It quickly became apparent that we needed to hustle if we were to get anywhere in this class. Roy found a way to speed things up.
August 12, 2014
August 12, 2014
I once had a t-shirt I got at an Arlo Guthrie concert that read “we know it’s stupid, that’s why we’re here.” goodness only knows what it meant, but a similar notion must have run through the minds of these students -a very good-natured group of would-be joiners who came down to Roy Underhill’s school to attempt to make a joined chest in a week. 10 students means 10 chests. each chest with about 25 pieces of riven oak in it. Plus extras in case something goes wrong…
Roy & I dreamed up this idiotic course, “let’s make a joined chest in a week!” And we booked it & it filled up. well, it became a reality (of sorts) and on the first day, these students split, crosscut, & rived out over 200 piece of oak for said chests. That’s a lot of oak. Here’s the beginning of just one small pile of parts:
We tried to sort and count them as we went, but it was doomed.
We need over 70 panels; about 8″ wide by 12-14″ long. SEVENTY!
We scurried back to the woods to get more of this amazingly straight-grained oak. what a tree!
I don’t know who this is, but he was not alone.
Thankfully, we found that with proper supervision, it only took Kat a short while to bust out all the oak. it’s not that hard, really.
Next, they plane all the long rails, layout the joinery, chop mortises, plow grooves & cut tenons.
March 27, 2014
Our friend Martha is studying local ceramic history for some degree or other. She sent this note the other day. Me, I’m a vegetarian. But I do use a fore plane from time to time, so in the interest of tool-use, I will post it here…
“I was reading in an 1851 New England Farmer journal (as they frequently preach against the evils of lead glaze there). There was a sausage recipe submitted by “a subscriber” who makes sausage meat by freezing it, then “I take a fore plane, set rank, and plane it to shavings” Apparently the meat needs very little chopping after that. It wouldn’t hurt the blade, only add some grease- rust prevention through sausage! Yikes! They didn’t actually leave a name so you don’t really know if it’s by a man or woman, but they put the recipe in the “Ladies Department.” What exactly is a “fore plane” ?
So – we all use Moxon’s description to understand this tool:
It is called the Fore Plain because it is used before you come to work either with the Smooth Plane, or with the Joynter. The edge of its Iron is not ground upon the straight, as the Smooth Plane, and the Joynter are, but rises with a Convex-Arch in the middle of it; for its Office being to prepare the Stuff for either the Smoothing Plane, or the Joynter, Workmen set the edge of it Ranker than the edge either of the Smoothing Plane or the Joynter; and should the Iron of the Plane be ground to a straight edge, and it be set never so little Ranker on one end of the edge than the other, the Ranker end would (bearing as then upon a point) in working, dig Gutters on Surface of the Stuff; but this Iron (being ground to a Convex- Arch) though it should be set a little Ranker on one end of its edge than on the other, would not make Gutters on the Surface of the Stuff, but (at the most) little hollow dawks on the Stuff, and that more or less, according as the Plane is ground more or less Arching. Nor is it the Office of this Plane to smooth the Stuff, but only (as I said) to prepare it, that is, to take off the irregular Risings, whether on the sides, or in the middle, and therefore it is set somewhat Ranker, that it may take the irregularities the sooner off the Stuff, that the Smoothing Plane, or the Joynter, may afterwards the easier work it Try. The manner of Trying shall be taught, when I come to Treat of the use of the Rule.
March 17, 2014
The reason I haven’t posted about furniture is because I’m not making any lately…and without photographs, this blog is going nowhere.
so I have been sifting through some old and not-so-old photos and thought we could just have a random-thoughts sort of post. Like Rick does http://blueoakblog.wordpress.com/2014/03/08/a-cinnabon-in-omaha-2/
“Abe said, Man, you must be puttin’ me on.” An overmantel in Salisbury, Wiltshire.
Time to give another nod. Maureen’s felted stuff is getting going. She’s added new bits, stop by & get yourself some knitted and/or felted goods. More coming soon she says. https://www.etsy.com/shop/MaureensFiberArts
Thinking about turner’s work, for the upcoming visit to MESDA this week. Here’s a few rather rough photos of one of 2 examples of great turned chairs from either Wales, or the west of England, late 16th/early 17th century.
Look at the detail of the back – all those horizontal connecting bits had “free” (sometimes called “captured”) rings. How can they be captured & free?
Imagine how good this photo below would be if it were in focus. This chair, badly restored in its bottom half, and another from the same workshop are at Cothele, a National Trust house in Cornwall. http://www.nationaltrust.org.uk/cotehele/?p=1356297446549 – if youwant to see their mate in America, go to Harvard University’s commencement. They have one they used to use for the Prez to sit in at commencement.
