Artisanal Upholstery: Gilded Antique French Settee and Chair in the Traditional Manner

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I had these antique pieces in their run-down state for a couple of years. When I acquired them, I knew they were the kind of thing that would not settle for ordinary. When they came to me, they looked like this:DSC_1069

You really couldn’t sit on the settee because the springs were falling out of the bottom, but the seller had stripped the old fabric off and put this muslin on, I think to make them more attractive. She needn’t have done that; it was pretty easy to see their potential no matter what. The gilding on these pieces was untouchable–shiny in many places, worn, dull in spots, greenish in others, glazed in some crevices, missing in some areas–and tells a story that no one will ever hear. They are very old, and obviously hand-carved, in mahogany. They needed a special fabric, and when I saw the Designers Guild Mattiazzo, there was no question about their future.

I don’t use foam when I upholster antique pieces. I have invested in learning and practicing the traditional ways of upholstering that include hand-tied coil springs, excelsior foundation, burlap, stitching the integrated sculpted edge roll for structure, and stuffing with horsehair and cotton. It’s labor intensive and expensive, but beautiful and long-lasting. When I’m done, it feels like I have created a piece of art, not just furniture. I call it “artisanal upholstery”.

Come into my studio! Here are a few process shots to show just how intricately constructed the guts are in these pieces:

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Fitting the muslin cover to hold in the bridled horsehair. After that, several layers of cotton go on, under the finish fabric cover. You can see how many previous layers of upholstery had been applied by the number of tack holes left behind!

 

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Wood wool (excelsior), gathered up and bridled into an approximate foundation shape on top of the burlap covered hand-tied coil springs.
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Wood wool (excelsior), covered with burlap and tacked down, ready to stitch into shape.
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Wood wool under the burlap, stitched with linen twine into an edge roll. The stitches go through the wood wool and keep the stuffing rigid all around, so the seat won’t sag.
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Lots of hairy horsehair to make a comfy seat when compressed under the cover.
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As with the chair, the settee got eight-way hand-tied coil springs.
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On the inside backs, there’s fluffy horsehair under the lovely designer fabric, covered to keep it pristine while the seat gets built. The seat front is not going to sag on my watch! All those stitches keep it firm for the second stuffing of horsehair.

And, voila! Many steps later, we have the finished product!

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French Antique Gilded Settee in Designers Guild Mattiazzo
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The back of this unique settee is wrapped in a lush cobalt blue velvet with double self-welt all around. Makes for a cohesive look.
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French antique gilded chair, covered in lush cobalt velvet, with double self-welting.

 

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Designers Guild Mattiazzo is applied to the back after sagless burlap and a layer of cotton. Double self-welt all around completes the look.

Here they are together, comparing notes on how far each one has come over the last 100 or more years. We’ll never know where they started, but they aren’t planning to quit anytime soon!

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Antique French Carved Mahogany Gilded Settee and Chair. I can see them in an art gallery or sprinkled in with some modern pieces in a collector’s home.

These are for sale. Check them out in my Etsy shop. You can also contact me directly.

Traditionally Upholstered French Dining Chairs: More Horsehair and Burlap!

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French painted and traditionally upholstered vintage dining chairs

I have discovered that I love making upholstered furniture. Not, by the way, with foam stuffing. Using traditional methods of upholstering furniture is like sculpting with stitches. You are not at the mercy of the materials, but the materials are at the mercy of your hands. Horsehair, cotton, and coiled springs–a great combination for truly stylish, refined furniture with longevity. Kind of like putting yourself out of business!

These began on a Craigslist whim, as most of my purchases do. I loved the curve between the front legs on these antique mahogany chairs. I knew the frames would look amazing in black, topped with some velvet. And pink. Pink was required. They were so sad and neutral. See:

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As found, these are the Craigslist chairs. Vintage carved mahogany, with loose joints, nicks and dents.

Since my new favorite thing to do now is upholstering, I knew that six of these babies would provide me with adequate practice to get it right, and they did. After ripping out the old guts, including the old zig-zag “springs”, sanding, and repairing every lose joint, I painted them black and put a satin topcoat on them. That was the easy part! To upholster, I did them in phases, perfecting my technique: webbing, springs, burlap, horsehair, muslin, cotton, velvet. And the seat backs: fabric, stuffing, support, stuffing, fabric. I’m really having a hard time preferring any other way to spend my time!

