Series editors' preface - Wood Tools

The range of finishes has increased enormously
over the century. French polish and
wax finishes remained popular during the early
part of the century but after the First World
War they were gradually replaced by nitro-cellulose
lacquers. These lacquers, developed
from the dopes used on aircraft frames, produced
a quick-drying finish that was more
resistant than French polish to heat and water.
They could also be applied by spray gun. Postwar
synthetic lacquers including acid catalysed
urea-formaldehyde and melamine-formaldehyde,
polyurethane and polyester (all with
varying properties) have been developed for
special applications. Oiled finishes were popular
on teak and rosewood furniture.
The Art Deco period (1910–30) was instrumental
in incorporating unusual and exotic
materials in furniture decoration and finish. In
addition to exotic woods, such as Macassar
ebony, burr walnut and amboyna, cabinetmakers
incorporated mother-of-pearl, ivory, snakeskin,
sharkskin (shagreen or Galuchat), leather,
vellum, brass and lacquer into their repertoire of
novel materials. There was a revival of Oriental
lacquer decoration in the period, particularly
with the work of Eileen Grey and Jean Dunand.
In the latter half of the century the use of
plastics, apart from lacquers, is most noticeable
in laminates and paper foils. Other finishes,
popular at various times during the century,
include fumed oak (subjecting objects to ammonia
fumes), limed oak (slaked lime rubbed into
grain leaving white flecks), and for metals, oxidizing,
anodizing, and stove enamelling.
The twentieth century is unique in the wide
range of opportunities that furniture-makers
have had in the making, decoration and finishing
of their furniture.
Organization of trades and
manufacturing
With the vast increase in the choice of materials
and methods of making, the role of traditional
furniture-makers and retailers has been
whittled away. There are still many small businesses
in the trade but the turn of the century
saw the beginning of a tendency to move
towards factory production on a larger scale.
This occurred especially in the United States, in
centres such as Grand Rapids.
In England a move away from London’s East
End towards the Lea Valley Trading Estate was
exemplified by the Lebus company who at one
time had the largest furniture factory in the
world. In the second half of the century the trade
has become international in its markets. This has
been helped greatly by the development of the
knock-down (KD) method of construction.
1.7 Conclusion
Like all material objects, the history and background
of furniture is a mirror of change in
societies. The continuing development of societies
in economic, political, cultural and philosophical
terms, as well as changes of physical
and geographic nature are all reflected in furniture.
The understanding of the context of furniture
therefore has value far beyond questions
of attribution, rarity, value, association or other
equally interesting aspects. It is very much part
of the material culture of a society. From the
meanest stool to the grandest cabinet, all furniture
and furnishings are part of the jig-saw
that represents particular moments in history.
The careful study of artefacts and their cultural
context will enable us to understand a little
more of how materials, techniques, tools,
trade and consumer usage were understood in
their own time. In conjunction with the practical
physical analysis and inspection by conservators
and historians, other sources of history
are needed to develop what can be learnt from
the objects themselves. These other sources
include, inventories, account books, diaries,
journals, design and price books, paintings and
drawings as well as aspects of interior design
and architecture. The important contributions to
be made from other disciplines need to be
acknowledged but there is some way to go
before they are fully part of the furniture historian’s
armoury. However, anyone interested in
learning more about furniture, those who made
and used it, as well as its wider role in various
societies will enjoy following the multifarious
paths that make up the history of furniture.
Bibliography
Furniture history 41
This bibliography is a limited selection of works
that will be useful to furniture scholars. It omits
any monographs on individual designers or any
commentaries on particular design groups. The