Document nkwGQy1BZ0xLLGB13K0j17R36

Vn.. I. Jrsr. iyo<) No. 4 fomriuU 1, . In 1!i* Vien*w-Wil5,*r -*C* urn.K s t o r ik s o k mi; w o o d s MAlllll.VNI AHOOAXY has long been in the purple and fine linen class among woods. Its character istics peculiarly adapt n to the demands of elegance in wood finishing, and the wood yet remains to be found which can take its place. The credit of discovering the value of mahogany as a cabinet wood--so the slots goes--belongs to a London physician oi the Seventeenth Century. A brother of the doctor, engaged in trade with 0007-SWP-000102122 the Kast Indies, on one occasion brought over in his ship several mahogany logs for ballast. The doctor was at that time building a house and the suggestion was offered that the wood might be valuable as beams. An attempt was made to use the timber for this purpose, but the carpenters found their tools were not heavy enough to work it and gave up the task. A little later, however, one of them, needing material for a box, had a log removed to his shop, anil, upon the advice ol the doctor, tried heavier tools. After some de lay the box was completed with these. It proved h o handsome that a bureau was made up from the other log. which, when finished, was declared by experts to be far superior to any other cabinet woods then in use. Thus a vogue for mahogany set in. While the story gives the doctor the credit, it. unfortunately, leaves us only to surmise whether it was the brother, the doctor, the doctor's contractor or the doctor's architect who first offered the suggestion. In the face of such inadequate proof, therefore, we are in clined to believe that the last of this row of candidates for the honor ivas the fellow who spoke up, and that the laurel wreath should go to the architect. The finest mahogany came originally from 44 San Domingo, Cuba, and Jamaica. The supply from these sources is now practically exhausted, however, and the best wood in the market to day grows on the mountain slopes of Southern Mexico. Honduras, Gautemala and the Philip pines. Timber merchants recognize several grades of the wood. These are distinguished by weight, character oi grain, and color--all effected by the soil and situation in which the trees are grown. Trees in high, rocky situa tions or mountain slopes, especially on lime stone soil, produce the most valuable wood. Poorer qualities of mahogany come from trees grown in the forests which border the rivers near the coasts of Central America. With the exception of our oaks, no wood possesses in so great a degree the advantages of combined soundness, large sue, durability, beauty of color and richness oi figure as ma hogany. The warmth in its tone and the beautiful tracery in its fibre are unsurpassed, and age enhances and magnifies these qualities to a greater extent in mahogany than in any other wood, In finishing mahogany care should be taken to use only such finishing material as will fully bring out and retain the natural beauty of the wood. The most beautiful v 0007-SWP-000102123 mahogany is often spoiled by poor, dark col ored, muddy finishing material. With this in mind , The Shenctn- Williams Co. has brought out a line of special finishes for mahogany, which, when used as specified, produce the finest and most artistic effects possible. The following specifications cover the work: SPECIFICATIONS FOR FINISHING MAHOGANY First Coat--Stain the wood with one cost of S-W. Handcraft Stain, Mahogany. Handcraft Stain, Mahogany, is transparent, does not cover up or hide any o7 the natural beauty of the wood, but simply gives a uniform tone of color and brings out the tidiness of figure. It is permanent ana does not obscure the grain of the wood or turn while or cloudy. Stand Cent--After allowing the stain to dry thoroughly, (about twelve hours), fill the pores of the wood with S-W. Paste Filter A'e. $. The filler duml<l he reduced with henaine to the consistency of cream, rubbed in well across the grain. then cleaned o# perfectly before it rets, with clean burlap or cloth. Third Ctat -- After allowing the filler to diy over night, sandpaper lightly with oo paper, after which apply two coat* of S-W. Amber-lae, allowing twcnty-lour hours between coats and smooth each coat of Amber-lac to a perfect surface with fine finishing paper and finish with a cost of S-W. 'Transparent Polishing. Both the Amber-lac and Transparent Polishing are absolutely transparent, work easily un der the brush and flow`oat perfectly. They will not crack, mar, turn white or spot from n ater ot dampness. V c Allow the. last coat of varnish to diy for three days, after which rub with pumice atone and water or pumice and oil, cleaning the work perfectly with a soft cotton cloth after rubbing is completed. If a perfectly dull finish is desired use one coat S-W. Handcraft Stain, Mahogany, and over this one coat of Mitiion-lac.oHowing the' Mission-lac to dryover night, after which sandpaper lightly with a fine finishing paper and was with S-W. Furniture Wax. This produces a soft velvety finish that is very beauti ful and permanent. If natural finished .Mahogany is desired omit the coat of Handcraft Stain, Mahogany, and use S W- Mahogany Paste Filler instead of S-W. Paste Filler Ho j. Apply the