.

It is valued for its exceptional strength, flexibility, buoy-

ancy and resistance to damage by salt water. Abaca fiber

is used for ships, ropes, hawsers and cables. Some

Abaca is used for carpets, tablemats and paper. The

plant’s inner fibers can be used without spinning to

make lightweight, strong fabrics for garments, hats and

shoes.

GENERAL CARE: Clean with a lightly damp, soft

cloth.

BRASS:

Brass is an alloy (mixture of two or more metals) of

copper and zinc, with a greater percentage of copper

than zinc. The combination gives this metal alloy its

golden color.

Like its sister metal, bronze, it can be cast, hammered,

engraved, and embossed to form a variety of shapes and

textures. Its particular composition makes it extremely

flexible enabling it to be formed into thin sheets and

wire.

Like bronze, it can be cast using either the lost-wax

method or the less expensive sand-cast technique. (See

the following bronze section for an explanation of these

casting procedures).

Maitland-Smith’s brass accents are not artificially

stained and top coated but, in an attempt to achieve a

truly authentic aesthetic, finished through natural chemi-

cal reaction and acid etching. While our brass is sealed

with a clear coat, it will also gain a desired natural pat-

ina through time. Like stone, brass is susceptible to

ringing and staining, and extended exposure to liquids

should be avoided. Coasters and placemats should be

used at all times and direct contact with acidic liquids

should be avoided. Bar and table surfaces can be further

protected with a clear, silicone-free wax, though spills

should be cleaned immediately to avoid potential stains.

The beauty of our brass patinas are achieved through

hand chemical application, and coloration and oxidiza-

tion will vary from piece to piece.

GENERAL CARE: Our brass items such as candle-

sticks, desk and decorative accessories, etc., are not lac-

quered and will need occasional polishing with any

good commercial brass cleaner. Please follow manufac-

turer’s instructions. Brass mountings on lamps and fur-

niture ARE lacquered, however, and need only a soft

dry cloth to keep clean.

BRONZE:

Our collection of bronze patina accessories owes its suc-

cess to a combination of good design wed to a material

with a high recognition factor. Like porcelain and crys-

tal, bronze enjoys a long history as a luxury material.

Prized for its durability and attractive surface patina,

bronze has, from its earliest uses, been associated with

wealth and royalty. In the hands of artists and crafts-

men, this highly malleable metal can be cast and worked

to a standard equaled only by works in more precious

metals, such as gold, silver and platinum.

The material itself is an alloy that is a combination of

metals — in this case, copper and tin. In its mint condi-

tion it has a color similar to gold, which accounts for its

original appeal. Most ancient bronze was cast or

worked to remain in this highly polished golden color.

However, if not maintained or protected from the ele-

ments, bronze will slowly develop a patina, or surface

color depending on which elements it has been exposed

to. Like a newly minted copper penny it will slowly

darken to a warm rich brown as it is circulated. When

in contact with salts or certain corrosives, it will turn

green, the verdigris patina often seen on excavated an-

tiquities such as Greek and Roman artifacts. Various

historical revival cycles, from Renaissance to the pre-


MATERIALS, PRODUCTS, & GENERAL CARE

15

sent have cultivated the popularity of patina finishes,

thus extending the range of surface colors from the

original bright gold to a variety of rich brown metal

patinas, from warm burnished brown to its darkest statu-

ary black bronze, as well as a variety of verdigris pati-

nas.

Art students are taught that modeling and casting are

among the “plastic” arts. That is to say that the metal in

its molten state is “liquid” enough to form or cast into

almost any shape. The finest castings are achieved with

the lost wax method. This process entails making a

casting in wax from the original object, surrounding the

wax copy with a cement like plaster mold, then heating

the mold until the wax runs out or is “lost.” What re-

mains in the plaster/cement, which originally covered

the wax, is an impression or mold of the wax object.

When this mold or impression is filled with molten

bronze, the result is an exact, detailed copy of the wax

object. Like the thieves, who in old movies would make

a wax impression of a key, steal away to make an exact

copy, then return to loot the house, wax is the preferred

material as its surface can take and hold the minutest

details.

The second method of casting our bronze ware is the

sand-cast method. Here, too, a mold is created, but in

this case, pressing the object to be reproduced into two

matching trays filled with fine damp sand, specially se-

lected and graded for the technique that forms the mold.

When the two trays are put together, they form a mold

into which molten metal is poured. When cool, the

mold is separated and the object revealed.

Whether lost-wax or sand-cast, the resulting object is

trimmed of mold marks, hand chased to emphasize de-

tails, then either polished or treated to create the desired

patina.

Bronze can be maintained for years of use and enjoy-

ment provided some basic care and attention is given to

its preservation. The first step in the care of bronze is to

understand, minimize, or eliminate conditions that cause

damage. The second step is to follow basic guidelines

for a maintenance program.

Corrosion, poor handling and inappropriate storage are

the major causes of damage to bronze statues. Copper

alloys, which bronzes are made of, are relatively stable,

corrosion resistant materials if they are properly cared

for. Active or problem corrosion is caused by inappro-

priate storage or a display environment which is heavily

polluted, or subjected to evaporating salt water. If un-

coated statues are handled with bare hands you risk cre-

ating corrosion from the salts, oils and moisture trans-

ferred to the bronze.

GENERAL CARE: If you choose to clean your bronze

and you are sure of the surface appearance you wish to

achieve, some of the following suggestions may help:

Keep bronze pieces as clean as possible.

Accumulations of dust and dirt can eat into the metal

surface.

If a bronze piece has been neglected for a long time and

is covered with grime, thoroughly clean it with a soft

brush. Remove all dust from crevices and notches and

then lightly rub the entire surface with a soft flannel

cloth.

Dust regularly with a soft cloth. This prevents any dust

build up. It also leaves the bronze with an added shim-

mer. It allows the piece to age naturally without the use

of any solutions that may distort the natural appearance

of the piece. Do not rub too vigorously, especially on

any protruding parts. Bronze is a metal and it is natural

for metal to color in time. A natural coloration gives a

bronze character and thus adds to the esthetic value of a

piece.

For a more thorough cleaning, carefully wash with a

solution of soap and water. Rinse well.

Polish with copper polish followed by glass wax. If you

want a high polish, dip a cloth into liquid wax and apply

to the piece.

When dry, buff lightly to a high gloss.

Outdoor bronzes can be treated with “clear car wax” to

slow the weathering process. Weathered bronze usually

darkens; however, this is natural and does not harm the

piece.

Corrosion Removal:

Very heavily corroded statues with original painted sur-

faces or those damaged by salts may require the assis-

tance of a trained expert. By attempting to remove thick

corrosion with steel wool or other scrapers, you may


16


end up scratching or abrading the metal surface.

CAST RESIN:

The cast resin product in our line enables us to produce

items which, if hand carved in wood or cast in metal,

would be prohibitive in cost. The cast resin product has

gained wide acceptance in the home furnishings indus-

try, and has taken its place alongside older techniques of

casting.

The process, like all casting methods, requires a mold

which must be created from an original three-

dimensional model. The model may be an antique or a

newly carved or cast prototype. Once the mold is ready,

the resin mixture is poured into the mold and allowed to

set. After removal from the mold the casting is cleaned

of mold marks and is ready for finishing.

As a material resin easily accepts a variety of finishes

and textures. In the hands of a skilled worker the possi-

bilities are limited only by the imagination of the de-

signer. Finishes currently shown in our collection in-

clude faux wood, faux stone, verdigris, antique gold and

silver metal leaf and antique metal patinas.


cloth.

CELADON:

Origins of the term, celadon, are obscure. What ety-

mologists lack in fact, they more than make up for in

theories. The most common points to a 17th century

French play, Honore’ d’Urfe’s ‘L’Astre’e, which fea-

tures a character named Ce’ladon, who’s always dressed

in gray-green. Egyptian experts champion the cause of

Saladin, the sultan said to have sent 40 pieces of the

stoneware to the Sultan of Damascus in 1171. Classical

scholars cite another reference in the seventh book of

the Illiad. Homer writes of the bluish-green waters of

the Celadon River. Meanwhile, a contemporary celadon

manufacturer in Bangkok claims that the word is de-

rived from the Sanskrit terms for “stone” and “to wear,”

a notion that suggests the objects are “sheathed in

stone.” Antique Chinese celadon pottery displays a pal-

ette of lustrous glazes that range from soft sea green to

something short of apple green, often straying into tones

of gray, blue, or olive brown. Finishes may be smooth

or crackled.

First kilned around the third century BC, celadon hit its

high-water mark during China’s Song Dynasty

(960-1279). The luscious greens that define antique

celadon resulted from variables in the potting process:

kiln temperature, firing time, the type of clay used, and

the composition of the glaze. The type of fuel used to

fire the kilns also affected color.

Kilns in Northern Song provinces, for instance, de-

pended on locally plentiful coal. Iron in the glaze com-

bined with oxygen to produce olive green or even

brownish-green tones. Southern Song pieces, in con-

trast, were born of smoky wood fires, which produced a

more limpid bluish-green hue. With occasional excep-

tions, pieces contained scant decoration. Form and

glaze were everything, and this utter simplicity was their

signature appeal.

Beautiful celadons, often larger in scale, also were pro-

duced in the succeeding Yuan (1280-1368) and Ming

(1369-1644) dynasties. However, the buying public in

Europe and Asia became increasingly attracted to the

new blue and white porcelains and later to the brilliantly

colored wares for which the Ming dynasty is justly re-

vered. The production of celadon declined and ended in

the Qing Dynasty (1644-1912). Celadon was made in

many useful forms: plates, bowls, incense burners,

bases, covered boxes, brush pots, etc. MAITLAND-

SMITH celadon reflects the classic, clean lines associ-

ated with antique pieces, if not the delicacy of colors

and glazes. They come in familiar forms found in tradi-

tional Chinese ceramics — vases, ginger jars, bowls,

chargers and boxes.

Whether antique or reproduction, celadon ceramics are

at home in all kinds of traditional interiors. Their basic

neutral color bridges every era and stylistic period.

GENERAL CARE: In order to keep your celadon look-

ing new, wipe with a moist cloth occasionally to remove

any buildup of dust and keep out of direct sunlight to

help protect the glaze from fading.

CERAMIC TILES:

Tiles are hard, brittle, heat resistant and corrosive

resistant objects made by shaping and firing a non-

metallic element such as clay at a high temperature.


17


Tiles are hand-painted and often given a glaze before

firing. GENERAL CARE: Regular cleaning of tile can be

done with simple detergent and water. When cleaning

tiles, do not use any harsh abrasives, such as scour-

ing powder or commercial abrasive cleaners, as these

cleaners may scratch and damage the tile’s surface.

Unless a cleanser’s label specifically reads that the

cleanser is safe for use on tiled surfaces, do not use the

product. Do not use strong chemicals such as acid or

acetone as they will etch the glaze on the tiles. For se-

verely grimy tiles and grout, where mild detergent

cleaning does not cleanse thoroughly, use a solution

made of chlorine bleach and water to remove any dirt

present.

COCONUT SHELL AND COCONUT TREE BARK

(HAND INLAID):

The art of inlaying decorative materials on wood or

other durable surfaces is over three thousand years old.

Early examples date back to ancient China and Egypt.

Like the traditional techniques of marquetry and par-

quetry our artisans employ the bark and shell of the co-

conut tree to create unique surfaces with great visual

appeal.

The shell of the coconut must be treated with a special

desiccant to remove the coconut oil before it can be

glued in place. The depth of surface is achieved by

hand polishing the individual pieces. The bark with its

unique texture is also hand cut and inlaid. Like our pio-

neering efforts with inlaid stone and shell, our use of

coconut bark and shell are examples of our design lead-

ership in the home furnishings industry.

GENERAL CARE: Clean with a damp cloth and mix-

ture of 1 oz. Murphy’s Oil Soap to 24 oz. of water.

Spray the mixture on the cloth for cleaning. If a shine is

desired, spray a clean soft white cloth with Guardsman

Furniture Polish and apply to surface.

COROMANDEL:

Coromandel is named after the Coromandel Coast in

South Eastern India from where the carved screens were

originally dispatched to the west by European mer-

chants.

The art of making coromandel requires a skilled hand, a

trained eye and a great deal of patience. The frame of

the screen or furniture item is made from laminated

wood, which is then sanded and sealed with a mixture of

dried animal blood and fat and covered with a thin layer

of rice paper. After drying, another coat is applied,

dried again and then sanded. The third coat is mixed

with 50% lime, which solidifies the sealer into a slate-

hard finish.

This is followed by the application of five to six coats of

fine China clay, each layer trowelled on smoothly and

dried for a day before sanding. The entire preparation

for each panel of the screen often takes more than a

week. Finally, several layers of background color are

applied and when dry, a rice paper drawing of the de-

sign to be incised is pasted onto the surface. The piece

is then ready to be carved.

Coromandel carvers are the most skilled of artists. They

must carefully outline the faces and hands of sometimes

minute figures, carving the smallest of details such as

hair and foliage. This they do with the blade of a spe-

cial knife, which must not pierce the rice paper imbed-

ded under the thin layer of hardened lacquer and clay.

When the carving is complete, bright colors are painted

into the areas that have been carved out and gold metal

leaf is skillfully applied to highlight the decoration. In

some cases the decoration may be entirely of gold metal

leaf. Finally, the piece is antiqued to soften the colors

and simulate the tone and finish of the originals.

Telling the difference between old and new coromandel

can be extremely difficult if the new piece is well exe-

cuted and antiqued. The original pieces, however, usu-

ally show signs of flaking and chipping and are becom-

ing increasingly rare and therefore are commanding ex-

tremely high prices. Although a contemporary version

costs significantly less, with the increasing demand and

growing shortage of skilled carvers and painters, a new

coromandel of the finest quality has not only aesthetic,

but also enormous investment value.

GENERAL CARE: Light Murphy’s Oil Soap/water,

then dry with a dry cloth.

DECORATIVE HARDWARE:

As with all MAITLAND-SMITH products, the decora-


18


tive metal hardware, whether brass, bronze, silver or

aluminum is of the highest caliber.

The drawer pulls, handles and finer mountings are

made in the lost-wax investment casting method. (See

the section on bronze for a detailed explanation.)

All decorative hardware is lacquered. Some items are

antiqued to enhance their details before lacquering.

Many of the larger metal fittings are produced using the

sand-cast technique. (See the section on bronze for a

detailed explanation.)

As a leader in reproduction furniture, the decorative

hardware used on our product is a faithful reproduction

of the antique original. This attention to detail is what

makes MAITLAND-SMITH one of the finest makers of

furniture and decorative accessories in the world.

GENERAL CARE: Clean with a dry, soft cloth.

DRIFTWOOD FURNITURE:

Driftwood furniture is a perfect blend of art and

nature. Totally natural gray driftwood needs very

little maintenance and upkeep.

GENERAL CARE: For unpolished items dust with a

dry cloth or wipe over with a damp cloth. Do not use

furniture polish on unpolished items... If you use a

polish, you will lose the natural coloration.

Protect polished items by using a good beeswax based

polish regularly. The driftwood will dry out if not pol-

ished so it will need regular “feeding.” Be careful when

using some polishing products as they may contain sili-

cone which harms the wood. Using a natural product

will build the depth of shine over time and will make it

look even better.

EGGSHELL AND LACQUER:

The use of natural lacquer as a decorative and protective

coating in China dates back nearly two thousand years.

The technique of laying down successive coats of clear

or colored lacquer as a decorative craft can be found in

East Asia where the lac tree grow. Natural lacquer is a

product of the sap of this tree, a member of the sumac

family.

Centuries of experimentation, first in East Asia, and

eventually in Europe, has resulted in the incorporation

of a variety of stable materials chosen to enhance the

decorative appeal of this lustrous natural material.

These materials are captured under successive layers of

lacquer. Each layer is hand applied, allowed to dry, and

then buffed before another layer is applied.

People who live near the sea have incorporated mother-

of-pearl and abalone shells, while inland chicken and

duck eggs are used. Other materials used include gold

and silver, both powdered and in leaf form.

