Fluted Chair Reupholstery Rescue!

Chair After

Chair Before

This chair was in desperate need of being rescued from severe damage from an enthusiastic dog or two. The seat was not usable because the springs were exposed from the large tear and were also damaged beneath. The left arm had been chewed to expose the wood. This chair certainly needed a lot of attention and dedication of time to bring it back to life.

The style of this chair is fluted, or channel back. These “flutes” or “channels” are created by sewing the separate front strips of fabric to a large backing with lines marked according to size, then stitched to the backing fabric and stuffed with cotton or polyester fiberfill to create the flutes.

My first approach was to remove all the old fabric, nails, staples, stuffing and webbing. Once I got down to the springs, I realized they needed to be re-tied which meant they had to be removed along with the old webbing which holds the springs in place. This is an intense process that takes a lot of patience and time to do it right. But there are no shortcuts to good upholstery. Once the springs were secured and tied, I began to build up the seat to create that nice “crown” which is an important element in a nicely structured chair. The first step was to cover those springs with burlap and secure it to all the sides, keeping the springs in their respective places. A layer of cotton batting was next, followed by a section of foam to cover the seat, another two layers of batting then covered with a large sheet of high thread count muslin. This gives the seat a pre-finished look and the top fabric a good foundation to adhere to.

Once the seat was done, the next step was the interior of the arms. Like the seat, I added several layers of batting to build up the arms, then covered them with the new fabric. You must have a “feel” for how much batting to use. Once you’re satisfied with the cushy feeling, it’s ready for fabric. Then it was time to install the flutes.  Essentially flutes or channels are constructed with a series of separate fabric sections stitched together to create one large piece, which is then attached to the chair as one unit. This is tricky because the flutes, or channels, must remain centered while you are working the fabric, attaching them to the top and bottom of the chair. Lots of tugging and pulling at this point! The center flutes were pre-stuffed prior to attachment, then the edges are filled in place after the flutes are attached by filling in the areas with layers of cotton or poly batting, then secured with staples.

Next step was the outside of the arms. I attach them using cardboard strips stapled underneath the side arms then pulled downward and attached to the underside of the chair. Snip close to the curve so later you can finish it off with the cording or piping. Lastly was the back. I use ply-grip, which are sharp little spikes on a roll that attaches to the curved back of the chair with staples or nails, then each ply-grip section is bent toward the chair halfway, while gently folding the fabric into it. Once all the fabric is wrapped around the sharp spikes, you pound the ply-grip down with a rubber mallet or hammer to secure it permanently to the back. This provides a seamless, clean back.

The fun part was adding the piping/cording to the front arms and around the back where the ply-grip was attached. This is my favorite part because it means I’m close to being done! The chair was very challenging but each time I work on such a project, I learn a new skill or how to do something a little bit better and that’s the true reward of this type of work.

Left side before - Right side after

Cute Rocking Chair Caning

Rocking Chair After

Rocking Chair Before

This was a very dainty, cute rocking chair that as many before it, had a broken seat.  It’s not uncommon for older caned chairs to become brittle and are easily damaged when a knee happens to land in the center of it or it one sits in it a bit too hard. While a caned chair can last many years, they do require a bit of a gentle touch when used as an everyday chair. Luckily the back of the chair was still in tact, so just the seat needed replacing.

As a smaller chair, this one was perfect for a shorter person as it was close to the ground, so it would be easy to get up from. I loved the curved arms of this chair. They were so smooth and well made. The chair was also very sturdy.

This was a strand caning job, which means that the caning is woven in the six steps used for this method. The first three steps are fairly straightforward, front to back, left to right then front to back once again to cover the first row. 

The next step is the first weave, under step three over step one. You do this until the entire chair is done, then you begin the first diagonal weave starting in the upper right corner and working your way to the back, then picking up and working your way to the front of the chair. The next diagonal weave is opposite the first, starting in the left corner and working your way to the back, then finishing the same way you did for the first weave and working your way to the front. 