Here’s a simple version, this I shot up in Yorkshire years ago. It might be all-shaved, might have some few turnings. It would be nice to learn more about this chair and its kind.
If you want to see carvings, get some raking light. MFA, Boston.
This house (torn down 1890s) is reputed to have been William Savell’s in Braintree. His 1669 will mentions, “house, shop, etc” – if that’s the shop on the right, I hope there’s windows in the back wall…
Here’s a “road-kill frog” hinge…1630s in Derbyshire.
“We’ll see summer come again…gonna happen every time…we’ll see summer by & by.”
(I’ll miss being at Drew’s this summer, but you can go – http://countryworkshops.org/ )
well, this is stupid, but how much time am I going to spend doing this over & over? The blog wants to flip this photo (the one w paint below) on its side…might be why it’s never been here before. (HA! Joke’s on me – I had given up, wrote that sentence – added it one more time. It came in right side up & brought another with it. So you get 2 for 1, right side up) The first one’s from Marhamchurch Antiques – http://www.marhamchurchantiques.com/current-stock/all/
Well, I gotta finish my lecture for Friday. Then look at flight & bus schedules…
February 17, 2014
This now-out-of-print book is for completists only, it’s from an exhibition at the Heritage (MA) Museum – back in the mid-1990s. Our friends Rob Tarule & Ted Curtin made the furniture and the period room installation. After the exhibit closed, the room came to a local living history museum where it was installed as an accent piece in the gift shop for about 18 years.
Brian Cullity’s book has a couple of shots of period houses that were the partial inspiration for the paint scheme, this frame’s most obvious feature:
Now that they are ready to tear into the building my shop was in, I got wind last week that the room was headed for the dumpster – so when that happens there’s only one thing to do. Go see Michael. As in Michael Burrey, local restoration carpentry guru, and the quiet, behind-the-scenes figure in the popular blog Blue Oak – http://blueoakblog.wordpress.com/
You folks have read the Blue Oak for a while – and most of those guys used to work at the museum. One by one they shifted over to MLB Restorations. They put ‘em up, they take ‘em down. Michael worked on the original installation, doing plaster work and other duties, then took it down the first time, then put it up at Plimoth, and now he & I started taking it down this past weekend. I got some shots of what he was doing, but from time to time he needed me to put down the camera & lift, heave & shift.
This shot shows the frame with its polka-dot ceiling; I had already removed the pine paneling on the facing wall. It has several runs of ogee-molded decoration; and ship-lapped joints.
You start where it ended, taking off the ceiling boards. Here’s Michael gently prying to test how they were fitted.
He ran around & numbered each board first…
Then I removed nails & screws (it’s a gift-shop installation – not necessarily period-correct, remember) – and stashed the boards out of the way.
Then down came the red oak joists.
These got numbered and stashed as well.
This was about the end of my camera work – here you see the end view of the summer beam; about 12″ tall, x I forget what thick. Godawful heavy is what it is. MLB estimated 600 lbs. So at this point, we set up staging to pry the summer up, then shifted it onto blocking on the staging. Then quit for the day. Took the frame down around the staging/summer beam elephant in the middle of the room. And waited for help.
This AM Michael, Justin and Rick & I started bit by bit easing the summer beam down onto blocking. No photos, I had a short shift because I bugged out to take the kids to the MFA & left the MLB/Blue Oak-ers to finish the task. We’ll see what happened.
The room is 18′ x 20′, would be a great addition to some enthusiast’s home. If someone’s interested, I can put them in touch with MLB. Then we can figure out how it goes back together.
Michael says these rescue demo jobs always have a desperate last-minute feature to them. As it happened, this one tied me up so I mostly missed a great winter storm. I would have loved to sit by the window & carve spoons again, but there’ll be other times, & this frame is now safe from the dumpster. Meanwhile I bumped into this hermit thrush right outside the shop on the 2nd morning – picking around the snowbank.
* the title to this post alludes to some moronic American movie that I fortunately never saw; but could not avoid the tagline after hearing it repeated endlessly. It’s applicable here, Michael gets calls whenever there’s an old frame that needs restoration, rescue or just plain ol’ examination. Remember this wood shop?
That was Michael-
December 21, 2013
Now I am trying to go back to some ideas I had for blog posts that never got written in the last two months. First up is “wainscot.” I’ve always had it in mind to write about wainscot, then after reading Richard Law’s post about his reading of Wolsley & Luff’s Age of the Joiner it got in my noggin again. The book is a real mixed bag; but worth having if you’re careful. What Richard found out is that wainscot means different things at different times/places and needs.
