Lost Art Press

Facing the Enemy

Oil on canvas by the American painter Francis William Edmonds. This painting, owned by the Chrysler Museum, was first exhibited at the National Academy of Design, New York in 1845.

The scene depicts a joiner leaning back in his chair as he contemplates a decanter of spirits near the window. On the wall is a handbill advertising a Temperance Reform Meeting.

Edmonds was concerned that artisans were especially susceptible to alcoholism. His painting was engraved by Thomas Doney in 1847 to illustrate a sermonizing circular by the Temperance Society.

VENEERING
VANEERING

Is a Sort of Marquetry or inlaid Work; whereby ſeveral thin Slices, or Leaves of fine Woods of different Kinds are applied and faſtened on a Ground of ſome common Wood.

There are two kinds of inlaying; the one which is the more ordinary, goes no farther than the making Compartments of different Woods; the other requires a great deal more Art, and repreſents Flowers, Birds, and the like.

The firſt kind is what we properly call Veneering; the latter is deſcribed under the Article Marquetry.

The Wood intended for Veneering is firſt ſawed out into thin Slices or Leaves, about a Line thick; in order to ſaw them, the Blocks or Planks are placed upright, in a kind of Sawing preſs.

Theſe Slices are afterwards cut into narrow Slips, and faſhioned divers ways, according to the Deſign propoſed: after this the Joints are carefully adjuſted, and the Pieces brought down to their proper Thickneſs, with ſeveral Plans [sic] for the Purpoſe, then they are glued down on a Ground or Block of dry Wood, with good ſtrong Engliſh Glue.

The Pieces being thus jointed and glued, the Work, if ſmall, is put into a Preſs; if large, it is laid on a Bench covered with a Board, and preſs’d down with Poles or Pieces of Wood, one End of which reaches to the Cieling of the room, and the other bears on the Board.

When the Glue is thoroughly dry, they take it out of the Preſs and finiſh it; firſt with little Planes, afterwards with divers Scrapers, ſome of which reſemble Raſps, which take off the Dents, &c. left by the Planes.

When the work has been ſufficiently ſcraped, it is poliſhed with the skin of a Sea-dog, Wax and a Bruſh, and a Poliſher of Shave-graſs: which is the laſt Operation.
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A French Joiner’s Trade Card dated 1782

Description from the Waddesdon Collection:

The oblong block takes up the majority of the card. It stands on a raised wooden floor, which is partly executed in parquetry. Two wide pilasters on the sides of the block support a line of dentils and an overhanging cornice with a cavetto moulding. The block is shaded with parallel lines. The text appears between the pilasters. A trophy of measuring instruments hangs from a ribbon tied to a stud on the left pilaster. Fixed to the right pilaster with a stud, there is a scroll of paper with illustrations of five column capitals and the text ‘Ionique … Architecture’.

Surmounting the block there is a planter in the shape of an orange tub. The planter has two ball finials. The planter is shaded with parallel lines and bears three fleurs-de-lis, now obliterated with pen and ink. Two large sprays of laurel flank the planter. A ribbon bearing the name of the shop sign entwines through the laurel and over the planter. The word ‘Roialle’ appears to the right of the planter and is obliterated with pen and ink.

To the right of the block, there is a shed and a workbench. The side of the shed is open. Inside there are lots of planks of wood. A frame saw hangs in the entrance of the shed. On the workbench and resting against it, there are various tools of the carpenter’s trade.

To the left of the block, there is a case maker jointer, several tools and planks of wood. There are three small boxes at lower centre. At lower left, there are three larger containers, some in pieces, with nail holes marked.
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