Once the diagonal weaves are done, you use a wider strand of caning to bind the edging by pulling through the narrow caning up and over the wider caning until it covers the holes. The very last step is tucking in all the loose strands that pile up on the underside of the chair. This requires pulling the loose strands underneath the tied ends and pulling them tightly before snipping them off. Then the chair is done.

Caning is a dying art. Not many people do this tedious work anymore because it takes time (a commodity for sure) and patience. My first few chair took me over a week to do, but as I progressed, the process became easier and I became more proficient at each step. Tip: you need to really pay attention to the direction of the weave in all steps. If you go in the wrong direction, you usually won’t spot it right away, but it will throw you off and then you’ll have to undo all the wrong caning and redo it or it won’t work right and you’ll see it. Take your time and do it right and it will save you a lot of heartache and headache down the road.

Ladies Antique Chair Reupholstered

Antique Chair After

Antique Chair Before

I believe this chair dated back to the late 1800’s. It had a broken arm and lower right side unattached, this chair had seen better days. The fabric, though old, was reupholstered since the chair’s construction, however it was done a long time ago. My guess it was done sometime in the 1940’s, judging by the needlepoint style material they had used. 

This chair had likely been made with seat springs, but during the 1940’s upholstered was replaced with thin plastic webbing on the bottom of the chair. It also had a couple hundred tacks surrounding the bottom seat as well as the arms and back rest. My customer had planned on doing the work herself, so she had already removed the needlepoint fabric from the backrest of the chair, but soon realized it was quite a bit of work.

Removing the material was time consuming and tedious. First I had to remove hundreds of staples. These staples were not your average staple, but extra thick copper staples that were quite difficult to remove. Removing that many staples gives your upper body a workout (translation: you will be sore the next day!) Then I had to remove all those tacks, which were rusted and stuck to the fabric in most of the areas. Using tack removal tools as well as a vice grip helps the process along. 

Once all the staples and tacks were removed, I could remove the old fabric. The chair had a broken right arm, which was obvious, but after I removed the material, I discovered it also had come apart at the lower right leg/seat area as well as a portion of the front of the framework. Jim made the necessary repairs then I could start the process of adding the new fabric.

The chair had a very old, very brittle cushion which was shaped to fit the chair but was no longer usable as it had the texture of a loaf of dry bread. As I was removing the staples the foam was leaking a yellow powder which resembled a cake mix. No way would I reused this foam. Instead I created a new foam seat base after I built the foundation with webbing. 

I used 2” foam cut to size which covered the underside webbing, then I added criss-cross webbing on top of the foam, front to back and left to right, for a more stable seat. Next I added a thick layer of raw cotton, which comes on a roll and can be torn apart, easily filling the seat area. This cotton is very soft and wonderful to use on a chair’s seat. On the raw cotton I added a fitted cut size of 1” foam followed by a second layer of raw cotton. Finally I topped it off with a double layer of polyester batting to hold everything together with a good top base. I always use the “sit on it” test before adding the fabric, which means I sit on the chair and if it feels good to me, it’s ready for material. 

The customer provided two identical fabric panels, each with a single large flower which she had wanted centered in the seat and back portions of the chair. She also brought purple velour for the small section of the arms and the open back facing fabric (not seen in photos). The purple color choice was perfect as it pulled the color from purple flowers. I added gimp trim along the bottom edge, arms and top front to cover the staples and add a touch of elegance to the chair. It was once again a beauty that will last another hundred years. 

1940s Bedroom Refinishing Project

Low Dresser After

Low Dresser Before

This was one of several pieces of a 1940s vintage bedroom set which Jim recently refinished. It had seen some wear because it had been used for a few generations and needed some revitalizing and love. 

We were excited to take on this project which had two dressers as seen in this post. This bedroom set also had a mirror, bed with headboard and footboard and side rails (not pictured). It’s difficult to get photos of the items when they are delivered in sections. This furniture was in pretty good condition, had great bones, but the exterior had seen some wear and scratching, not uncommon for a vintage bedroom set. Luckily there was no structural or water damage which can be harder to rectify. 

