We didn’t get as much snow as I hoped for; but beggars can’t be choosers my mother would say. I like being holed up in the shop or the house during a snowstorm, it keeps things nice and quiet out there. I haven’t shot any photos lately because I’ve made three boxes in a row that were essentially the same patterns. Here’s the 2nd yellow cedar box, done for a customer who missed out on the first one, so ordered one.
These strapwork patterns vary only in the details, but generally follow a basic format.
One thing I learned about using carved lids is that you have to line up the centerline of the lid with the centerline of the front. Another step when fastening the lid. I took to marking the center of the edge with a pencil then planing it off after assembly.
I make the back of these boxes in oak still, so the wooden pin that engages the cleat to form a hinge has the necessary strength. The cedar would probably be OK, but I know the oak does the trick.
That’s it for boxes for now, I have one more on order – in January. Meanwhile, I have some clean-up to do, a joined stool for a customer and some chairs to get back to. I’d like to thank all the blog readers for their support during this strange year – I’m grateful to you all.
First off, thanks to those who responded to Maureen’s work yesterday & today. I greatly appreciate it. Now, a blog update. I know I’ve been posting lots of stuff for sale recently. Being off the road for the past nine months has been very nice, but it also dried up a great portion of my income. The other flip side of that is it gave me lots of time to make things. I hope to return to teaching in person in 2021, we’ll see how things unfold. I am planning an on-line class with Elia Bizzarri http://handtoolwoodworking.com/ where we’ll cover some spoon carving. He & I are planning on testing some stuff this month. We’ll both post details when we have them. It’ll be partially modeled after what Elia & Curtis Buchanan have done with their recent chairmaking stint; but I’ll have axes & knives in hand too.
In January (probably before) I’ll be concentrating on blog posts again, some carving, some chairmaking and spoon carving. I also have a 2nd set of carving drawings pretty much ready to go, but the timing was such that I’d be posting them maybe a week from now. I decided to hold them back til after the holidays. I didn’t want to add to any frenzy – no one needs it this year.
I also plan on getting back to some more video work in January. I’ve been busy trying to get the boxes done for December, but haven’t given up on the video work.
Meantime – I have three boxes and some other craft items as well as some videos & drawings available. Leave me a comment if you’d like to claim any of these, or send an email to email@example.com
CARVED OAK BOX – SOLD white & red oak, white pine bottom. H: 8 1/2″ W: 23 3/8″ D: 13″ $1,000 includes shipping in US.
This first box got posted some time ago, but it didn’t sell right off, then other blog posts pushed it aside, and I put it in a chest & forgot it. Found it the other day…the box is some great riven white oak, the lid quartersawn red oak.
This pattern is often found on 17th-century work – a surprising amount of detail in small spaces. Glued & pegged at the corners, bottom nailed on w handmade nails. Handmade iron hinges as well. A lidded till inside.
Carved box; oak & pine. Strapwork design with carved lid. SOLD H: 8 1/4″ W: 23 1/2″ D: 11 3/4″ $1,500 includes shipping in US.
This box is a slightly new direction for some of my work. Until recently, I had mostly avoided carving the lids, but last month I made a box from yellow cedar and decided to carve its lid. I had seen a photograph of an English box with a “strapwork” pattern carved in its lid, and decided to do that. I loved the way it looked, and so did two other people at least (it sold & I took an order for a 2nd). My friend Rick DeWolf provides me with great quartersawn oak for my box-carving classes – this year he brought me the wood, but with no classes, I dove into making boxes & boxes. Among that stash was a great piece of 12″ wide perfect quartersawn stock. Bang! Carved the lid, then make a box to go under it.
You can see some streakiness through the oak on this box, the result of something or other in the tree. Time will mute all these oak colors together. Patience and patina rule the oaks. For that matter, the pine too. Here’s a photo I’ve posted before, showing a new box on the left, and one about 12 years old on the right. Both red oak and white pine. Both with linseed oil finish. The one on the right has been in use in our house now for 15 years.
CARVED BOX, S-scroll design – SOLD H: 7 1/4″ W: 17″ D: 11″ $850 includes shipping in US.
This one’s just a bit smaller than usual. I think the box front carving was either a demo or maybe a video I did this year…however it happened, I found the board all carved – so rather than waste it I made a box to go around it.
This one has an extra carving too – the till lid I made from a leftover white oak carving. You’ll only see it when you go fumbling around in the till.
Catalpa bowl H: 5 3/4″-6″ L: 20 1/2″ W: 12″ $600 includes shipping in US.
I’ve made bowls with axes, adzes & gouges going back to the late 1980s. From time to time I take another stab at them, but usually just winging it. Then, I met Dave Fisher. I’ve watched Dave teach bowl carving a number of times, but I would usually see just some of the steps, not in order. This time, I tried to just follow Dave’s instructions based on his video with Fine Woodworking https://www.finewoodworking.com/videoworkshop/2017/11/carve-greenwood-bowl-david-fisher
You can flip it over and wear it as a helmet. When I shot this photo, I realized I need to carve my initials on the bottom.
CARVED SPOON #1 – SOLD rhododendron, L: 9 1/2″ W: 2 1/2″ $100 includes shipping in US
This spoon is made from a “crook” – a naturally bent or curved section from which the spoon derives its shape. The most fun spoons there are to make…
large round basket – white ash splints; hickory rims & handle. Hickory bark lashing 14″ diameter at rims, basket height 9″ to handle 18″ $600 including shipping in US.
DVD – Build a Shaving Horse
$42 includes shipping in US 2 discs; 162 minutes.
I have 9 copies left of this video I shot with Lie-Nielsen Toolworks. They have plenty I’m sure, and they offer it as streaming video too. How to make the style of shaving horse developed by Jennie Alexander and adapted by me. Mine’s been in use since the late 1980s. I still use it all the time…
Carving Drawings 17th-century Style Carving: Devon, England and Ipswich, Massachusetts, set #1 4 pages, 24″ x 36″, rolled in a cardboard tube. $66 includes shipping in US.
These have their own page describing them, but in summary – 4 pages 24″ x 36″ of drawings showing several designs I carve in my oak furniture. Full-scale chest panels, framing parts, box front. Step-by-step drawings showing how to establish the patterns…
I have this great piece of red oak; quartersawn, 12″ x 24″, clear, pretty straight (thanks, Rick) – and after seeing the carved lid on the cedar box the other day, I decided to try a large panel of a strapwork design again. Usually when I undertake these patterns, I only have a partial idea of what it will be. Much of it I work out as I go.
The top and bottom edges are easy, they’re always those linked arches. I divided up the space, put a circle in the middle and struck all the arches with gouges and a chisel. Then I knew that this time I wanted these long, vertical leafy things. You can see in the photo below that I carved one all the way before continuing. That way, if it didn’t work – I could quit, or flip the board over. Or plane it all away. (all extreme choices that rarely get employed.)
But I liked it, so I went on from there. Here, I’m setting a marking gauge to strike lines that will connect the right and left sides of the panel at the middle.
Below – using a 3/4″ wide gouge to strike circles in some empty spaces around the middle.
This time the area where those left & right halves come together get volutes carved as the ends of each section. I strike their outlines with 3 different gouges.
These patterns usually flow outward from the center – up & down, left & right. Here I’m using a compass to mark the height of one element from the horizontal centerline. Then I’ll swing it around to hit the bottom of the same form.
Most of the work is striking out the design. Removing the background is easy, there’s just a lot of it.
But you only have to solve one-quarter of it when doing the design part. Then it’s a matter of flipping it over in your mind to “see” the other 3/4. This is as far as I got yesterday afternoon, but the fire’s now lit, so time to finish this carving.
It was 1976. I was eighteen years old. My father had died the year before, and among his effects that came to me by default (I still lived at home) was a tablesaw & jointer, drill press, router, lathe, hand-held “power” tools and an assortment of handtools. I was an art student, aspiring to be a painter. I learned from a neighbor how to use the tablesaw and began to make picture frames for my paintings. Somehow made a bookcase, surfaced with a belt sander.
That summer I accompanied my mother on a trip to Doylestown, PA to visit her childhood friend. We did the tourism routine there, including the Mercer Museum – so I saw rooms full of antique woodworking tools, but have no recollection of it. I have a vague memory that we visited Nakashima’s showroom – but I might have imagined that. But one thing I know for certain – on that trip someone showed me an early issue of Fine Woodworking magazine. And I subscribed when I got home. Back then, information trickled out, unlike today’s barrage. I used to read every word in each issue, several times in many cases. I still have many of those old copies. And I know many people who tell a similar story. It was through Fine Woodworking that I got onto John Alexander and Drew Langsner.
The other day, Dave Fisher wrote to me to congratulate me on being on the cover of the new issue. I hadn’t seen the email from FWW and although I knew my box article was in the works, I had no idea it was going to be the cover. I remember when Pete Galbert wrote his version of this blog post – and now it’s my turn. Thanks to everybody at the magazine for making it happen, I appreciate it.
Barry Dima came up here in the beginning of this year to shoot the article about making the carved box. Because the whole world flipped upside down shortly after that, I forgot about it. Every now & then it would come up again and I’d be surprised. Recently I was sorting photographs and saw that box & couldn’t place it. Then I remembered I had sent the box down to them to photograph – now they’re done with it, so it’s available for sale.
Approx dimensions are H: 8 1/2” W: 24” D: 12 5/8”
Red oak box, pine lid and bottom. Till inside. SOLD $900 includes shipping in US. Leave a comment or send an email if you’d like it. Check or paypal ($927 through paypal.) Or when the magazine comes out, you can make your own.
I plodded my way through another video edit to go along with the Carving Drawings – this one the lunette above. I can’t match Daniel for speed, and this one had two good camera angles, but the sound levels dip when I switch to the canon camera view. But all the steps are there, some in detail. And it doesn’t cost you anything, so it’s worth it.