One basic meaning of the word is paneled walls – a series of connected frame-and-panel constructions to sheath interior walls. Simple, right?
Well, it also means imported oak from the Baltic. Or from elsewhere, through the Dutch territories. Or is means oak quartered, usually riven, as the Baltic oak mostly was.
It can also mean an object made with either these materials or this construction method. A wainscot chair can be an oak chair, it can also be a walnut chair, made with a joined frame and a paneled back.
The absolute best discussion of it is now Adam Bowett’s entries for oak, wainscot etc in his newest book Woods Used in British Furniture-Making 1400-1900. I had mentioned this book a while back, it really is a great reference book. Costly, but worth the money. If money’s tight, absolutely get the library to hunt it down for you. But then you’ll want to buy it. I saved up and got one. The introduction and the entries on oak, mahogany and walnut are excellent research and writing. The other stuff too, but those are the ones I read first. His entry for wainscot is 9 pages long…you can skip my post here about it & go read Adam’s book instead.
There are records in England of the word wainscot being a noun – an early record is one I first saw in Wolsey & Luff’s book – an excerpt from the will of John Henryson of Kingston-upon-Hull, 1525, mentioning:
“I gif to William Henryson, the carver, at the next comying of the hulkes oute of Danske a c [hundred] wayne scottes”
These wainscots are either bolts or logs of oak to be worked at their destination.
Here’s Reverend William Harrison’s note about imported wainscot – in A Description of England of the late sixteenth century: (1577 1st edition, or 1587 2nd)
“Of all oke growing in England, the parke oke is the softest, and far more spalt and brittle than the hedge oke. And of all in Essex, that growing in Bardfield parke is the finest for joiner’s craft: for oftentimes have I seene of their workes made of that oke so fine and faire, as most of the wainescot that is brought thither out of Danske, for our wainescot is not made in England.”
John Evelyn, Sylva ( I think this is from the 1661 edition, but not sure) :
With Fir we likewise make Wainscot, Floors, Laths, Boxes, and wherever we use the Deal; nor does there any Wood so well agree with the Glew as it, or so easie to be wrought: It is also excellent for Beams, and other Timber-work in Houses, being both light, and exceedingly strong, where it may lie dry everlasting, and an extraordinary saver of Oak where it may be had at reasonable price.
Nor are we to over-pass those memorable Trees which so lately flourished in Dennington Park neer Newberry: amongst which three were most remarkable from the ingenious Planter, and dedication (if Tradition hold) the famous English bard, Jeofry Chaucer; of which one was call’d the Kings, another the Queens. and a third Chaucers-Oak. The first of these was fifty foot in height before any bough or knot appear’d, and cut five foot square at the butt end, all clear Timber. The Queens was fell’d since the Wars, and held forty foot excellent Timber, straight as an arrow in growth and grain, and cutting four foot at the stub, and neer a yard at the top; besides a fork of almost ten foot clear timber above the shaft, which was crown’d with a shady tuft of boughs, amongst which, some were on each side curved like Rams-horns, as if they had been so industriously bent by hand. This Oak was of a kind so excellent, cutting a grain clear as any Clap-board (as appear’d in the Wainscot which was made thereof) that a thousand pities it is some seminary of the Acorns had not been propagated, to preserve the species.
(Ahh, Evelyn brings up the word “clap-board” – we’ll get to that another day…)
In 17th-c New England they surely weren’t using any imported Baltic oak. There the word applied to local oak, probably riven on the quarter. Sometimes, though, it was about the paneling, In Massachusetts Bay Colony’s earliest days, Governor John Winthrop chastised one of his deputies for being lavish with his own house.
“May 1, 1632 …upon this there arose another Question, about his howse: the Governor havinge formerly tould him, that he did not well to bestowe such cost about wainscottinge & addorninge his howse, in the beginning of a plantation, bothe in regarde of the necessitye of public charges & for example &c: his answeare now was, that it was for the warmthe of his howse, & the Charge was little, beinge but clapbordes nayled to the walles in the forme of wainscott.”
(Richard S. Dunn, James Savage, Laetitia Yeandle, editors, The Journal of John Winthrop 1630-1649 (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1996) p.66.)
I’d say that’s the earliest use of that word in New England. And in that case, while clapboards were usually oak, the term wainscot here is about the wall-panelling. Faux wall paneling to boot. There’s a pine board chest at the Plymouth Antiquarian Society with narrow boards nailed to the front of it to mimic a joined chest. Sounds like the paneling Winthrop’s deputy had…
Otherwise, New England inventories usually use the word as an adjective – wainscot chest, wainscot chair, etc. I can’t think of any examples like numerous English inventories where they list the wainscoting as a “moveable” like furniture.