The product we make uses white and toasted eggshells

to create micro-mosaic decorative patterns. Toasting

eggshells by submerging them in heated fine sand re-

sults in a range of colors from white through warm tans

to dark browns.

Our artisans employ this monochromatic palette to cre-

ate designs that become the covering of a wide range of

decorative furniture and accessories. The final product

is a smooth surface of many layers of lacquer. While it

is a time-consuming process, the results are unique, du-

rable, and exhibit the qualities of hand workmanship

that is one of our hallmarks. The deep lustrous quality

of the lacquer reveals the micro-mosaic patterns cap-

tured in this highly decorative medium.


EGLOMISE: — See Verre Eglomise, page 37.

ELECTRONIC COMPONENTS:

Power Surge/Supply, Touch Dimmers, Infra-Red Sys-

tems (See page 23 for Infra-Red Systems)

Most desks and computer cabinets feature power plugs

with surge protectors, phone jacks, and connections

for laptop computers. FURNLITE is our supplier of the

following electronic components: FC700, FC705,

FC600, FC620 and FC727. See page 64 for diagrams

and warranty information.

To create soft ambiance or to highlight displayed items,

many hutches include lighting controlled by a three-

intensity touch switch.


19


For specific warranty information, call FURNLITE at

704.538.3193 or visit their website at

www.furnlite.com.

ENGRAVING OR INTAGLIO PROCESS:

In the engraving process, the image or print, as it is

called, is derived from ink that is below the surface of

the plate. The design is scratched, cut into a printing

surface or plate, which can be copper, steel, lead, zinc,

plastic, even coated paper or wood. The printing ink is

rubbed into the incisions of grooves and the surface is

wiped clean of ink leaving it in the lines or incisions.

The taking of a print is done under great pressure, which

is actually an embossing process forcing the paper into

the incised lines taking the ink away from the grooves.

The process leaves what is called a plate mark in the

paper, an impression of the outline of the entire plate.

The process is the most versatile printmaking technique

as it can produce a wide range of effects from the most

delicate to the boldest.

The design is cut into the metal plate with a tool called a

graver or burin. The burin is a steel rod with a square or

lozenge-shaped section and a slightly bent shank. Push-

ing the burin into the metal plate does the cutting. The

deeper the cut, the wider the resulting line when printed.

Variations in depth of a single line create the swelling-

tapering character of the engraved line. Once the en-

graving is finished, the slight burr raised by the graver is

cleaned away with a scraper.

The MAITLAND-SMITH collection of both hand col-

ored and black and white engravings are part of a tradi-

tion in fine art that is over 500 years old. Skilled artists

using watercolors over the black ink printed engravings

create the hand colored edition.

GENERAL CARE: Clean with a soft, dry cloth.

ETCHING:

Etching is the process of creating a pattern or decoration

on metal by using acid to etch or eat away parts of the

surface. Used originally to decorate armor in the late

fifteenth century, particularly in Germany. Starting in

the sixteenth century it was used as a process of print-

making. We use the technique on brass sheets to create

decorative patterns which in turn become table tops,

screens and wall panels. Many of our etched brass

pieces are also oxidized to create a patina in keeping

with the inspiration of the item.


EXOTIC SHELL INLAY:

The use of exotic seashells has a long history in the

decorative arts. Many have strong visual appeal, are

durable and can be cut and polished. The shell’s dura-

bility lends itself to veneered surfaces and inlaid ac-

cents. The wide variety of types available provides a

stimulus to creativity and innovation.

GENERAL CARE: Clean with a damp cloth and a mix-


Spray the Murphy’s Oil Soap mixture on the cloth for

cleaning. If a shine is desired, spray a clean, soft white

cloth with Guardsman Furniture Polish.

FAUX SUEDE:

Faux Suede is the first premium upholstery fabric to

stand up to all the challenges of real life. It is unsur-

passed in performance and ease of care as well as aes-

thetics. Child, pet and, especially, decorator-friendly,

Faux Suede not only delivers luxurious elegance; it

stays looking and feeling luxuriously elegant for years

to come.

Everyday Upkeep

A quick once-over with a lint brush will restore the sen-

suous nap and soft luster of Faux Suede Periodically,

it’s also recommended to vacuum the fabric and then

dust it gently but thoroughly with a well-wrung damp

cloth or sponge. Take care not to get the fabric too wet.

Re-dampen your cloth or sponge in clean water, wipe

again and let dry overnight. Once completely dry, reju-

venate the fabric with a gentle brushing.

Spot Cleaning

For spills, gently pat the spilled liquid with a paper

towel. This will take care of most spills. For dried-in

soiling, coffee stains and the like, you’ll obtain the best

results by gently brushing the stained area. Vacuuming

up the dried material is also effective.


20


If the above method doesn’t work, try wiping the

stained area from the outside with a well-wrung cloth

dampened in lukewarm water. It is important to make

sure you keep a clean area of the cloth applied to the

stain and that you not rub the fabric too hard. If the sur-

face nap looks tousled, brush it gently. After wiping up,

allow the fabric to dry completely before using.

Oil-Based Stains Not Removable with Water

Try to wipe up oily stains as much as possible--without

spreading the stain--with a dry cloth or paper towel.

Next, take two rags, one soaked in ethyl alcohol, the

other clean and dry. Pat the stained area from the out-

side in with the alcohol-soaked cloth, then pat the loos-

ened dirt and oil off with the dry cloth. Repeat depend-

ing on degree of soiling. After removing the stain, let

the fabric dry completely before using.

Caution: Never pour a cleaning product directly onto

Faux Suede If you use ethyl alcohol, make sure the

room is well-ventilated and avoid contact with open

flames.

FLOOR CLOCKS:

From their introduction floor clocks were status con-

firming objects which combined accurate time-keeping

with fine cabinetry. It was the development of the pen-

dulum by the Dutch scientist Christian Huygens and

patented in 1657, which made clocks more accurate.

Called tall case clocks in England, the vertical case is

there to enclose the pendulum device and keep away

dust and insects. In the context of history, the availabil-

ity of a fine clock mechanism, a scientific instrument,

was very expensive until the coming of the industrial

age. Tall case clocks were made for the wealthy from

1647 onward when longer pendulums increased the

clock’s accuracy. Second and minute hands followed

quickly.

The design of floor clocks was influenced by mechani-

cal advances and prevailing furniture styles. Musical

chimes were added after 1788.

The collection of MAITLAND-SMITH floor clocks

reflects the same design-driven character of the rest of

the line. By combining quality materials with unique

shapes and styles, our offering is more than just period

copies.

The same attention to detail and quality can be found in

our choice of clock maker, Hermle, the leading German

maker of pull chain weight clock mechanisms. Founded

in 1922, the family-owned business employs 500 people

in three plants in Germany and about 100 in their Am-

herst, VA facility. The traditional solid brass mecha-

nism, including weights, pendulum and tube-hung

chimes are designed for easy assembly. We also offer

clocks with fine quartz movements.

Our quality, handmade floor clocks are an exciting

product category — a fresh approach to an iconic home

furnishing symbol.

GENERAL CARE: Refer to Floor Clock Set-up In-

structions provided. Use cotton gloves or tissue when

handling the weights to prevent tarnish of the finely fin-

ished surface.

GLASS:

Glass is a hard, often translucent and sometimes trans-

parent material which has a long history in the decora-

tive arts. It is made by the fusion at high temperatures

of silica (sand), sometimes quartz or flint with the help

of an alkaline flux (potash or soda) and a variety of

other substances, such as limestone or potash or lead. It

can be colored by the addition of metallic oxides during

its molten state. When molten, it is ductile and can be

drawn into long threads or blown into hollow bubbles

which can be shaped with tongs and shears. When cool,

it can be decorated using enamel colors which are fused

to the surface in a kiln, painted with oil colors, engraved

with a diamond point, ground using a lapidary wheel,

sand blasted or acid etched.

Evidence suggests that glass was invented on the East-

ern Mediterranean, first as a glaze for ceramics around

3500 B.C. and as solid glass in Egypt by 2500 B.C.

The transformation from a glaze in Mesopotamia, to a

solid, translucent object by the Egyptians, made glass a

substitute for precious and semi-precious stones. Early

glass was cast in a mold with a mud core, not blown.

Sometimes molten rods or “canes” were wound around

a core attached to an iron bar and tooled or combed into

feather patterns in imitation of agates and other semi-

precious hard stones.


21


It is the molten, ductile state which the Syrians took to

the next technological step by blowing molten glass on a

long iron pipe into hollow vessels and containers.

Nearly all the basic methods of decorating blown glass

by coloring or cutting were developed before circa 4

A.D. mainly in Syria and Egypt. Mouth blown glass

continued in the West after the fall of the Roman Em-

pire. It would remain a handmade craft until the Indus-

trial Revolution of the 19th Century.

The knowledge of making glass was introduced into

Italy, Gaul, and the Rhineland under Roman Imperial

rule and in the Middle East by the establishment of the

Holy Roman Empire in Constantinople. While some

high quality, mouth blown glass was made in the Rhine-

land and in the Islamic world during the Middle Ages,

most glass making was given over to making window

glass and simple vessels.

By the 14th century the glass makers of Venice emerged

as the best in Western Europe, the start of an Italian tra-

dition which continues today. In the early 16th century,

the Venetians invented clear glass, with no green or

brown traces, called crystallo. Combined with artistic

creativity, the new clear glass elevated the status of

glass vessels to a new level.

The arrival of inexpensive machine-made glass in the

19th century would alter the world of the glass blowers

and their traditional centers of manufacture.

Today quality mouth blown glass is made around the

world. In small studios as well as large, artisan created

“Art Glass” is crafted using age old techniques for a

growing contemporary market.

GENERAL CARE: Clean glass in much the same way

you clean windows. Do not to use heavy-duty, harsh

solutions. We highly recommend a professional glass

cleaner for best results. (See Mirror Care, page 29).

HAND CARVED WOOD:

Perhaps the most demanding skill in the rich tradition of

craftsmanship is hand carving. Archeologists can date

early surviving examples over three thousand years old.

Fantastic wooden objects have been uncovered in Egyp-

tian tombs alongside jewel encrusted gold and silver

artifacts.

The Renaissance was the setting for the reawakening of

the decorative arts. Specialized guilds of artisans were

formed to advance and protect particular skills. Carv-

ers’ guilds arose throughout Europe alongside gold-

smiths, jewelers and other similar trades.

The richly ornamented styles of the 17th and 18th cen-

tury are a testament to the caliber of craftsmanship

available. Our carvers use the same tools and tech-

niques as their 18th century equivalent. After years of

training, their skills are applied to a wide variety of

Maitland-Smith items. Examples include our hand

carved mahogany dining chairs, occasional chairs, occa-

sional tables, mirror frames and numerous decorative

objects.

GENERAL CARE: Dust regularly with a slightly

damp, soft cloth and then rub dry with a clean cloth.

Apply Guardsman Furniture Polish a few times a year

and buff well. Never use products containing silicones

as these will harm finish. Hide nicks or marks with fur-

niture touchup pens. Try touchup in an inconspicuous

wood area to be sure the color will blend satisfactorily.

HAND PAINTING AND SPECIAL FINISHES:

Our hand-painted items are created by individual artists

working with layers of color and centuries-old painting

techniques. While each design is based on a preset de-

sign and color scheme, each individual piece is the

product of the artist’s eye and no two pieces will be ex-

actly alike. Each piece is created using layers of paint

and dry brushing by skilled artisans, and variations from

piece to piece is not only expected, it is a sign of the

unique desirability of Maitland-Smith.


INFRA-RED SYSTEM (Red –Eye):

Some of our television cabinets are equipped with infra-

red eyes that allow the television remote control to work

with the doors of the cabinet shut. For warranty infor-

mation, call FURNLITE at 704.538.3193 or visit their

website at www.furnlite.com. See page 63 for a dia-

gram of the infra-red system.

LACQUER COVERED WOOD:


22


The original mold is carved from seasoned wood and

remains at the core of the completed object making it

suitable for both large items of furniture as well as for

the smallest of accessories. Layer after thin layer is ap-

plied and each coating is allowed to dry thoroughly be-

fore being polished and re-coated. The same process is

repeated many times until the article is smooth and

strong. It is a very versatile medium and can be deco-

rated with color and gold leaf, as seen in the MAIT-

LAND-SMITH high gloss lacquer paint, or more tradi-

tionally in the raised chinoiserie painting.

In the 17th century, artisans discovered that numerous

applications of lacquer eventually created a crust thick

enough to incise with landscapes, traditional patterns

and figures. This is known as incised lacquer. Since

each layer of this lacquer must dry separately, the proc-

ess can take weeks or months to complete. The colors

most commonly used are red, obtained from cinnabar

ore, and black from iron sulfate. Often both layers are

carved to their respective depths.

The process involved in transforming a copper vase or

box into an incised lacquer piece begins with the appli-

cation of an undercoat glaze to adhere to the lacquer.

Up to 200 coats of lacquer are required to build up a

base approximately one half an inch thick; a refined

emulsion coat completes the initial process. The tracing

of the design must then be completed while the top layer

of lacquer is still soft. Fine pointed tools incise the

hardened varnish to form the desired pattern; polishing

or burnishing is accomplished with slate powders

rubbed with the palm of the hand.


cloth.

LAMP SHADES:

The high quality of our hand sewn lamp shades reflects

our company’s mission— that of providing our custom-

ers with the very best materials and workmanship possi-

ble. Since we make our own shades we control the

quality from start to finish.

All hand sewn shades begin with a custom made welded

wire frame. This frame or armature determines the

shape and size of the shade. The frame is then hand

wrapped with a fine muslin ribbon. It is to this fabric

covered frame that our skilled sewers stitch the outer

fabric and inner lining. Dressmaker details including

hand-set pleating, smocking and embroidery are deter-

mined by the designer. Final steps include the addition

of trim at the top and bottom, such as folds, gimps and

custom details.

GENERAL CARE: Lightly brush dust from shade and

trim using a clean, soft brush.

LEAD CRYSTAL, FLINT GLASS, AND

CRYSTAL:

Man-made crystal or lead crystal is a heavy and durable

glass characterized by its brilliance, clarity and highly

refractive quality.

In the 17th century the English crown granted monopo-

lies. One was the Worshipful Company of Glass Sell-

ers, reincorporated in 1664 after the Restoration. Un-

happy with the quality of glass and raw materials im-

ported from Venice (Murano), they commissioned

George Ravenscroft to experiment with native materials

hoping to improve on the quality of Venetian clear or

“crystallo” glass. In 1675 he created “glass of lead.”

The new glass worked slower, i.e., it did not cool as

quickly allowing artisans more time to shape the mate-

rial than the Italian clear glass and gradually the Ve-

netian formula was dropped. The new crystal set the

standard for the rest of Europe. It was solid and heavy

and more durable than the Italian product.

The first clear crystal Ravenscroft produced, called flint

glass because calcified flint was used as a base, decayed

after a period of time. This fault was overcome by add-

ing lead oxide to produce lead crystal (flint glass is still

a synonymous term for lead crystal although flint is no

longer part of its composition).

Lead crystal is also used to make lenses and prisms.

Because it absorbs most ultraviolet light but compara-

tively little visible light, it is used for telescope lenses.

The light dispersive power of lead crystal can be made

twice as high as that of regular or common glass (of

soda-lime composition).

Engraving was an early form of decorating glass, prac-

ticed in England, Italy, Holland and Germany. Far more

important to the development of decorative technique,

was the art of cutting. An abrasive covered wheel at-


23


tached to a treadle and cooled by water is used to cut

decorative lines in the crystal. Earliest pieces date from

1725. Early cutting was shallow using diamonds, hexa-

gons, flutes and scale patterns, produced by holding the

glass at an angle to the cutting wheel. Combinations of

these elements were used to produce designs of great

beauty and complexity. The period from 1745 to 1779

is referred to as the Golden Age of English Cutting.

Great richness of effect became popular. Eventually by

the end of the 18th century, when technique was further

developed in Ireland, the whole surface of glass was

being deeply cut to reflect light.