Some highlights of the process:

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Eight-way hand tied coil springs–takes a few hours, but so worth it in the end! Gives the chairs longevity and a very nice crown on the seat.
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Plenty of horsehair bridled in and fluffed–it compresses and becomes very comfy.
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Nice sculpted seat-the edge roll inside protects the fabric from the wood edge and keeps the horsehair contained on the frame. The muslin gets stretched and pulled to get the shape of the seat. The holes are where the regulator is stuck in and rotated to get rid of lumps and pull unruly horsehair into submission.
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In this photo, I haven’t cut the fabric around the seat and back yet…but you can see how nicely they are shaped! And they feel firm, yet resilient.

The pink floral seat backs got tightly woven burlap to keep their shape, and layers of cotton. This floral fabric has a very linear weave, so it was important to keep the weave straight, and tight as a drum.

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Two of the French girls. The set of six went to a buyer in Kentucky shortly after I listed them.

Yards and yards of double welting made from the velvet brought the whole look together. I was actually sad when they were done. But they made someone in Kentucky very happy!

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Everyone should keep some chairs on their table, don’t you think?!

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There are some nice furniture pieces in my Etsy shop, as well. Check them out here.

 

Horsehair and Burlap: Vintage French Upholstered Chairs

A few years ago, I began to be attracted to lovely photos of creatively upholstered furniture. I looked at them with an aim to recreate them myself, and with my creative skill set, I knew I could do that, albeit not without a struggle. I found these old French chairs, which are slightly different, but both in need of serious reconstruction.

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Seen better days…

These were found at two different places, and were in equally horrible condition. Both were stuffed with crunchy old hardened foam. My aim was to bring them back to fine antique condition, which entailed learning a whole new skill set: traditional upholstery. Techniques used in this method of upholstery involve no foam. I had to learn how to tie springs by hand, stuff with excelsior (wood wool), stitch with twine into burlap, pound tacks, arrange horsehair, and tuft, tuft, tuft.

This sort of trade is disappearing. It is time consuming and takes much practice. It is expensive. However, the finished product is sculptural and long-lasting. It will never harden or crumble. It is authentic. It’s also a bit of a hunt to find someone who will teach it to you. I could go to the UK, where the craft is very much alive, and is taught many places, or I could go to Nebraska. I was referred to a master antique upholsterer there who was willing to have me spend a week training in his workshop, so I went.

The week I spent with Kim Buckminster, of Buckminster Upholstery, was eye-opening. There wasn’t nearly enough time to learn everything, but I got started on one of these chairs. He taught me many different techniques that I could apply, but most importantly, I learned the FEEL of good upholstery, and that details matter. I left with an awe of his talent and techniques, and a vow that I would do this.

Over the next year or so, I worked on these chairs, off and on. I read old upholstery manuals found at thrift shops and traditional upholstery tomes that aren’t even in print anymore, found on Amazon. I did, undid, and redid many of the steps along the way, because they did not meet the standard I was looking for. Tufting was the hardest. It was like an instructor put the same inside back in front of me every day, and I had to strip it at the end of each day until I got it right! But all that was practice, and actually very satisfying, because in the end, I got two skillfully upholstered chairs in the traditional method. And it was my kind of fun.

French Shield Back Chair Fronts
French Shield Back Chairs with Velvet Tufting and Linen Seats
French Shield Back Chairs Backs
French Shield-Back Chairs with Tufted Pink Velvet, Printed Linen Seats, and Hand Stitched Cording

Here are a few progress shots so you can get the idea of all the steps that were involved!