Here’s an English one, from 1672, Abraham Brecknock, Writtle, uses “wainscot” as both noun & adjective:
“One drawing table, 6 joint stooles, and a forme and a Bible £2; One presse-cubbord, another wainscot cubbord and all the wainscot about the Hall, and the long bench joyning to the wainscot £7-10; Three chaires , 6 cushions & other implements £1 “
For the record of sawyers working the imported material, here’s a piece from London, 1633 – from Henry Laverock Phillips, Annals of the Worshipful Company of Joiners of the City of London, (London: privately printed, 1915) we get a petition filed by the Joiners Company against the Freemen Sawyers of London:
“1633 Petition of the Compy of Joyners &c to the C of Aldermen against Freemen Sawyers
Report to the C of Aldermen…we caused to come before us as well divers of the Cy of Joyners as other freemen Boxmakers as also the Sawyers we conferred also with the Wardens of the Carpenters Cy touching the matters complained.
That within these twentie years the prices of sawing is so exceedingly increased by means that the freemen Sawyers have appropriated the performance of the work & that only forreyners have served under them as that there is now taken sometimes three pence and sometimes four pence for sawing a Curfe of Wainscott which was then done for three half pence and no more.” (p. 25, 26)
Here’s Richard’s post from some time ago, that got me to thinking about this: http://www.flyingshavings.co.uk/believe-words-words-words-hamlet-act-ii-sc-2/
In it, our friend Tico Vogt mentioned the blog written down under by “Jack Plane” – I have been remiss to never bring this blog up here. It’s outstanding, just great. No idea who this fellow really is, but his work is great, and he knows period work quite well. You probably already read it, but if you don’t, you’d like it. Here’s the one Tico remembered about wainscot http://pegsandtails.wordpress.com/2010/08/31/oak-in-the-seventeenth-and-eighteenth-centuries/
December 17, 2013
Remember this creature? http://pfollansbee.wordpress.com/2013/10/10/wooden-saw-vise/
I dug out my copy I started some time ago. It was at the point where I needed to turn the roller that tightens the two frames of the vise. It works by twisting the roller – it has an off-center round tenon fitted into the two front stiles. Here’s the old one showing the roller at the bottom of the front frame.
After turning the cylinder, I thought some about how to make the off-center tenons. I’m not Roy Underhill, so that means I did not mark new centers, re-mount it on the lathe, and turn it off-center . Instead, I marked it out with an awl & compass, and sawed, split & shaved it. Quick & accurate if you take it step by step.
I started by marking plumb lines through the center of the roller’s ends. This helps me get both ends marked out so they agree. I set the roller in the “joiner’s saddles” or V-blocks for any moderns out there. Hit a holdfast, then used a square and awl to strike a vertical line on the end grain, through the centerpoint. Check that w the square, then mark the other end
Now it’s simply a matter of setting a compass to 5/16” to strike a circle of 5/8” on that line, bumped up to the top of the roller…
then some saw kerfs, and splitting off the waste. One:
Then shaving the roughed-out tenon by using the spoon carver’s “crossed thumbs” grip.
Test fit in a hole bored in a piece of scrap hard wood. trim to fit.
Here’s the front assembly.
The roller bears against two strips of hardwood glued to the rear stile’s inner faces. I keep a box of short off-cuts of straight-grained hickory and ash. The box is labeled “tool handle stock” – but I dip into it whenver I need dry, hard clear stuff. Hickory is my first choice for these. The originals were repositioned, after wearing out one side/edge.
right now mine are just glued on. The old ones are glued & nailed. Next time I’ll start testing the action of the cam-roller, and see how well it closes the jaws of the vise.
As I was ready to leave, here’s the view out the window. I love it this time of year.
December 12, 2013
I shot some more stuff today…
I have been carving up the last of 2013’s spoons – some serving spoons in cherry heartwood. When cherry logs lay around too long, the sapwood goes off, but the heartwood is still good in this log after 8 months -
I shot these two spoon bowls together to show the variation in the grain pattern inside the bowl. The centerline on the spoon on the right is mostly centered on the piece of wood – so you get a nice, even concentric pattern as you cut into the succeeding layers to hollow out the bowl.
The one on the left was a bit whacky, I forget why now. Some defect caused me to line up the centerline of the spoon to one side of the centerline of the split billet. So now the grain pattern inside the bowl is one-sided. I like this effect; but I like the other one too. All this becomes horridly small details that matter to few…but it helps to know how & why different patterns emerge.
All the spoon blanks have to be split in such a way that the central section of the tree, the pith, is avoided. Usually it is hewn away. Leave it in, and the spoon will crack, probably more than 99% of the time.
