I’ve been trying to finish off this chest with 2 drawers lately. I’m close, but have to go to North House Folk School soon, so the last bits will be in 2 weeks. Today I spent making the last 12′ of moldings – out of a total of over 45 feet! Rabbet plane first…
…followed by hollows & rounds….
Late in the day I still had some daylight. I have been using the last 30 or 45 minutes each day to hew some spoons for evening carving…but today I split some reject joinery-oak and started shaving the rear posts for some ladderback chairs. Must be because I’ve been thinking of Drew Langsner lately…
Here you can see the chest with a couple of clamps holding the drawer’s moldings in place. Shaving the chair posts was like old times…
Here’s the inspiration – one of the last chairs from Jennie Alexander’s hand…and Drew’s book The Chairmaker’s Workshop. I had to look up a few things to remind me of what I was doing.
The last time I made these chairs was some shrunk-down versions for when the kids were small, December 2009. These chairs are put away in the loft now, outgrown…
I hope to bend the posts Friday, then leave them in the forms while I’m away. Hopefully there will be some chairmaking going on in March…
I keep hearing bits and snatches of news about things down near Marshall, N.C. – home of Country Workshops. In his newsletter from the last part of 2016, Drew Langsner mentioned that things were slowing down. For 2017 there are only 2 tutorials this summer. So I wrote to Drew, asking “Is this it?” “Yup”, came the answer.
End of an era is an understatement. All those years, all those classes, trooping into their house and home. I think it started about 1977 or so. I first went there in 1980, to learn ladderback chairmaking from then-John Alexander. By the mid-80s, I was a regular attendee, and in 1988 a summer intern, ending that season with a large class in timber-framing where we built the “new” barn. Once I got a museum job in the mid-1990s, I didn’t get down to Drew & Louise’s for a while, then went back as an instructor and once a student in 2010. My earlier post about Drew & Louise, and their Country Workshops saga is here https://pfollansbee.wordpress.com/2012/11/13/how-did-i-get-started-country-workshops-the-langsners-is-how/
This summer will be the end, both of the workshops and the tool store. But Kenneth & Angela Kortemeier,will take up some of where Drew & Louise are leaving off – their new school, in mid-coast Maine, is starting up the same time Country Workshops is winding down. Kenneth has quite a resume, including stints as Drew’s intern, and a period living with John Brown making chairs in Wales.
Here’s the fledgling website, a new place to watch. http://www.mainecoastcraft.com/ Drew told me that part of what Kenneth & Angela will be doing up there in Maine includes taking over some tool sales involving the great tools by Hans Karlsson and Svante Djarv that Drew has helped bring to the US. And more…
BUT – one other part of this story. This June, Drew & Louise are coming to Plymouth to be our special guests at Greenwood Fest. I’ve asked Drew to put together a slide history of Country Workshops, and they’ll be around for the festival to meet up with old friends and meet new ones. This is a chance to thank them in person for all the work they’ve done for decades. Many green woodworkers in America and beyond can trace their roots to Drew & Louise, even if they don’t know it…
Back when I started green woodworking, chairs were my thing. I learned them first from John (Jennie) Alexander’s book Make a Chair from a Tree, then slightly later from Alexander first-hand. In that book is the incredibly amazing technique of stripping hickory saplings for the inner bark, to be used as a seat-weaving material. To me, the best seating material going – looks and feels better the more you use it. (the notion for this photo came from one Tim Manney did a few weeks ago – thanks, Tim)
Like pounding ash splints for basket-making, peeling hickory for the inner bark is a concept that amazes me every time I do it. I rarely get to harvest any hickory bark these days, but keep a stash of strips for basket work. I was lashing the rims onto some baskets the other day, and although I have some very fine smooth ash splints that are ideal for this work, I also have some leftover hickory bark. Unbeatable.
