Bungalow Chest: a display of the Shaker style

Shaker

Shakers are known for their neatness and sense of order that permeates their art, work, and daily lives. This simplicity is found in their furniture style that the Amish borrow to make things like the Brookside Shaker Bed made by Amish Furniture Home.

Shaker furniture also has a functionality quality that requires every part to have a purpose. This means that there will be no faux drawers or decorative knobs on the piece. Just look at the Bungalow Chest; every door, drawer, and knob on the piece has a utility. There are no embellishments. Shaker furniture is simple, functional. This style is also known for the dovetail joinery technique, which can be seen here.

Mission/Arts and Crafts

The Mission Style can be traced back to the late 19th Century British Arts and Crafts Movement in England. This movement was a return to craftsmanship and artistry which developed as a rebellion against ornate Victorian design and mass production of the Industrial Age. The movement is characterized by simple lines, durable materials and the irreplaceable fine craftsmanship of the human hand.

American Mission Bed

The term ‘Mission’ to describe a rustic, clean-lined style of furniture began around 1895 and is attributed to Joseph McHugh, a furniture manufacturer from New York. The first design was for a straight lined, rush-seated chair which was influenced by and used in the Spanish missions of California.

Today the Mission Style is known for its simple, straight and solid design, emphasizing linear construction, exposed joinery, andmost of all craftsmanship. Look at the American Mission Bed for an example. There are no curved lines. Even the top of the posts are straight, cornered.

Queen Anne Bed: a tribute to classic Queen Anne style

Queen Anne

The Queen Anne style of furniture originated from Great Britain in the early 1700’s. It was revived in the late 1800’s and was a little more ornate than the Shaker and Mission styles, but more subtle than the Victorian style furniture. The subtle ornate look appeals to the Amish simplicity.

The cabriole legs characterize Queen Anne furniture, as well as the fiddle backed chairs and batwinged drawer knobs. The furniture utilizes curves, but keeps them clean. The Queen Anne Bed showcases this style of furniture perfectly.

When looking for your next Amish furniture piece, consider the influences that are at work in each piece and how they will work within the décor of your home. Built by craftsmen who pass on their trade from generation to generation, these artisans are building pieces the same way that furniture makers did over one hundred years ago. These pieces truly are heirloom quality!

Today’s Amish communities are as entrepreneurial as the Shakers, helping to support and build their communities using their gifts as honest artisans. The world appreciates the unique custom designs that contrast so obviously from the mass produced disposable furniture offered in most showrooms today. These solid wood designs are premium heirlooms that showcase the integrity of a community very much like their brothers and sisters in the Shaker villages.

Like the Shakers the Amish live every part of their life based on religious principles. This includes the quality of their work, whether at home or in the workshop. Today the Amish wood worker in Northern Indiana crafts the same designs with the same quality of materials and skill as their ancestors. The same principles and beliefs held by the earliest Shaker furniture designer and builder are still honored by the Amish woodworker. With traditional designs like the traditional Burlington table or the neatly lined Bungalow chifferobe, chest, bed, dresser and nightstand you can bring the same warm style to your home.

The years surrounding Civil War was not just a separation of tastes politically but one in interior décor. The last part of the 19^th century in North America saw the blending of many very strong interior design tastes within one home. Many consider this to be the Eclectic period in American history. This eclectic collecting may have resulted from the easier access to more thanks to the Industrial Revolution. Machine made products kept products flowing at a much less expensive rate. Large scale manufacturers in Grand Rapids, Michigan were pumping out furniture to the common man at easy to pay for levels.