Jim had blended two different stains to obtain a unique color that best suited the furniture. It turned out to be a perfect color for the dressers, resulting in a rich tone which best shows the woodgrain which was hidden prior to the refinishing. That’s one of the many perks of working with stains; custom blending which results in a unique color. It’s quite noticeable in the tall dresser (below) what a variation in color can be in the “before” photo. When furniture is made in a factory, the staining process is quite different from refinishing by hand. They use a spray stain that has a different look, more opaque so the woodgrain is not as visible as it is once it is stripped and refinished. One of the benefits of the hand stripping/refinishing process is that it exposes the natural beauty of the wood.

The scratches on the tops of the dressers were superficial, so they were easily sanded down once the dressers were stripped. Dressers require a great deal of work because each drawer is an individual section that requires removal of hardware and is treated one at a time while stripping, sanding and staining before finishing with polyurethane to protect the finishes. The low dresser (as seen in photos above) had six drawers with general depths. These older dresser have much more space than their newer counterparts and are made very well, so they are usually worth refinishing. It truly is an investment worth doing to preserve a piece of your family’s history.

Tall Dresser After

Tall Dresser Before

The taller dresser (shown left) had four large drawers and two smaller ones at the top. The oval hardware was original in the Federal style. Some customers prefer the original hardware and others like to give their furniture an updated look and replace it, but either way, refinishing a bedroom set is always worth doing because you already have made the investment in the furniture, so why not keep it for generations to come? It’s a wonderful way to honor your family’s history. 

Boat Cushion Upholstery

 

Salon Bench Back Before B&W

This is one of ten cushions I reupholstered for a powerboat. At left is the “before” photo, the largest cushion of the bunch, measuring at 48” x 18”. I didn’t feel it was necessary to include all the cushions, but wanted to share how I reupholstered them.

Salon Bench After with Navy Fabric

These cushions, like many boat cushions, were split into two sections which run horizontally through
the center, as shown above in the original black and white cushion. This is where it is split. This process allows the manufacturer to use two different fabrics, but it also allows the fabric to be attached to the curve of the back without compromising structure. 

These two fabrics are sewn together at the center seam. The first step is to make sure both sections sewn together fits the cushion’s curve properly. It should line up with the outer edge of the cushion. Then a vinyl or leather “tab” is sewn right on top of both seams. I used vinyl I had remaining from a previous job and measured a 4-1/2” x 43” section to stitch to the fabric. This is what gets pulled downward and attached to the cushion’s base. (These cushions were attached to a thick acrylic base instead of wood and were heavy, but not too bad to work with).

Once you establish the fabric size is correct, put your fabric panel onto the top half of the cushion, stretching it over the top and back, then add a few temporary staples to the underside to keep the fabric from shifting. After you’ve added a few staples, you can staple the center leather or vinyl “tab,” while carefully pulling the fabric over the cushion on the top, easing it in position. Staple the upper sides to keep it from shifting. You can add more staples later and may have to remove the temporary ones to finalize its place. 

After the center tab has been completely stapled and secured, you can carefully pull the bottom portion of the fabric over the foam and continue to stretch and position it so it is as smooth as you can get it, attaching it with staples as you go. I have found that putting a few staples in strategic places allows you to keep adjusting the material until it is exactly where you want it, then you can complete the stapling process until everything is nice and snug. The slight puckering seen in the “after” photo will straighten itself out once the cushion it hung from its place on the boat. This is fine as the fabric needs a little bit of stretch to get it in position.

Underside of Cushion
showing tab stapling

My customer chose a lovely navy blue from Sunbrella®, perfect for boat cushions or outdoor patio seats. This fabric is mildew resistant and great for marine use. She opted for all cushions to be the same color instead of the two colors as it was originally. 

