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It was a few weeks before Hans had an opening in his schedule that allowed us to go out and hit the road again. I had promised him the chance to go out and learn about the furniture heritage of North Carolina.
We drove south two hours to start the day in Charlotte, NC. We were hungry and decided to try a local ethnic restaurant I had heard about. Nobody over 70 that I talked to had anything bad to say about it. Plentiful food at reasonable prices. It was even in my GPS!
The food there is all organic in that for the most part it is carbon-based. I believe that there was some issues a few years ago with respect to their special meatballs and the local Health Department but I can’t find the article and I don’t want to be seen trading in unsubstantiated rumors so I will not mention it for now. Forget you read this, assuming you did.
Part of the store is filled with hand-made, boutique furniture from some of the finest local artisans the world over. It reminded me of 10,000 Villages or Pier One Imports. There exists some obvious cross-pollination between the artisans and some of the brain-training companies. This outfit offers a line of puzzle furniture with abstract shapes and cryptic pictographs you solve in the vague hope of assembling the purchased item. As a bonus, the cardboard box often proves to be as useful as the contents therein.
From Charlotte, we headed north to Thomasville, NC. Thomasville is known (to some) as The Chair City due to a combination of the furniture manufacturing (2000 chairs per day in 1916) and the presence of The Big Chair (see below).
We stopped first at the statue of John Warwick Thomas, founder of Thomasville:
What youngster doesn’t like trains?
And then, The Big Chair:
I have two problems with what they describe as the world’s largest chair. Is it really the largest? I was unable to independently verify this. For convenience’s sake, I will just accept it until proven otherwise.
The more fundamental question is is it a chair or a chair-like structure? Does labeling a chair mean it is a chair or does calling it a chair imply that it can be used as a chair for chair-like purposes. Does chair define its function or describe its appearance as does Einstein Bros. make bagels or do they make bageloid sandwich rolls? Does a label make it so?
In Highpoint, we found the world’s largest chest of drawers, 36′ tall.
We drove home, tired but happy.
I recently had a chance to be a foster parent for a few short weeks. An acquaintance of mine, actually an acquaintance of an acquaintance’s neighbor gained custody of a Hans J. Wegner designed CH36 dining chair by Carl Hansen & Son.This person wanted me to pick up the chair and give it shelter until transport to its forever home could be arranged. I was quite willing to help and went over to the agency/auction house and picked it up.
As a precaution, I took little Hans to a local practitioner for a checkup:
Eventually Dr. Underhill came out and did a quick evaluation:
We then took it into the clinic for a more through exam:
Then a tragedy was averted. Will Myers, of Moravian workbench fame, and Ed Lebetkin of the Woodwright’s Tool Store were about to adjust limb length based on a misinterpretation of the ratios in Walkers/Tolpins’ By Hand & Eye.
We had a chance to meet with famed woodcarver Mary May. She had a few ideas of her own.
Next, a trip to respected conservator Martin O’Brien’s shop for a consultation.
Brandy Clements of Silver River Center for Chair Caning lead us in a discussion of style and color:
No day of visitations would be complete without visit to noted Windsor chair maker, Elia Bizzarri.
He tried to help. I had to stop him.
The last stop was at the home of my immigrant neighbors to meet some of his younger countrymen.
It had been a long day when I finally showed him to his room.
Tomorrow, I take him on a tour of the furniture centers of North Carolina to help him understand his cultural heritage:
And a trip to MESDA (Museum of Early Southern Decorative Arts) to help explain regional differences.
In a recent blog, we discussed chests that had in common a vertical hinged panel that, when locked, prevented access to the drawers and/or doors. This posting is about chests with the same basic notion only smaller.
First up is this desk:
Looking at one of the drawer towers, you see this:
Low and behold, it is also sidelocked:
The tower drawers are dovetailed:
Another smaller sidelock example is this antique silver chest:
The columns are held in place by brass plates on top of the columns:
The chest has a unique hinge:
There is a lock as well:
I will continue to look for more examples and bring them to you as I find them.
It’s what I do.
You are a proud and dedicated hand tool woodworker. Equating religion and hand tool woodworking to you trivializes both. You were quietly resentful of the workers at the sawmill when they used a forklift to load your wagon. There was a perfectly good jib and several block and falls that could have accomplished the same task more appropriately.
Since your spouse suffered a back injury, the pit saw has been a challenge.
You’ve tried using your six-year-old twins. If you put them in the pit, they immediately start complaining about getting sawdust in their eyes. Then, after about a half hour, they start playing in the meager pile of sawdust they made leaving their end of the saw unguided.
According to the judge and Child Protective Services, you can’t put them pack on top of the log until you can get Texas Heritage Woodworks to make you some toddler-sized harnesses for required fall protection devices.
Once they can safely ascend the log, you know that with their short stature they will we capable of only relatively short strokes. Not all that useful but any stroke is better than no stroke.
For now you have rigged some ropes and pulleys. The best you can saw is around four logs a day. All life is a compromise.
Your infill plane are still three years into the future. You couldn’t fit the ebony into the frames in any way that meets your high standards. You are trying this method you think you remember from a woodworking guild blog that you can’t find anymore. You flew to Madagascar and implanted three bronze and steel plane frames into some ebony trees (Diospyros celebica) in 2013. In three years, you should be able to harvest the trees. Once you get the proper clearances (remember Gibson Guitars fun with Customs a few years back), you can bring the planes home and complete the fitting. There may be some shrinkage but you are a dedicated hand tool woodworker.
