Pattern book of upholsteryissuu

CONTENTS

Introduction by William S. Hooper

i

Notes on Upholstery

10

An Upholsterer's Perspective by Jody Xuereb

19

Guide to Using this Book

22

Sofas Plates 1—81

ii

115

Dining chairs Plates 146—161

iv

31

chairs Plates 82—145

iii

9

181

Miscellaneous

Chaise Longue, Daybed, Roundabout, Tête-à-Tête, Benches and Ottomans Plates 162—193

199

Appendices

235

1. Upholstery Details 2. Fabric Considerations and Standard Fabric Yardages 3. Measurements For Upholstered Furniture 4. Considerations That Come First 5. Upholstery Construction by Jody Xuereb

A Selected List of Upholstery Fabrics

262

Glossary

264

Index

269

Selected References for Custom Upholstery

270

CONTENTS

Introduction by William S. Hooper

i

Notes on Upholstery

10

An Upholsterer's Perspective by Jody Xuereb

19

Guide to Using this Book

22

Sofas Plates 1—81

ii

115

Dining chairs Plates 146—161

iv

31

chairs Plates 82—145

iii

9

181

Miscellaneous

Chaise Longue, Daybed, Roundabout, Tête-à-Tête, Benches and Ottomans Plates 162—193

199

Appendices

235

1. Upholstery Details 2. Fabric Considerations and Standard Fabric Yardages 3. Measurements For Upholstered Furniture 4. Considerations That Come First 5. Upholstery Construction by Jody Xuereb

A Selected List of Upholstery Fabrics

262

Glossary

264

Index

269

Selected References for Custom Upholstery

270

Guide to using this Book

Terms are often interchangeable. We mention a few here to highlight specific examples that are included in the book.

Often, a term or name is specific to one country—for example, the same model is described as a Gainsborough chair in Britain, while in America it is called a Martha Washington or lolling chair.

Or, current usage may ignore the word’s original meaning. “Couch” was historically used to describe a daybed that resembled a chaise longue more than a narrow bed. It is often assumed that “couch” came from the French word “coucher” meaning “to lie down.” A sofa is a more fully upholstered piece than a settee, which is usually seen as a historic model with an exposed frame (the seat and back can be upholstered). The settee developed from the settle, an earlier furniture piece that was essentially a bench with arms and a back.

While “sofa” and “couch” are used interchangeably, the two have different social connotations. A “couch” is perceived as “suburban” or “middle class,” while “sofa” is a term used by those “in the know” who are involved in the world of high-end design. As someone once said, the difference between a sofa and a couch is $20,000.

Billy Baldwin Slipper Chair A short and square armless chair named after the American decorator Billy Baldwin (1903-1983), who designed it. It is distinctive for the cut-out notch inside the back into which the loose seat cushion slips (plate 139).

Breck Most often a sofa, the Breck is defined by its distinctive scroll arm that slopes down from the top of the back to the front, and has a slight wing. It is a very deep model ideal for tall clients or large spaces (plates 33 and 34).

Bridgewater A very popular sofa or chair style. The distinguishing feature is the arm, which is called a “Bridgewater” or “English” arm. It is a variation of a roll arm, in which the front of the arm curves and wraps around to the outside (the fabric is pulled over).

There is an English edge that runs the length of the arm on the outside. The arm also has a distinctive dip in the middle. Typically the piece has a tight scroll back.

It also has a distinctive scoop on the side rail. Perhaps named after the town of Bridgewater in England (plates 39, 40, 96, and 97).

Buatta Chair A small-scale lounge chair with a distinctive horizontal split back and scroll arms.

Designed by the American decorator Mario Buatta in 1968 for his own apartment (plate 111).

Then there is the practice of naming models. Often upholsterers, trade-only showrooms, and retail shops attach names to certain styles. The name might reflect a decorative detail (like biscuit-tufted dining chair) or is chosen because of an enticing connotation to encourage sales (like Oasis sofa).