I photographed the two boxes I’ve worked on lately. These are made from quartersawn red oak, with white pine bottoms. There’s a couple things about my boxes that are different from most seventeenth-century boxes. I’ve seen a few period boxes with pegged corners instead of nailed. Mine are almost always glued & pegged. The bottoms are nailed on with handmade nails. Similarly, a few period boxes are carved on the ends, but most have plain ends and carved fronts. Mine almost always are carved on the ends too. I tend to use a wooden hinge on most of mine, another feature sometimes seen on seventeenth-century boxes. I sometimes use iron hinges, which is more typical of period work.
November box #1 – SOLD H: 8 5/8″ W: 23 1/4″ D: 13 7/8″ $1,000 includes shipping in US.
Nov. box #2 SOLD H: 7 5/8″ W: 23 1/2″ D: 14 3/4″ $1,000 includes shipping in US.
The second box actually came first. The carvings on these boxes are based on work from Devon, England and Ipswich, Massachusetts. This one has a zig-zag design with what I guess are tulip shapes.
The paint is iron oxide (red) and lampblack mixed in linseed oil.
If you’d like either of these boxes, leave a comment or send an email. Payment by check or paypal – if paypal the invoice will be $1.030. Shipping in US included.
I take orders as well, so if there’s a box (or other joiner’s work) you see here & miss, send a note. I’ll be home all winter making stuff…
Today I’ll finish this box by adding cleats under the lid; they’ll form part of the hinges too. As I’ve worked on it, I’ve thought about my first carved box. Between 1989 & 1994, I was a chairmaker/basketmaker learning joinery in my spare time. Now it’s flipped around just the other way. My first joinery projects were carved chests and then joined stools and a wainscot chair. I didn’t make a box until I got the job at Plimoth Plantation in 1994. They had an original box and one of my first projects was to study it & make a copy to use there. Flatsawn white oak, Mark Atchison made the hinges and nails. I hadn’t yet made a background punch, so I textured the background by repeatedly striking a nail into the recessed ground.
I kept looking for a scheme to the layout of the design. I tried striking segments of arcs here & there, combining them this way & that. It wasn’t until I carved this design a few times that I realized it’s just freehanded. It was Victor Chinnery who told me that this box belonged to the overall group of carved works from Devon England – the material that New England works done in Ipswich, Massachusetts by Thomas Dennis and William Searle stems from.
Jump ahead quite a few years and enter Paul Fitzsimmons and Marhamchurch Antiques. He specializes in oak furniture in general, and the Exeter/Devon works specifically. https://www.marhamchurchantiques.com/
He’s been great about posting photos of his finds and I don’t miss a post from him. Over the years he’s handled a number of related boxes to this one – and nearly every one of them is different, but clearly the same general elements/composition.
The box I made the past few days is one of my versions of these designs. I had a photo of one from Paul’s site and switched things around here and there to come up with a “new” design.
The variations depend on the scale of the board I have, and what I plan to improvise in the middle – the old ones always had locks there, and a big part of the upper middle of the design got covered. On my first take above I hadn’t yet removed the lock plate on the old box, so didn’t know what design was under there.
Here’s a later version I did of that first box. I have no idea when this was – photo stamp says 2008. Pine lid this time, that means the museum was selling it – I kept the oak lids for use in the recreated period houses.
This one was earlier this year. I’ve carved it a few times since Paul first posted his photo of the original.
When Pret & I built the shop, we scabbed framing in to mount the windows. I didn’t want to look at that framing all the time, so I dug out a box of carved samples and nailed them up all over the shop. From time to time, I paint them – mostly to use up extra paint I’ve mixed. Here’s some box fronts mounted now vertically.
This box is from 2013 back when I was still at the museum. Might be the last one I made there. It was for an EAIA raffle, I think. Or auction.
It’s funny, I never drew any carving designs when I was learning them. I always worked from photos (still do mostly). But several years ago I started drawing them. These pages show a couple of these designs; the top one done as a 1/2 box front full-scale and the full box front half-scale. If that makes sense…
It’s taken awhile to get to this new video. Daniel’s dance card is getting full, school work & his own projects like animation (I thought that meant Looney Tunes, but apparently it means something else) – so I delved into editing video. That’s part of what took so long.
I’ve broken it into two videos, this being part 1. (Thomas Lie-Nielsen once asked me if I could do a video shorter than Ben-Hur. I’m not sure I can…)
I’ve featured this design a number of times, but never done it on video before. It’s in the book Joiner’s Work and I wrote an article once for Popular Woodworking about carving it. This is an example I carved years ago, another variation. I’ve probably never done it the same way twice.
Daniel & I worked out editing the first video of panel carving to accompany the sets of drawings. This panel is one I have never carved on video before, nor have I covered it in print.
When I shoot these, I’m the camera-person as well as the carver. That means I get to ruin things two different ways. I shot these in late July, and here two-plus months later, I found out that for one section the camera was not in focus. So when I get to the free-hand stuff outside the diamond, there’s not much detail about what I’m doing. But I think you can see it pretty well. I was very happy with raking light across this one. So much so that we only used the views from one camera. It’s long, like most of my videos so far. If you make it to the end, or scoot through to the end, there’s a gallery of about 4 variations on the pattern.