The cushions turned out great and surprisingly, the last two cushions I did, as shown on the one above, were the easiest ones of the bunch. Probably because by that time I picked up a few shortcuts from the previous cushions. Sewing cushions is not for the faint-hearted, as they require precise measuring, cutting and a lot of detailed sewing, but with patience and determination, this mission too, can be accomplished.

 

Dainty Fluted Chair Reupholstered and Refinished

Armchair Before

This dainty fluted chair, a ladie's chair, was in desperate need of updating and 
love. The fabric was stained and worn, with evidence of a cat who likely used the back to sharpen her nails. Needless to say this chair had seen better days. 

Armchair After

At a glance, the structure looked okay, but after I picked up the chair, the right side collapsed and was wobbly. Clearly there was internal damage to the frame. Once I began removing the fabric, I located the source of the damage. 

The far right support board was cracked and had come apart from the arm. This board needed to be reattached with glue and a single screw. The top curved board was cracked in the center; the inner right board had broken off at the top. Repairs included making a new dowel and reattaching the inner support board and gluing, then screwing the outer side board back in place to make it structurally sound. *(See photo below to see where the chair was broken and repaired).

Once the repairs were made and the structure strong again, the legs were stripped, sanded and restrained then protected with polyurethane. After Jim had worked his magic, it was my turn to tackle the exterior upholstery. 

This chair had zig-zag springs which were in great condition, so they didn’t need to be tightened or replaced. The first step was to cover the springs with burlap, which was stapled to the top edge of the seat. Burlap keeps the springs secure, while providing a good foundation for the layers that follow. After the burlap was secure, I added a 1” thick section of high density foam which covered the entirespring/burlap seating area. A few staples held the foam in place. 

Next, raw cotton was liberally layered on top of the foam, creating a nice “crown” for the chair’s seat. The raw cotton can be purchased per yard, or per a 10 yard bulk, which is the preferred method as it is less costly per yard. The final layer was a 1/4” foam, which was also stapled to keep it secure. I always give it the “sit” test, which is when I sit on the chair and test its softness and support. You shouldn’t feel the springs when sitting on a chair. If you feel springs, there’s not enough padding. I was satisfied with the thickness of the padding, so I cut the fabric for the seat and made the “V” cuts carefully around the arms and legs for a perfect fit. 

This was my first fluted back chair, so I researched how to create the “flutes,” or “channels.” However, before I could get to the fluted portion of the chair, I had to pad the arms and create new fabric panels for the sides. Using raw cotton and foam, I made sure both arms would be soft as well as supportive enough for the new fabric. I chose not to use the old fabric as templates. Instead, I made my own templates from muslin. This allowed me to customize the arms and create a “partial sewn” arm instead of just folding fabric and stapling in place. The fit was perfect. 

I can’t say enough about making an accurate template for upholstery work! It is an essential part of getting that perfect fit. And with plenty of muslin at my disposal, I was able to create accurately measured templates for each arm, then sew them together to test them before I cut the fabric. Templates can save a lot of time and fabric and ensure accuracy and a proper fit. Measuring is also essential. The more accurate the measurements, the better turnout. 

For the flutes, or channels, I used the original fabric as templates. I took apart the original fluting, separating them into individual units. (I like to iron the old fabric. This flattening makes it easier when cutting the new fabric). 

Once the flattened templates are laid on the new fabric, it’s necessary to allow a few inches to the top and bottom lengths, so there is enough material to pull underneath the seat and over the chair's frame. The individual units are then sewn together. Once they are attached, they are sewn to the backing fabric on lines you have created by measuring the original fabric. The lines on the backing fabric must be narrower than the flutes to create enough space for the fiber fill or cotton. My channels measured 5-1/2”, so I drew lines that measured 4-1/2”. 

Prior to attaching the flutes, I made marks on the top rail of the chair to line up the fabric to keep it centered. The last fabric panel I attached was the back. After it stapled to the frame, I created the double cording, or piping. This is used to cover the staples and add a customized look to the chair. 