Chanel Sofa A popular model copied from the original sofa Coco Chanel had in her apartment above her boutique on Rue Cambon in Paris. The sofa was distinctive for its brown suede, length (approximately 9 feet long), depth (approximately 45 inches), and projecting paneled arm with nailhead trim. The distinctive arm defines it as a “Chanel,” while the size can vary (plate 36).

It is always recommended that a decorator present a photograph or a detailed drawing of the desired piece to the upholsterer before work begins—an image that has been approved by the client. This ensures that all agree.

u pholstery

Bank of England Chair An English style curved-back chair designed by Sir John Soane as part of his work on the Bank of England in the early 19th century. The arms have a distinctive form and curve continuously around the back. The chair was originally wood with a leather seat, but now may have a fully upholstered body with exposed frame and legs (plate 134).

Other terms denote true differences in form or function. For example, while “bench” and “ottoman” are sometimes used interchangeably there are some basic differences. A bench is long and narrow, usually without a back, never round, never skirted, nor fully upholstered, and is usually between 36 and 72 inches. An ottoman is round, square or other shape, usually fully upholstered, and commonly skirted, and is as tall as a bench (18 to 20 inches). There is also the footstool which is lower (about 12 inches) than both the ottoman and the bench and is usually only 18 to 20 inches in width.

Significantly, there are certain models of sofas and chairs that upholsterers and decorators refer to using the same proper name. These models were often named after the original commission or the decorator who created the original model (the origin in most cases is lost or not widely known). Usually, these pieces proved to be popular with the upholsterer’s other clients, so the model stayed on the showroom floor and became a “named” model. Each workroom has its own variations, but the overall forms are similar.

22

Here are some commonly known models:

Carr Sofa A sofa with a fat scroll arm that is approximately 12 to 13 inches wide. The back has a slight curve with lower corners (plate 35).

Chesterfield An historic sofa still produced today. The back and arms are at the same height.

The interior and exterior corners where they meet are rounded, creating a continuous flow. The back and arms are quite thick, always rounded, and often tufted (plate 69).

Davenport Sofa A curved sofa with the back and arms as a continuous piece in three parts. The back and arms are tight and fitted. The back is shaped. The model was designed

by Natalie Davenport, who worked for the American decorating firm McMillen (plate 14). Not to be confused with the term “davenport,” which is synonymous with “sofa” in some American regions, or the English writing desk.

23

Guide to using this Book

Terms are often interchangeable. We mention a few here to highlight specific examples that are included in the book.

Often, a term or name is specific to one country—for example, the same model is described as a Gainsborough chair in Britain, while in America it is called a Martha Washington or lolling chair.

Or, current usage may ignore the word’s original meaning. “Couch” was historically used to describe a daybed that resembled a chaise longue more than a narrow bed. It is often assumed that “couch” came from the French word “coucher” meaning “to lie down.” A sofa is a more fully upholstered piece than a settee, which is usually seen as a historic model with an exposed frame (the seat and back can be upholstered). The settee developed from the settle, an earlier furniture piece that was essentially a bench with arms and a back.

While “sofa” and “couch” are used interchangeably, the two have different social connotations. A “couch” is perceived as “suburban” or “middle class,” while “sofa” is a term used by those “in the know” who are involved in the world of high-end design. As someone once said, the difference between a sofa and a couch is $20,000.

Billy Baldwin Slipper Chair A short and square armless chair named after the American decorator Billy Baldwin (1903-1983), who designed it. It is distinctive for the cut-out notch inside the back into which the loose seat cushion slips (plate 139).

Breck Most often a sofa, the Breck is defined by its distinctive scroll arm that slopes down from the top of the back to the front, and has a slight wing. It is a very deep model ideal for tall clients or large spaces (plates 33 and 34).

Bridgewater A very popular sofa or chair style. The distinguishing feature is the arm, which is called a “Bridgewater” or “English” arm. It is a variation of a roll arm, in which the front of the arm curves and wraps around to the outside (the fabric is pulled over).

There is an English edge that runs the length of the arm on the outside. The arm also has a distinctive dip in the middle. Typically the piece has a tight scroll back.

It also has a distinctive scoop on the side rail. Perhaps named after the town of Bridgewater in England (plates 39, 40, 96, and 97).

