The solution of potassium dichromate oxides the mahogany, turns it a
rusty orange color and gives it an aged patina. After this treatment, a
green stain made of artist’s oils and Danish oil is applied.
After wiping off the excess, the mahogany is left a rich, reddish brown
c olor. T his is t h e s am e t e c h niqu e u s e d in or igin al Gr e e n e an d Gr e e n e f u r ni -
ture. After the stain dries, three additional coats of oil are applied.
through the mortise-and-tenon joints in the central plugs of the
outside legs. I inserted 1^1 ⁄ 4 "-long dowels in each of these holes,
driving the ends flush with the bottom of the square holes.
I dipped the plugs in my ebonizing solution and applied it to
the visible parts of the splines with a brush. After these small
parts were dry, I put a small amount of glue on the end of each
plug and drove them into place, as shown at right. The splines
were driven into their slots after I applied glue to the slots in the
top only.
I screwed^7 ⁄ 8 "-square cleats to the inside of the two end rails,
and to the two long front and back rails so that I could attach the
top to the base with screws. With 107 parts now in their proper
places, I gave the entire table three additional coats of Danish oil.
Greene and Greene hold an important place in the history of
American design, melding the influences of the Arts & Crafts
movement with Japanese design elements in a unique way.
Making this piece provided an opportunity to practice authentic
detailed work. Had I been working for the Hall brothers in 1907,
with a houseful of trim and many more furniture pieces to go, I
would have been just warming up.
Once the coloring of the wood is complete, the table base is assembled in
stages. Here I’m gluing the center rails between each subassembly.
A small, fl at riffl e r is u s e d t o
clean up the edges of the square
holes. A slight chamfer on the
back of the oversized square
plugs gets them started in the
holes before they are driven
home with a dead-blow mallet.
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