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Wahl-Eversharp Wahl-Eversharp was formed in 1914 when the Wahl Adding Machine Company purchased the Ever-Sharp Pencil Company. The organization produced only mechanical pencils until the acquisition of the Boston Fountain Pen Company in 1917. Afterward, Wahl-Eversharp produced an extensive array of quality pens and pencils until Parker purchased the writing instrument division. Wahl-Eversharp launched the fashionable Skyline series of fountain pens in 1941 and produced this model until 1949. The pens were marketed as being leak-proof on airplanes during the era in American history when commercial air travel was becoming routine. The distinguishing tapered design results in an undersized ink sac, but the pen holds enough ink to satisfy most exploits. Early models of the Skyline series had issues with some of the plastics shrinking, which often resulted in loose fitting parts that require simple repairs or replacement parts. Gold-filled caps were the most popular option offered with the Skyline series. Wahl-Eversharp produced the gold filled caps in several patterns but most frequently with lines running around the cap. Silver was most commonly used as the base metal for the gold overlay. The Eversharp nibs included with the Skyline series are of superior quality, making this vintage pen an excellent choice for daily use. Source: http://www.architecturals.net/newsletter/2007_09_23.html

Wholesale Market Level Wholesale Market Level - This is the price at which wholesalers can buy from the market or sell property to the trade. ASA Int'l Personal Property Committee

Wicker Rocker Fancy Victorian Wicker Rocker w/cane back Serpentine rolled back and arms.Curlicues frame shapely star pattern hand-caned back panel. Curlicues under arms. Set in cane seat. Elaborate fancywork incorporated into front skirting including beadwork designs, loop designs, and curlicues all framed by a fine plaited braiding. Circa 1890's.Ht.43" Width 24 1/2" Depth 28 1/2" Source: http://www.antiquearts.com/6085/InventoryPage/1135862/1.html?pageNo=1&catId=Rocker

William and Mary Author: Ethel Hall Bjerkoe ( Article orginally published July 1959 ) William and Mary came to the throne of England in 1689. It is doubtful, however, if furniture in the baroque style bearing their names -- a direct importation into England from Holland -- reached the Colonies until shortly before 1700. How it reached them even at that date is a matter of speculation, but doubtless some furniture in this style was brought over by new settlers, then copied by Colonial joiners ready for any new idea that would add to the beauty and comfort of their productions. Many artisans from Europe arrived at this time in all the Colonies, and they, too, brought with them knowledge of the new fashion. Although the William and Mary style had considerable effect upon tne furniture made in the Colonies, it was, after all, short-lived. In many ways it was a transitional style between the heavy and elaborate Jacobean and the beautiful Queen Anne. Some of the William and Mary furniture was made of oak, so popular in the preceding periods, but the Colonial workmen were finding walnut, maple, pine, apple-wood, sycamore, and other native woods much easier to use. So this new-style furniture was not only less heavy and bulky because of its design but also because of its construction from lighter-weight wood. Inlay, often called marquetry, became an important feature of decoration during these years. Frequently it took the form of elaborate floral patterns, or the very popular seaweed design. Veneering was also fashionable. At about this time the banisterback chair, both with and without arms, replaced somewhat the caneback chair. Some of the furniture was painted and gilded. The upholstered wing chair made its appearance. And there were many more day beds and settees, either upholstered or with loose cushions. Outstanding characteristics of the William and Mary furniture are the turned legs with inverted cups or in a trumpet shape; and the serpentine shaped stretcher. Drop handles were commonly used. The double-arched back was usual on cabinets and settees. Chair backs were high, and rounded at the top with carving. The cockle shell and acanthus leaf were both popular for this purpose. In addition to the banister-back chair there were other chairs, some caned and some upholstered. Chair legs were square, spiral-turned, or octagonal with hoof, claw, ball, or bun feet. Toward the end of the period the cabriole leg came in, the Spanish scroll was introduced, and block feet were used on chests. Most of these new features showed how great the Dutch influence was in England at this time. From the Orient, by way of Holland, came the knowledge of lacquering, which became the vogue in England and continued with decreasing popularity until the end of the eighteenth century. This fad spread to the Colonies, and some of the work done before 1735 was very good. Lacquered furniture was never as popular in America, however, as it was in England. In Boston, as early as 1700, David Mason was advertising his ability to execute this form of decoration as well as gilding, painting, and varnishing. Highboys appeared about 1700 and rapidly became a favorite of the Colonial craftsmen. The greater number were made with six trumpet-shaped legs, with ball feet, and flat cymacurved stretchers. Occasionally the spiral-turned legs were used. Often we find a matching lowboy accompanying the highboy. The gateleg table also arrived. Higher bedsteads were introduced at this time. However their frames were generally hidden beneath canopies and hangings of satin or silk. Although Queen Anne came to the throne of England in 1702, it is doubtful whether any of the so-called Queen Anne furniture appeared in the Colonies much before her death in 1714. Even then the acceptance and development of this new style proceeded slowly. Many of today's collectors of American-made furniture are apt to prefer the Queen Anne, Chippendale, Hepplewhite, or Sheraton styles to the William and Mary. Nevertheless, others search eagerly for worthwhile examples of this interesting style.

