Blowin' in the Wind

I was finally brave enough to tackle the wine cabinet redo, and I don't know what to think. I do know I did as best I could. As you can see in the 'after' pictures, the cabinet is covered in nice marquetry veneers. I say 'nice' because it looks nice and took some time to do, but also because the piece is old so the depth of the veneer exceeds that of paper.

However.

I have a deep-seated and possibly pathological desire to be polite, commingled with a distaste for shopping. These two tendencies taken together (and so far, I haven't been able to take them apart) mean that I sometimes encounter great difficulties when trying to buy things. I don't go into stores to browse: I go in stores to get the one, or three, or six things I know in advance I want or need to get from the store. If it turns out they do not have the items, I leave. I am not, in other words, tempted to buy a bathtub because there are no more pruning shears, nor a new lampshade because the store ran out of my brand of stockings. I recently went to a lot of antique stores looking for a particular type of settee, and one with upholstery I would not have to change immediately, as well. The settee still eludes me, but I did not turn to dining sets or hall stands to anesthetize my feelings of setteelessness.

Still, though.

The situation is different when in response to an advertisement for an item I go to someone's house. I cannot contemplate the horror of a day spent going to several strangers' houses to look at various single items. If you place an ad and I call you, it means that I want to come your house, buy the item, and take it away, assuming the photos and description are more or less accurate. However, once I am there those conditions shift. I realize I am in your house and in that house I am passing judgment on an item you own. Yes, I am not a guest; yes, this is, despite the surroundings, a business transaction -- but I don't want to be mean. Rude. And I don't want to have got your hopes up for nothing.

Moreover.

By this point, as well, I have driven, at great risk to myself and other travelers, to wherever it is that you have your house and your possibly-unattractive-in-person piece of furniture. Perhaps, as was the case with the wine cabinet, I did so in the dark and was in the process nearly driven into a cow pasture at the urging of a less-than-inerrant GPS. At some point -- and almost four-wheeling in a farmyard is as solid a point as any other -- it is simply the case that I am 'all in': I am going to buy that hideous piece of Bombay Company MDF loathsomeness photographed through Vaseline and described as 'gorgeous settee 1880s Victorian Eastlake must see xlnt cond' no matter how much it hurts to do so, for to do otherwise would make me look like a fool for having driven so far for nothing. At least to myself it would make me look like a fool. And since, as you all know, I'm a) the only one who has to live with me and b) not one to suffer fools gladly, I can't afford that sort of rancor between me.

But still also I don't want to hurt your feelings.

So, prior to looking at the wine cabinet in person, I asked what were those 'designs' on the front in the two faraway photos, and what were they made of. The very nice lady said she thought one was a flower, and the other, well, she couldn't quite tell. She was happy enough to send me photos of them, but they were huge and I was as ignorant as her as to how to scale them down for viewing from within this solar system, at least on a then-dying computer with about three programs left on it. Fair enough, I thought, the rest of it looks quite sexy, and I've never been out to that village (but I bet they have livestock nearby!).

In short, the cabinet was unusable in its state at the time. The Seventies were a challenging period, I realize: so much change, tumult, and uncertainty, as though all the moorings were coming loose everywhere, equally, fully. Fashion, popular music, design, and graphic art reflected the confusion. By the middle of the decade, 'hippie look' design was mainstream in clothing as well as home decor. Housewives sewed granny dresses and quilted skirts, découpaged and scalloped-edged everything in sight, and stuck cork embellishments on anything not actively running away from them.

Such was my cabinet's fate.

This unlucky chump had been the victim of the Seventies hat trick of cork, scalloped edges, and the ubiquitous mushroom-as-decorative-motif. The mushroom, moreover, and the 'flower,' which turned out to be a leaf, appeared to be products of a Ladies' Intro to Metalwork class. Plucking the metallic flora merely solved the glare problem; there was still the issue of the incongruous texture, shape, depth and appearance of the cork appliqués, which were painted in shades ranging from black, brown, and 'natural' to metallic gold.

I first thought of taking the hacksaw to it, and getting the depth of the appliqués to a sliver, over which I would simply paste something more in line with the original lines and look of the piece. They would still protrude a bit, but not two inches and, more importantly, not hideously. Then, positioning the tool first one way and then another, I realized there was no way that attack would be possible as the plane of the front is interrupted by molding at the top and base. I could have someone else do it, of course, someone who knew about these things, someone with expertise, but that would be cheating.

Now, I don't receive much child support from my exhusband, so it is a good thing he came in handy on a Christmas visit when he stuck his penknife a bit under one of the cork bits and emboldened me terrifically by his revelation that the adhesive was loose and elastic, as well as by his prediction that removing the grisly duo would be simple and quick. Still, he is an exhusband, and it took me a few more weeks before I grew the confidence to begin to test what I still considered to be no more than a hypothesis about the state of my glue.

My glue, it turned out, was quite healthy.

Accordingly, I slathered both doors with copious amounts of oil in hopes of loosening it and the cork ovals without damaging the veneer unduly. The scheme largely succeeded, and no veneer ripped off, but once the cork was removed it turned out that the final embellishment to the ovals, the dark brown paint around the outermost edge, was applied after they had already been glued on. Additionally, although I hadn't damaged the veneer, there were in fact gouges in it which appeared to have been what precipitated the 1970s modifications. I sanded enough to even out most of the surface, but there would have been no way to get below the absorbed paint and the deeper gouges.


So, I decided on two-tone gold leaf under stain in a geometric pattern that echoed the existing geometric pattern. Yes, it is not original, but not much about this cabinet was by the point of making that decision. I know it is not more authentic, and I am not sure it is much better, but I am absolutely certain it is not as bad.