filler directly to the wood. Indiana is a great fraternal state, as welt as the place where authors grow, and our frontispiece this month, showing the new Pythian Temple now under process of erec tion at Indianapolis, is good evidence that the Knights of Pythias ace well to the front among organisations there. The building is eleven stories in height and of brick, stone and mar ble construction. It will long stand as an enduring monument to Pythian enterprise, for Shes-{`in-IIilliams Pure .Icheson Graphite Paint protects all the structural steel work. 0007-SWP-000102124 KNEE DEEP "Knee deep in June"-- Ia My heart**, a-tune With songs. the birds are tingiiti*, s With dowers and bees and brooks and trees And children's voices ringing, h *1 Knee deep in June1 '-- PHV Great Scott--so soon ? And forty jobs that worry. With piaster, paints ana varnish,---Saints v * Alive ! why can't they hurry. Rums af the Second and fftitamn BuilJinx. Opposite Tie Shenwm-H'iltmms Offices and tTarchmtse at San i rancine. As you will note by the illustration above, all that remains standing ah this building is the steel framework and a portion of the brick wall. The structural steel is of particular interest to us as it was painted with Slur-win- Williams Pure Ackcson Graphite Paint and offers a ft fine example of how a metal surface should 4 be protected. Although in the midst of the fire, the paint did not blister and it is still in excellent condition. Such a proof positive of metal paint efficiency should silence even the most doubting Thomas. 4j 0007-SWP-000102125 A HOMEY DITCH KITCHEN OMEWHAT unique among close-to-natuire colonies are the Briarcliff Farms, located about eighteen miles from New York City, between Ossining and Scarborough, on the Hud son River. The half-tone on the op posite page shows a comer of the Dutch Kitchen at Briarcliff iaxlge on the farms. The room is quaintly raftered after the old Dutch style and the walls and ceiling roughly plastered. All woodwork is treated with one coat of stain. Chestnut. The fireplace, which almost completely fills one end of the kitchen, is built of rough stone, laid weather side out, with finishings of wrought iron work imported from Edam, Hol land. All lanterns and candelabra are copies of original Dutch futures, and the tables and chairs are distinctive in design. Mr. Guy King. Philadelphia, is the archi tect and designer of the kitchen. I.ilce many good architects, Mr. King writes SherwtnWilHams Produih in his specifications and avoids the paint and varnish pitfalls. < 0007-SWP-000102126 MAKING THK OLD NKW IEN the Architect has a re modeling proposition on his hands he probably doesn't relish it half as much as the client Of course, T do not know that this is true genera ally, but it seems like a pretty safe guess. I've met few men and few er women with an old house and a little new wealth who weren't completely wrapped up in ideas and plans for mak ing the house over. But my friend, the Architect, tells me the only time he really enjoyed helping any one carry out such ideas and plans was when he did it for himself at the expense of a wealthy and supernaturally generous landlord. As a paint man I've occasionally been in vited to assist in the remodeling plans of my friends and have had a fine opportunity to observe how big a part good paint and varnish play in the transforming process. Outside, inside, floors, walls, wood work, stone work, brick work, iron work--all need paint or var nish. a Several times I've been able to get into the thick of the game and help my friend, the Architect, and every time I've done so, my respect fot paints and varnishes has increased. There's no end to the work they can do, the multitude of sins they can cover up, the ugli ness they can transform into beauty and the worry they can save. I've seen floors that would have been torn up and relaid, made fit for a king's palace. I've seen old pine doors and wood work transformed into mahogany and weathered oak. I've seen ancient grained parlors changed to dainty white and gold drawing rooms. All this through the intelligent use of good paint and varnishes. Perhaps my expert ad vice has helped some, but 1 scarcely like to say as much myself. At all events, I'm well convinced that I could help a good many architects in distress who may be up against the remodeling proposition, and want to know just how up-to-date finishes can be painted, stained, or varnished upon out-of-date surfaces. It would only please me to correspond with you about this sort of thing. Titi-- Gr w Piis t Min . 