Working with it reminded me of two references to it in Mark Twain’s work – the first one I remembered is from the Autobiography, (the modern vol 1; for that matter the old volume 1 too) When describing his uncle’s farm in Missouri, he mentioned:
“Down the forest slopes to the left were the swings. They were made of bark stripped from hickory saplings. When they became dry they were dangerous. They usually broke when a child was forty feet in the air, and this was why so many bones had to be mended every year.”
In the Adventures of Huckleberry Finn, Tom Sawyer is advising Huck Finn to get a sheet with which Jim will make a rope ladder in planning his escape. Huck has other ideas:
“Why, Tom Sawyer, how you talk,” I says; “Jim ain’t got no use for a rope ladder.”
“He has got use for it. How you talk, you better say; you don’t know nothing about it. He’s got to have a rope ladder; they all do.”
“What in the nation can he do with it?”
“Do with it? He can hide it in his bed, can’t he?” That’s what they all do; and he’s got to, too. Huck, you don’t ever seem to want to do anything that’s regular; you want to be starting something fresh all the time. S’pose he don’t do nothing with it? ain’t it there in his bed, for a clew, after he’s gone? and don’t you reckon they’ll want clews? Of course they will. And you wouldn’t leave them any? That would be a pretty howdy-do, wouldn’tit! I never heard of such a thing.”
“Well,” I says, “if it’s in the regulations, and he’s got to have it, all right, let him have it; because I don’t wish to go back on no regulations; but there’s one thing, Tom Sawyer—if we go to tearing up our sheets to make Jim a rope ladder, we’re going to get into trouble with Aunt Sally, just as sure as you’re born. Now, the way I look at it, a hickry-bark ladder don’t cost nothing, and don’t waste nothing, and is just as good to load up a pie with, and hide in a straw tick, as any rag ladder you can start; and as for Jim, he ain’t had no experience, and so he don’t care what kind of a—”
“Oh, shucks, Huck Finn, if I was as ignorant as you I’d keep still—that’s what I’d do. Who ever heard of a state prisoner escaping by a hickry-bark ladder? Why, it’s perfectly ridiculous.”
It’s November here now, no time for harvesting any bark. But come spring, I’m going to keep my eyes out for a good hickory sapling. My stash is getting low.
This batch of books is sold out. There are 3 orders that are international, so I have to get quotes for shipping there. Thus, those books might fall back into circulation. But as of right now, if you want to order this book, go to Lost Art Press (some of its retailers also carry the book). Then just find me somewhere & I’ll sign it. If the international orders fall through, I’ll re-post them. Thanks, everyone. I appreciate it. I’ll get these in the mail this week.
Here’s the Lost Art Press link, and its international ordering page too:
I’m so far behind I’m doing spring cleaning. And, a box full of the joint stool book came to light…
There’s a continuing stream of new readers to the blog (thanks & welcome folks) and I thought I’d remind people of this book. For many years, Jennie Alexander & I were immersed in studying the background and techniques of 17th century joined furniture. We hit upon the joined stool as a means for students to learn the ins & outs of this craft without getting too crazed, like you do with a joined chest or cupboard, or chair for that matter. We worked on the book off & on for many years, then it languished a while after that. Then someone told me I should meet Chris Schwarz…and things unfolded from there.
We were thrilled when the book was published by Lost Art Press a few years ago. I’m pleased as can be with the result, and have a second book on joinery underway. I just had a look through this book now, and I like it a lot. It’s a how-to book with lots of the research behind how we arrived at our techniques. So you see how we do things this way, and why.
I don’t usually sell the book, but as I said, these just poked their heads up. If you’d like them signed, say so & I’ll scribble in it. Then it’s up to you to catch up to Alexander. So from here, they’d be half-signed.
“I am fascinated by the continuing dialogue about green woodworking crafts. They are crafts where wood of substantial moisture content is initially processed by riving, not sawing, in the direction of its long fibers. Glossary, Make a Chair from a Tree, Third Edition, Lost Art Press…..when it gets published. So there. Jennie”
JA – by your definition today, the chest above is not green woodworking. i.e. it’s sawn stock. Not riven.
just to keep things lively…on a cold winter day.