Our fine, hand cut crystal collection has 24% lead con-

tent, the standard for fine quality worldwide. Our crys-

tal is manufactured in Czech Republic and Poland.

GENERAL CARE: A soft, dry cloth is recommended

for cleaning. Fingerprints and other marks may be

cleaned with a damp cloth and mild hand soap. When

mounted with brass or other metal, the same mild soap

and a damp cloth are suggested. Do not allow water to

run freely into metal parts.

LEATHER INLAY:

Hand-tooled leather’s long association with the fine art

of bookbinding as well as its use on traditional furniture,

gives this appealing material a high recognition factor

with an emphasis on quality. Our collection of leather

covered decorative accessories and occasional furniture

echoes these associations by using the same techniques

and time-honored workmanship to create this handsome

offering. The book boxes, dummy books and occa-

sional furniture pieces were designed with this recogni-

tion factor in mind.

As with all MAITLAND-SMITH products, quality of

workmanship and materials, combined with good design

are our hallmarks. The book design group has the added

appeal of being both functional as well as decorative.

Starting with the construction through the final polish-

ing, all steps of the manufacturing process are used. All

leathers are hand-laid and trimmed, and then undergo a

lengthy, multi-step process of coloring and hand-

padding to bring out the natural character of the leather

such as natural scars and wrinkles. The techniques em-

ployed were developed long before the introduction of

chemical dyes and stains in the nineteenth century. Af-

ter the leather has been colored and antiqued, it is ready

for the hand-tooling and applied decoration used by

bookbinders and furniture makers prior to the introduc-

tion of mass production and assembly line manufactur-

ing. Tooling, whether it is blind or gold, serves to en-

hance the surface appeal of the leather. The natural tac-

tile impressions of the tools create decorative patterns

that please the eye and invite the hand to touch and ap-

preciate the handsome surface.

The final steps consist of antiquing the tooling, both

gold metal leaf and blind, to harmonize with the antique

character of the hand-padded coloring. The gold metal

leaf is burnished and rubbed to a warm patina. The

blind tooling is filled with selected glazes. Once the

craftsman is satisfied with the results, the surface is fin-

ished with the finest available lacquers. The lacquers

are formulated expressly for use on leather and impart

the same protection to its surface, as do lacquers on

quality wood furniture.

Leather inlay requires little cleaning or special care. Our

leather inlay has been finished as our wood finishes,

with a lacquer topcoat.

GENERAL CARE: The leather should be dusted regu-

larly with a slightly damp, soft cloth, and then rubbed

with a dry, clean cloth until dry. If soil accumulates,

clean with a Murphy’s Oil Soap and water mixture. (2

teaspoons Murphy’s Oil Soap to 20 oz. water) If your

mixture leaves a film lessen, the amount of Murphy’s

Oil Soap.

Use coasters or dishes under drinks, plants or anything

that contains liquid. Never let liquid or liquid-holding

containers sit directly on leather inlay surfaces, as they

can leave marks that may not come off. A desk blotter

is recommended when writing on leather inlay which

safeguards against pen marks and indentations.

Exposure to direct sunlight harms and fades leather over

time. Keep leather pieces out of contact with direct

sunlight. Also, allow a couple of feet between furniture

and any direct heat source which can quickly dry out the

material.

If your leather inlay should get damaged, a professional

furniture or leather repairperson should be called.

PAPER STICKING: Damp cloth (water).

MILDEW: Light application of mineral spirits, then go


24


over with Murphy’s Oil Soap.

WHITE SUBSTANCE: Use furniture polish (without

silicon). Spray the area with the white substance and rub

with soft cloth. In areas with high humidity, this proce-

dure will need to be performed on a regular basis.

LEATHER UPHOLSTERY:

Maitland-Smith uses only the finest top grain hides.

Leathers are chosen for the beauty of their natural ap-

pearance and distinctive markings to convey a unique

character.

The majority of leathers are aniline dyed, an expensive

tanning process that allows color to be absorbed

throughout each hide and locked within. Because

leather is a product of nature, expect color variation

from hide to hide and within each hide.

Distinctive features include the following:

Natural markings that will enhance leather furniture

might include neck and shoulder wrinkles, stretch

marks, grain variations and random healed scars of

varying lengths. These types of markings are all consid-

ered hallmarks of nature and not defects or flaws.

As with all natural products, leather furniture can fade

over time. To reduce the rate and intensity of fading,

keep leather furniture out of direct sunlight or intense

artificial light. Avoid proximity to heat sources to re-

duce the potential for drying and cracking.

Leather, while extremely durable, will change in charac-

ter and appearance with the passage of time. Maitland-

Smith provides additional information on a hang tag

placed on each piece of leather furniture to help in mak-

ing a more informed decision with your particular needs

in mind. We provide guidance as to the softness, sur-

face grain, special effect and serviceability of each indi-

vidual leather pattern. The degree of serviceability that

each individual, family and pets require is paramount to

the choice of leather. Choose leather carefully based

upon its intended use and environment.

Softness: Softness is the essential and defining charac-

teristic of leather. The exquisite hand of a fine leather is

an unmatched sensory. The overall comfort level and

cost of your leather is directly linked to the softness

quotient.

Serviceability: It is important to match your lifestyle to

the serviceability that is applicable. Leather is a versa-

tile material that offers many distinct choices. They

range from easy care leathers with high resistance, to

those focused on fashion and style.

Surface Grain: Surface grain mirrors the softness cate-

gory. The more intact the original surface grain is, the

more natural and soft the leather is. Alteration of

leather's surface grain creates a specific relationship to

the cost of the leather. The cost is reduced in proportion

to the level of grain removed.

Special Effect: Leather is often indexed into narrow

categories. In fact, countless varieties are available.

The cost of special effect leather is in direct relation

to the expertise, effort and degree of difficulty required

to create the various looks.

LEATHER DEFINITIONS:

ANALINE (also called Natural, Pure, Naked or Un-

protected): Leather that has been dyed with aniline (a

colored dye which permeates the entire hide). There is

no pigment (paint) or finish put on pure aniline dyed

leather to correct or hide imperfections. Only the finest

leathers can be used, since they have to be in excellent

shape. Pure aniline dyed leathers are known for their

soft, natural feel as well as their beauty since they have

no corrective finish. They are sometimes referred to as

the “naked” leather. This represents about five percent

of all leather hides in the United Stated. Aniline dyed

offers little resistance to soil stains or sunlight.

PROTECTED (also called Finished, Semi-Aniline,

Everyday, Pigmented or Painted): These leathers have

combined the best aspects of a natural product (leather)

and have utilized tannery technology to create a product

that is more uniform in appearance and color (due to the

application of pigments to the surface). It then has a

finish applied to the surface that makes the leather more

resistant to the effects of heavy use. The pigments and

finish applied to the leather do affect the soft hand

somewhat. The more finish that is applied the less soft

is the leather.

NUBUCK (also called Distressed, Bomber or

Brushed): This leather starts out as an Aniline leather

which has been brushed or sanded on the surface, creat-


25


ing a texture similar to a velvet on leather. Many people

confuse these with Suede leather. Suede is the flesh

side of a piece of leather, and Nubuck is an effect that is

done to the grain side, making it incredibly soft. Creat-

ing a nap on the leather makes it even more absorbent

than Aniline leathers. While this can be very beautiful,

it means that Nubucks are slightly more fragile and sus-

ceptible to spills and stains.

SUEDE Suede leather is made from the under side of

the skin, primarily lamb, kidskin and goatskin although

cowhide is also used. Because suede does not include

the tough exterior skin layer, suede is less durable but

softer than standard (“full-grain”) leather. Its softness,

thinness, and pliability make it suitable for upholstery

products. Due to its textured nature and open pores,

suede may become dirty and absorb liquids quickly.

Suede should be cleaned according to manufacturer’s

directions.

CARE AND MAINTENANCE:

Leather is one of the easiest of all upholstery materials

to care for. It requires a minimum of attention and

grows more beautiful with age. Many different types of

leather finishes and presentations are available to the

consumer. Proper cleaning and maintenance will vary

from pattern to pattern depending on the type of materi-

als used to produce the final exposed leather surface.

Maitland-Smith recommends cleaning products

from Leather Master. To purchase or speak to a

representative from Leather Master call 1-888-825-

6551 or www.mmna.com.

ANILINE: For care and maintenance purposes we

need to know if the surface has been brushed (has a tex-

ture like velvet) or not. This is the point at which peo-

ple have difficulty distinguishing Nubuck from Aniline.

There are several ways you can identify an Aniline

leather:

Lightly scratch the surface to see if it leaves a lighter

color scratch mark. If it scratches to a lighter color,

it is Aniline. This is not the only test to do because

some Nubucks will do this also.

Wet your finger and lightly rub it into the leather to

see if it turns a darker shade. It should darken

lightly, but dry invisibly.

Care and Cleaning of Aniline Leather

Try to maintain at least two feet between your fur-

niture and heating sources. Avoid placing your fur-

niture in direct sunlight. All materials will fade

over time when placed in direct sunlight. Aniline

leathers are especially sensitive to sunlight.

With leather, you can fully remove dust particles from

the surface with the Leather Master Soft Cleaner mak-

ing it ideal for dust sensitive people.

Apply Leather Master Protection Cream to the leather’s

surface to help resist staining and prevent overall soil-

ing. Fully clean your furniture with the Soft Cleaner and

re-protect with the Protection Cream every six months

to remove dirt as well as the gradual accumulation of

body oils and perspiration.

For oil based stains, use the Leather Master Degreaser.

Do not use any other products that are not recommended

by the manufacturer as they may negatively affect the

leather’s surface.

PROTECTED: To identify protected leather follow

the steps below..

Lightly scratch the surface to see if it leaves a lighter

color scratch mark. If it does not scratch to a lighter

color (this means the color remains the same), then

this is a Protected Leather.

Use Leather Master Soft Cleaner and clean the

leather. The cleaner should stay on top of the finish

and should not darken the leather.

The surface should have some sheen level to it. It is

like looking at wood that has a lacquer finish com-

pared to a wipe-on oil treatment.

Care and Cleaning for Protected Leathers:

Try to maintain at least two feet between your furniture

and heating sources. Avoid placing your furniture in

direct sunlight. All materials will fade over time when

placed in direct sunlight. Aniline leathers are especially

sensitive to sunlight.

With leather, you can fully remove dust particles from

the surface with the Leather Master Soft Cleaner mak-

ing it ideal for dust sensitive people.


26


Apply Leather Master Protection Cream to the leather’s

surface to help resist staining and prevent overall soil-

ing. Fully clean your furniture with the Soft Cleaner and

re-protect with the Protection Cream every six months

to remove dirt as well as the gradual accumulation of

body oils and perspiration.

For oil based stains, use the Leather Master Degreaser.

Do not use any other products that are not recommended

by the manufacturer as they may negatively affect the

leather’s surface.

NUBUCK & SUEDE: Ways to identify Nubuck and

Suede.

The surface should have a texture similar to velvet.

Move you hand across the surface of the leather to

see if shading and traces similar to the effect when

you vacuum a carpet in one direction and then in

another, if so, it is Nubuck.

Wet your finger and rub it lightly on the surface.

The surface will darken and also will dry to a slightly

darker shade.

For waxed surfaces, rub an area of the leather with a

sponge several times. This will remove the wax and

let you see if the leather meets the above criteria.

Care and Cleaning of Nubuck & Suede

Try to maintain at least two feet between your furniture

and heating sources. Prolonged exposure to heat vents

and radiators will cause your leather to dry out. Pro-

tect your leather from all forms of sunlight. All Nubuck

and Suede leathers will fade when placed in direct

sunlight. Do not place your furniture in windows, under

“skylights,” or in places that will put your furniture in

sunlight.

All leather performs better when preventative mainte-

nance is practiced. Treatment of the surface with

Leather Master Nubuck Protector will greatly improve

the leather’s resistance to staining and soiling. It is most

important that you treat the high use areas like seats,

arms and backs.

Keep the leather dust free with weekly vacuuming. Use

Leather Master Cloth to pick up surface soiling and re-

turn the leather to its original look and feel. Simply

wrap the cloth around a soft dry sponge and rub the

leather in several directions to lift soiling and renew the

leather’s effect. This action will also reverse flat and

shiny areas that appear from use.

For water based stains use the Leather Master Nubuck

Cleaner. Apply the cleaner to a soft sponge and

squeeze to produce white foam. Gently work the foam

into the area with the sponge. Allow to dry and use the

Nubuck Cleaning Cloth to renew the leather’s effect.

Then apply Nubuck Protector. For oil based stains use

Leather Master Degreaser.

LIGHT BULBS (Replacement Bulbs):

For replacement bulbs, we recommend you call our

preferred supplier, FURNLITE at 704.538.3193 or visit

their website at www.furnlite.com and mention that

your product was purchased at MAITLAND-SMITH.

LIGHTING:

The MAITLAND-SMITH lamp collection employs the

same fine materials found throughout the entire MAIT-

LAND-SMITH line. The diversity of the lamp line re-

flects the design direction of MAITLAND-SMITH and

complements the furniture and accessory offerings.

Materials include wood, bronze, brass, leather, iron,

stone, nickel, rattan, copper, ceramics and porcelain.

Here, too, handcrafted traditional methods of manufac-

turing are used to create lamps, their mountings, and

shades.

Attention to detail in the mountings and shades are im-

portant to the overall appearance of each lamp. Solid

brass, bronze and genuine hard woods are used in the

mounts and bases. Shade size and design are important

to the overall design and contribute considerably to a

lamp’s success. Whether a translucent or opaque shade

is used can also make a design contribution, as can sur-

face treatment, applied decoration or use of a particular

shade material such as leather, woven metal, or paint on

card.

The size of the complete lamp often determines its use.

Desk lamps are considered task lamps and, as such, are

usually 30 inches tall or less. This height combined

with the desk top surface of 29 or 30 inches brings the


27


top of the shade to approximately 5 feet off the floor,

which is about eye level and thus enables the shade to

keep direct light from a user’s eyes. End table lamps

are about 32 to 34 inches tall — a larger lamp is needed

to bring the shade up to eye level. Taller lamps often in

narrow silhouettes are used to great effect in halls, en-

trances and public areas where seating is not a consid-

eration. This allows for dramatic effects without having

to be concerned with seeing the bulb from a seated posi-

tion.

We suggest using frosted bulbs for the best decorative

results. Clear bulbs tend to create hot spots in translu-

cent shades and often cause harsh shadows.

Wattages of bulbs recommended will vary according to

the individual lamps.

GENERAL CARE: Use only a soft, dry cloth or refer-

ence other cleaning instructions for a particular material.

LOST WAX CASTING: (See section on Bronze for

general care.)

From its inception, the technique of lost was casting has

remained the preferred process of jewelers, sculptors

and artisans. The process was developed by the Greeks

and Romans and has remained in use since its begin-

ning. The many-step technique begins with a finely

carved model. This wax model is then surrounded by a

special form of concrete which is extremely fine in con-

sistency. This allows the concrete to capture all the de-

tail of the original wax versions

As the concrete dries, two different holes are carved into

the material to facilitate casting. The mold is then al-

lowed to harden and cure. The concrete mold is then

filled with molten metal, which in turn melts the origi-

nal wax model which drains away using a narrow exit

hole. When the mold cools, it is broken open to reveal a

finely cast metal object which was once wax. It is at

this point a hand applied finish is added. Among our

most popular finishes are verdigris, aged brass, dark

bronze and burnished bronze. All MAITLAND-SMITH

castings are molded in brass and other fine metals.