BRIEF INTERESTING FACTS FROM THE LATTER 19TH CENTURY ECLECTIC ERA-

• In rapid sequence designers birthed first Gothic then Elizabethan and finally rococo. While these co-existed in popularity in the mid-century they did not co-exist under the same roof. All three were used and admired but not blended.  
• The latter half of this century saw even more design styles, like the Renaissance style, emerge but none truly retire.
• This was the era of the kings; from France to England and from Louis to Henri.
• The big English furniture designers Chippendale, Sheraton and Hepplewhite shined brightly in the Victorian days. Colonial, Centennial Revival and Empire became common by the turn of the century.
• In large part thanks to William Morris and his Arts and Crafts philosophy and followers furniture was being influenced by far away lands like Turkey, Japan and Persia.
• Charles Eastlake agreed with Morris and Lewis Day on their discrimination against mass produced furniture and wrote a book touting the belief that home furnishings should be made by hand or machine workers that truly took artisan pride in their work.
• During these decades many felt a prejudice towards keeping it American and a cry went out to create a style distinctly American.
• Very distinct designs and designers emerged during this time and many published books that became hard and fast bibles used by designers, cabinetmakers and other furniture builders.
• Almost always if a design style became popular the wallpapers, rugs and accessories  appropriate to that style became available.
• No matter how modest the home it was believed that there should be a library, a sort of retreat for the family.

The 20^th century saw less desire for homes to be so eclectic. A yearning for something more simple in American homes was emerging. The birth of styles like Modernism had brought a sense of more efficient and less cluttered designs like the contemporary designs found from Amish-Furniture-Home.com.

Every artisan has some sort of mystery or secret and Sheraton was no exception. While he is credited as one the three biggest designers of his time, there is no evidence he actually ever owned a workshop. In fact, there is no evidence that he ever made large amounts of any type of furniture, including those he drafted out in his famous book. Sadly, Sheraton passed away at age 55, having been employed as a journeyman cabinet-maker for many years and later an author, leaving his family in “distressing circumstances”.

Thomas Sheraton is recognized to have provided the world with exquisite draftsmanship and technically important information when he designed his catalogue. He had a knack for focusing on the details that was so often missed by other author’s design books. Influenced by French designs, Sheraton’s mind was drawn to the geometry and the precision of Louis XVI. Sheraton also enjoyed the use of satinwood in his furniture and many pieces built in the late 1700’s using satinwood were blamed on or credited to his design theories. He did believe that for his large library tables mahogany was the preferred wood.

Sheraton published again. In 1803 he completed The Cabinet Dictionary but he never finished The Cabinet-Maker, Upholsterer, and General Artist’s Encyclopedia. Only one volume was published in 1805, a year before he passed away.

Sparse, clean, oversimplified, organic and often based on geometric shapes many people, especially those who really do not understand or prefer Modern designs, would find it surprising how much of their lives are touched by contemporary Modern design or how much thinkers like William Morris, Louis Sullivan and others of their era, actually inspired the movement.

Morris engaged in the practice of warm and fuzzy, if not always practical, ideals and dreams for society. He felt it not just a wish but an essential of civilized society to insure that it provide its citizens, one and all, with aesthetically pleasing and functional things to look at and use. He however was convinced that the quality he sought could not be accomplished by machines but only by craftsmen and women by hand. He set his goal beyond reason, since the amount of artisans it would take to create the massive amounts needed to furnish the world’s homes was not possible – without machines, that is. Morris also developed this school of thought just as we were entering into the great Industrial Revolution and once entered in to there was no going back completely.

Early modern designers grasped the philosophy that the great orator Morris taught but felt that machines could be manipulated to be as artistic as any man and that mass production would accomplish Morris’ goals. Henri van de Velde was one of his peers who believed that the machines could be guided to create beauty.  They all agreed in the principles but not how to get there. They also agreed in the simplicity of design seen in the Arts and Crafts and Mission designs. The American architect Louis Sullivan, who once influenced the father of organic design, young Frank Lloyd Wright, believed that form indeed followed function and went so far as to suggest that we should purge ourselves of ornamentation for a few years so we could enjoy the structure in its original concept.

While it seems a stretch from the heavy oak Mission type Morris reclining chair to the Barcelona chair of the 1920’s once you trace the roots of both philosophy in design concepts, they are indeed closely related. Today the Amish present Modern contemporary furniture that represents these designers’ ideals as well as the elegantly designed home, in custom stained and conceived design collections like the Brookline, Caledonia, Escalade and Kenwood and more.