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The “tacking-down” phase, over sculpted wood wool and hand-tied springs on webbing.
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Blind stitching to sculpt the first stuffing of wood wool. Left chair has two rows of blind stitching and one visible row at the edge, while the right chair has one blind stitch row and two visible rows. The right one is the correct way, but it was fine to leave the left one as-is; the structure is essentially the same. I got a little tired of ripping out by then, so I left it. The tufting on the right chair had the wrong proportions, so it came out later to do over.
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Lots of horsehair for the second stuffing of the seats! It is held in place by “bridles”, believe it or not. Neigh. You can see the stitching lines that sculpt and firm the first layer of stuffing–the wood wool. In future projects, I hope to get those straighter and more even. Details count.
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Horsehair second stuffing of the seats is now tamed. The horsehair tufted backs are not even–I ripped out the right one yet again after this photo to restuff so the fabric would fold better in the diagonals. You can see the nice, firm, sculpted edge that gives the chair its structure and shape. There will be no sagging of the front here when you sit!
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After getting the tufting right, this is what the backs look like. I ended up using seat webbing because I was unhappy with just sagless burlap to hold the tufting. Now it’s really secure and firm. Makes me happy, even though no one will see this. By the way, I switched to staples at this point because even purists have to take an acceptable shortcut in the interests of time and frustration. As an amateur, I needed three hands to complete this with tacks, and I only had two.
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Here’s the fitted back being hand stitched to the cording. The back got some cotton stuffing in the void and sagless burlap, another layer of cotton, and this pretty fabric. Stitching is fairly therapeutic for me, and curved needles are a necessity. The cording is tightly twisted, so it was tough to put the needle through, making this a not-so-quick process.
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After stapling the cording on, I had to snug it up to the edge of the chair for the best look. This entailed more hand stitching, and removal of the cording lip around the legs. The brighter pink wool seat back here was one of those steps that got redone because I didn’t feel it was stuffed properly. After removing it, it had too many tack holes in the back and had been trimmed already, so I really couldn’t put it back on easily. I switched to the velvet at this point.

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This is not a tutorial. It is my attempt to shed some light on the upholstery trade I admire. I see so many upholstery tutorials in blogland made by people who don’t do upholstery very well, and shouldn’t be telling other people how to do it. The “looks okay to me” style of upholstery, with crooked box cushions and loose, wrinkled fabric causes people to be fine with a lower standard. I have found that most people don’t even know what their furniture is stuffed with. Some think that quality upholstery is “too expensive”, so they buy at mass-market low-grade furniture stores. Not surprisingly, those pieces have very short useful lives when the foam disintegrates or sags, and are not worth recovering.

Personally, I look at furniture differently now. Foam has its place, such as in contemporary or mid-century modern pieces, but it also has different levels of firmness, quality, and longevity.  I am a firm believer that you get what you pay for! These chairs will have a long life, and when the fabric wears a little, you’ll only need to take the finish fabric covers off and replace them. The guts will stay in shape for the next 50-75 years!

I’ll be attempting more traditional upholstery projects. I’ve started on a set of six antique French dining chairs and they won’t take me as long because there’s no tufting, and I know what I’m doing now!

These cuties are for sale. Contact me directly, or go to my shop. I have a lot of beautiful, skillfully done, one-of-a-kind vintage furniture pieces for sale there.

 

 

 

 

 

Dull Brown to Bright Blue: Chinoiserie Finery and the Kent Coffey Lotus Dresser

So, this potentially great piece was at my local Habitat Restore. It’s from the Lotus collection, by Kent Coffey. Very vintage. I looked at it for several weeks, which was a long time for a dresser to sit at that place. It needed a LOT of work. In addition to missing drawer runners, someone had begun to deeply carve one of those “I love…” hearts in the top (and left us in suspense), with some extra scratches for good measure. But the wood was good, veneer intact, and it had sensational solid brass pulls and plates. Here’s how it looked:

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Brown, dull, and damaged.

The whole piece, you can’t see, was brushed with someone’s idea of a refinish–drippy, sloppy varnish. It all had to be scraped and sanded, and well, de-browned. So, I did. Here:

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How do you like me now?!

The plates and pulls were delacquered, polished, buffed, and relacquered to make them gleam against the bright blue. I used the bright blue because it made the brass hardware look really really good. And I used the gloss finish because just about everything looks great with gloss.

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Kent Coffey Lotus Dresser 5

It’s amazing what paint will do, isn’t it?

Check out my pieces in my Etsy shop!

Drexel Faux Bamboo China Cabinet: Gray and Gold Glam

This makeover is so me. It was a great price at the thrift store, so even though it was monstrously heavy, I could see it finished in my mind, so it came home with me. This is what it looked like:

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Very brown. Very dull. Only one flaw–the exposed wood under the chipped carving on the bottom left door–an easy fix.

