Welcome to SAPFM
For more than 20 years, The Society of American Period Furniture Makers has been committed to providing our members with the best in fine furniture making education. We provide this service through our symposiums, publications, chapter meetings, and on-line resources.
SAPFM holds two national Conferences a year. Our winter event is held in Colonial Williamsburg and the summer mid-year event meets at various venues. Both events are packed with instructional sessions, social time, and historical tours.
Local chapter are the backbone of SAPFM. These groups of woodworkers meet several times a year to learn important skills for period furniture making. These smaller groups are an excellent opportunity to learning hands-on and meeting with fellow furniture making enthusiasts.
SAPFM publishes an annual printed journal featuring articles on furniture making, history, and techniques. A quarterly newsletter is emailed to all members featuring chapter news, events, and other articles covering construction and techniques.
Our website contains a wealth of information for the furniture maker. We have articles covering all aspects of period furniture, furniture construction plans, past conference notes, research papers, manuals, tool and book reviews, and curated lists.
|Each year, the Society of American Period Furniture Makers recognizes an individual whose achievements best reflect the mission of SAPFM. The Cartouche Award is SAPFM's way of acknowledging the contributions made by craftsmen, educators, conservators, and supporters, professional or hobbyist, who have inspired or instructed others, or who have simply made the world more pleasing as a result of their skillful labors.|
Members from the woodworking community exchange ideas on our forum. Topics include tools, veneering, carving, books, conservation, and furniture repair to name a few.
Becoming a member of SAPFM opens a whole new world of learning. Our web-sites has plans available for download. We publish an annual Journal and quarterly newsletters covering construction, history, and commentary on period furniture. Our two annual conferences get you up-close to furniture making and the skilled craftsman who show you the techniques used. You can get involved in local chapters where you learn from fellow members and show off your work.
Visit our Members Gallery to view the many fine pieces built by SAPFM members. Many are museum reproductions. We hope that among these many masterworks you will find inspiration for your next build.
Woodworker and Friend
As most of us know PhiL Lowe was a longtime SAPFM member, 2005 Cartouche Award recipient, teacher to countless students, mentor and friend to many of us.
It is with great honor and privilege that the Board of Directors at SAPFM is announcing the support of preserving the Phil Lowe drawing library .
American Period Furniture Throughout the Decades
William and Mary (1680 to 1730)
Named after William III and Mary II the co-regents of England of this era. This is one of the first styles to be produced in the colonies. It is a variation on Anglo-Dutch style and is characteristic of Baroque with features such as elaborate turnings, severe curves, and case pieces with simple flat surfaces and architectural trim. Commonly constructed of walnut, oak, pine, and maple.
Pennsylvania Dutch (1720 to 1830)
The Pennsylvania Dutch period was marked by heavy German influences. The pieces were simple and utilitarian, with the predominant decoration colorful hand-painted scenes. The furniture from this period features straight lines, simple turnings, and tapered legs made from walnut, oak, and pine.
Queen Ann: 1720 to 1750
This style blends elements from the proceeding William and Mary period. It is named after the English monarch who reigned from 1702 to 1714. It is ornate and often characterized by the newly introduced cabriole leg, curving chair crests, and decorative scallop and shells, and volutes.
Queen Anne became popular in the United States due to the expanding wealth of colonist. Cities were expanding at the same time. With this came regional variations such as Newport, Rhode Island, and Philadelphia adaptations. Common woods include cherry and mahogany.
Chippendale (1750 to 1780)
Chippendale furniture is named after English cabinet maker Tomas Chippendale and derived from his book The Gentleman and Cabinet-Maker’s Director. This was first furniture style named after a cabinet maker and not a monarch. It is closely related to the Queen Anne style. Designs fall into three main styles: Gothic, Rococo , and Chinese.
Mainly characterized by the style of the legs and feet including the lion’s paw, ball and claw, Marlborough, club, and spade. Chair backs are often intricately pierced and carved with ribbon motifs. Pieces were normally made of dark woods indigenous to the area.
Shaker (1820 to 1860)
The Shaker period was named after a religious movement of the period that had guiding principles of simplicity, utility and honesty. Their furniture was a reflection of these principles. Ornamentation was replaced with asymmetrical drawer arrangements and multipurpose forms to add visual interest. The appearance was primarily straight lines, doors with flat panels, woven or cane seat material, basic turned wooden knobs, and visible locking joinery. These underlying principals continue to give inspiration to modern furniture makers.
Arts and Craft/Mission (1880 to1920)
The Arts and Craft period symbolized a minimalist period in furniture design. Started by William Morris, it was a revolt against furniture made during the Industrial Revolution. The Morris Chair is one iconic piece from this period. In America, Gustav Stickley, Elbert Hubbard, Charles Limbert, and Greene and Greene were well know makers of Mission-style furniture.
Common materials included leather for upholstery and quarter sawn oak. The oak is fumed with ammonia for a distinctive brown color.
Enjoy the Many Benefits of SAPFM Membership
Members enjoy the following benefits.
- Category: Tools Tools
BY BOB LANG April 1, 2021 Updated April 1, 2021
I can develop a pretty smooth surface with a hand plane and/or a scraper, but before finishing I sand to ensure that all the surfaces of a project are consistent. Each hand tool leaves a slightly different texture that won’t be apparent until a stain, dye or topcoat is applied. Sanding may not be romantic but it’s an essential step. Although I own a number of power tools for sanding, I sand by hand to achieve better results and to minimize the dust. But I don’t sand by hand the way I used to, I’ve found a better abrasive material and a modern device to hold it.
- Category: Tools Tools
BY W. PATRICK EDWARDS January 1, 2001 Updated January 1, 2001
Today, furniture makers have a wonderful choice of hand and power tools available to them. There are those furniture makers who choose to use only hand tools, those who use only power tools, and the rest who will use any tool that will get the job done. It is important to recognize that the choice of tool is significant, and it will be evident in the final result. The form and decoration of the furniture is directly affected by the process used to make it. It may be subtle, or it may be dramatic, but it is always apparent to the discerning observer.
- Category: Tools Tools
BY JEFF THOMPSON April 1, 2021 Updated April 1, 2021
There are number of ways one can thickness stringing and bindings. I’ve used a couple methods myself like on a drum sander, but mine is in a shed out back behind my shop and the lights dim when I turn on the machine. Obviously it's time for a bigger, more powerful shop. I’ve also used the down and dirty way that Glen Huey showed me. You clamp a fence to the table of your Rigid oscillating sander and creep up on the thickness that way. Then one afternoon I was watching a Steve Latta video probably for the third time and noticed he said something about the Luthier’s Friend. So, I googled it and this is where it led me: http://www.luthiersfriend.