Buatta Chair A small-scale lounge chair with a distinctive horizontal split back and scroll arms.

Designed by the American decorator Mario Buatta in 1968 for his own apartment (plate 111).

Then there is the practice of naming models. Often upholsterers, trade-only showrooms, and retail shops attach names to certain styles. The name might reflect a decorative detail (like biscuit-tufted dining chair) or is chosen because of an enticing connotation to encourage sales (like Oasis sofa).

Chanel Sofa A popular model copied from the original sofa Coco Chanel had in her apartment above her boutique on Rue Cambon in Paris. The sofa was distinctive for its brown suede, length (approximately 9 feet long), depth (approximately 45 inches), and projecting paneled arm with nailhead trim. The distinctive arm defines it as a “Chanel,” while the size can vary (plate 36).

It is always recommended that a decorator present a photograph or a detailed drawing of the desired piece to the upholsterer before work begins—an image that has been approved by the client. This ensures that all agree.

u pholstery

Bank of England Chair An English style curved-back chair designed by Sir John Soane as part of his work on the Bank of England in the early 19th century. The arms have a distinctive form and curve continuously around the back. The chair was originally wood with a leather seat, but now may have a fully upholstered body with exposed frame and legs (plate 134).

Other terms denote true differences in form or function. For example, while “bench” and “ottoman” are sometimes used interchangeably there are some basic differences. A bench is long and narrow, usually without a back, never round, never skirted, nor fully upholstered, and is usually between 36 and 72 inches. An ottoman is round, square or other shape, usually fully upholstered, and commonly skirted, and is as tall as a bench (18 to 20 inches). There is also the footstool which is lower (about 12 inches) than both the ottoman and the bench and is usually only 18 to 20 inches in width.

Significantly, there are certain models of sofas and chairs that upholsterers and decorators refer to using the same proper name. These models were often named after the original commission or the decorator who created the original model (the origin in most cases is lost or not widely known). Usually, these pieces proved to be popular with the upholsterer’s other clients, so the model stayed on the showroom floor and became a “named” model. Each workroom has its own variations, but the overall forms are similar.

22

Here are some commonly known models:

Carr Sofa A sofa with a fat scroll arm that is approximately 12 to 13 inches wide. The back has a slight curve with lower corners (plate 35).

Chesterfield An historic sofa still produced today. The back and arms are at the same height.

The interior and exterior corners where they meet are rounded, creating a continuous flow. The back and arms are quite thick, always rounded, and often tufted (plate 69).

Davenport Sofa A curved sofa with the back and arms as a continuous piece in three parts. The back and arms are tight and fitted. The back is shaped. The model was designed

by Natalie Davenport, who worked for the American decorating firm McMillen (plate 14). Not to be confused with the term “davenport,” which is synonymous with “sofa” in some American regions, or the English writing desk.

23

diagram of an upholsterd chair

diagram of an upholstered sofa

3-Part tight back (The divisions between each part are deep.)

Shaped fitted back Scroll back Welting

3 loose seat cushions Welting

Fully set-back, fitted scroll arm Outside arm

T-shaped loose seat cushion

Deck Outside arm Fitted "Paley" arm (see page 15)

Bow front Deck Kick-pleat skirt

Side rail

Double inverted corner pleat

Odom chair (see plate 99)

26

u pholstery

Tapered leg

Paley sofa (see plate 29)

27

diagram of an upholsterd chair

diagram of an upholstered sofa

3-Part tight back (The divisions between each part are deep.)