The fabric I used for this project was burgundy, with a diamond motif, that I had used last year to reupholster a bench. My customer saw this fabric on the blog and loved it, so she wanted it for her chair. Luckily I was able to get the same fabric! It’s one of my personal favorites. You can view that bench by clicking on this link: http://finalefurniture.blogspot.com/2021/11/antique-bench-trash-to-treasure.html

This chair was a true challenge, but with each project, I learn and advance my upholstery and sewing skills, which I truly enjoy.

View of repairs 

*As pictured on the left, you can see the areas where the chair was damaged and needed repair. This needed to be done prior to the leg refinishing and upholstery.

A Very Old Rocking Chair Revival

Rocking Chair After
Refinishing w New Leather

Old Broken Chair
Before Refinishing

When we get an item of furniture, it varies in degrees of just
how bad it is and how much work it requires to get it looking good again. Jim and I love a challenge. The uglier it is, the more we love restoring it, because it provides us an opportunity to make it beautiful once again, in most cases, better than new. 

This old rocking chair was exactly the type of piece that gets us both excited in anticipation of what’s inside, what we’ll find and how to best treat the piece with the care it needs. And this one needed a lot of love. The springs were literally popping through the deteriorated fabric (see photo below). The stuffing was long gone and the webbing was hanging from the underside of the seat.

The first step in this type of restoration is removing all the old materials. And this chair had a LOT of decorative (at one time) nail heads that needed to be removed. Nail heads usually get bent when they are installed because the wood is so hard, it bends the nails, so they can seldom be reused. I recommended instead of using nail heads, I’d replace them with new welting, which is also known as cording or piping. This is a cleaner, more updated look and still appropriate for this type of chair.

Motor Coach Bench Upholstery

Bench After
New Fabric

Bench Before
New Fabric

This summer I added sailboat cushions and patio furniture cushions to my collection of upholstery work. I also reupholstered a bench seat and back cushions for a motor coach as well as all new window valances for same motor coach. 

My customer had wanted an updated look for the early 2000’s motor coach and chose a lovely blue material with a denim style and feel. She loved blue, so blue was what she chose. The fabric was a dream to work with and durable enough to sustain a lot of wear. It will stand up to many glamping trips for years to come.

The original cushioned back was fluted, but she wanted one single cushion instead of separate fluted sections. The foam required for this cushions was six inch foam to adequately fill the space. This involved removing the cushions, backing and the top and front “L” shaped trim pieces. The rest of the motor coach also were given updated window treatments to match the seating, therefore many individual pieces required to be stripped of all old fabric, update the worn foam valance sections and replace with the new blue fabric. Everything had to be carefully planned out and marked to assure each piece would be reassembled into the same spot. This was an organized way to tackle this project. The more pieces, the better you have to keep track of which one goes where!

I installed a new zipper into each cushion, since the old zippers were metal and too small for these large cushions. I prefer the newer continuous zippers which can be cut to any size, making the fit of the cushions back into their new covers much easier. If it can taken apart, it can be put back together. This applies to pretty much anything with upholstery work.

Antique Solid Cedar Chest Refinished

Cedar Chest After

Cedar Chest Before

This is one of many cedar chests we have refinished, but it is the third one that was solid cedar; it had no veneer on the exterior. It was in pretty good condition with just a few minor scratches on the top left side in the back. Because it was solid cedar, those scratches were easily sanded away, bringing out the natural beauty and scent of the wood. 

My customer had used it as a coffee table with a glass top, so it will be protected and serve a dual purpose for many years. Cedar chests are one of my favorite furniture items because they are so versatile. In addition to storing linens, they make great toy boxes, a place to hide Christmas presents from snooping children and a great place to store seasonal clothing because of their natural moth repelling fragrant interiors. There’s nothing quite like the smell of a cedar chest. The cedar tree is one of many nature’s beautiful contributions to a family’s needs in the form of storage, seating and beauty. 