MAHOGANY:

The advent of mahogany furniture dates back to the Pal-

ladian period in England (around 1731) when

architectural classic styles gradually gained more impor-

tance than sculptural furniture. The dark and beautiful

grained surface of mahogany demanded less ornamenta-

tion; its importance and usage grew subsequently. Ma-

hogany was an expensive wood, certainly when com-

pared to walnut, and was then imported from Santo Do-

mingo and Cuba and became an obvious characteristic

of Mid-Georgian furniture. Mahogany is strong and

tough and lends itself to fine and lively carvings and can

also be cut into fine wide sheets of veneer with a fine

grain or figured with a curl or flame. The mid-

eighteenth century saw mahogany come to the fore also

on Rococo and particularly Chippendale design furni-

ture. Imported mahogany from the West Indies became

the finest wood used. Also, in American furniture, cabi-

netmakers such as Thomas Affleck and the influence of

Chippendale designs led to a thriving furniture industry

from the 1760’s until the end of the century. Up to cur-

rent times, mahogany remains a much sought after wood

for quality furniture making worldwide.

In manufacturing our mahogany furniture, MAIT-

LAND-SMITH selects and purchases the finest

Philippine and Indonesian mahogany wood, which is

then kiln dried to remove unwanted moisture content.

After kiln drying, the wood is machine-cut in line with

full size drawings issued by the research and develop-

ment department, and then forwarded for hand assembly

and hand carving. Great care is put into the assembly of

an item, with an individual assembling one particular

item, following carefully the detail of the full-size draw-

ing.

Square logs of Philippine mahogany are also sliced into

thin sheets of veneer with the finest patterns being se-

lected for tabletops and secretary falls, etc. The veneer

is chosen and spliced, laid out and then pressed onto the

relevant individually cut part of an item of furniture be-

fore final assembly. Once fully assembled, an item is

hand-sanded and forwarded to the finishing department.

There it is polished to match our approved mahogany

finish.

GENERAL CARE: Murphy’s Oil Soap and water or

any non-silicone furniture polish. Wipe with clean, soft

cloth.

METAL WORKING:

Among the most versatile of materials used in the deco-


28


rative arts is metal. Prized for its durability and variety

of forms, metal can be worked in a number of fascinat-

ing ways, thereby increasing its decorative applications.

Embossing metal dates to its earliest use and is part of

the technique of hammering. It is the ability to press

metal out of shape without breaking or cracking. Em-

bossing is hammering metal from the back side in order

to raise a controlled decoration on the front.

Termed “repousse” by the French, all embossing is hand

worked by a trained artisan.

GENERAL CARE: Dust with a dry, soft cloth regu-

larly. Never use harsh chemicals or abrasive cleansers.

Metal will rust if the finish is scratched or if exposed to

excessive humidity. For added protection, apply a light

coat of a natural paste wax or automotive wax.

MIRRORS:

Mirrors are reflecting surfaces originally of polished

metal, but now usually glass with silvery, metallic, or

amalgam backing.

GENERAL CARE: Clean mirrors in much the same

way you clean windows. But remember not to use

heavy-duty, harsh solutions on mirrors. Avoid abra-

sives, alkali, and acids, which are very harmful to mir-

rors. There are reflective layers of tin, silver, and cop-

per backed by a layer of paint that solvents can damage

and corrode. Other commercial or household cleansers

are fine to use. Mirrors have critical edges where

“spillover” solutions attack the backing at its most vul-

nerable point. Protect the edges from “spillover” by

applying the cleaning solution to the cloth rather than

the mirror. Once done cleaning, wipe the edges clean

and dry off any “spillover” with a clean, dry cloth.

There are a wide variety of off-the-shelf cleansers to

choose from. We highly recommend professional glass

cleaner for best results, but there are some solutions you

can make at home that are a safe and effective cleanser

for mirrors and glass. The simplest homemade recipe is

1/3 white vinegar and 2/3 water. A more complicated

but effective solution is:

½ cup sudsy ammonia

1 pint 70% isopropyl alcohol

1 tablespoon dishwashing detergent

1 gallon water

In order to keep your mirrors streak-free, polish with old

newspapers. If using paper towels, use a fresh one for

each portion of the glass. Remove sticky residue with a

sharpened razor blade between your forefinger and

thumb pressing it firmly down on the glass at roughly

180 degrees. Scrape it along the glass through the spots

and residue. They will peel off without any scratches on

the glass. When preparing a washing solution, use as

little soap as possible to avoid streaking. For hard-to-

reach mirrors, you can purchase squeegee extension

poles at your local hardware store specifically made for

washing mirrors.

OIL PAINTINGS:

All of our oil paintings are hand painted. The canvas is

applied to a thin sheet of graded marine plywood to pro-

tect the stretched surface from damage and to prevent

buckling and rippling of the canvas surface.

As each painting is executed by hand, some variation

does result from one canvas to another. These slight

variations are considered to be indications of handwork

and are part of the inherent value of finished artwork.

GENERAL CARE: Clean with a dry, soft cloth

OUTDOOR ITEMS:

We recommend using MAITLAND-SMITH outdoor

products in a protected porch or patio area. Wear of

product depends on the degree of exposure to the

elements, such as sunlight, moisture and impurities

from the environment. One point to remember is

that all exterior finishes weather over time to a pat-

ina that adds character and an antique quality. We

also advise covering or removing our outdoor prod-

ucts during extreme weather conditions.

OUTDOOR FABRICS:

GENERAL CARE: Outdoor fabric should be cleaned

regularly before substances such as dirt and food parti-

cles are allowed to accumulate on and become embed-

ded in the fabric. This practice will eliminate the need

for more frequent vigorous cleanings.


29


Most of our outdoor fabrics are by Sunbrella, which

has a limited warranty from purchase to 5 years. Visit

the Sunbrella website at www.sunbrella.com to see

details of the warranty.

General or Light Cleaning

Brush off any loose dirt. Prepare a cleaning solution of

2 ounces (1/4 cup) mild soap per gallon of lukewarm

water (less than 100 degrees F). Use a sponge or a soft

bristle brush to clean. Allow cleaning solution to soak

into fabric. Rinse thoroughly with clean water and al-

low fabric to air dry.

For removable fabric cushion covers, machine wash in

cold water. Depending on wash load size, use normal

amounts of mild laundry soap. Allow fabric to air dry.

Spot Cleaning

Apply a light mist of our recommended cleaning solu-

tion using a spray bottle. Work the solution into the

stain by lightly scrubbing the area with a sponge or very

soft bristle brush. Rinse thoroughly with clean water.

Blot excess moisture with a clean, soft towel or sponge.

Use a Shop Vac if available to remove excess moisture.

Repeat these steps until stain is removed.

Heavy Cleaning for Stubborn Stains and Mildew

Outdoor fabric does not promote mildew growth; how-

ever, mildew may grow on dirt and other foreign sub-

stances that are not removed from the fabric. To clean

mildew, or other stubborn stains:

Prepare a solution of 8 ounces (1 cup) of bleach and 2

ounces (1/4 cup) of mild soap per gallon (8 cups) of

clean water. Spray on entire area and allow to soak into

the fabric. Scrub vigorously with soft bristle brush,

sponge, or clean towel. Rinse thoroughly with clean

water. Allow fabric to air dry.

If stain and/or mildew are severe, bleach quantities may

be increased.

For removable fabric cushion covers, machine wash in

cold water. Depending on wash load size, use normal

amounts of mild laundry soap, and add 1 cup of bleach.

Allow fabric to air dry.

Re-treating the Fabric

Outdoor Fabrics have a special finish that enhances wa-

ter repellency. The finish is designed to last for several

years of normal use, but may be refreshed after a thor-

ough cleaning or extended use. Glen Raven recom-

mends 303 High Tech Fabric Guard as the preferred re-

treatment product for fabrics. Helpful Hints

Protect the area around your fabric when using a bleach

solution. Always rinse fabric thoroughly to completely

remove bleach. Fabric air dries quickly. Machine dry-

ing is not necessary. If fabric has some wrinkling, use

an iron, if necessary, but only on the synthetic* setting.

As some irons exceed the recommended 100 degrees F

temperature on the synthetic setting, test a small incon-

spicuous area before ironing entire piece. DO NOT use

a steamer or iron set to steam setting.

*Synthetic fabric heat settings normally do not exceed

150 degrees F.

OUTDOOR LIGHTING:

Decks, porches and patios can be converted into evening

retreats by adding outdoor lighting. Outdoor lighting

will enhance the elegance and charm of your outdoor

area and increases the number of hours you spend out-

doors. Add style to your porch or patio with MAIT-

LAND-SMITH’S unique and beautiful outdoor lighting.

These items are designed and UL approval is pending

for wet or damp locations, and are made with water

resistant materials.

Care and maintenance of your outdoor lighting is essen-

tial to maintain safety and a long life for the fixture. All

exterior finishes weather over time to a patina that adds

character and an antique quality.

Installation

A licensed electrician will be required to wire an out-

door lighting wall fixture which may include use of an

outdoor receptacle and/or switch to control the new

lighting system. Use only three-wire outdoor extension

cords that have three-prong grounding plugs and

grounding receptacles that accept the fixture’s plug. Ground fault circuit interrupter (GFCI) protection

should be provided on the circuit or outlet to be used for


30


outdoor location portable lamps. Receptacles are avail-

able having built-in GFCI protection and are able to be

used for this measure of safety.

Care and Cleaning

Dust with dry, soft cloth. Never use harsh chemicals or

abrasive cleaners. Metals will rust if the finish is

scratched or if your fixture is exposed to excessive hu-

midity, particularly in salt water locations. If nicks or

scrapes become obvious, touch-up pens and markers are

available at your local home improvements center to use

in repair of these areas. Best to apply touch-up in light

layers until desired coverage is achieved rather than one

heavy layer.

OUTDOOR METALS:

Our Outdoor Collection includes exclusive designs exe-

cuted in quality metalwork. All exterior finishes

weather over time to a patina that adds character

and an antique quality.

GENERAL CARE AND MAINTENANCE:

Black Iron, Cast Iron, Cast Wrought Iron

Dust with dry, soft cloth. Never use harsh chemicals or

abrasive cleaners. Always use coasters. Metal will rust

if the finish is scratched or if your furniture is exposed

to excessive humidity, particularly in salt water loca-

tions. For added protection, especially on outdoor furni-

ture, apply a natural paste wax or automotive wax.

Aluminum

Protect by inspecting each season as aluminum will

need periodic maintenance as it ages to keep its new

appearance.

Clean frames with a soft cloth, mild soap and water.

Rinse well and dry. If nicks, scrapes and hairline cracks

are obvious, touch-up pens and markers are available at

your local home improvement centers to use in repair of

these areas. Wash and dry affected area before proce-

dure. It is best to apply touch-up in light layers until

desired coverage is achieved rather than one heavy

layer.

OUTDOOR STONE AND TABLE TOPS:

Unlike granite, marble and fossil stone are naturally po-

rous surfaces, subject to both ringing and staining, and

can be damaged by acidic liquids such as citrus juices.

Use of coasters is highly recommended. All stone

should be regularly cleaned with a clean, soft, lint-free

cloth slightly dampened with lukewarm water. Though

MAITLAND-SMITH goes to great lengths to classify

colorations and maintain consistency, fossil stone and

marble are natural materials and variations should be

expected.

GENERAL CARE: Clean stone surfaces with a mild

liquid dishwashing detergent and warm water. Use a

soft cloth. Too much soap may leave a film and cause

streaks. Do not use products that contain lemon, vine-

gar or other acids. Rinse the surface thoroughly after

washing with the soap solution and dry with a soft cloth.

Change the rinse water frequently. Do not use scouring

powders or creams as these products contain abrasives

that may scratch the surface. Avoid sitting beverage

glasses directly on the stone as they leave rings. Always

use coasters on stone tops. Wipe off anything spilled

immediately.

Sometimes minor cracking can occur. These are not

structural failures, but surface fissures inherent to the

material. In addition, corners and edges can chip if hit

by a hard object. If severe cracking or chipping does

occur, the stone can be repaired. It is best to have a lo-

cal professional stone maintenance company do the re-

pairs.

OUTDOOR - TEAK: See separate section on Teak,

page 35.

OUTDOOR-VIRO STRAPPING:

Viro strapping is a superior quality polyethylene-based

fiber characterized by high flexibility and tensile

strength. It is extremely durable as evidenced by its UV

and weather-resistance. Viro is suitable for year-round

outdoor use. The color will not fade, even if exposed to

extreme weather conditions during summer and winter.

This fiber is made from polyethylene, which is non-

toxic (even when burned, no toxic substances are gener-

ated) and 100% recyclable which makes it safe for the

environment. Viro is resistant to rain, salt water and


31


chlorine so it is safe to use at the beach and by the pool.

GENERAL CARE: No special maintenance is required.

Simply clean using a wet cloth. An occasional cleaning

using soap or a mild detergent is also recommended.

PAINTED FURNITURE:

Our painted furniture takes many forms and represents a

number of historic periods. Many of our items are com-

pletely covered in painted decorations, while some, true

to late 18th century prototypes, have modest classic

decorations applied over the wood veneers and solids.

In some cases, our furniture is covered with canvas, then

prepared for painting and decorating.

Fully painted and decorated furniture often has its roots

in provincial, or country inspired designs. The relaxed,

less formal restraints of the provinces combined with

more modest economics often result in a unique, highly

decorative furniture form, often exhibiting local, re-

gional or national taste.

GENERAL CARE: Do not use any cleansers on fully

painted furniture as it may affect the finish. Use only a

soft, dry cloth. In the case of painted decorations on

wood, a non-silicone furniture cleaner may be used.

Follow manufacturer’s directions.

PENSHELL:

Penshell is a mollusk indigenous to the tropical waters

of the western pacific. The meat of this clam-like ani-

mal is a food source. The shell, when polished, can be

inlaid as a decorative veneer, cut into small sections or

crackled and paved on a variety of surfaces. In its juve-

nile state the shell has a translucent amber color with

dark brown spots and irregular flecks. When mature,

the shell darkens to a rich, brown, almost black color

and is no longer translucent The shape of the shell is

similar to the common mussel found in the colder wa-

ters of the earth's temperate zones.

As a decorative material, MAITLAND-SMITH artisans

inlay the juvenile shell over fiberglass forms to take ad-

vantage of its translucent quality. Combination of

young and mature shell sections give interesting graphic

patterns when used as a shade on a lamp, chandelier or

wall mounted light. When inlaid on opaque surfaces,

the polished shell has an effect similar to inlaid wood

veneers of contrasting colors.

GENERAL CARE: Clean with a damp cloth and a mix-


Spray the Murphy’s Oil Soap mixture on the cloth for

cleaning. If a shine is desired, spray a clean soft white

cloth with Guardsman Furniture Polish.

PORCELAIN:

Porcelain was first made by the Chinese during the Tang

Dynasty (AD 618-906). Marco Polo, visiting China in

the 13th Century, thought its glass-like surface and tex-

ture resembled a cowrie shell, which to him looked like

a little pig and called the material “porcellana” or “little

pig” in Italian.

It’s earliest manufacture was under the control of the

Emperors and used exclusively by the aristocracy for

food service and decoration. By the 15th century its

manufacture was more widespread and many examples

found their way to Europe. The Ming dynasty (AD

1300-1644) saw the first painted decorations applied to

what heretofore had been only solid colors, usually

white ware, although some colors such as celadon were

available. The earliest painted decorations were applied

directly to the molded body after it dried and hardened

but before it was fired in the oven or kiln. This original

decoration process is called under glaze as it was ap-

plied before the clear glass-like glaze was applied. The

first colors were limited to blue, red and green as these

were obtained from natural materials and were stable

enough to survive the high temperature required to fire

the clay and not change color. The 17th century saw the

development of oven glaze decoration, which allowed

for an almost unlimited variety of color decorations.

These colors were also derived from natural minerals

but were painted on top of the clear glaze after an initial

firing at a very high temperature. These more unstable

colored enamels were painted on the glazed surface and

fired at lower temperatures until they fused with the sur-

face glaze. The popularity of these multi-colored glazes

created a huge demand in Europe and the Americas and

resulted in the export of millions of articles during the

18th and 19th centuries.