0007-SWP-000102127 A TRIUMPH IN VYHITK ENAMELS HE most difficult problem, perhaps, that ever confronted the Paint Man was the manu facture of good white enamel. In meeting the demands of the up-to-date architect and the artistic interior decorator there is no kind or class of finishing material which if of right quality can lend so much to the success of a scheme for interior decora tion. There is no other ma terial which if of poor quali ty can so completely thwart every effort of those who would use it. On account of the poor or indifferent re sults which have been secured in the use oi many brands of white enamel that have been used, architects and interior decorators are often prevented from specifying enamel finish N on work which because of its character really demands treatment in snch materials. Unless right and always right, white enamel has little, if any value for those who would employ it. To make it right and al ways right is not a task of a moment. Two prerequisites are absolutely essential, viz: high quality and adaptable materials and ex perience and skill in making. Either one without the other is useless. White enamel is in reality a white color in varnish. Therefore the two important ma terials required are the whitest and most opaque pigment and a varnish as far as possi ble colorless. The varnish must have best working, flowing and drying qualities coupled with the fullest surface and a lustre that stays permanently white without a tendency to crack, mar easily, or perish. The Paint Man knows that these details interest the architect but little. In giving them, however, it is not necessary to explain why so much of the enamel gives unsatisfac tory results. The difficulties are obvious. The Sktrwin- Williams facilities and judg ment in the selection of the materials necessary to make good white enamel, are unexcelled. In the sorting of the necessary gums, in the preparation of the special varnish oils, in the 4 \ 0007-SWP-000102128 making and aging of the varnish and in the manipulation of the pigment, oar long experi ence and the skill of our specialists are super ior to other makers. The Sheni'tn-William* Paint Man has never been satisfied. While his goods are constantly being specified by architects and used with satisfaction by interior decorators, yet he has been studying and patiently experi menting to work out some pet ideas and theories of his own, by which he hoped to produce goods that would show a marked advance in the manufacture of this class of material. lie now announces the success of his labors. The new white enamels he has been successful in producing, excel in every essen tial quality. \Ve know you will welcome the coming of the new S-W. enamels. Complete informa tion and specifications will be given you shortly. It's not easy to hold to a high standard, but it's profitable. .IS WHAT TO .-il'ECTFV We have had so many requests tor informa tion on our lines--whether we make a paint or varnish for one purpose or another--that we have decided to take several pages of Th h bPECrni'M to give you a partial list of onr products. These cover inside and outside specifications. INSIDE DP Brif.DI.VOS Fo r Ai.i Ki.m 01 Vik ms ij j v ;, The S-W. Tarnishes. Fo r Pr l ma r a j o r s Ours (h o u r s exesprany, 'l be S-W Handera/I Shim. The S-W. Cel.-lea Oak Stain. The S-W Oil Slam. Opened Grained Woods, Tht S-W. Filler, Pane. Fo r Nv t ir a i. Wo o o I'ims h . The S-W. Pale Fleming Surfacer. The S-W. 'Durable Wend Finish (Interior). Fo r Ba mRo o ms , Kinrossa v u Sc r s a c is siajicrtn TO Til! HARPIST EM'OSt'RB AM> SS FAR. The S-W. Gamble Spar Tarnish nr Tefal. Fo r Wa ms , Dull or Semi-Flat Finish, The S-W. Special Interior Caters. Enamel Finish, The S-W. Enamel. Fo r St u md Wo r k , The S-W. Handeraft Stains IA line oi artistic Stains for interior woodwork and fine furniture). Fo r Ci.usti Wa i.i.s , The S-W. F.nameloiJ. -7 s 0007-SWP-000102129 Pg k Fl o o r s , Preparatory Coats. Tie S-W. fitter. Pane. Natural Wood Finish, Mar-net (a durable floor varnish'. Polished Surface. The S-W. fleer Wax (I'sed over Mar-noti. Srainrd Floors, _ Fioorlae (a stain with a gloss). Painted Floors, Tie S-W. Inside Fleer Paint. Cracks and Seams. Tie S-W. Crack and Seam Filler. Fo r Pa in t e d Wo o d w o r k , High Enamel Finish, Tie S-W. Enamel Dull or Semi-Flat Finish, Tic S-W Special Interior Colors. Oil Gloss Finish. Tie Sherviin-Wittiams Paint, Prepared. Fo b Me t a l SiRtAcFS. Tie S-W. Purr Achestn Graphite Paint er iV efatallie. Fo r Or n a men t a l Ir o n a n d Gr il l e Wo r k . Tie S-W. Flat Slack. FOR Pu JIBING INil OTHER EXl'OSVI) PIPING AN1S Fix t t r e s , Tie S-W. Aluminum Paint I Bright as silver). The S-W. Emprrtt l.i'/utd Geld I In liquid form . Fo r Wt.r Wa l l s a n d Ba s e me n t s . Tie S-W. Petrileid t Keeps out moisture i Fo r Rf ir io e r a t in o Ro o ms , Etc. The S-W. AnJet (Anti-damp I. Fo r Ra d iv t o r s , Ky p iimd Sif a v Pip in g . Et c The S-W. Radiator Enamel (ra colors). I Fo r Pa in t a n d Va r n is h Re mo v e r , S-W. 7ante 1 Harmless ami reliable. Does not injure hands or wood). OC'rSIDE OF ECI1.DIKUS Fo r Fir s t Cu n t (w h iie a s d v e r y l ig h t l o l o k s h EXCtHTED', The Sheravin-Wtlliams Primer l Prepared). For White and vetj Light Colors, For first coat use while or the finishing coat de manded. thinned with pure tan linseed oil anil pure spirits turpentine. Fo r Fin is h in g Cu a is , The Sternum- Williams Paint. Prepared (4X colors). Fo r St a in in g Sh in g l e d Roots a n d Sid in g s , The Shernem - Williams Preservative Shingle Stains (Made with creosotel. Fo r Po r c h Fl o o r s . The S-W Perch Floor Paint. t i 0007-SWP-000102130 An architect ia our tom (Hot ateqpther w), H* alwaya write# "or equal" Wheatedr h< tpecifiea. And whea he find* dope good* an uied With all hn might ana man He huftbi ItnoB tM painter man -U 10 ihBt'Sw bltiM, to 1 % 0007-SWP-00010: