Pieces underway and a stool & box for sale

More goings-on in the shop. I took a dozen-plus chair rungs and set them in the kiln to “super-dry” them. I’m awful at things like making equipment, fixtures, etc. This kiln is bare-bones, insulation board and duct tape. cross-pieces poked through it to support the rungs, and a light bulb inside. Just a clip-light. The guts of it hang below the box, in the milk crate.

You can just see the rim of the light set in the bottom inside. The rungs are loosely piled in there.

145 degrees F.

The hickory rungs had been shaved months ago, and stored in the ceiling in the shop. When the batch went into the kiln, they weighed 3lbs/9.6oz. I weighed them repeatedly until they stopped losing weight – they finished at 3lbs/4.6oz. Once they kept that weight for a day or two, I then bored the chair posts and built the chair. The notion is that the chair’s rungs will only swell in time, they’ll never be this dry/shrunken again. The posts have a higher moisture content, not having been kiln-dried. They will shrink over time. Viola, a chair. Hickory, with white oak slats. I have yet to scrape and clean up the slats. It will get a hickory bark seat.

Today I spent planing some green wood for boxes and a chest. But took a half-hour to start the next carved box. This piece of white oak was planed in November – it’s surface is just right now for carving. The pattern, inspired by some of the many pieces posted by Marhamchurch Antiques, is almost entirely free-hand. Layout is just a vertical centerline. I’m right-handed, and I carve most fluidly to my left. So I start a carving like this just to one side of the center. Then the hard part is matching that on the right. I ran out of time, so that’s for another day. Once I finish that V-tool work, the background and some small details will be a snap. Height is 7″ width is 21″.

I did scribe two circles with a compass, these will become flowers in the carving. Then I can locate the same circles on the right half, which will help orient things there.

[Marhamchurch Antiques is a great resource for oak furniture in England. Just amazing quantity and quality… https://www.marhamchurchantiques.com/  I never miss a post, and I follow them on IG too. ]

I’ll be out of the shop for a few days, with Plymouth CRAFT hosting Tim Manney’s shaving horse class. So I stood these freshly planed white oak boards up to air out while the shop is empty. These run about 9″-11 1/2″ wide, 20″-22″ long. Perfect for chest panels, I’ll have to trim them narrower for box fronts.

 

FOR SALE

Just two items right now, If you’d like to purchase the stool or box here, just leave a comment or write and we can go through paypal or a check… email is peterfollansbee7@gmail.com    I welcome custom work too, I often make boxes, chairs and more on order, Email me if you’d like to inquire about some custom work.

POST & RUNG STOOL

I showed this stool the other day – made during a photo shoot for Fine Woodworking Magazine. The nature of that work is to have extra parts on hand in case something goes wrong. I ended up with an “extra” frame, so stuck it up in the loft for awhile, then just put the Shaker tape seat on it last week.

H: 17″  W: 17″  D: 14″
$400 plus shipping

CARVED & PAINTED BOX  – SOLD

And this oak box is one I made in December, and put the lid on it this month. White oak box & lid, white pine bottom. Till inside. Wooden hinge, red & black oil paint highlighting the background of the carving.

H: 7 1/2″   W: 22 1/2″  D:  13 1/2″
$1,000 plus shipping

 

Here’s the post about painting it https://pfollansbee.wordpress.com/2020/01/03/carved-and-painted/

 

red tailed hawk photos mostly

Just wrapped up a photo shoot with Fine Woodworking magazine; 2 full days in front of a camera. So I have no photos of my own from the past week in the shop, other than this one:

But I do have some good shots of a local red-tailed hawk over at the Daniel Webster Wildlife Sanctuary. I’m not sure, but I think there’s 2 of these nearly-tame hawks, this one’s an adult.

It’s the most un-skittish hawk I’ve ever seen out & about. It’s also pretty reliable, I’ve seen it on several occasions. Backlit below:

But caught it on the wing in the sunlight here:

Those were a week or so ago, then today was very windy, and it came out of nowhere & landed right in front of me about 5 feet off the ground. I clicked off a bunch of shots, the light was awful, but a couple are worth having.

Here the bird was working hard to balancing in the wind.

After about 5 minutes it swooped down, made a pass over something in the grass, and re-lit on a higher pole. I left it there, and went on my way. This headless shot shows the color of the tail well.

Last one, the pale underwing/armpit area.

Make a Carved Oak Box; at Lost Art Press Dec 9-13

There’s a nearly-last-minute opening in the final carved oak box class for the year – I’m returning to Lost Art Press for a small class (6 students) in making these boxes. There’s few versions in my book Joiner’s Work https://lostartpress.com/products/joiners-work and this class will follow much of what’s in there – but there’s always more to add. Different patterns, more details. I have taught the class four times in the past 12 months; this is the last time for this year and there’s only one shot at it next year. So…if you’re free December 9-13 and able to come to Covington, KY – have at it. Here’s the blurb, contact Megan Fitzpatrick to register…

“In this workshop, we’ll explore the construction techniques and decorative carving styles of oak boxes made in New England during the 17th century. Using quartersawn red oak and white pine, we’ll size the materials, cut rabbets to join the corners and fasten them with square wooden pins. Fitted inside the box is a lidded compartment called a till. The white pine bottom is attached with hand-made iron nails. The lid, also white pine, opens on a wooden pintle & cleat hinge.