The making of porcelain begins with the selection of

two special ingredients: “China clay,” or “Kaolin” (from

Kao-Ling in China where it was first sourced), a fine


32


white clay found in river beds and banks that comes

from the weathering of rocks that contain feldspar, and

“China Stone” or “Pentunse,” a translucent material also

found in China. The materials are washed, pulverized,

combined and allowed to mature. Water is then added

to the mixture and a paste is made. The paste, now

called clay, can be diluted to syrup consistency and

then poured into gypsum molds, a casting process used

to make a variety of articles. The clay can also be made

in a thicker consistency and then thrown on a potter’s

wheel for vessels such as bowls and jars. After forming,

articles are air-dried prior to decoration and glazing.

As a material, porcelain once glazed and fired is hard,

glass-like and non-porous. Porcelain was the preferred

material for food service and storage. It is superior to

pottery in density and its invention was a major techni-

cal advance in human civilization.

Porcelain manufacturing was not developed in the West

until the 17th century. Prior to that, all porcelain was

imported from East Asia.

GENERAL CARE: Clean with a damp, soft cloth.

Mild soaps, if needed.

RATTAN, CANE, BAMBOO AND WICKER FUR-

NITURE:

Wicker refers to a slender flexible branch, vine or grass

that is woven into a pattern. Wickerwork is the result-

ing form created by weaving or interlacing wicker.

Wicker furniture is made from weaving branches around

a frame and into the shapes of tables, chairs and sofas.

Wicker furniture is available with natural, stained or

painted surfaces. The use of wicker for household ob-

jects date back to when ancient civilizations used for

baskets and chair seats.

Rattan is one of the oldest natural raw materials avail-

able for making durable furniture today. Commonly

grown in the jungles of Southeast Asia, rattan is pre-

ferred mostly for its ethnic visual appeal matched by

maintenance free versatility. Rattan is a climbing palm

that can grow to very great lengths, with over 600 dif-

ferent species all suitable for making casual furniture.

Often mistaken with bamboo, rattan can be easily distin-

guished in terms of its solid vine. Cutting of trees to

make rattan furniture doesn’t cause depletion in any

way as rattan, unlike wood, replenishes much sooner

after being cut.

Rattan furniture appears smooth and seamless. The fur-

niture pieces are crafted through elegant fusion of many

rattan poles. Maitland-Smith rattan and wicker furniture

is made by hand.

Cane is a long stem obtained from rattan plants. It is the

outer peel, which is made into strips. These strips are

woven into seats or decorative accents and sometimes

used to wrap the joints of rattan furniture. Cane furni-

ture is a viable seating solution for the porch, entrance

hall or sunroom.

Bamboo is mostly grown in South East Asia. It enjoys

wide popularity as it is considered a genuine renewable

resource of Mother Nature. A giant, woody grass that

takes a year to reach its total height that is close to 30-

40 feet, bamboo is most preferred for its lightweight and

durability. Bamboo is hollow inside but it has strong

joints, which makes it durable and long lasting.

GENERAL CARE: Dust with a soft brush or a feather

duster. Wipe with a damp cloth periodically (a combi-

nation of water and mild household cleaner). Clean up

spills immediately so that they don’t leave stains or wa-

ter marks. Keep away from direct exposure to sunlight

Rain, direct sunlight and dew damage wicker, rattan and

cane furniture. Dry furniture quickly if it gets wet –

standing water can cause cracking or gaps between the

weave. Cover them if you have placed them on a porch.

Caution for Bamboo: Wipe with sponge dampened with

sudsy water. Wipe sudsy water off with clear water and

dry. Do not rinse by hosing. A thin coat of liquid wax

will restore shine.

REVERSE GLASS PAINTING: See Verre

Eglomise, page 37.

ROCK CRYSTAL:

Rock crystal is the common term for a transparent color-

less quartz found in many parts of the world. Admired

for its gem-like hardness and clarity, rock crystal has a

long history in the decorative arts. It is extremely hard

and can only be worked using a lapidary wheel. Color-

less glass was made in emulation of this naturally occur-

ring mineral and named after it. Its light transmitting

properties made it the natural decorative pendant for


33


chandeliers, sconces and candlesticks. Objects fash-

ioned from rock crystal reflect the labor and skill re-

quired to transform hexagon rods of crystal terminating

in hexagonal pyramids into works of art. The amethyst

is the purple or violet version of the same quartz crystal.

As with all natural materials, no two pieces will be ex-

actly alike.

SHAGREEN, FAUX SHAGREEN:

Shagreen is based on the Mid-Eastern word, Shagri, de-

scribing a rough hide. The art of shagreen was first

used in Turkey during the 12th century. At that time the

coarse, durable skins of sharks were inlaid on shields

and used in battle. Shagreen is usually made from the

skins of small sharks and ray-fish.

The skill of working this material was brought to France

during the reign of Louis XIV. Under the patronage of

the King, a Monsieur Galachat established a workshop.

There he began to use the hides for inlay work on snuff

and pillboxes, sword hilts, and scientific instruments.

Tanned, dyed, filed and treated, shagreen became a very

sophisticated material to work with. It’s unusual texture

and extreme durability caught the eye of the French aris-

tocracy who turned the new material into a popular fash-

ion. Articles covered by Monsieur Galuchat became a

must, so that even to this day, Shagreen is referred to as

Galuchat in France.

Since the 16th century, very few craftsmen had used

shagreen. The rarity, as well as the difficulty of proc-

essing the skins, made it a luxury item. Supply was al-

ways elusive and seventeen steps were needed to con-

vert the crude hide into a finished object.

It was not until the 1880’s and the 1890’s that shagreen

began to flourish again. However, it’s real renaissance

started in the 1920’s when it caught the eye of the

Prince of Wales. The Prince, later the Duke of Windsor,

commissioned tables, shooting sticks, humidors, ciga-

rette cases and even toe-caps for his shoes in the rare

material. A new craze started. In 1932, the Aga Khan

had the interior of his Rolls Royce inlaid in shagreen,

much to the amusement of his friends.

Only four workshops in Europe produced it. The most

famous belonged to the French cabinetmaker Jacques-

Emile Ruhlman, who first exhibited in 1913 and was

active until his death in 1933. Ruhlman worked in rare

woods and shagreen. As a furniture designer he had the

greatest impact on the press and the public. His designs

were of such distinction as to be considered above fash-

ion. Another example for the use of Shagreen is a doll-

house on display in Windsor Castle It was made as a

gift for Queen Mary, complete with miniature walls,

inlaid in pale shagreen.

GENERAL CARE: Like leather, shagreen is simultane-

ously strong and delicate. It is very sensitive to water.

Do not use water or a moist cloth to clean it. Refrain

from using household cleaners. Clean with a dry, soft

cloth. Although faux shagreen is a stronger material

than shagreen, clean gently with a slightly moist cloth.

STONE AND MARBLE:

Our items have an antique glaze applied to the naturally

white marble to suggest age. Kindly note that naturally

occurring veins in the stone which may be gray, brown,

tan, gold or black are part of the stone as quarried and

are in no way considered a defect, but rather add charac-

ter and visual appeal to this material.

GENERAL CARE: Clean stone surfaces with a mild

liquid dishwashing detergent and warm water. Use a

soft cloth. Too much soap may leave a film and cause

streaks. Do not use products that contain lemon, vine-

gar or other acids. Rinse the surface thoroughly after

washing with the soap solution and dry with a soft cloth.

Change the rinse water frequently. Do not use scouring

powders or creams as these products contain abrasives

that may scratch the surface. Avoid sitting beverage

glasses directly on the stone as they leave rings. Always

use coasters on stone tops. Wipe off anything spilled

immediately.

Sometimes minor cracking can occur. These are not

structural failures, but surface fissures inherent to the

material. In addition, corners and edges can chip if hit

by a hard object. If severe cracking or chipping does

occur, the stone can be repaired. It is best to have a lo-

cal professional stone maintenance company do the re-

pairs.

STONE AND SHELL:

The MAITLAND-SMITH stone and shell products are

entirely handcrafted in the Philippines. Every piece has


34


been carefully designed and manufactured to enhance

the various natural materials available to the craftsmen.

The many shell, agate and fossil finishes can be com-

bined in numerous variations, creating exquisite and

subtle color harmonies and contrasts. The fossil stones

an be cut vertically or horizontally to expose further

variations of color and shape in the fossilized life forms

which are millions of years old. The brass inlaying,

which is all completely hand worked, adds still more

fine detail to the designs.

The furniture and accessories to which the stone or shell

is applied are handmade from laminated wood to give

the greatest strength and rigidity. Each frame is then

carefully pencil marked over the entire surface to dictate

the exact size and position of every piece of stone or

shell and the lines that the brass inlay will follow.

The time and precision involved in creating each item is

enormous. Every piece of shell is cut by hand from the

curved inner surface of the shell case and as the pieces

are rarely more than one-eighth of an inch thick, the

breakage and wastage of such materials during the ini-

tial state of manufacturing is unavoidably high.

Once the shell or stone has been cut, each piece is indi-

vidually filed to the correct shape before it is applied to

the frame. In the case of Chamber-Nautilus and Mellon

shell, where the natural object is particularly curved or

with the harder or more brittle stones and fossils, even

more time and skill are required in cutting and shaping

the materials before the painstaking task begins of ap-

plying and gluing each piece into position.

To achieve the “crackle” finish, the curved pieces of

shell are cut to shape, then broken into many smaller

pieces and stuck in position, taking great care not to lose

or misplace any of the tiny chips which make up the

minute puzzle. Different effects and colorations can be

achieved by spreading the pieces apart fractionally and

by using colored resins with which to adhere the shell.

The next step in the manufacturing process is the polish-

ing. With the exception of the corals which are fragile,

and therefore laminated, all the finishes are simply the

shells or stones, sanded, buffed and polished to their

own unique finish, giving us the opportunity to fully

appreciate the natural textures and colors of the materi-

als. This, together with the exceptional workmanship,

provides the heirlooms of the future in an unparalleled

collection.

GENERAL CARE: Clean with water on soft cloth. To

clean brass on stone table, put masking tape on stone

and clean brass with brass cleaner.

TEAK:

Teak is a hardwood known to last a lifetime! Teak fur-

niture made from quality teak has qualities unlike any

other wood and is dense, rich in oil, almost impervious

to buckling and rot which makes teak wood termite

proof. Teak has been prized for centuries as one of the

world’s most durable and stable woods for outdoor use.

Ever since ancient times, civilization has been aware of

the long-lasting benefits of teak wood. Dutch shipbuild-

ers first employed teak wood in manufacturing their

sailing fleets because of its strong structural properties

and resistance to insects and decay. For shipbuilders,

the most important property of teak wood is its ability to

prevent rust and corrosion. Teak wood is extremely easy

to work with, and its resistance to decay due to its natu-

ral retained oils after being cut has made it not only a

popular timber tree, but also a valuable resource.

Today teak is used principally in furniture, shipbuilding

and in the construction of expensive boats and yachts.

Currently, teak can be found on modern cruise ship

decks, in parks, used as flooring and as home outdoor

furniture. Teak can be transformed into a unique style

or more traditional and classic style piece of furniture.

Reclaimed Teak: Maitland-Smith’s Reclaimed Teak

Wood is sourced from the purchase or barter of “Rumah

Jogio” which are traditional Indonesian houses or other

ancient teak railroad ties in Indonesia. These ancient

and neglected houses have been standing between 50

and 200 years. The main frame construction and other

panels are made of teak and this lumber is carefully re-

covered for the creation of our unique furniture. We

overlook minor imperfections and discolorations in our

reclaimed teak as they are perfectly normal and add to

the charm of our outdoor furniture and have no effect on

the stability of a finished piece.

Plantation Teak: As teak wood grown in its native en-

vironment becomes increasingly scarce, plantations are

becoming the ecologically responsible and cost-

effective answer to supplying teak lumber. In an effort

to preserve a natural resource numerous plantations


35


have been developed within its natural range and tropi-

cal areas. Because it can be harvested in as little as 16

years, it is an ideal plantation species for use in Mait-

land-Smith’s outdoor furniture line. Plantation Teak has

the greatest capability of any wood to resist the rigors of

the outdoor environment, making it a durable and beau-

tiful choice for the garden, patio or poolside. It is a

dense wood with natural oils and rubber content which

confer a natural ability to withstand the effects of sun,

rain, snow or frost without rotting or warping.

Characteristics of Teak: Teak is an extremely dense

course grained hardwood that is resistant to rust, rot, and

termites. Teak wood is generally straight grained, but

occasionally wavy. It has a course and uneven texture.

One of the most commonly quoted facts about the char-

acteristics of teak is its durability. The timber is said to

be resistant to water and many chemical reagents. It

does not have a strong reaction when it comes in contact

with metals. All of these statements regarding the dura-

bility of teak are born out by the fact that we can see

many instances of the timber which have withstood the

test of time when used as key components in the boat

building industry and furniture for municipal parks.

Teak has long been treasured for the beauty of its grain,

color and timeless durability.

Another popular trait of teak wood is its weathering ten-

dency. Over time, teak furniture will attain a handsome

silvery-gray patina. This process takes approximately

nine months, depending on the amount of sunlight and

rain exposure. During weathering, a slight lifting of the

grain may occur on the tops, arms and legs and you may

even see cracks. These are not considered defects, but

natural expanding and contracting of the wood. The

grain will return to its original smooth finish after the

weathering process is complete.

GENERAL CARE: Teak does not require any special

maintenance other than an occasional cleaning. If left to

age naturally outdoors, the surface of the wood will

gradually change to a soft silvery-grey as the pigments

fade. We recommend that you maintain the silver pat-

ina with regular, gentle cleaning with soft-soap flakes

dissolved in warm water (not detergent). Be sure to use

a non-abrasive brush or sponge when cleaning, and

avoid using steel wool or wire brushes. When finished,

rinse the entire piece of furniture with low-pressure wa-

ter to remove any dirt or remaining solution. Teak can

also be dressed with oil to preserve its dark glow al-

though this is not necessary. Most authorities on teak

denounce the use of teak oils. Because Teak Oil is usu-

ally solvent based, the use of such oils can actually de-

stroy the natural oils in the teak wood. Also, once you

begin using it, you will need to continue applications

which can be as often as once per month. If you choose

to keep the original look of your teak furniture and

avoid the natural aging process, a much better option is

to use a Teak Sealer. Teak Sealer is extensively used in

the yachting and marine circles. It leaves the furniture a

golden brown color which is much more attractive and

keeps the ‘expensive’ look of the teak. If you elect to

use Teak Sealer you will be embarking on a regular

maintenance program as Teak Sealer needs to be regu-

larly re-applied to provide continuous protection. There

are a variety of Teak Cleaners, Sealers, Protectors and

Oils on the market for protection of teak.

TERRA COTTA:

Terra cotta comes from the Italian language and means

baked earth. It is coarse clay in comparison to porce-

lain, most often seen in a warm rosy orange color. It is

fired at lower temperatures than porcelain and is of a

more porous nature. It can be decorated with colored

glazes and formed either by casting in gypsum mold,

thrown on a potter’s wheel or raised in a coiling method

— a technique older than the potter’s wheel, in which

the clay is rolled into long snake-like lengths and coiled

around and around to create a vase. The surface is then

smoothed, obliterating the coils, then treated the same

as an object wheel thrown or mold-cast.

A number of our terra cotta objects are decorated using

paints and lacquers. This technique is called “cold color

decoration” in order to distinguish it from a decoration

or color glaze which is fired (baked on) in a kiln or

oven. In cases where the cold color method of decora-

tion is used, the item has a tag suggesting it be used for

dry flower arrangements only, as water may soak

through the porous body and harm the paint or lacquer

decoration. As all items are hand made and decorated,

variation in the glaze or decoration are part of the hand-

made character of such items and are not considered to

be a detraction.


Not intended for outdoor use. It may discolor and dete-

riorate.


36


TOLE:

Tole, the word for painted tin in French, is usually deco-

rative ware, and most often in the form of utilitarian ob-

jects such as boxes, cachepots, planters and vases. In its

original antique version, tole was a less expensive deco-

rative substitute for porcelain and faience ware. Today

the antiques are highly sought after, while reproductions

help satisfy the demand. These handmade and deco-

rated items are prized for their charm and relaxed so-

phistication.

