How Low Can You Go

QUESTION: I just purchased an antique coffee table and would like to know more about it. What can you tell me about my table? Is it a valuable antique?

ANSWER: I hate to burst your bubble, but your table isn’t an antique. In fact, coffee tables are a modern invention. No one knows exactly where they came from or who designed the first one.

The current definition a coffee table is a low, wide table placed in front of a couch or sofa to receive drinks, TV remotes, magazines, ashtrays, and miscellaneous other items, including feet. Yes, some people do prop their tired feet up once in a while. But a quick look back in time doesn't show many similar tables in our Western history. Old photos of late Victorian room settings show taller tables, often placed behind a sofa to receive cups and glasses when not in use. The only other table offering close to the service of a coffee table was the parlor table, often placed in the middle of the room with a gas lamp on it. Here, the lady of the house could serve coffee or tea to guests.



During the latter half of the 19th century, wealthy people became interested in the exotic furniture of Turkey. They would set up a special corner or an entire room using pillowed benches and ornately carved, low, round tables from which they drank strong Turkish coffee and tea.

Americans became especially fond of Japanese design after the Philadelphia Centennial Exposition in 1876. They particularly liked the idea of sitting on pillows on the floor and eating at low tables like the Japanese do. When the Aesthetic Movement took hold in the 1880s, furniture designers blended Eastlake and Renaissance Revival styles with Turkish and Asian ones.

While some sources note the production of low tables in various Revival styles during the last decade of the 1800s, no one has ever seen any.

The coffee table appeared in the 20th century, most likely in the 1920s and 1930s. As Americans began to purchase parlor sets, consisting of perhaps a couch, two chairs, and several small tables, the coffee table idea became more popular.

In 1903, F. Stuart Foote founded the Imperial Furniture Company in Grand Rapids, Michigan. He had learned the furniture business from his father, E. H. Foote, who had founded the Grand Rapids Chair Company in 1872. Foote claimed to have invented the coffee table himself while helping his wife prepare for a party. He simply lowered the legs on an existing table, and a new type of furniture came into being. Unfortunately, so far this hasn’t been proven.

Prohibition may have also played a role in the development of the coffee table. From 1920 to 1933, America was legally "dry." That led to a shortage of well blended, smooth tasting liquor. “Bathtub gin" and "white lightning" to the place of traditional spirits but both had quite a kick.  To soften that kick, people began mixing fruit juices and other beverages with the hootch which eventually led to the invention of the "cocktail."



During Prohibition, people often used this low table to serve coffee to their guests. But with the repeal of the law, they could once again legally serve cocktails, so it became known as a “cocktail table.” Sales for these low tables soared even during the Depression.

To make them seem older than they were and thus more elegant, many furniture manufacturers began producing their coffee/cocktail tables using stylized designs of the past. This was a direct result of the appearance of the Colonial Revival style of the early 20th century which encouraged furniture makers to create pieces in supposedly “colonial” styles. All of a sudden coffee tables appeared in the Queen Anne, Chippendale, Federal, and even Jacobean styles. Thus, many people today are fooled into thinking that their coffee tables are really antiques.

The only way to have a truly antique coffee table is to cut down an existing antique table as F. Stuart Foote did in 1903. And while your coffee table will be a true antique, it won’t be worth very much.

To read more articles on antiques, please visit my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 17,000 readers by following my free online magazine, #TheAntiquesAlmanac.











.

More on Organizing Your Collections

You’ve figured out a numbering system and assigned numbers to the items in your collection. The next step is to apply them to your objects. Whichever technique you used depends on the surface of the object. The labels must be removable in case you sell an item from the collection, but they must also be durable and long-lasting. Choose a place for the label on the bottom or back of objects, being careful not to obliterate any trademarks, serial numbers, patent dates, or maker's signatures. Use a thin pointed Sharpie marker to print the numbers on the labels. Removable labels work the best.

Paper items can be labeled with a soft pencil, never with ink or a rubber stamp. Apply the label in an inconspicuous place, preferably on the back, always keeping in mind that it may have to be removed. Place the label on a sturdy portion of the paper, not so close to the edge that the paper will tear if the number is erased.

For such textiles as rugs, quilts, samplers, wall hangings, and clothing, use small fabric labels numbered with a laundry pen or fine ballpoint pen. Always test the pen first on a piece of scrap label to make sure that the ink does not bleed or smear. Attach the label to the fabric with only one or two stitches at each corner so that the label can easily be removed without damaging the fabric. Although self-adhesive labels or iron-on tape may seem quick and easy, they are not recommended because they fall off in time. They sometimes permanently discolor the object or leave a residue that can damage it.

If you recorded your collection on cards or in a looseleaf notebook, you can break it down into individual classifications for filing purposes. You may wish to even break down those classifications further.  Some specialties may not require such complete listings, and some individual headings may need to be expanded. For example, if the specialty is Eastlake-inspired furniture, subheadings can be added in the furniture category to identify makers or types of furniture. In the case of bottles, for example, specify the type of glass, blown or molded, the color and shape, and the type of bottle—whiskey bottle, flask, bitters bottle, or house-hold bottle. The contents of your collection and your planned future acquisitions will determine the headings you choose.

Using a digital camera or camera-equipped smartphone, you may wish to add photos of the items in your collection to your listings or database. Photograph the items individually. If you’re working with small objects, consider buying or making a lightbox—a box with white paper on three sides and bottom—in which you can photograph them. Save the originals as is, but make copies of all the photos first and rename them using the catalog number you’ve assigned to that object.

Most growing collections represent substantial investments of time and effort as well as money. Besides its obvious uses for insurance claims, a carefully kept catalog is valuable to those who may buy or inherit your collection. Cataloging is also a way of becoming intimately acquainted with all the objects in your collection, identifying the collection's strengths and weaknesses, and  taking the time to enjoy it thoroughly.