 

Much of the focus is learning the carving style. Using about a half-dozen different gouges and simple layout tools including an awl, square, compass and marking gauge, we’ll go through numerous patterns in practice sessions prior to carving the actual box. We’ll study reference photographs of period carvings, learning how to lay out and cut them based on the tools and some basic geometry.

No experience necessary. Some basic tools required; a list will be sent to participants. (Follansbee will have some extra carving tools for students’ use.)

The fee for the weeklong class is $1,200, plus a materials fee for the wood and hand-forged iron nails. Register by sending an email to Megan Fitzaptrick at Lost Art Press: fitz@lostartpress.com.

Never carved this one before

Nine years ago, Maurice Pommier sent me some photos he shot at a museum in Bretagne.  https://pfollansbee.wordpress.com/2010/03/27/bretagne-joinery-an-english-book-stand/ –

I’ve studied these few photos as closely as I could; they’re great stuff. A couple years back, I spent some time trying to suss out how to layout some of the patterns; but it took til today for me to carve a pattern based on one of his photos and my sketch. The board is a piece of butternut; about 7″ x 22″.

 

After all the compass-and-awl/marking gauge work, I used a couple different gouges to strike the outlines. No v-tool at this point, some #7 and #5 gouges, and one old one flatter than a #5.

All this “over-and-under” business is not willy-nilly. There’s a pattern to keep. So I spent some time talking to myself, and even tracked my finger along, thinking “It goes over here & under there…”  Then picked up a gouge & struck it. Quick, before I got confused again.

Here it’s nearly done, just need to find an ending.

This is what I came up with. It’s not a copy of Maurice’s photo, but follows the general scheme of it. Only 2 small mistakes to this point.

Then cutting it is no big deal; particularly in this butternut. I try to use the widest gouge I can fit in there to remove the background. I want as few moves as possible; the approach I try to avoid is picking at it with endless tiny movements. I cut right next to all the incised bits, then back up & knock out the waste.

It was a lot of work – there’s a ton of background to a design like this.

I punched the background with a textured punch; it really emphasizes the foreground/background distinction. This is the first time I thought I was finished. I was wrong.

See why?

I fixed the 2 strokes I forgot, then found two more. Then added a V-tool line through all the bands. Now I think it’s done. One v-tool line stopped short… I usually leave “mistakes” at this point; but this time I might actually fix it – tomorrow.

 

This is one of two sliding-lid boxes underway. The other is Spanish cedar; that one’s chip-carved. That goes on forever too.

Back in October Lost Art Press ran a very nice feature about Maurice in their “meet the author” series – if you missed it, here it is:

https://blog.lostartpress.com/2019/10/18/meet-the-author-and-illustrator-maurice-pommier/ 

I took the late afternoon sitting down

I’m strictly a mortise-and-tenon sort of woodworker. But some years ago, when Chris Schwarz wrote his tool chest book, I decided to learn how to cut dovetails. Chris Becksvoort has nothing to worry about, that’s for sure. But I can work my way through them. It’s the only furniture work I can think of that I do sitting down, except maybe seat weaving.

Sometimes I get some odd species of wood across my bench, and then I undertake some “different” furniture. Today I started in on 2 sliding-lid boxes.  Below is a small box assembled, in leftover Spanish cedar (Cedrela odorata). It takes chip carving very nicely. The stacked up pieces are butternut (Juglans cinerea), headed for a larger version. The plan is to include a hidden drawer on this one, like I did a few years back https://pfollansbee.wordpress.com/2017/07/03/chip-carved-box-for-bowl-gouges/

Here’s the older one, in tulip poplar. I know I started it in 2014, not sure when I finished it.

This is the cedar one – I have come to the conclusion (many times) that softer woods are harder. To work, that is. One false move and you’ve blasted the thing to bits. This one looks like it will make it. More chip carving to come, then a pine bottom & cedar lid.

This is as far as I got on the butternut today. I ripped and planed these boards to a shy 3/4″ thick, and trimmed them to 7″ high by 22″ long.

So tomorrow I’ll pick up where I left off. I do have some oak furniture to make, but the white oak needs to wait just a bit longer…

Two new boxes for sale: SOLD

UPDATE:

Both boxes are sold. More are in the works, thanks as always for the interest and support,

PF

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I finished up two boxes in the past couple of weeks. Both are white oak, the one on the left with a pine lid, the other with a white oak lid.

They’re for sale – $900 for the white pine lid example, $1,000 for the oak lid one. Plus shipping. Leave a comment if you’d like to order one. I’m making more in a week or two.

These came about because a friend gave me some fabulous white oak; the best oak I’ve had in ages & ages. Both use wooden hinges (like most of my boxes, and a few period boxes…) – carved on the fronts & the ends. Till inside each. (click the pictures to enlarge.)