Prep was time consuming, though. All the glass panels had to come out, piece entirely sanded–all the grooves and carvings, inside and out. I sprayed the beautiful gray, then hand painted all the gold accents, and then sprayed a nice glossy finish. Replacing the cleaned glass panels meant making new painted wood stops, mitred and tacked, for each panel inside to replace the old brown rubber stops. But the result? If you like vintage furniture, Hollywood Regency style, it’s really breathtaking.

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Drexel Faux Bamboo Cabinet City Girl Arts

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Such a satisfying a result. Such a nice piece. It’s in my Etsy shop.

 

Peacock Green Milkpainted Antique Dresser with Agate and Brass Pulls

Just for fun, while I dragged my heels finishing up some tedious touches on one project, I did a (supposedly) quick project. I had previously stumbled upon, and brought home, the perfect dresser for some milk paint, which I have been yearning to use for some time. This one was in great structural condition, so all it needed were cosmetic improvements. Here it is:

Dull, brown dresser with potential.
Dull, brown antique dresser with potential.

I always sand and prep every piece carefully. I didn’t want any chipping with this one, so I also added the bonding agent. I’m convinced that this material is just watered down polyurethane, but I’m not a chemist and they don’t list the ingredients on the bottle.

I used Peacock, from The Real Milk Paint Company. I enjoy the lights, darks, and striated colors of milk paint mixed from pigments and powders. When I have an actual antique (not just vintage) piece, it’s my paint of preference.

It took many coats because I mistakenly sanded through the finish down to raw wood around the original pulls, which had cut large circular patterns in the wood that I knew would show when I used different pulls. When you don’t sand evenly with milk paint, it soaks in differently and becomes very obvious. Drat. At one point, I had to cover the whole thing with flat polyurethane to get an acceptable even finish with several more coats.

When the piece looked done, I coated the whole thing with tung oil. This brings out more color in the paint, and enriches it. The drawers were sanded and sealed inside, and the great steel casters were rubbed with a little gold wax. Then I put on the jewelry: green and yellow agate pulls from Anthropologie. Those are what this piece is about, anyway.

Anthropologie Agate Pulls
Anthropologie Agate Pulls
Peacock Green Milkpainted Antique Dresser
Peacock Green Milkpainted Antique Dresser

See the striations? That’s what I like about Milk Paint.

Looking like a chameleon--changing in different lighting!
Looking like a chameleon–changing in different lighting!

A few spots did chip, so I ended up sanding those back a bit and reapplying the paint and the oil. It’s a very relaxed, very livable look with a pop of glam in the fascinating brass mounted agate pulls.

Available in my Etsy shop.

American Empire Conversion: Tumble-Down Dresser to Smart Buffet

As I have mentioned before, these old Empire dressers are ubiquitous. And, age does not mean value every time. Since this one was in such terrible condition inside, it wasn’t worth rebuilding and trying to restore. It was, however, worth sharpening my skills and creativity to make something new out of it. A buffet came to mind: keep the top drawers and make a new open space out of the bottom.

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The bottom drawer sides, the actual supports for the drawers on the runners, were so worn down that each drawer had to be lifted into the frame to close it, causing chipping to the face veneer. The drawer sides would all need to be replaced (dovetails and all), which was not going to happen. The drawer supports (I call them runners) had all been poorly replaced sometime in the past, as you can see from the back (which was also missing).

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There were no dividers between the drawers anymore, so the soft old wood dust was raining down on whatever was stored in the drawer below every time they were opened or closed. The drawer bottoms were falling out from shrinkage and expansion over the years.

So, I gutted the insides. A few whacks with the hammer and the drawer runners came right out. No regrets.

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The newly freed open space got a lining of new wood, filled and sanded.

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I remembered some hardware I bought at a picker’s paradise in Pennsylvania called Shupp’s Grove. They were very old, stamped metal shield pulls. These pulls, and the stiff, upright nature of the piece’s side columns, inspired a military/nautical style paint treatment, using navy, white and gold. Like so:

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ATTENTION!
(Despite the photo angle, those stripes are actually perfectly centered)

Navy and White Empire Buffet 3

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So fun to do, and far more appealing than the old brown ubiquitous dresser. Check it out in my shop: city girl arts on Etsy.

Let me know what you think on the post on my facebook page, or in the comments below. Thanks for reading!