Joined Together Forever

QUESTION: How can I tell the difference between handcart dovetailing and machine cut dovetail? What other distinguishing characteristics can you tell me about that will help identify the age and authenticity of a piece of furniture?

ANSWER: Dovetailing is an excellent way to estimate the age of a piece of antique furniture.
The name “dovetail” comes from the appearance of the joints, used to assemble drawers and structural pieces on case or storage furniture, such as chests and bureaus, which look like the triangle shape of a dove’s tail. The earliest examples appeared on furniture placed with mummies in Egyptian tombs thousands of years ago. Similar ones appeared on pieces in the burial tombs of   ancient Chinese emperors.

Each joint has two parts—the pin and the tail. The pins protrude from the fronts of drawers while the tails are negative holes in the sides of drawers into which they fit. Early cabinetmakers cut these joints by hand, using small, precision saws and wood chisels,  producing different sized pins and tails, with the tails being larger than the pins. These early joints often had only three or four dovetails per joint. First, they made tiny angled saw cuts, then carefully cut out the pins on both sides to avoid splintering using a sharpened chisel. They cut the pins from one board and, the tails from another so they matched perfectly, thus giving them both strength and durability.

Not only did cabinetmakers use hand cut dovetails to hold the sides of drawers together, they also used them to join the structural members of case or storage pieces, such as dressers and bureaus. Back then, handmade screws and nails cost a lot and could rust and expand, sometimes cracking the wood they secured. Glues of the time weren’t much better and often dried out and weakened.
Simpler country furniture often had larger dovetails, or even a single pin and tail.

Towards the latter part of the 19th century, cabinetmakers began to use machines to construct dovetail joints, resulting in equally sized pins and tails running from the top to bottom of the joint. Today, cabinetmakers add a touch of glue to the joint to assure it will last for a long time.

Hand made dovetails remained the standard of good furniture craftsmanship until 1867, when Charles Butler Knapp invented a machine to cut  “scallop and dowel,”  or round-style dovetails, often used on late Victorian and Eastlake furniture. While Knapp’s machine revolutionized dovetail joint making, routers, producing the familiar keystone shaped pin and tail dovetail, came into widespread use and became the standard of better American furniture manufacturers today.

Since the dovetail joint has evolved over the last 144 years, the type of dovetailed joint, especially in drawers, can be used to date antique furniture. To approximate the date of a piece of antique furniture, remove a drawer and look closely at the dovetail joints. If it’s been cut by hand, the drawer will only have a few dovetails which will not be even. If the joints are closely spaced and precisely cut, then they’re machine-cut. Handmade dovetails almost always indicate that a cabinetmaker produced a piece before 1860.

Charles Eastlake—America’s Harbinger of Taste

QUESTION: I have a three-piece set of furniture that belonged to my grandparents and perhaps to their parents, and I'm trying to identify what it is. Can you tell me if you think it might be Eastlake and if so, what can you tell me about this furniture style?

ANSWER: What you have is an Eastlake parlor set, dating from around 1880. But it wasn’t designed by Charles Locke Eastlake. Instead, he only suggested designs in his book Hints on Household Taste in Furniture, Upholstery and Other Details. More than any other person, he was responsible for introducing the principles of the English design reform movement to America.

Eastlake considered simplicity the key to beauty. He thought the objects in people's homes should be attractive and well made by workers who took pride in their hand work or machine work. His influence led to a broad demand for relatively simple, clean-lined "art furniture" between 1870 and 1890.

Written to instruct the average housewife in the principles of tasteful home decoration, Eastlake’s book achieved immediate popularity. Though Eastlake included some of his own sketches among the illustrations of well-designed furniture chosen for his book, he was primarily a critic of taste, not a furniture designer. The furniture illustrated in it had ornamental features including shallow carving, marquetry, incised or pierced geometric designs, rows of turned spindles, chamfered edges, brass strap hinges, bail handles, and keyhole hardware inspired by Gothic forms. Every decorative device, according to Eastlake, also had to fulfill a useful function.

He especially disdained the "shaped" forms of Rococo Revival. He considered the curved forms of this Victorian style rickety and constructively weak. To relieve the simplicity of rectilinear forms, Eastlake advised using turned legs or spindle supports.

For those who wished more richness in their furniture, he suggested restrained, conventionalized carving, inlay, and sometimes even veneer. Eastlake believed ornament should be stylized rather than naturalistic.

His book further suggested that furniture be made of solid, strongly grained woods such as mahogany, walnut, or oak. Most Eastlake-style furniture found today is usually made of the latter.He preferred oil-rubbed finishes to "French-polished" ones, and disliked the shiny look of varnish.

To the modern eye, Eastlake-style furniture, with its intricate marquetry, gilded incised designs, spindled galleries, inset tiles, richly grained woods, and decorative turned elements, hardly seems “simple.” But in contrast to the heavily carved furniture of earlier Victorian decades, embellished with naturalistic roses and bunches of grapes imposed on the elaborate Rococo shapes now regarded as the embodiment of Victorian design, Eastlake-inspired furniture was remarkably functional and clean-lined.

Eastlake-style furniture often featured tables and chests with marble tops, some the traditional white, others in rich Italian pinks and browns. Tables and chairs had aprons and legs incised with horizontal or vertical lines called reeding and camfered corners. Round legs on chairs also featured ring-like annulets. And acanthus leaf designs could be found incised into even the least expensive pieces.

Unfortunately, while Eastlake-style furniture may have looked refined, most chairs and sofas weren’t very comfortable and were meant to be used in formal parlors for guests only.