George Hepplewhite (abt. 1727 – June 21, 1786)

The late 1700s saw England and France changing, causing a drastic change in American furniture tastes. George Hepplewhite, a London cabinetmaker and chair maker, began designing pieces that became very popular in not only Europe but in America. Hepplewhite style is characterized by straight leg forms, refined curves and painting and high quality inlay work. While the richness of mahogany woods is most associated with Hepplewhite designs he also used rosewood, satinwood, and tulipwood on the inlays. Dining room furniture began seeing sideboards and is associated with Hepplewhite furniture. Hepplewhite chairs often sport a shield shaped back. Pieces that were upholstered featured fabrics in designs like small birds and floral that carried down over the entire frame. The upholstery fabric was then finished with ornamental upholstery tacks.

Featuring many similarities, it is often hard to quickly discern Hepplewhite from Sheraton styles. To make matters more complicated there were no exclusive copyrights or patents in America at that time so wood workers could freely use each other’s design ideas, especially if they were marketable. There are no pieces of furniture made by Hepplewhite or his firm known to exist and some critiques and historians question the existence of George Hepplewhite. His style took hold posthumously, and not until after his wife Alice published design books she insisted were drafted by her late husband.

Thomas Sheraton (1750-1806)

British born Sheraton, like most furniture makers of his time was another cabinetmaker. Thomas Sheraton also stood out because he was a publisher and preacher. His furniture designs were widely popular and greatly influenced American furniture. Sheraton was well thought of as a superb draftsman and many of the designs are based on classical architecture. Sadly, although he wore many hats, was overworked and highly acclaimed he was barely able to earn a living, dying destitute.

Sheraton style is square, straight lined, solidly constructed furniture with slender legs that were either round or square and tapered toward the foot. His chair backs were square and often had a central panel above the top rail with high “S” shaped arms. Like other designers of his time, Sheraton used mahogany as the preferred wood. As Sheraton’s career was winding down the French Empire style became popular in Europe and he tried his hand in it. Sheraton found God was in the details and usually decorated his furniture wherever possible. His heavy embellishments of carving, inlay, and painting left few plain surfaces. A piece designed in the style of Sheraton will be adorned with urns, fan shapes, leaves, stars along with brass hardware and round glass knobs.

Thomas Chippendale (June 5 1718 – November 1779)

Chippendale was the first style of furniture in England that was named after the designer and not after a ruling monarch. Chippendale had something in his background that the other two great British designers did not. Thomas Chippendale was much more than just a cabinet maker, he was an interior designer. Like the other two, Chippendale was a published and popular author of furniture design. Working with the upholsterer James Rannie and later with Rannie’s assistant, Thomas Haig, Chippendale maintained artistic control of his well-appointed furnishings.

Not to veer from the popular, the finest Chippendale style pieces were usually crafted from mahogany but walnut, cherry and maple were used for less expensive versions. Many Chippendale pieces have cabriole legs and have a shell motif. American cabinetmakers often incorporated the claw-and-ball foot into their versions of Chippendale designs. The style of claw-and-ball feet was already passé with English furniture craftsmen but in America the feet were still being used.

Unlike Hepplewhite who has no surviving pieces, Chippendale has twenty-six documented commissions in estates, castles and in the original aristocratic houses for which they were created. The workshop the elder began was continued by his son, Thomas Chippendale, the younger (1749-1822). Young Chippendale was fond of working in the later Neoclassical and Regency styles.

William Morris was a writer, orator, artist, textile designer, wallpaper artisan and poet. Morris held strong beliefs that in an age of modern machines and gilded homes that men truly should have equal access to a quality of life and articles around them should be of artisan, rather than mass, production. In turn-of-the-century Great Britain Morris was not just involved with designing furniture, wallpapers and textiles. William Morris carried his political beliefs into his work life, believing that these beliefs and ideals would eventually produce equal opportunities for everyone to own his works.

