CHAPTER I
Historical
Upholstering in its broadest sense means the furnishing of a house with draperies, curtains and other hangings; bedding; coverings for couches, chairs and stools; and coverings for carriages and automobiles.
The word upholster, or upholsterer, designates the workman who hangs the draperies and attaches textiles or leather to furniture. In the early days of the craft, as well as today, draperies had to be hung in a manner that assured retention of their shape, and textiles required stuffing and springs underneath to give the fabric permanent form. This holding up attribute led to the use of the words “upholder,” “upholster,” “upholstering,” and “upholsterer.” These applied also to furniture huxters who held up their wares for inspection when sold at auction.
“The old time castle or baronial hall, with its strong stone walls and stone floors, was, so far as comfort went, little better than the clay hut of the feudal serf; but when the ladies of the baronial family had excogitated, or acquired the art of needlecraft, and had become proficient therein, the “up-holder” sprang into being, as a necessary adjunct to an important family. The ladies’ needlework (tapestry) was obviously adapted to drape the rude stone walls of the feudal hall, and the artisan who could drape or hang it effectively and without injury was a useful dependent, or tradesman, who, as he caused the tapestry to “hold up,” naturally became known as an “up-holder,” or “upholsterer.”
“The Egyptians from the earliest times used upholstered couches, chairs, and footstools,” says Richard Bitmead. “It is known, too, that their neighbors, the Assyrians, excelled in weaving and practiced the art of decorating draperies by the introduction of gold in the woof. The rich carpets of Persia and the muslins of India were in use for ages before the Romans set foot in Britain, and there can be little doubt but that the Oriental people raised the art to a very high standard, and long before the trade was known in Europe. But at the present time, much more so than formerly, the progress of the arts, the refinements of taste, the caprice of fashion, and the habits and requirements of luxurious ease, which have extended to all classes of society, have given a greater impetus to the trade and a far higher importance to the art of upholstery than it has ever before attained.”
Research shows that in the early seventeenth century, at the beginning of the Jacobean period, stools, chairs, settees and sofas were upholstered. Both seats and backs were padded and covered with leather or textiles. Sometimes, instead of tacking the goods onto the furniture itself, loose cushions were made to fit the frame. These cushions were called “squabs.” With the introduction of leather in upholstering, comfort was not the primary thought, but in common with all structures of the period, durability was a first consideration. So the leather utilized was thick and stiff, thus offering durability, but little comfort.
The Flanders chair shown in Fig. [1] is done in leather. It is one of two side chairs from the seventeenth century. One has a plain leather back; the other is tooled, illustrating a decorative coat of arms. The leather in this chair is made thick and rigid by the use of a stiff paper core, on both sides of which is glued a jute-like fabric, and over this the leather. This makes a five ply composition of almost everlasting wearing qualities, but very susceptible to checking and cracking.
The arm chair shown in Fig. [2] is Italian, from the early seventeenth century. It has carved finials. Webbing is used as a foundation for the seat, over which a jute-like fabric is fastened. A canvas fabric is placed over this. The stuffing is placed over this and covered with leather, which is nailed to the structure with large, flat, brass-headed nails. The edging is a fabric gimp with fringed edge.
The arm chair illustrated in Fig. [3] is Italian, from the sixteenth century. It has carved finials but no turned work. The leather back is tooled, and gilded with an elaborate design. The leather seat has been blocked up from below to maintain the original appearance, and the leather is not the same grade as used on the back. Round headed nails, of two sizes, and the fringed gimp, complete the ornamentation.