All of our tole is hand painted on a hand formed carcass

or body by cutting, bending and joining sheet metal, as

well as the forming of round forms by spinning flat

sheets into pots, jars and urns on a lathe. The results are

a wide variety of shapes and sizes that are then ready for

decoration.

Our painters use both oil paints and lacquers. Clear

coatings protect all surfaces. Since the items are made

of ferrous metals which can rust in spite of paint and

lacquer protection, only dry floral arrangements are rec-

ommended. Do not use toleware to hold any liquids or

wet material such as water or planting media.

GENERAL CARE: Clean with a dry, soft cloth. Do

not use as a container to hold water or wet materials as

rust may result.

VERRE EGLOMISE: Reverse Glass Painting

This is a French term for “Gold Glass,” derived from the

name of a Parisian frame maker of the eighteenth cen-

tury, Jean-Baptiste Glomy, (died 1786) who adopted the

process for decorating the mounts of glass paintings. It

was established as a technical term by its use as such in

the catalog of the Musee de Cluny, Paris, 1852.

The technique of painting on the back or reverse side of

the glass from the viewer, requires an understanding of

how the final work will be seen as well as an adjustment

of the traditional method of laying down the paint or

lacquer.

Example: When painting on wood, canvas or other tra-

ditional surfaces, the artist lays down a base color and

then proceeds to enhance the color in order to achieve

various effects. Shading, highlighting, marbleizing,

glazing and other techniques are done over the base

color. When painting on glass the process of laying

down paint is reversed. Thus, if a glaze is required to

soften or antique a gilded area, the glaze is applied first

as a thin transparent veil and then the gold leaf or gold

paint is applied over it. When viewed from the front,

the gold will be seen as applied first as a thin transpar-

ent veil and then the gold leaf or gold paint is applied

over it. When viewed from the front, the gold will be

seen as antiqued or mellowed by the glaze.

The technique results in a painted surface, which is pro-

tected by the glass. Objects rendered in this way take

on an intriguing, lustrous appearance similar to porce-

lain, fine enamel work or lacquer. Artisans have em-

ployed the process in Europe, East Asia and North Af-

rica for over 250 years.

GENERAL CARE: A soft cloth may be used to dust

the surface. A damp cloth may be used with mild soap

to remove fingerprints.

VENETIAN GLASS MIRROR:

All of our Venetian glass mirror ware is handmade. De-

veloped by Venetian artists, this decorative combination

of cut, beveled and engraved mirror sections used to

decorate looking glasses, furniture and interiors dates to

the 17th century.

Like their Italian counterparts, our mirrors, accessories

and furniture pieces are handmade in the traditional

manner. Each glass section is hand cut, beveled, wheel

engraved and polished. The sections are then mirrored

prior to assembly. As with all handmade articles, slight

variations in the decoration are a natural result of the

manufacturing process and, like the antique originals,

are enhanced by such characteristics.

GENERAL CARE:

Clean with a dry, soft cloth.

WICKER AND RATTAN: See Rattan, Cane, Bam-

boo, and Wicker, page 33.

WOOD SURFACES, SOLID AND VENEERED:

Our solid and veneered wood surfaces are sealed with a

lacquer coat and then in some cases hand-rubbed. Our


37


finishing technique is the most refined in the industry

and does more to protect the wood than any polish can.

Wood furniture should be dusted regularly with a

slightly damp, soft cloth, and then rubbed with a dry,

clean cloth until dry. Apply Guardsman furniture polish

a few times a year and buff well. Guardsman cleans – it

does not leave a greasy buildup. Wood surfaces will

typically “cloud” if exposed to liquids for extended peri-

ods of time, but clouding or ringing, if caught in time,

can typically be rubbed out with a dry, soft cloth. Never

use products containing silicones as these will harm fin-

ishes.

Hide minor nicks or marks with furniture touch-up pens,

brown shoe polish or a bit of stain. Touch-up material

in an inconspicuous wood area to be sure the color will

blend satisfactorily.

Furniture should not be placed in areas where it will

receive extended exposure to direct sunlight – it will

fade – and variations in temperature due to proximity to

heating/cooling ducts should be avoided as well. Solid

wood reacts to the amount of humidity in your home.

Long periods of heat, without added moisture will dry

wood and cause splitting and weakening of the glue

joints. It is equally important not to expose your furni-

ture to excessively damp areas. Most of today’s heating

and cooling systems maintain the home at acceptable

levels, but it is important for you to be aware of these

conditions and take appropriate action to prevent need-

less damage.

The more you know about your furniture, the greater

your satisfaction will be. It was crafted to give you

years of useful service and, more importantly, pride of

ownership. Should it become necessary to repair, al-

ways rely on a furniture professional who comes well

recommended by your authorized MAITLAND-SMITH

dealer.

WROUGHT IRON: Also see Outdoor Wrought Iron,

if applicable, page 31.

Our wrought iron furniture is made by hand in the tradi-

tional manner using a forge and various blacksmithing

tools. Little, if any, machinery is used in its manufac-

ture. Each unique piece begins its life in the forge

where it is heated to a red hot state and then hammered,

bent, twisted and cut into the necessary shape. Individ-

ual parts are constructed, then welded together to form

the desired item. Once assembled the item is sand-

blasted to remove any rust, then coated with a primer to

prevent corrosion and provide a base for any further fin-

ishing or coating to follow.

Final steps include coloring, the addition of surface tex-

tures and patinas, as well as quality checks.

Iron furniture produced by MAITLAND-SMITH is pri-

marily wrought. Historically iron furniture has been

wrought or cast. Cast iron furniture, popular as garden

or lawn furniture, enjoyed enormous popularity during

the 19th century, reproductions of which are currently

available.

GENERAL CARE: Not intended for outdoor use; how-

ever, outdoor sealing products are available for personal

use. Use soft, dry cloth to remove rust.


38


Glossary of Terms

39

GLOSSARY OF TERMS

ACANTHUS:

Conventionalized leaf of a plant growing in Asia Minor.

It is found as the basis of all foliage ornamentation in

Classic Greek and Roman decoration. Romanesque and

Byzantine Acanthus were stiff and spiny. The Renais-

sance revived its use in graceful designs for every pur-

pose. Every succeeding style has used the acanthus in a

exuberant or restrained manner according to its type.

ADAM, ROBERT:

A Scottish architect and furniture designer who, with his

brother James, revived classical ornamentation and de-

sign in a style that bears their name. (1773-1795) Eng-

lish.

AFFLECK, THOMAS:

A leading American cabinetmaker. Born in Scotland,

he emigrated in 1763 and settled in Philadelphia, where

he became an outstanding exponent of the American

Chippendale style. He was more restrained and less

Rococo than his contemporary, Benjamin Randolph. He

continued making Chippendale style furniture into the

Federal period. Cabinetmaker in Colonial America, ac-

tive (1773-1795). Originally English.

AMORINI:

Carved figures of boys, particularly used on furniture of

the 17th century and later.

AMPHORA:

Classical two-handled jar for transporting wine or oil,

revived in the 18th century as a decorative motif in the

repertoire of neoclassical design.

ANTHEMION:

Stylized flower motif based on honeysuckle pattern con-

ventionalized to radiating cluster, and derived from a

classical Greek ornament. Used in the 18th and 19th

centuries on furniture, silverware and in decoration.

ANTIQUING:

The process of treating wood or finish on furniture and

other decorative objects to make it look old. Wood may

be simply worn off at the edges and corners. It is some-

times scratched, gouged, planed, etc. (called “distressed

finishes”). Even fine birdshot and nails are used to

simulate wormholes and other ravages of time. Wood is

also subjected to various acid treatments, bleaches and

stains to suggest age. Paint finishes are glazed with

washes of dirt colors to reduce the brilliance and to pro-

vide an uneven surface.

APPLIED ORNAMENT:

Carved or shaped decoration, usually wood or metal,

glued or nailed to furniture. Appears on elegant Chip-

pendale pieces and a succession of 19th century styles.

APPLIQUE:

Applied ornament.


40

GLOSSARY OF TERMS


APRON:

A structural element of furniture. In tables, the piece

connecting the legs, just under the top; in chairs, be-

neath the seat; in cabinets, etc., along the base. Some-

times called “skirt.”

ARABESQUE:

Painted, inlaid or flat carved designs composed of floral

and geometrical scrolls, human, animal or mythological

forms, etc. Usually framed within a simple shape such

as a rectangle

ARCADE:

In furniture, a carved decoration representing a series of

arches; also, a chair back in this form.

ARMPAD:

The upholstered part of a chair arm.

ARMOIRE:

A tall cupboard or wardrobe with doors is often known

as an armoire. Gothic style armoires are massive in size

and are decorated with elaborate iron hinges and locks.

It is thought that early armoires were painted and used

for the storage of armor.

ARROW:

Decorative theme used in revivals of classic styles —

Renaissance and later, especially Directoire, Empire and

Biedermeier.

ART DECO:

Decorative style originating in France in the 1920’s,

characterized by geometric shapes, stylized ornament

and fine traditional craftsmanship. Popularized in

America in the 1920’s and 1930’s. The streamlined

1930’s version is often called Art Moderne.

41

GLOSSARY OF TERMS


ART MODERNE:

French term for the various schools of contemporary

design, affectedly used in America during the 1920’s to

label the earliest modern work.

ART NOUVEAU:

A revived interest in the decorative arts flowed over

Europe about 1875 giving rise to a concerted rebellion

against the stale eclecticism of the time. A conscious

effort to create along new lines inspired this “New Art.”

It drew on various motifs — Gothic and Japanese — to

create a new vocabulary based on natural forms. The

typical line is long and slightly curved, ending abruptly

in a whip-like sharp curve.

ASH:

A family of trees, whose woods are used in furniture.

The European ash belongs to a group that includes

olive, lilac, privet and jasmine. The olive ash burls of

both England and France are exquisitely figured and

capable of beautiful veneer matching. The color varies

from a light honey to a medium brown. The American

ash is used principally as lumber where great strength is

required as in upholstery frames. The wood is a very

light creamy color, heavy and dense, with a prominent

grain resembling oak. It was used for some turnings and

bent work in very early Windsor chairs.

ASTRAGAL:

Small half-round or convex molding attached to the

edges of cupboards or door frames to conceal the joint.

ATLANTES:

Supporting columns in the shape of male figures.

BACHELOR’S CHEST:

Modern name for small chest of drawers in typically

early 19th century English style.

BACKGAMMON BOARD AND TABLE:

The game goes back to the Middle Ages and furniture

for its play appeared as soon as specialized tables ap-

peared in the 17th century. Fine examples occur in

French and English work.

BAIL:

Metal loop or ring forming a handle.

BALL FOOT:

Round turning used as foot on chests, etc. Same as bun

foot in England.

42

GLOSSARY OF TERMS


BALLOON BACK:

Chair back style developed by Hepplewhite, extensively

used in Victorian work.

BALUSTER:

Small column that is either turned, square or flat, sup-

porting a rail. It is also formed chair backs in architec-

tural forms.

BAMBOO:

The wood of the bamboo tree is used for furniture in the

East. Its use came to the West with the waves of traders

and merchants.

BANDING:

A narrow edging or border of veneer around fronts of

drawers; a contrasting band of inlay.

BANTAM WORK:

Incised lacquer decoration common on Dutch and Eng-

lish furniture also known as cutwork.

BARLEY-SUGAR TWIST:

Type of turning in which the wood is shaped in a spiral:

used on legs, columns or for decoration.

BAROQUE:

The whole tendency of European design in the 17th cen-

tury was toward exaggeration and over-emphasized bril-

liance. Motion is the essence of the Baroque, large

curves, fantastic and irregular are explosively inter-

preted, reversed and ornamented. Twisted columns,

distorted and broken pediments and oversized moldings

sacrificed the structural sense to a tremendous theatrical

effect.

BAS RELIEF:

Sculpture in which the carving projects only slightly

from the background.

BELLFLOWER:

Ornamental detail, carved or painted, resembling bell-

shaped flowers arranged vertically.

BELTER, JOHN HENRY:

One of New York’s foremost designers and a leading

exponent of the rococo revival style. He created elabo-

rate panels using a technique that he patented (1804-

1863).

43


BERGERE:

Upholstered armchair with closed upholstered sides.

Specifically chairs of French style copied in England

and Germany.

BEVEL:

A sloping edge of various angles applied to any material

— wood, glass, metal, etc. Similar to chamfer.

BIEDERMEIER:

German style first half of the 19th century chiefly based

on French Empire forms. It is essentially a style of

lesser nobility and the middle class imitating the Paris

Empire furniture of grander houses.

BIRD’S EYE:

Small figure in wood grain, resembling a bird’s eye.

Principally in maple but occasionally in other woods.

Cutting tangentially through the indentations that some-

times appear in the annual rings produces it.

BLIND TOOLING:

The process of decorating leather with heated tools, of-

ten creating bands of running decoration but without the

use of gold metal in the process. The result is a pattern

embossed to give shadow and texture to the leather.

BLOCK FOOT:

Square end of an un-tapered leg as in Chippendale

work.

BOBBIN TURNING:

A series of wooden spheres turned on a lathe used on

17th and 18th century chair and table legs and stretch-

ers.

BOISERIE:

French term for woodwork; used specifically for 18th

century carved panels.

BOMBE:

Swelling or convex surface; bulging fronts and sides, as

found in period furniture of Louis XV, late 18th century

Italian and other Baroque work.

BONNET TOP:

An unbroken pediment or top section of a highboy, sec-

retary, etc. Typical late 17th and early 18th century

English design.

BOWFRONT:

Convex shaped front of a chest, buffet, etc. that is char-

acteristic of 18th century work.

BRACKET:

A small ornamental shelf. Also, any wall lighting fix-

ture. A supporting member between the leg and the seat

of a chair or table. Pierced brackets of many designs are

characteristic of Chippendale work.

44

GLOSSARY OF TERMS

GLOSSARY OF TERMS


BRACKET FOOT:

Simple base on chests and case furniture of the 18th

century. The foot runs two ways from the corner in

more or less simple shapes. The type was highly orna-

mented by Chippendale in England.

BREAKFRONT:

Front formed on two or more planes. Specifically, the

word is now used to describe a bookcase or cabinet in

which the center section projects forward from the two

end sections.

BROKEN PEDIMENT, BROKEN ARCH:

Referring to a pediment whether straight, swan-neck, or

gooseneck, the side lines or scrolls of which do not meet

or come to a point.

BUFFET:

Sideboard or dining room dresser of almost any descrip-

tion used as a receptacle for articles not immediately

wanted at the table.

BULL’S EYE MIRROR:

Round ornamental mirror often with convex or concave

glass.

BUN FOOT:

A flattened, gloved or bun-shaped foot with slender an-

kle above.

BUREAU:

The name given to an entire family of English desk and

drawer combinations known in America as a

“secretary.” In America, the word came to refer to a

chest of drawers generally for the bedroom.

BURL:

An abnormal or diseased growth appearing on trees,

often from an injury to the bark. When sliced into fine

cross sections for veneer, they produce beautifully fig-

ured patterns.

“C” SCROLL:

A carving in the shape of the letter “C.”

CABLE MOLDING:

Closely twisted reeding resembling nautical rope used

on Regency furniture.

CABOCHON:

Decorative device; round or oval raised decoration re-

sembling a polished, unfaceted gem. Also a similarly

convex and smooth rounded asymmetrical shape resem-

bling in form a cashew nut, sometimes used as a decora-

tive element of Rococo style (Page 59). Often used in

conjunction with acanthus leaves or shell work on cabri-

ole legs.

CABRIOLE:

Dominant in the 18th century, furniture leg shaped in a

carved double curve. The name springs from the root,

Capragoat, though the Spanish “cabriole,” suggests its

resemblance to the bent leg of an animal.

45


CAMPAIGN FURNITURE:

Primarily military, portable collapsible furniture.

Often folding or separable into parts. Made in British

India from the late 18th through the 19th centuries.