Shaped fitted back Scroll back Welting

3 loose seat cushions Welting

Fully set-back, fitted scroll arm Outside arm

T-shaped loose seat cushion

Deck Outside arm Fitted "Paley" arm (see page 15)

Bow front Deck Kick-pleat skirt

Side rail

Double inverted corner pleat

Odom chair (see plate 99)

26

u pholstery

Tapered leg

Paley sofa (see plate 29)

27

plate  25

plate  26

Neoclassical sofa, English, ca. 1815 Fitted scroll arm

56

u pholstery

Tight, fitted back

(1) Loose seat cushion, box border

Victorian sofa, English, ca. 1870 Exposed frame, saber leg with metal claw foot

Welting

(2) Pleated end bolsters with buttons

Splay arm, tufted

Tight, pullover back, tufted

Tight, pullover seat, tufted

Turned leg with caster

Exposed carved frame

Gimp trim

sofas

57

plate  25

plate  26

Neoclassical sofa, English, ca. 1815 Fitted scroll arm

56

u pholstery

Tight, fitted back

(1) Loose seat cushion, box border

Victorian sofa, English, ca. 1870 Exposed frame, saber leg with metal claw foot

Welting

(2) Pleated end bolsters with buttons

Splay arm, tufted

Tight, pullover back, tufted

Tight, pullover seat, tufted

Turned leg with caster

Exposed carved frame

Gimp trim

sofas

57

plate  92

plate  93

George II wing chair Set-back, fitted scroll arm

126

u pholstery

Shaped, tight pullover back

Wing chair Loose seat cushion, box border

Bow front, cabriole leg with pad foot

Welting

Set-back, flat-top scroll arm

Shaped, tight pullover back

T-shaped tight pullover seat, shaped bottom edge

Cabriole leg with ball-and-claw foot

Nailhead trim

cha i rs

127

plate  92

plate  93

George II wing chair Set-back, fitted scroll arm

126

u pholstery

Shaped, tight pullover back

Wing chair Loose seat cushion, box border

Bow front, cabriole leg with pad foot

Welting

Set-back, flat-top scroll arm

Shaped, tight pullover back

T-shaped tight pullover seat, shaped bottom edge

Cabriole leg with ball-and-claw foot

Nailhead trim

cha i rs

127

plate  150

plate   151

Chippendale ladder back style dining side chair Armless

186

Carved, open ladder back

u pholstery

Tight, pullover seat

Greek Revival style dining side chair Exposed frame, straight leg with stretcher

Gimp trim

Armless

Open back with carved acanthus leaf motif

Slip seat

Exposed frame with saber leg

D i n i ngchai rs

187

plate  150

plate   151

Chippendale ladder back style dining side chair Armless

186

Carved, open ladder back

u pholstery

Tight, pullover seat

Greek Revival style dining side chair Exposed frame, straight leg with stretcher

Gimp trim

Armless

Open back with carved acanthus leaf motif

Slip seat

Exposed frame with saber leg

D i n i ngchai rs

187

plate  174

plate   175

Roundabout Curved, sloping arm, continuous with backs

212

u pholstery

(view plan page 233)

Shaped, tight fitted backs

Concave, tight seats

Bullion fringe skirt

Welting

(3) Throw pillows, knife edge

Tufted Borne Armless

Conical back, diamond-tufted

Tight seat, diamond-tufted

Bullion fringe skirt

Miscellaneous

213

plate  174

plate   175

Roundabout Curved, sloping arm, continuous with backs

212

u pholstery

(view plan page 233)