By the way, I can’t remember the last time I mentioned it, but if readers want to see lots of oak furniture of this period, do sign up for Marhamchurch Antiques emails. I always stop and look at what Paul Fitzsimmons has churned up over there. Great stuff. I swiped these photos from him. Thanks, Paul.
At my house, the carved joined stuff is in every room. I have tried many times, and always failed, to count the pieces of furniture in this 4 1/2 room house. You’d be amazed at how much stuff you can cram in here. (I’m in the kitchen right now – 9 pieces of free-standing furniture, 3 hanging on the wall, and all the built-in cupboards above the counters)
This week, I have been making this little, big rush-seated chair. Little because it’s a low seat, generally small-size chair. Big because it’s not subtle – the posts are almost 2” square, the rungs fit in holes that are 15/16” in diameter. So little big chair. It’s based on 17th-century chairs that we mostly know from Dutch artwork, more-so than from surviving examples. (next up for it is trimming the posts here & there, weaving the seat…) These are ancestors of the ladderback chairs that I first learned back in the late 1970s/80s. Here’s one that I did about 1984 or so. A more recent kid’s version too.
I began as a chairmaker. Made ladderbacks, rockers, Windsors – then got into the 17th century & made wainscot chairs, 3-legged & 4-legged. Turned chairs ditto. Leather chairs. Chairs w boxes in the seat. Kid’s chairs, high chairs. My semi-latest chair was the walnut brettstuhl.
But at our kitchen table, the chairs we use at every meal and then some are Windsor chairs I made 20-25 years ago.
At my desk too. I once had one of those stupid office chairs, then I came to my senses & remembered that I am a chairmaker. Windsors are lightweight, comfortable, attractive. Sturdy. Fun and challenging to build; carving, turning, shaved work, sculpted seats. good all around projects. And so much variety.
Two things happened this week to remind me of how much I like good Windsor chairs. Lost Art Press announced the release of Pete Galbert’s long-awaited book on Windsor chairs. You already know about that…
One of the days that the mail got through here, I received Curtis Buchanan’s next installment in his printed plans for his chairs, this one a fanback side chair, one of my favorites.
I learned Windsors from Curtis, starting in 1987. I really like his approach, both to his chairs and to his life. If you’ve seen his youtube series on making a Windsor chair – then you’ve seen Curtis’ style, very human, simple, direct – and he makes especially beautiful chairs. This set of plans is 4 pages; some 1/2 scale, some full scale. Two different turning patterns, bending forms, seat profile & plan. Boring angles – a course in Windsor chair making in 4 pages. I’m ordering Pete’s book, but I’m keeping Curtis’ plans too – you never know when I might reach into my past & make some more chairs. We must be able to squeeze one or two more in here…
Chris made quite a splash with these things (think Moxon vise…) but it’s funny how different craftsmen come at at thing like this. Schwarz, Alexander & I all read the same passages in Moxon’s book, and Randle Holme’s about these bench fittings.
But what we made depended on what we wanted to do. JA & I were interested in frame & panel joinery. Mortise & tenon; narrow framing parts; panels that might be a maximum of 10″ wide. So our double-bench screws were small compared to what Chris came up with for his work that featured lots of dovetailing of large carcasses.
Just the other day I was using one JA made to plow grooves in a chest frame. Here a short, narrow muntin. This gives you an idea of the scale of my bench screw = and this is my large one! The muntin might be 15″ long. I have it clamped in the double screw, which is held down by the holdfast. Then the muntin is jammed up against the bench hook.
I think of these like their descendants, the hand-screw. They come in many sizes, for many functions.
One more. This setup is for mortising the chest rail. It’s probably four feet long. Hold fast secures the rail in place, but its 1″ thickness can wobble a little. So I stabilize it by clamping the double screw to its nether end.
JA has now adapted this joiner’s device for ladderback chairmaking. So we’ll see that surface some day..but while it was on my mind, I wanted to give you some ideas of how we used them in joiner’s work.