Here’s a look at each. The pine lid one first. A pattern on the front that I really like. I’ve never seen the original carving; it’s in Victor Chinnery’s book Oak Furniture: the British Tradition. I’ve done it a few times; it works best with a pretty wide piece of stock. Both of these boxes are 8 1/2″ high, the oak boards that make up the carcasses are 7″-7 1/2″ wide. Overall dimensions for this one are:

H:  8 1/2″  W: 24 1/2″  D: 15 1/2″

Here’s the general form:

And the end view, showing the pintle & cleat wooden hinge. This carving is based on some I saw in a Wiltshire church w Chinnery almost 20 years ago.

This is the one with a figured sycamore till lid. Flashy.

Now the oak lid example. I had some nice quartersawn white oak to glue up to make this lid…more work than a pine lid. Heavier, but tougher too. I like both, I more often use pine lids, just to conserved the oak for carving.

This pattern is one I copied from a photo a student brought to the Lost Art Press workshop in the summer. He got the photo off an auction site…I think the original was part of the Devon group of carved oak that I have studied so frequently. I adapted the pattern to become a running band, then added S-scrolls below it.

Just a plain ol’ red oak till lid.

Is

I stood the S-scrolls upright on the ends. This is a common pattern from that group…

Chairs, stools, boxes – for sale; some on sale

The house is full, the shop is pretty full as well. So I went up in the loft and here goes a few things for sale, a couple on sale. Some prices include shipping, in the smaller and/or lighter stuff. Heavier & bigger, shipping is additional. Come pick them up if you’re nearby.

If you’d like something, leave a comment. I can send a paypal invoice, or you can send a check.

thanks, PF

Ladderback chair

The latest version of my JA chairs; this one I started last month during Plymouth CRAFT’s chair class & finished it up right after. Red oak, some ash rungs. Hickory bark seat.

H: 33 1/2″ seat is 17″ wide at front, 13″ deep. Seat height about 18″
$1200 plus shipping; which runs around $150 here in the US.

 

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Post & rung stool

Related to the above; I made this for a recent article in Fine Woodworking; when that photo shoot was over I stashed it in the loft & promptly forgot about it. Found it today in a pile of chairs and things. I own a John Alexander version of this item; so this one’s extra. The bark seat will last decades; but it’s just a step or so off from what it should be – strips vary a bit too much in width; and are spaced a bit too far apart. There – I’ve told you what’s wrong with it; but it’s a perfectly fine stool really. I’ve priced it to reflect my take on it –

seat height:  18″ frame is 14 1/4″ x 17″
$500 plus shipping

 

 

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Joined stool; oak with red wash – SOLD

H: 20 1/2″ top is 14″ x 15″
I had it at $850; now $750 plus shipping

This stool is like a pair I made recently for an historic house museum in that the stiles/legs are plumb, not canted in one direction like many joined stools. I added carving to the aprons of this one; two different, but related patterns from Connecticut.

 

Single-board quartersawn oak top.

Carved oak box; pine lid & bottom  – SOLD

I made this box earlier this summer; took it with me to Lost Art Press when I taught my first box class there. It’s not a copy of an existing box, but the carvings are based on some work from Connecticut.

It got a bit battered in transit; then back here in the shop something fell on the pine lid & scarred it. So a ding or two. It’s either make a new lid or lower the price. This one works just fine, and now you don’t have to worry about banging it around. Been done for you..

H: 6 1/2″  W: 18 3/4″  D: 12″
was $850, now $750  including shipping

 

Below are the two main detractions on the lid – right dead center on the end molding something fell on it. Looks like it was a chisel! Out along the back edge is some minor denting…

Desk box – SOLD

This one’s been around the block a few times. Most recently it’s featured in my book Joiners’ Work – (get the book here & make your own desk box, https://lostartpress.com/products/joiners-work )

I really like this box, but am seriously jammed for room in the house. Plus I have a very large chest of drawers to bring in the house soon, so I’d be pushing my luck to get this & that in. It’s a copy of one I saw many years ago, made in Braintree, Massachusetts about 1670-1700. Red and white oak, white pine bottom. Hand-made iron hinges. 4 drawers inside, two tills and a tray. Great thing about it is your family can’t pile anything on top of it, so you can get at its contents easily.

H: 11 1/2″ W: 24 1/2″  D: 16 1/4″  height at the front is 6 1/2″

Was $2,000. Now $1,600 plus shipping.

 

 

Carved panel; Alaskan Yellow cedar – SOLD

I’ve said it before, but this is really & truly the last piece of this wood that I have. Working this wood was like nothing I’ve ever seen or felt before. Or since. There wasn’t enough wood to re-saw and make a small box, so I carved this large panel with a design found in a room at the Victoria & Albert Museum. The room came from Bromley-by-Bow; maybe early 1600s.

If you’d like, I can put some screw eyes & wire on the back, or you can decide on how to display it when you get it.

H: 21 3/4″  W:  10 1/2″
$450 including shipping