In addition to their versatile properties, cedar chests come in various shapes, sizes and styles. The waterfall cedar chest is very common with its curved front top and heavy lid. Many of these cedar chests were built in the 1940’s, used for linens and towels. Some cedar chests have legs with drawers, in addition to the lid-top storage interior. My personal cedar chest has a built-in shelf that is a perfect place to keep smaller items like my husband’s ties, socks and table runners. I love it for storing my quilts and extra sheets. If you don’t have a cedar chest, you may find one at an estate sale or at an antique store. If they need to be restored, you may get it for under $100.00. The best deal I got on my first cedar chest which was a 1945 waterfall style, was $5.00 at an estate sale. I doubt I’ll ever find one that cheap again!

You can see the other cedar chests we’ve refinished by clicking on these links:

https://finalefurniture.blogspot.com/2019/11/solid-cedar-chest.html
https://finalefurniture.blogspot.com/2016/08/1948-lane-cedar-chest_22.html
https://finalefurniture.blogspot.com/2015/04/elegant-cedar-chest-revival.html
https://finalefurniture.blogspot.com/2013/12/1945-lane-waterfall-cedar-chest.html
https://finalefurniture.blogspot.com/2012/06/my-waterfall-cedar-chest.html

Ladder Back Rush Chair Repair

Rush Chair After
Replacement

Rush Chair Before
Replacement

This was my first time replacing a broken rush chair seat. Although I’ve done a lot of caned chairs, this chair was completely different from the caning process. The rush material can be a natural rush which is woven from cat tail leaves or fibre rush which is a man-made material using a paper product. For this chair I used 6/32” fibre rush that came on a 10 lb. coil. 

First I removed the old rush from the seat completely, then removed any residue and dirt before beginning the new weaved seat. Measuring the seat is the first step in the rush weaving process. You measure the front, then the back and deduct the back measurement from the front and divide by two. For this chair, it was one inch. I made a mark on each side, then began my front weave using this mark. 

The rush fibre strand is attached to the left side and wrapped around the front left and right until you reach the mark you made on the front of the seat. Then you can begin adding the rush to the back of the chair using the same technique. This is a long, tedious and very strenuous process. As you weave, it’s important to pull each strand very tightly before you continue to wrap each side. Using clamps to keep the rush in place is essential to keep it taut while weaving.

The weave begins with over the left rail, up through the middle, then over the right rail, up through the middle, over the back rail and up through the middle, over the back right and up through the middle, over the back left and up through the middle then over the back rail and up through the middle, then down the front of the chair where you started and begin the entire process until your weave reaches 2/3 complete. Cardboard triangles are then fitted into each side, top and bottom to fill the gaps, then you continue to weave until you reach the center of the chair. During the weaving process you need to add new coil when you run out by tying a square knot and continuing the tying the new rush to the piece you ended with. The knot should be somewhere in the bottom so it can’t be seen from the top of the chair.

The closer you get to the center, the more tricky the weaving becomes because you can no longer pull the large coil through the center, so you must pull it single strand through the center and keep going until you fill up the hole. Then you finish it off by tying off the bottom. I completed each chair by applying clear polyurethane to protect the chair from staining.

Rush Seat Before

Rush Seat After

Small Chair Gets Newly Caned Seat

Caned Chair After

 

Caned Chair Before

This was a nicely sized, small antique chair with a broken cane seat. This is a common problem with cane, it breaks easily when someone either puts a knee through it or tries to stand on it (not recommend). 

This chair was a standard strand weave cane, using a medium size cane. To determine what size cane a chair requires, you measure the distance between each hole as well as the size of the holes on the perimeter of the chair’s seat. If you’re unsure what size to get, it’s better to go a size smaller because ultimately it’s easier to work with.