Politically William Morris was an involved in early English Social Democracy. He joined the Social Democratic Federation 1883. After a fight with Henry Hyndman, the founder of the SDF group, Morris founded his own group, called the Socialist League. When asked to explain how he fell into Socialism, Morris delivered an explanation in “How I Became a Socialist” that read in part -

“Well, what I mean by Socialism is a condition of society in which there should be neither rich nor poor, neither master nor master’s man, neither idle nor overworked, neither brain­slack brain workers, nor heart­sick hand workers, in a word, in which all men would be living in equality of condition, and would manage their affairs unwastefully, and with the full consciousness that harm to one would mean harm to all-the realisation at last of the meaning of the word COMMONWEALTH .”

Morris, a student of medieval times, was himself a natural educator, writing and lecturing on street-corners in England and Scotland. Supposedly after delving into Marx’s Das Kapital in a French translation, he declared himself a Marxist. Morris was a man of awe inspiring energy, who possessed huge talents and ideals. Morris dreamt enormous dreams of a Socialist Revolution in England. He saw his world, his Victorian Britain, as physically ravaged and spiritually drained by the Industrial Revolution. He longed for a more artist-centric, communal, mediaeval agrarian society that was filled with happy, healthy people, all enjoying the work they did by hand.

Although Morris himself did not quite succeed in his selfless attempts to encourage a relationship between industry and craft, his ideas were not a failure. American Gustav Stickley brought the ideas of Morris’s Arts and Crafts Movement to the new country and was able to merge mass production with handmade craftsmanship. Stickley’s German-American Yankee ingenuity coupled with the Morris’s politics, ideals and gifts created some of the most sought after designs in history.

While, William Morris was indeed a man who was not in love with the world he had been born into, he seemed to see socialism as a means to an end. That end was supposed to transform the ugliness he saw in late century Britain into the beauty that he hoped it once was and could be. In his “News From Nowhere” he would write:

The earth and the growth of it and the life of it! If I could but say or show how I love it!

In a very real sense his entire life, especially his organic designs in home décor, was a successful attempt to share the meaning of those lines with others. While some believe he was an eccentric utopian, his life’s work lives on in print, in the organization called the William Morris Society and in home decors worldwide.

Like the Amish community members the Shakers were known for their integrity and honesty; not just in their personal lives but in their furniture designs. Even when the Shakers became aware of their profitable designs they did not let money take precedence over their morals and beliefs. The Shakers carried on business as if they were creating pieces to be used in Heavenly homes instead of mere earthly ones. These high standards insured that their craftsmanship never faltered in order to achieve a higher bottom line. Interestingly, their honesty did not just run true in the way they did business or the way they built furnishings but in the way they decorated and finished their famous furniture pieces.

Veneers were not favored by the Shakers and the Amish still hold to this belief. There was a common belief that the covering up of less expensive woods by more expensive false veneers was a form of dishonesty. Whether in dealing with God, their community or their patrons, the Shakers wanted nothing to do with the appearance of dishonesty, even if it was well known, practiced and accepted in the secular world. Even the art of wood graining, where the artist used fine detailed brushes and scrapers to emulate the look of wood grain using stains, was discouraged. Marbling and wood graining had become a fashionable decoration in Victorian furnishings but the Shakers frowned upon even the best of faux graining.

It is almost as hard to find painted Shaker pieces as veneered. Paint and even stains and varnishes were held in suspicion as to being deceptive. If an item needed paint to be attractive and accepted then what was the workman covering up? If there was a need to color a piece then the Shakers chose transparent tints. So serious was the principles that the Shaker craftsmen and women upheld there were actual laws drawn up and adapted throughout each community. Whether it was the accepted stains within their own Dwellinghouses or the minimal stain allowed on something as simple as their famous Shaker boxes, the law was obeyed.

The Amish craftsmen of Northern Indiana present their rendition of Shaker designs in solid hard woods, true to their natural beauty. Whether in pine, quarter sawn oak, red oak, maple, hickory, cherry or walnut the honest lines, high quality details and simple beauty remain intact, honoring the beliefs so important to the Shakers. Dovetailed drawers, no veneers, solid wood backs and drawer bottoms, exposed mortise and tenon joints are added in to bedroom suites, armoires, living room pieces and dining room sets. Like their fellow believers the Shakers, the Amish too are held accountable in their communities to keep up the high standards set out for building heirloom pieces to last a lifetime