Queen Anne walnut lowboy, with quartered veneered and…
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Queen Anne walnut lowboy, with quartered veneered and crossbanded top, long frieze drawer, two short and one deep drawers below on cabriole legs with pad feet

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  • Veneers - Veneers are thin sheets of well-figured timber that are glued under pressure to the surface of a cheaper timber for decorative effect, and then used in the making of carcase furniture.

    Early veneers were saw-cut so were relatively thick, (up to 2 mm) but is was realised that saw cutting was wasteful, as timber to the equivilent of the thickness of the saw was lot on each cut.

    A more efficient method was devised to slice the timber, either horizontally with a knife, or in a rotary lathe.

    Flame veneer, commonly found in mahogany or cedar furniture, is cut from the junction of the branches and main trunk. So-called fiddleback veneers, where the grain is crossed by a series of pronounced darker lines, is usually cut from the outer sections of the tree trunk.

    During the 17th and 18th centuries, and in much of the walnut marquetry furniture made during the latter part of the 19th century, the veneer was laid in quarters, each of the same grain, so that one half of the surface was the mirror image of the other.

    The use of veneer allows many other decorative effects to be employed, including stringing, feather banding, cross banding, and inlaid decorative panels in the piece. The carcase over which veneer is laid is usually of cheaper timber such as pine, oak or, sometimes in Australia during the first half of the 19th century, red cedar.

    The important thing to remember about veneers is that prior to about 1850 they were cut by hand, and were consequently quite thick - ranging up to about 2mm deep.

    From the mid-19th century veneers were cut by machines and were almost wafer-thin. This is a critical point when trying to judge the approximate age of veneered furniture.
  • Cabriole Leg - The cabriole leg evolved from an elongated scroll, curving out at the knee which may or may not be carved, and forming a serpentine shape as it descends to the foot.

    First introduced into English furniture in the late 17th century, cabriole legs were widely used during the Queen Anne and early Georgian periods, where they frequently terminated in a pad foot or ball and claw foot. The style has had many imitators since then. The cabriole leg was re-introduced in the mid-19th century, and is commonly associated with the balloon-back dining or drawing-room chairs made in walnut, mahogany or, in Australia, cedar. The Victorian cabriole leg, on the whole, was rather more slender than the earlier form, following the French style, which emphasized the delicacy and daintiness of the chairs they were designed to support. Cabriole legs are sometimes found on windsor chairs, especially those made during the 18th century.
  • Pad Foot - In furniture design, a pad foot refers to a type of

    furniture foot that is shaped like a flattened ball or pad. It is a common

    design element in traditional furniture styles, particularly in English and

    American furniture from the 18th and 19th centuries. The pad foot is typically

    wider than it is tall, with a broad, flat surface that rests directly on the

    floor. It is often carved or turned with decorative details, such as fluting or

    ridges, and can be made from a variety of materials, such as wood, metal, or

    leather.



    Pad feet are used to support the legs of various types of

    furniture, such as chairs, tables, and cabinets. They are often used in

    combination with other types of feet, such as bun feet or bracket feet, to

    create a more complex and decorative furniture design. In terms of

    functionality, pad feet provide stability and support to furniture pieces, and

    can help distribute the weight of the piece evenly across the floor. In terms

    of design, they add a classic and traditional look to furniture designs, and

    are often used to create a sense of elegance and refinement.

  • Frieze - An architectural term denoting the flat, shaped or convex horizontal surface of furniture, between the architrave and the cornice, usually found on a cabinet or bookcase, or on desks and tables where it may include drawers, the area between the top and the legs. In ceramics, the term refers to the banding, of usually a repeating pattern, on the rims of plates and vases.
  • Crossbanding - Crossbanding is a decorative technique used in furniture-making, where thin strips of wood, known as crossbands, are applied to the surface of a piece of furniture to create a decorative border or inlay. The crossbands are typically made of a different type of wood or a different color than the main piece of furniture, and are applied in a geometric pattern, such as a checkerboard or herringbone design.

    Crossbanding was a popular decorative technique in furniture-making from the 17th to the 19th centuries, particularly in the Baroque, Rococo, and Chippendale styles. It was often used to create intricate patterns and designs on the surfaces of tables, desks, cabinets, and other pieces of furniture. The crossbands were often made of exotic woods, such as ebony or rosewood, which were imported from other parts of the world and were highly prized for their rich colors and patterns.

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