But do you then hollow the side towards the bark, or towards the pith? Well, you can do either – one will get this pattern, one that. Here is a 3rd spoon dropped into the photo above, showing the pattern resulting from hollowing the face towards the pith. Usually I hollow the wood near the bark side, like the middle spoon.
When you hollow them in green wood (almost always the case) – the bark side bowl gets narrower, but deeper upon drying. The other gets wider, but shallower. This is the effect of differential shrinkage in the wood. More minutiae, though. The amount they shrink & distort is not great, to my way of thinking. I’m more concerned about the grain pattern, or quirks of the individual spoon blank. I generally work them all bark-side up, but if the tree has another idea…I’ll follow the tree’s lead.
Here’s some furniture that made it to the background paper today. First is the chest I made for the museum. Every year they have a raffle for one of these. This is the one I made piece-meal – started in April, finished in Oct/Nov. Never again. Finishing it up in the last few weeks was an ordeal.
Here’s the little 2-panel chest I made for the Woodwright’s Shop episode. It still needs its hinges installed, but that’s manageable. A combination of red oak, with 2 white oak sawn panels in front. Pine floor boards.
Here’s a detail of the next version of that little chest…I just couldn’t leave all that blank oak around. This one’s for me…riven matched panels in front.
The gouge-cut carvings. one tool, two moves.
a joinefd form, red & white oak. A little more than 5 feet long, I think. I forget. The seat is quartersawn white oak.
December 10, 2013
Moving is a good time to sort junk & throw out some stuff. Moving the shop is no exception. I got to the small bookcase & sifted through some magazines…I had long intended to go through the back issues of Antiques & Fine Art and snip out the photos and articles that might be useful, and ditch the rest. I can save 2 feet of shelf space by doing just that. I ran across this advertisement from a 2004 issue of the magazine:
I had never seen this box before it appeared in this ad…and I have never seen it otherwise for that matter. But to me, it resembles the work in the cupboard at the MFA that I worked on some years ago. http://pfollansbee.wordpress.com/?s=MFA+cupboard
To review that project – the MFA owns a 1680s/90s cupboard base. They asked me to make a top to go with it, but worked to look “as new.” It was a great project, one in which I had lots of help from their conservation people and those at Winterthur Museum as well. Here’s my result, before it was installed at the MFA.
To get to that, we studied the related objects. In all, we only knew of 4 pieces from this un-identified shop. Here they are:
First is the MFA cupboard base. The top drawer is carved on a shaped drawer front applique – and the stiles are carved below this drawer. Plus false muntins on the 2nd & 3rd drawers. Highlighted w paint.
The chest wth drawers at Concord (MA) Museum is a great example of this guy’s work. It’s all kinds of weird in its construction, but the carving and paint are immediately recognized.
A detail of the carving:
This old photo of the cupboard head at the Metropolitan Museum of Art in NY shows what was left c. 1900 or so. They had the base too, but this one I cropped when I was studying the cupboard’s upper case.
The box at Winterthur is a fine example, I especially like its small size. It’s dated in paint on the side, I think it’s 1698.
You might remember one of my interpretations of this box just the other day:
When I ran across the photo at the top of this page in the shop today, I started to make out in my head how to lay it out…within a few minutes I figured it would be quicker & easier just to lay it out on wood & carve it. so I did.
I tilted the board a bit, to try to show the layout scribed w a compass…it’s a bit hard to pick out. But it’s there.
What fun! Once I got that out of my system, I went back to sorting & cleaning.
December 9, 2013
A few notes from the shop – it turns out I will not have any more spoons for sale this month. A couple of people wrote & ordered some, and those I have just about done. But I decided not to tackle more. It was getting too hectic, and I have enough to grapple, cleaning out this stuff.
I will have one more carved framed panel, if anyone is interested. I cut the frame at the Lie-Nielsen event at Phil Lowe’s the other day…so I just have to clean it up a bit, and take proper photographs.
Meanwhile, the best day in the shop in ages was Sunday, Daniel came back. Can’t say too much, he’s making a Xmas present. But we had a great time. Being in the public eye 8 months out of the year means the kids only get to the shop during the 0ff-season. So we’re making the most of it right now.
Then, this red-bellied woodpecker sat right out the upstairs window at home. You can tell he’s a red-bellied, because the red head is not all-over. I didn’t name these creatures…in the last shot you can actually see a smudge of red down near his nether parts. That’s where his name comes from. His belly is mostly white, with a streak of red. a faint streak.
I’ll be posting my teaching schedule for 2014 soon. It’s a busy one…