Shaped, tight fitted backs

Concave, tight seats

Bullion fringe skirt

Welting

(3) Throw pillows, knife edge

Tufted Borne Armless

Conical back, diamond-tufted

Tight seat, diamond-tufted

Bullion fringe skirt

Miscellaneous

213

plate   186 a/b

plate   187 a/b

a) Square ottoman Tight, pullover seat

Exposed base, tapered, fluted leg with caster

a) ottoman Nailheads over tape trim and welting

224

u pholstery

Turned leg

Welting

Exposed base, tapered leg with caster

Nailheads over tape trim

b) ottoman

b) Bench Tight, pullover seat

Tight seat, tufted

Cabriole leg with pad foot

Nailhead trim

Tight seat, square pleating detail

Miscellaneous

225

plate   186 a/b

plate   187 a/b

a) Square ottoman Tight, pullover seat

Exposed base, tapered, fluted leg with caster

a) ottoman Nailheads over tape trim and welting

224

u pholstery

Turned leg

Welting

Exposed base, tapered leg with caster

Nailheads over tape trim

b) ottoman

b) Bench Tight, pullover seat

Tight seat, tufted

Cabriole leg with pad foot

Nailhead trim

Tight seat, square pleating detail

Miscellaneous

225

appendix 1g

upholstery details: leg and foot styles

1. Block Foot A thick rectangular foot with straight or tapered sides; often used for modern styles.

2. Bun Foot A squat, turned round foot with a flattened top and bottom.

3. Straight Leg A leg with the same shape and width from top to bottom, round or rectangular.

Paw foot

4. Tapered Leg A leg that gradually narrows from top to bottom.

248

u pholstery

5. Turned Leg A leg turned on a woodworking lathe to create various shaped details.

Commonly seen in the Jacobean style.

This illustration shows a turned leg with a round cup caster.

7. Saber Leg A leg that flares out, tapering slightly toward the bottom, like the curve of a cavalry saber. Derived from the form of an ancient Greek Klismos (chair) and often used for dining chairs, particularly for the rear legs which flare outward.

8. Fluted Leg A cylindrical or square leg with ornamental carving of shallow vertical, concave grooves, often rounded in section.

A variant has a carved reeded detail—a convex carving usually set within the concave flutes. Common on historical style legs, usually tapered.

9. Twisted (or Spiral) Leg A tapered leg incorporating spiral turning. Used on Jansen style chairs or sofas.

10. Inset Panel A round, square, or rectangular detail that starts 1/4 to 1 inch from the perimeter edge of the leg or foot. The leg or foot is carved to create a framework in relief around the recessed face of the leg or foot.

11. Upholstered Foot or Leg A foot or leg fully covered in fabric or leather, often extending uninterrupted from the main body of the piece. Used with contemporary styles.

12. Round Leg A leg that is cylindrical from top to bottom.

Ball-and-claw

6. Cabriole (or S-shaped) Leg The cabriole leg is a common historical style of an S-shaped leg. It is double curved; the upper part has a pronounced outward curve (often with carved decoration) that continues down to the tapered lower part that flares outward, ending in a foot (originally a paw foot as seen in Queen Anne pieces; the ball-and-claw foot was commonly used later, especially with Chippendale styles).

249

appendix 1g

upholstery details: leg and foot styles

1. Block Foot A thick rectangular foot with straight or tapered sides; often used for modern styles.

2. Bun Foot A squat, turned round foot with a flattened top and bottom.

3. Straight Leg A leg with the same shape and width from top to bottom, round or rectangular.

Paw foot

4. Tapered Leg A leg that gradually narrows from top to bottom.

248

u pholstery

5. Turned Leg A leg turned on a woodworking lathe to create various shaped details.

Commonly seen in the Jacobean style.

This illustration shows a turned leg with a round cup caster.

7. Saber Leg A leg that flares out, tapering slightly toward the bottom, like the curve of a cavalry saber. Derived from the form of an ancient Greek Klismos (chair) and often used for dining chairs, particularly for the rear legs which flare outward.

8. Fluted Leg A cylindrical or square leg with ornamental carving of shallow vertical, concave grooves, often rounded in section.

A variant has a carved reeded detail—a convex carving usually set within the concave flutes. Common on historical style legs, usually tapered.

9. Twisted (or Spiral) Leg A tapered leg incorporating spiral turning. Used on Jansen style chairs or sofas.

10. Inset Panel A round, square, or rectangular detail that starts 1/4 to 1 inch from the perimeter edge of the leg or foot. The leg or foot is carved to create a framework in relief around the recessed face of the leg or foot.

11. Upholstered Foot or Leg A foot or leg fully covered in fabric or leather, often extending uninterrupted from the main body of the piece. Used with contemporary styles.

12. Round Leg A leg that is cylindrical from top to bottom.

Ball-and-claw

6. Cabriole (or S-shaped) Leg The cabriole leg is a common historical style of an S-shaped leg. It is double curved; the upper part has a pronounced outward curve (often with carved decoration) that continues down to the tapered lower part that flares outward, ending in a foot (originally a paw foot as seen in Queen Anne pieces; the ball-and-claw foot was commonly used later, especially with Chippendale styles).

249