Wood Stain Wood stain consists of pigment combined with solvent and binding agents. Composed of the same three primary ingredients as paint, stains are designed to deposit pigment into the woods pores rather than cover the surface. Stain is predominantly pigment and solvent with little binder, as wood stain is intended to add color while maintaining a degree of transparency. the binder from a stain resides mainly below the surface while the pigment remains near or at the surface. Soluble pigments dissolve in compatible solvents and provide a greater degree of transparency than insoluble, which are finely ground pigments that disperse but do not dissolve in the base. Consequently, insoluble stains tend to cloud the grain Stains with metallic pigments are commonly more obscure as metallic pigments are comprised of much larger particles than those contained in organic pigments, impeeding penetration. Stains require frequent mixing to ensure that the pigments remain evenly dispersed. The type of solvent used typically distinguishes stains. Alcohol, water and oil are the most widely used wood stain solvents and each affects the application and outcome of the wood staining process. There are two varieties of oil stain, penetrating, which may bleed and the more consistent wiping or pigmented oil stain. Stains commonly penetrate only the surface of the wood regardless of the solvent incorporated, making future removal and refinishing an option. Once applied and cured, stains require a topcoat to protects the finish. Wood stains can be coated with organic products such as varnish and shellac or synthetic finishes such as polyurethane or acrylic. Wood dyes only include the dye and solvent. Much like wood stains, wood dyes are typically mixed in an oil, water or alcohol solvent. Woodworking dyes are virtually transparent; a result brought about by the minuscule size of the dye particles, which are small enough to allow light to pass through. Once cured, as with wood stain, the dyed wood surfaces should be preserved with a topcoat. Source: http://www.architecturals.net/newsletter/2008_08_03.html

Wood Turning The art of wood turning has been in practice for nearly 4000 years as is evidenced by Egyptian pictograph representations depicting the use of a primitive bow-driven hand drill. Employing the use of the bow as a spinning a tool, this instrument was a precursor to the modern lathe. The bow lathe employs a small bow to spin wooden stock mounted between two centers. The bowstring is wrapped around the wood stock, and drawn back and forth creating the lathe engine. This process is by nature tedious, requiring the artisan to produce the means of locomotion with a single hand while holding the cutting instrument with any of the three remaining appendages, or employ a helper. The Middle Ages experienced significant advances in the lathe with the introduction of the pole lathe in Europe. The pole lathe uses the tension of a pole or branch to provide a more convenient turning apparatus. Coordinated with the pole was a treadle that acted as a return, leaving two hands free to manipulate the chisels. Although a significant advance, the pole lathe did not address was the need for continuous motion. As with the bow lathe, the artist could only cut while the piece spins in one direction making it necessary to wait for the piece to return after each revolution. Examples of the first continuous drive lathe can be dated to the fifteenth century with the use of cranked flywheels, and giant wheels powered by man and beast. Continuous-drive lathes resulted in vast improvements in speed and precision, while making the use of hard woods as well as metals practical. During the period between the mid sixteenth century and the nineteenth century, use of the continuous-drive lathe became widely adopted resulting in the zenith for the craft of wood turning. Although certain innovations would not become common until the turn of the twentieth century, wood turning technology and expertise are much the same today as they were in the early 1800’s. Source: http://www.architecturals.net/newsletter/2007_09_16.html