The Story Behind This TV Unit
Painted furniture is more honest than polished furniture, and that makes it harder to build. A dark polish forgives a joint that is a hair proud or a panel that is fractionally uneven; a flat pale colour shows both. So the carcass here is built to a higher standard of fit than the finish would suggest, and every surface is sanded further and checked under raking light before any colour is laid.
The flower basket panels are carved separately from the solid - the basket hollowed so it reads as a container rather than a block, and each bloom shaped on its own axis with a few still in bud, because a mould-made spray gives itself away by facing everything forward. The scrollwork drawer front and the apron are cut as continuous runs. The legs are turned, then fluted by hand, which is slow work because a flute that wanders is visible from every angle on a round section.
The sage is then built up in thin coats, each cut back before the next, until the colour is dense without drowning the carving. Only then is the gold picked out by hand and rubbed back at the high points.