Campaign furniture, also called colonial furniture, in-

cluded such pieces as chairs, tables, settees, chests,

desks and beds.

CANDLE STAND:

Portable stand intended to support a candle or lamp and

small objects. Made in various styles from the Middle

Ages onward, candle stands generally took the form of a

very small platform resting on either four legs or a cen-

ter column. Usually a small table with a tripod pedestal.

CANE:

Flexible rattan woven in open patterns for chair seats,

backs, etc.

CANOPY:

Covering or hood over a bed or throne suspended from

the wall or ceiling or carved posts. Also known as a

“tester.”

CANTERBURY:

In current use, a magazine rack.

CAPITAL:

The head column or pilaster.

CARCASE OR CARCASS:

A body of joinery or cabinet work. A piece of furniture

to which veneer or some other surface is attached.

CARD TABLE:

Appearing in the late 17th century, card tables reached

their zenith in the 18th century England. From Queen

Anne to Regency every period has fine examples.

CARTOUCHE:

An ornate Rococo framing motif with scrolled edges

used on Chippendale and various 19th century revival

style pieces.

CARYATID:

Greek architectural ornament in the form of a female

figure used in supporting columns. Male figures are

called Atlantes. Adapted to form legs of tables, chairs,

stands or cabinets, and as pilasters for beds, cabinets

mantels, and paneling, they are found in the classic re-

vivals and in all the more decorative architectural styles

of furniture such as the later Italian Renaissance, Jaco-

bean, Francis I, Louis XIV, Empire.

46

GLOSSARY OF TERMS


CASKET:

A small box or chest, often of value and beauty, made of

precious woods and metals. Inlaid, carved or painted,

they were used to hold money, jewels, papers and other

valuables.

CASTER, CASTOR:

Small roller attached to the feet or the base of furniture

to facilitate moving.

CELADON:

A term for a variety of East Asian green to greenish

gray glazed porcelain from China, Korea, Thailand and

Japan.

CHAISE LOUNGE:

A long chair. A form of sofa or daybed with uphol-

stered back, for reclining.

CHAMFER:

Grooved, splayed or beveled off corner of a post or a

molding.

CHARLES I:

King of England (1625-1649). Furniture style from the

period is classified as Early Jacobean.

CHARLES II:

King of England (1660-1685). Furniture style from the

period is referred to as Carolean, Restoration, Late Jaco-

bean and Late Stuart.

CHARLES X:

King of France (1824-1839). Period of Bourbon Resto-

ration furniture of late Empire, Louis XVI and eclectic

Rococo and Renaissance detail.

CHASING:

Ornamentation of metal by etching, engraving or incis-

ing.

CHERUB:

Winged child figure used in decoration from the Renais-

sance and afterward; also called amorini. In Italian and

French work the whole figure is usual, but after Charles

II, the English carvers such as Grinling Gibbon often

used the winged head alone.

CHEVRON:

Any V-shaped pattern — popular on Gothic revival and

Art Deco pieces.

CHINA CABINET, CHINA CLOSET:

Important cabinet, often with glass front and sides for

the storage and display of fine china.

47

GLOSSARY OF TERMS

GLOSSARY OF TERMS


CHINESE CHIPPENDALE:

Eighteenth century adaptation of Chinese furniture and

architectural motifs to English Furniture.

CHINOISERIE:

French word referring to things Chinese or in the Chi-

nese taste or manner.

CHIP CARVING:

Design made in a wooden panel by chipping out a pat-

tern, found from the medieval period to the early 17th

century.

CHIPPENDALE, THOMAS:

English cabinetmaker and designer. Known for Chi-

nese, Gothic and French Rococo styles. Lacquering,

paintings or gilding were used to finish many of the

pieces. (1750-1779).

CLASSIC:

Design inspiration derived from the ancient styles of

Greece, Rome and Egypt called Classic or Classic An-

tiquity.

CLAW AND BALL:

Foot carved in the form of a bird’s foot gripping a ball.

Its earliest form in Chinese bronze shows a dragon claw

holding the cosmic jewel. The cabriole leg terminating

in the ball and claw was a favorite motif in Chippen-

dale’s earlier work but it ceased to be fashionable after

1765.

CLOVEN FOOT:

Table or chair leg ending in the form of an animal’s

cleft hoof. English and continental work, chiefly 18th

century.

COCKBEADING:

A beaded molding that projects from the surface of a

piece of furniture, most common on drawer fronts.

COFFER:

Chest that served as a seat, table, trunk or for storage of

valuables. One of the earliest forms of furniture in

Europe when unsettled conditions made it imperative

that furniture and contents be readily transported to-

gether.

COLONIAL:

American period from the earliest settlements to the

Revolution. Improperly applied to most American fur-

niture up to 1850.

COMMODE:

The commode is a loosely defined type of chest or cabi-

net, usually low, and used against the wall as a recepta-

cle, bureau, chest, console, etc. It may have doors or

drawers.

COMPO:

A mixture of resin and other materials for the fabrica-

tion or molding of relief for application. Billiard balls

are made of a mixture called compo.

CONCERTINA MOVEMENT:

Folding mechanism used in card tables and dining tables

for expansion. The back half of the frame or apron is

cut and hinged two or more times under the extended

top leaf to fold in upon itself.

CONSOLE:

Architectural term for a bracket of any kind used to sup-

port cornices or shelves. The bracket is usually of scroll

form. The word, “console,” is also applied incorrectly

to tables fixed to the wall and supported only at the front

legs. Currently, almost any type of wall tables.

48

GLOSSARY OF TERMS


COQUILLAGE:

Decoration incorporating a scallop shell motif used on

rococo-style furniture.

CORNICE:

The horizontal molding or group of moldings at the top

of a piece of furniture.

CRESTING:

Carved decoration on top rail of chairs, daybeds, mir-

rors, etc.

CROSSBANDING:

Border bands in veneer in which the grain runs across

the band. Used throughout 18th century English furni-

ture.

CROTCH:

The wood from the intersection of a brand with the

trunk of the tree has an unusual V-shaped figure which

cut into veneers. The matching of these veneers pro-

duces striking patterns much favored by cabinetmakers.

CUP AND COVER:

Bulbous, turned wood decoration found on legs of furni-

ture and on bedposts in Elizabethan and 19th century

revival styles.

CURL VENEER:

Veneer cut from the fork where a branch joins the trunk

of a tree. Valued for its decorative grain.

CYMA CURVE:

A wave curve; a double or compound curve.

DAVENPORT DESK:

Small English writing desk. Characteristically there are

drawers that pull out sideways and it will have a lift lid.

DECORATIVE QUEEN ANNE:

English style, approximately 1710-1730. Early Geor-

gian, cabriole leg, round back chairs with fiddle splats,

claw and ball feet and generally curved forms.

DEMILUNE:

Half round in plan as in a console or commode.

DENTIL MOLDING:

Series of equally spaced rectangular blocks in cornice

molding resembling teeth. Used in the 18th century and

later furniture, derived from Greek architecture.

DISHED CORNER:

On card tables, a hollowed-out space in each corner for

the purpose of holding money.

49

GLOSSARY OF TERMS


DOCUMENT DRAWER:

Central compartment in the interior or writing section.

Often ornamented with carved colonnades.

DOVETAIL:

Double fan, butterfly or dovetail key block, fitted into

conforming cuts in the surface of boards of planks to

make a tightly fitted joint.

DOWEL:

A wooden pin fastening two pieces of cabinet work to-

gether.

DRAW RUNNER:

A small piece of wood freely inserted into a slot just

under a fall front, drop lid, or slant flap, as on a desk or

secretary. When the lid is dropped, the draw slip is

pulled forward to support it. Also called a loper.

DROP FRONT:

A desk front or leaf that falls forward for use.

DRUM TABLE:

A round library or center table with a deep apron, some-

times with drawers. The shape suggests a drum.

DUSTBOARD:

The wood panel used between drawers in better furni-

ture to exclude dust.

EAGLE:

Its use as a decorative motif goes back to farthest antiq-

uity, but its revival from Roman and Byzantine design-

ers in the Renaissance. From heraldry it was adapted to

painting and carving. Conventionalization brought out

the familiar decorative uses. The eagle’s head, wings

and claws in conjunction with mythological forms be-

came rampant in Baroque and Rococo 18th century

work. The Empire style, deriving from Napoleon’s im-

perialistic art, employed the eagle widely in carving,

bronzes, painting and fabrics.

ECLECTICISM:

In design the practice of using and adapting at will the

forms and motives of any previous period.

EGG AND DART:

Carved enrichment of a molding suggesting alternately

eggs and darts. An ancient architectural ornament, it is

one of the most frequent in carved woodwork of all

lands after the early 16th century.

EGYPTIAN TASTE:

A brief attempt was made to naturalize Egyptian form

and decoration around the turn of the 18th century. Na-

poleon's African campaign in 1798 brought it to France,

where it was systematically organized and offered as a

style, and the English designers took it over to some

degree. As a feature of the Empire style, some details

persisted.

EMPIRE:

The neoclassic style of architecture and decoration

created practically by edicts of Napoleon. A style based

on imperial forms of ancient Greece, Rome and Egypt.

Empire forms influenced most European and American

work.

END TABLE:

Generally a current term used for any small table used

in relation to a sofa, chair, etc.

ENGRAVING:

Method of cutting designs into metal, glass, etc.

ESCUTCHEON:

Armorial term for a shield-shaped surface, bearing coat-

of-arms, monogram, etc. In the application of furniture,

an example would be the fitting over a keyhole or the

back plate of a handle. They are usually of metal, but

are sometimes ivory, bone, inlaid veneers, etc.

50

GLOSSARY OF TERMS


ETAGERE:

A series of shelves supported by columns, sometimes

referred to as a “whatnot.” Used chiefly for display of

curios.

FAÇADE:

Front, using the word in the architectural sense. The

faces of chests were often treated to resemble architec-

tural facades, particularly in the classic revivals.

FALL FRONT:

Drop lid or drop front as in a cabinet, desk or piano.

Sometimes called a “slant front.”

FASCES:

Roman decorative motif depicting a bundle of rods

bound about an ax with a projecting blade. Recurs in

most classical revivals, such as Louis XIV and Empire.

FAUX:

The imitation of a material or surface with paints as in

faux marble or faux finish.

FEDERAL:

An American period of design from 1780-1830. Transi-

tional period from the end of the Revolution to early

Empire influences from Europe Regency, Sheraton,

Adam and also including Greek and Roman. Duncan

Phyfe is the noted American master of this form.

FESTOON:

Motif shaped like a garland of flowers or fruit or swag

of drapery, popular on Baroque and neoclassical furni-

ture, especially in the 18th century.

FINIAL:

Decorative element placed vertically to accentuate a

point of the ending of a structural feature, such as a post,

pediment or intersection. Also, the decorative element

that holds a lamp shade onto the lamp.

FIRE SCREEN:

Metal spark guard. Also a panel on a pole adjustable to

any height to ward off the direct heat of the fire.

FITTINGS:

Metal mounts, handles, etc., applied to completed furni-

ture.

FLIP-TOP TABLE:

Double top dining or card table that unfolds like a book

supported either by pivoting about to the opposite axis

by a swing leg or by a runner.

FLUTES, FLUTING:

Hollows or channels cut perpendicularly in columns. In

furniture flutings are applied to pilaster, legs, friezes,

aprons,etc., particularly after the 16th century. Good

flutes are close together and deep, with a sharply

scooped curve for the ending. The ridge between the

flutes is a fillet.

FOLIATED:

Leaf shaped ornaments.

FOUR POSTER, FOUR POST BED:

American term for beds with the corner posts elongated.

It’s likely descended from the field bed or low canopy

by simply omitting the canopy.

51

GLOSSARY OF TERMS


FRESCO:

The process of painting with colors on freshly made,

still damp plaster, resulting in the colors becoming part

of the surface. Used by the Romans and other Mediter-

ranean ancient cultures.

FRET, FRETWORK:

Interlaced ornamental work, whether perforated or cut in

low relief of a solid ground, usually in geometric pat-

terns. Derived from the Chinese. Particularly character-

istic of Chippendale’s Chinese manner, it was also

adapted to his Gothic designs.

FRUITWOOD:

The woods of the various fruit trees have always been

used for small furniture, especially in provincial work.

These woods are usually hard and durable and polish

well. Pear, apple and cherry are the most used woods of

this class.

GADROON:

Ornament carved on edges either of flat areas or of turn-

ings resembling short convex or concave flutes or ruf-

fles. It is common in Elizabethan work, Italian Renais-

sance work and all styles influenced by Italy.

A characteristic decoration of bulbous supports in Eliza-

bethan carving. Chippendale used it extensively for

borders and top edges.

GALLERY:

Small railing of metal or wood or a raised rim around

the tops of tables, cabinets, buffets, etc. Various works

had pierced brass galleries. Chippendale style shows

pierced wooden fretwork galleries.

.

GAME TABLE:

One of the earliest specialized types of tables developed

for games such as cards, chess, backgammon etc. Also

called a card table.

GEORGIAN:

Referring to the period of 1714-1795 in England during

the reign of George I, George II and George III. Also

known as the Golden Age of English Cabinetmaking.

GILDING:

Decorating with gold either by application of gold leaf

or powder in a liquid vehicle, producing a sumptuous

effect.

GLAZED DOORS:

Doors that are fitted with glass often with a lattice pat-

tern of woodwork or tracery.

GRAIN:

Wood fibers tend to assume characteristic arrangements

in different species. When boards are cut, the cross sec-

tions of the fibers reveal these arrangements in patterns,

which the cabinetmaker employs in the design much as

the pattern or texture of fabric is used in draping and

tailoring.

GREEK FRET:

A Greek key pattern using repeated square hook-shaped

forms as a band decoration.

GROTESQUES:

Fantastic figures or part figures as decoration.

GUILLOCHE:

A pattern of intertwined ribbons worked in single or

double bands resulting in a series of small circles.

HEPPLEWHITE, GEORGE:

English furniture maker and designer. Active from

1760-1786.

52


HERCULANEUM:

Ancient city in Southern Italy at the foot of Mt. Vesu-

vius. The excavation of this Roman City after 1719 re-

vived interest in the decorative arts of the Romans. This

persisted throughout the 18th century, particularly as the

inspiration of the classic styles of Louis XVI and the

Adams. The name was specifically applied by Sheraton

to a type of upholstered chair in the antique style.

HERRINGBONE:

The narrow strips of veneer with grain running in oppo-

site directions.

HIGHBOY:

A tall chest of drawers, usually in two sections, the up-

per chest being carried on a table-like structure or low-

boy with legs.

HOOF FOOT:

A hoof-shaped base of a leg representing principally the

goat hoof on a cabriole leg.

HOPE, THOMAS:

(1769-1831) English writer, architectural dilettante who

was influenced by the Empire designs of Percier and

Fontaine. His book, Household Furniture and Interior

Decoration (1807) formulated an archaeological classi-

cism for furniture that was not well received, but never-

theless epitomizes the classical massiveness of the pe-

riod.

INCISED ORNAMENT:

Deeply engraved or carved work, the entire being cut

into the surface rather than raised from it.

INLAY:

Where one wood is set into the body of another for

decorative effect.

IRISH CHIPPENDALE:

Type of mahogany furniture most likely made in Ireland

by local craftsmen around mid-18th century after de-

signs in Chippendale’s published works.

JACOBEAN:

From the Latin word Jacobus (James). A general term

for English styles up until 1688.

JAPANNING:

Technique originating in the early 18th century whereby

European craftsmen imitated oriental lacquer work with

paint and varnish.

JARDINIERE:

An ornamented box, jar or stand intended to hold plants

or flowers.

KENT, WILLIAM:

English architect and designer. The first to design the

furniture as art of the entire project, house and all. Ac-

tive from 1710-1748.

KLISMOS:

An ancient Greek chair; the prototype for Classic Re-

vival.

KNEE:

The upper convex curve or bulge of a cabriole leg,

sometimes called “hip.”

53

GLOSSARY OF TERMS

GLOSSARY OF TERMS


KNEEHOLE:

Desks, chests or bureaus are sometimes built with an

opening in the center between the two banks of draw-

ers; so called because they make room for the sitter’s

knees. Sometimes this space is filled partway from

the back with a door compartment.

KNIFE BOX:

Boxes for table silver, usually in pairs, stood on buf-

fets or side tables in 19th century English dining

rooms.

LACQUER:

Varnish made from the sap of the Rhus Vernicifera

plant, which is found only in Asia, and is applied in

layers, which are polished to a high gloss, then carved

and/or painted in relief.

LACQUER, CHINESE:

A lustrous and durable natural varnish, it derives its

name from the lac tree, native to the country’s south-

ern and central provinces. The lacquer of Fuzhou has,

for centuries, been regarded as one of the famous arts

of China. It is completely handmade from natural lac-

quer and involves hours of exquisite workmanship,

characterizing the traditions and designs of the Orient.

LAMBREQUIN:

A piece of wood carved to simulate swags of drapery

with elaborate, often gilded tassels hanging down.

LANNUIER, CHARLES-HONORE:

New York cabinetmaker of the Federal era, whose

designs were closely related to the French Empire

style (1779-1819).

LIBRARY TABLE:

Most commonly known as a large table with drawers

usually on a pedestal. An English name for any flat top

desk, referred to in America as a pedestal or kneehole

desk, often provided with space for books.

LINEN:

Flax is a natural fiber which is woven to create our high-

est quality linen fabrics. Due to the inherent character

of the flax fiber, whose color depends on the weather

conditions during growing and retting processes, there

will always be color variations between lots.

LOPER:

Sliding arms that support the fall or drop front or lid of a

desk. Also, the sliding runners of an extension table.

LOUIS QUATORZE (LOUIS THE XIV):

Louis the XIV was the King of France from 1643-1715.

This was the greatest period in French achievement.

The furniture style is marked by Baroque magnificence.

LOUIS QUINZE (LOUIS THE XV):

Louis the XV was the King of France from 1715-1774.

The style of furniture was marked by the culmination of

feminine Rococo style.

54

GLOSSARY OF TERMS


LOUIS SEIZE (LOUIS THE XVI):

Louis the XVI was the King of France from 1774-

1792. The furniture style was marked by the revival

of ancient classicism.

LOWBOY:

English chest that is low or table with drawers.

LUNETTE:

A semi-circular space. In furniture, a half moon shape

filled with carving, inlay or painting. In Gothic oak

furniture, lunettes were carved; however, English late

Georgian work was often inlaid or painted with fan-

shaped designs.

MARQUETRY:

An inlay of contrasting wood into a background of

veneer. The technique is used to create a design or

decorative pattern. The patterns and shapes of the

inlay are sensuous in curves and often employ a floral

motif.

MASK (MASQUE):

A decorative motif of great antiquity representing a

human or animal face which can be distorted, conven-

tionalized or naturalistic. This is found in practically

all European styles.

MEANDER PATTERN:

Same as Greek Fret.

MOLDING:

Raised strips of plaster or wood applied to a piece as

decoration, often also used to conceal a joint.

MOSAIC:

Mosaic is a term for a picture or pattern created by as-

sembling different colored pieces of stone, glass, etc.,

into decorative motifs.

MORTISE AND TENON:

A method of joinery whereby one piece (tenon) is cut to

precisely fit into another (mortise). Sometimes the te-

non is further locked by means of a peg inserted through

it.

MOUNTS:

Metal fittings or ornaments applied to furniture. Most

important in the style of Louis XV, when bronze appli-

qués were responsible for most decorative effects. some

mounts are utilitarian such as handle and key plates,

hinge ornaments, corner and angle protection and for

inscriptions.

MULLION:

A vertical bar dividing the panes of a traced window. In

furniture, the tracery in glassed doors of bookcases, cu-

rio cabinets and china cabinets.

NEOCLASSICAL:

The revival of interest in the ancient such as the Renais-

sance, Adam and Empire.

55

GLOSSARY OF TERMS


OGEE:

Classical molding having a cyma or double curve.

Also, two S-shaped curves, the convex curves meeting

at a point or fillet as used in the sides of an arch.

Ogee-headed panels are found in Georgian casework

and in the tracery of bookcase and cabinet doors.

ORMOLU:

From the French “or moulu.” Gilded brass or copper

mounts for furniture. Principally used by the French

“Ebinistes” (fine furniture makers) of the 18th cen-

tury.

OVOLO:

Decorative molding of convex quarter-circle sections.

OTTOMAN:

An upholstered seat or bench having neither back nor

arms.

OYSTER VENEER (ALSO CALLED BOIS de

BOUT):

Wood veneer that resembles an arrangement of oyster

shells. Oyster veneer is composed of a number of

sheets of wood cut from a small branch, commonly of

Laburnum or walnut. These are sliced across the

width of the branch, exposing the concentric growth

rings and then arranged as ornamentation on a surface

of a piece of furniture. The small individual pieces

making up the pattern are often called oyster wood.

Oyster veneering originated in Holland in the 17th

century.

PAD FOOT:

The simple flat end of a cabriole leg. Similar to a club

foot without the disk at the base.

PALLADIO, ANDREA:

Palladio was an Italian architect who was active from

1530-1580. He was a major influence in classical re-

vival forms.

PALMETTE:

Neoclassical fan-shaped motif.

PARCEL GILDING:

Part gilding of a piece of furniture. Un-gilded areas are

protected with varnish or shellac.

PARQUETRY:

Mosaic of woods laid over a ground in geometric pat-

terns. In this respect it differs from marquetry, which is

more pictorial in design. In earlier work, it was inlaid

directly into the solid wood, especially in Italian and

French work and also in England in the Age of Walnut.

In Louis XV and in equivalent English and Italian work

it reached great virtuosity.

PATERA:

Circular or oval motif decorated in low relief and widely

used as an ornament on neoclassical furniture.

PATINA:

Color of texture of the surface produced by age and

wear.

PEDESTAL DESK:

A pedestal desk has banks of drawers carrying a flat top

such as a library or writing table. English mid-18th cen-

tury.

PEDIMENT:

In classical architecture, this is the triangular top over a

portico or gable end. In furniture, this is a similar fea-

ture as the head of cabinets or other tall pieces.

56

GLOSSARY OF TERMS


PENDANT:

A hanging ornament

PENSHELL:

Penshell comes from a mollusk indigenous to the

tropical waters of the western Pacific. (See section on

Materials, Products and General Care, page 32.)

PERIOD FURNITURE:

Furniture of a distinctly recognizable style, period in

history or time.

PIGEONHOLES:

Manifold small compartments in desks and cabinets

for papers.

PILASTERS:

Rectangular or half round pillars or columns that are

placed against a surface.

PLINTH:

Block, square or octagonal used as a base of a column.

Also the base of a chest when solid to the floor.

POMPEII:

This buried city of Italy preserved a complete record

of ancient Roman life. Its records had a profound in-

fluence on Adam, Hepplewhite, Sheraton and Louis

XVI

PRIMAVERA:

White mahogany — light straw-colored wood.

PROVINCIAL:

Styles so labeled refer to work done away from, but af-

ter the inspiration of, the style leaders in the capitals.

QUEEN ANNE:

English ruler from 1702-1714. See Decorative Queen

Ann, page 44.

RAMS HEAD:

This is a classic decorative carving borrowed from

ancient Greece and Rome. It was used in all styles em-

ploying antique ornament, such as Louis XIV, and

Adam. Originally, it was most likely a symbolic repre-

sentation on sacrificial altars.

REEDING:

Decoration similar to fluting, but instead of carved

grooves, convex parallel ribs are carved in the wood.

It is the reverse of fluting. (Late 18th century).

REGENCY:

This was an English period, roughly between 1793-

1820, during part of which George, Prince of Wales,

(later George IV) acted as Regent. During this time

there was a decline in the classic, Pompeian forms and

an interest in earlier motifs, such as Greek and Egyptian.

RELIEF:

A raised ornament or sculpture in which the carving is

raised or cut above the background. High or low relief

carving characterizes various styles.

57

GLOSSARY OF TERMS


REPOUSSE:

Decorative sheet metal work in which the design is

hammered forward from the back.

ROCAILLE:

Earlier term for Rococo.

ROCOCO:

This was a phase of European art of the 18th century.

Forms favored were asymmetrical, and elaborately

ornamented with flora and fauna borrowed from na-

ture.

ROSEWOOD:

Several species of tropical woods from India and Bra-

zil are grouped as Rosewood, so called from the odor

of the newly cut wood, rather than its colors. It is

heavy, dense, resinous and of a deep red-brown color,

richly streaked and capable of being highly polished.

It was used in the 18th century as veneers and orna-

mental inlays.

ROUNDEL:

An ornamental disk or motif enclosed in a circular

shape such as a rosette, medallion or patera.

RUSTICATED:

Architectural description of masonry treatment in

which the joints are marked out as grooves, making

the stone blocks stand away from their surface.

SABOT:

Metal shoe fitting the bottom of a cabriole leg or sabre

leg.

SABRE LEG:

A slender four-sided leg employed on chairs. The leg

curves forward in a concave curve, resembling a saber.

SATINWOOD:

A light, honey-colored, hard textured, fine grained wood

which is susceptible to a high polish. The best varieties

are from Ceylon and India, but it is also found in the

West Indies. Most favored in later 18th century English

work.

SECRETAIRE, SECRETARY:

A closed desk, usually with drawers below and book-

case above. In Europe it is sometimes called “bureau.”

SERPENTINE:

A waving or undulating surface. A serpentine front as

in a commode, has the center convex or protruding

while the ends are concave. Reversed serpentine fronts

have a more complex curve. Serpentine stretchers are

X-type with curves.

SHERATON, THOMAS:

A furniture/cabinetmaker in England from 1770-1806

who developed the neoclassical style in furniture.

58

GLOSSARY OF TERMS


SHIELD BACK:

This is a typical chair back form of Hepplewhite. It

would have a double curved top rail and a half ellipse

below, filled with various openwork designs such as

vase forms, three feathers, swags and ribbon.

SINGERIE:

Rococo decoration of monkeys at play, often in human

dress.

SKIRT:

A structural element of furniture. In tables, the piece

connecting the legs just under the top; In chairs, be-

neath the seat and in cabinets, along the base. (See

Apron.)

SLANT FRONT:

A desk or secretary with the writing section enclosed by

a fall lid that slants back when closed. It was likely for

the purpose of resting a book or writing material.

SLIPPER FOOT:

Usual on tripod legs and sometimes called snake foot.

59

SMITH, GEORGE:

An English cabinetmaker whose 1806 book, “A Collec-

tion of Designs for Household Furniture and Interior

Decoration, was published at a seminal point in the evo-

lution of Regency taste

SPADE FOOT:

A rectangular tapered foot suggesting the outline of a

spade, common in Hepplewhite designs.

SPANDREL:

A curved, triangular or shaped bracket in an otherwise

open corner.

SPIRAL TURNING:

A twisted form of turning frequently seen on legs and

bed posts.

SPHINX:

A mythical winged monster, half woman and half lion.

Of Egyptian origin, it occurs in all classical schools of

furniture.

SPLAD, SPLAT:

The flat, central, vertical member of a chair back. Typi-

cal developments of splats are important indices of style

such as the Queen Anne scrolled splat or the pierced

splats of Chippendale.

GLOSSARY OF TERMS


SQUAB:

Removable stuffed cushions of chairs during the 17th

and 18th centuries.

STONE, EMPERADORA: Brown and black stone with tan and ivory veining

throughout.

STONE, BLACK WAXSTONE:

Smooth black stone, highly mottled with darker black

flecks

STONE, GOLD AGATE:

Medium brown smooth stone with black veins and gold

flecks.

STONE, MACTAN:

Smooth, light ivory stone with medium tan to brown

veins.

STONE, GREEN WAXSTONE:

Very dark green stone, slight black variations, tonal

veining

STONE, SNAKESKIN:

Varying hues of brown stone with ivory and brown

veins.

STRETCHER:

Crosspieces or rungs connecting legs of chairs, tables,

etc.

STRINGING:

Inlay on furniture consisting of fine lines of metal or

contrasting wood.

60

SWAG, FESTOON:

Swinging or suspended decoration representing drapery,

ribbons and garlands of fruit and flowers.

TEAK:

Large family of East Asian woods best known for their

resistance to moisture. Extensively used for furniture.

TILT-TOP TABLE:

Tabletop hinged to the base or pedestal so that it may be

tipped to a vertical position to save space or to display

the decorative features of the top. The idea is found in

medieval work but reached its best development in the

18th century. English usage and the customs of tea ser-

vice inspired the design of many small tables.

TOLE:

Painted and decorated metal sheeting fashioned into

small articles and accessories.

TORCHERE:

A stand for holding lights and candles.


TRIFID (OR DRAKE) FOOT:

A three-toed foot usual on cabriole leg (like pad foot)

which has been carved.

TRIPOD TABLE:

Pedestal table with three out-swinging legs. A favorite

shape for small incidental tables during the Georgian

era.

TRUMEAU:

An ornamental treatment consisting of a painting over a

mirror in combination.

TURNING:

Using a lathe to shape wood, metal or other materials.

Also known as turnery.

UNDERGLAZED:

A term in porcelain decoration in which the color used

for the decoration is painted on bisque porcelain and

then glazed with a crystalline glaze to cover and protect

the piece. Most often a blue, oxide color is used.

VENEER:

The art of gluing a thin layer of decorative wood to a

thicker backing for substance.

VITRINE:

A cabinet with a clear glass door and sometimes glass

sides and top for the storage and display of china and

curios.

VITRUVIAN SCROLL:

Wavelike series of scrolls in a band ornament which is

carved, inlaid or painted. Also called “running dogs.”

WAINSCOT:

Boards used for panel work. Panel work itself.

WALNUT:

A wood historically long preferred for its variety of col-

ors, textures and figures.

WAVE SCROLL:

A continuous spiral band decoration also called Vitru-

vian scroll of “running dogs.”

WHATNOT:

French “étagère.” A tier of shelves supported by turned

posts used for the display of objects, etc. English 18th

century and later.

WHEEL-BACK:

A round or oval chair back with radiating spindles or

bars resembling the spokes of a wheel found primarily

in later 18th century English chairs.

WILLIAM AND MARY:

Ruled England from 1689-1702. Of Dutch origin, Wil-

liam brought a complete style to replace the deteriorat-

ing late Jacobean. This period marked as the Age of

Walnut. Its furniture is more domestic in scale, more

elegantly designed and finished and is characterized by

innovations like the cabriole leg, seaweed marquetry,

the highboy and flat serpentine stretchers.

61

GLOSSARY OF TERMS

Electronic Component Diagrams

and Warranty

62

DIAGRAMS—ELECTRONIC COMPONENTS


63

Infra-Red System

Furnlite Warranty 1-14-09

Furnlite offers a Lifetime Limited Warranty on all Furnlite products (excluding light bulbs) for the life of the

furniture to the original purchaser. This warranty covers any product that may have factory defects or malfunctions

at any time. Information needed for replacement is labeled on all Furnlite products with part number, phone number,

and web-site address.

The Furnlite staff is very knowledgeable of the products and can usually determine what part or component that is

not working properly during a phone conversation. (If you feel that an entire light system is needed, then please be

prepared to purchase the entire system.) Our experience has taught us that it is highly unlikely for an entire Furnlite

system to be defective. Missing components will not be covered under a replacement warranty as Furnlite does not

install the system in the furniture.

Furnlite wants to serve the customer as quickly and efficiently as possible. Therefore, Furnlite will guarantee that

any and all customer service complaints will be handled within 3 to 5 days of receiving the request if we have

accurate information on the Furnlite system. This is designed to control cost and quickly fix any problems customers

may have with a Furnlite product.

Please contact Furnlite with any questions you may have. All warranty claims are to be handled by a Furnlite

customer service representative. Website: www.furnlite.com or email us: [email protected].

Furnlite Inc.



64

F C-620



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FC-727

product manual with chapter pages

Documents