I prefer this type of caning to the spline, or “press in” caning because although it is more time consuming, it is actually easier to do and much more accurate. I also prefer the look of strand caning to spline caning. The process for spline caning is completely different from strand caning, as the caning comes in a sheet anywhere between 16"-24” wide and sold by the foot, so if you are doing a chair that is 13” x 14” you need to get two lengths of caning in the closest size, but allowing an additional two inches on each side to allow enough cane to “press” into the groove on the top edge of the chair.

With the traditional weave as seen in this chair, you start by removing the old cane completely and make sure all the holes are cleaned out. Then you begin the weave by starting from the front center and coming up the back center, passing beneath through each hole, then back up again to the top, repeating this procedure until one side of the chair is completely filled in, then you repeat on the other side. The next step is the horizontal weaving, continuing until the entire chair is covered both vertically and horizontally. The third step is another row of vertical, this one going slightly to the left of the first row. This allows the additional weaving steps to be easier. 

The total process has six steps of weaving then the final step is the final edge which is secured with binding cane which is a bit wider than the cane used on the chair. You come up through each hole then down the same hole, over the binding then securing the it by pulling the working cane through snugly on the underside, then repeating this on each hole until you complete the entire chair.  You secure the corners with a 1” piece of round peg cane that keeps the corners from coming apart. On the underside of the chair will be the loose strands of cane which will be tied beneath the woven strands created through the caning process. This is the last and final step before the chair is complete and ready to use.

My first caning chair was quite the challenge, but after watching many videos and reading material, have since done many caned chairs. Each time it gets a little bit easier, because I understand the weaving process. I’m currently self-learning yet a new type of weave, a rush chair, which is a completely different process from caning, since the entire chair is woven from the corners to the center, ending with a very narrow space to fill in the last strand. Rush is either natural or manufactured, but the process is the same. I’m in the early stages of this, but this evening I finally figured out the direction and how to get it positioned correctly. When I’m done I will hopefully will have four nicely finished rush chairs and a new skill under my belt. I’ll be posing those too, so keep checking back!

Bedroom Set Gets Updated with Paint

High Boy Dresser
After Paint

High Boy Dresser
Before Paint

This was a well-made high boy dresser which was about fifty years old. It was one of three pieces of furniture in this bedroom set (four if you include the mirror, which is not pictured). This was the high boy, there was also a low dresser and a nightstand. 

My customer had wanted an updated look, so I recommended painting as opposed to refinishing it with stain. After showing her several paint samples, she did her own research and found a lovely neutral creamy beige color, which complemented the design of the furniture, bringing out the details.

Both dressers had plenty of drawers, which each had to be painted individually, thus removed from the dressers so they can be masked off and primed, then ultimately painted. We use a high quality paint that holds up well to daily usage. It’s on the costly side, but is well worth it. Painting requires a lot of prep work, so it’s better to use high quality paint. 

Low Dresser After
Painting

Low Dresser Before
Painting

All in all there were fifteen drawers to mask off. The reason for this masking is so that the non-painted portions of the drawers remain unpainted. 

Our customer had the foresight to label each drawer so that they are easily reinstalled into their proper places in the dressers. You’d think that you could put drawers anywhere within the same dresser, but that’s not always the case. There are times when the drawers only fit in one spot, so marking them ahead of time is a great idea. Just one of those little trick you pick up along the way. A couple of the drawers had lost their bottom tracking, so Jim reinstalled them so they once again worked properly.

Nightstand After

Nightstand Before

Since my customer had opted to use the same hardware, we cleaned them up on the polishing wheel. Since they were made of brass, they polished up nicely and looked great with the newly painted furniture. Brass polishes up great, but if it’s brass plated, using the wheel exposes only the steel, not the brass.

The finished bedroom set looked terrific once it was painted. As refinishers, we love working with “real” wood, because it refinishes much better than some of the newer products which are made nowadays. The wood made a half a century ago was made really well and if preserved properly, will last another half century or more. Antique furniture is by its nature made to last as generations of these special pieces have survived many decades of everyday use with minimum wear. But when they require refinishing or updating, we make it lovely again.