With all your tremendous hand tool woodworking skills, the one task that confounds you is pen turning. Your well-intentioned family and the cretins at work have all pressured you into making them pens for gifts and charitable causes. The first year you made a few hundred by splitting out the green wood and then shaping them with drawknives and spokeshaves. You then bored them out with a brace and spoon bit. Close to round but still tricky fitting all the various pen parts.
The next year you added a dowel plate to the process. First thing you learned was to bore the holes after pounding the body through the dowel plate. A matter of centering and structural integrity. Lesson two was to not use a fluted dowel plate. An interesting texture but hard to finish. There was still tear-out using the plain dowel plate but you were able to smooth them with a scraper.
Being a hand tool woodworker, you decide a lathe may be the answer. You try a spring pole lathe. Not bad but you don’t like the tear-out on the lathe’s backspin and you aren’t coordinated enough to pull the tool away in time.
Next, you try a treadle lathe. Results are good but the treadle banging the floor annoys the twins and your back-injured spouse.
You tried your Narragansett Machine Co. hobbyist lathe but it looks too industrial and still smells like a machine shop.
The wheel lathe? Your back-injured spouse is not willing to try before finishing physical therapy. Your fallback engine is the twins. The pit saw has given them some impressive upper body strength but their short arms still limit their power. You try a longer crank but that lifts them off the ground for about 1/3 of a rotation. You try a second crank 180° out from the first but that creates more problems. If they are on the same side of the wheel, one tries to kick the other in the head as they pass over one another. If you put them on opposite sides of the wheel, one claims the other is not doing their fair share of the work. Within ten minutes, all you hear is screams of “Not fair!”. This is not productive.
This year, your pilgrimage to Handworks in Amana brought you the answer. In one of the area antique shops You found this:
So, you can be a purist hand tool woodworker and a pen turner. They are not mutually exclusive.
Note: I do not own the rights to most of the photos. In fact, I never even asked. What do you expect, I’m a blogger.
This blog is not about the hair of certain religious persuasions. Or firearms. Or knives. Or vertically sliced smoked salmon.
What I am talking about is typically a vertical chest with several drawers and a hinged panel on one or both sides that flips in, locks and traps the end of the drawers. Like this:
Many of the ones I’ve seen have that Eastlake vibe:
Many have drawers with Knapp joints. This places them firmly in the 1890-1900 era.
(Read all about the Knapp joint HERE.)
I found one that is closer to but not quite Shaker:
They come in tabletop sizes:
And homemade sidelocks:
Then there is furniture that looks like a sidelock but isn’t:
Some antiques dealers talk about Wellington chests:
The antique Wellington chest was named after the famous Duke of Wellington’s victory of 1815. They are tall and narrow chests, usually with seven working drawers, one for every day of the week. Unusually they come with a swinging locking arm that locks all the compartments with one key.
But I have also seen the label Wellington used with other types of chests and furniture. Until we can get some federal regulations that more reliably label furniture, we must watch our words and be suspicious of the words used by others.
To see more pictures of sidelock furniture, click HERE. Or is it side lock? Or side-lock?
I have been told that I focus too much on southern plantations and that rich people have been building large houses in the northeast since the 17th century. And not just in Newport.
Back in October, I realized that the Yale Art Gallery exhibit of Rhode Island Furniture, Art and Industry in Early America: Rhode Island Furniture, 1650–1830, would be ending soon and I needed to make an effort to see it.
Searching around, I found cheap flight, a cheap hotel and a cheap rental car. Almost cheaper than staying home. Before I left, I finished my chores, the lawn, the laundry and the litter boxes. Early the next morning, I drove to the airport for a dawn flight to Boston.
This trip happened so quickly that I hadn’t really planned for much of anything. Yale was on the schedule for day two. It was day one. I was in a rental car and no clear idea of what I would be doing between 8:30 AM and bedtime. I pulled out the iPhone and started looking at some online resources.
I decided to visit Old Sturbridge Village in the afternoon. All I needed to do was find something fabulous en route. Three minutes later, I found a target and spent another two minutes trying to start the keyless car. I resolved that inconvenience set off for the Gore Place.
1804 to 1806, Governor/Senator Christopher Gore and his wife Rebecca built their mansion in Waltham, Mass for $24,000. In 1827, Christopher dies. In 1834, Rebecca dies. Having no heirs, the estate is auctioned and runs through traditional series of owner that presided of the inevitable decline. In 1921, The Waltham Country Club purchased the estate. They build a golf course and tennis courts on the grounds and use the mansion as a clubhouse. The Great Depression hastened the bankruptcy and failure of the country club in 1935.
The buildings fall into disrepair and are scheduled to be torn down to make room for new housing. A group of Bostonians with a view toward preservation raised money to buy the estate and formed the Gore Place Society.
Like other auctioned estates, the furniture is scattered by the auction. The Gore Place Society is faced with repopulating the mansion with appropriate furniture. What they did was to acquire Boston built furniture for much of it and track down and return the actual pieces when available.
This server is in the mansion:
This commode is of the estate:
To see all the pictures I have, click HERE.
I still have a few plantations left from my most recent family avoiding New Years trip to New Orleans. I will get to them but first I thought I would clear another from my backlog of fascinating places with furniture. I’m still sorting the glass negatives from my visit to the Titanic right before it sailed. Good stuff but I’m still working on the narrative.
I had work in Baton Rouge, Louisiana in July of 2015. To save the company a few hundred in airfare, I offered to fly in and out of New Orleans and drive up in a rental car. I have a condition that requires me stop every so many miles and walk around for a few hours. It’s a burden I bear but such is life.
On the return to New Orleans the timer went off as I was approaching the Oak Alley Plantation in Vacherie, St. James Parish. (Wikipedia article HERE.) Not wanting to risk my health, I stopped and wandered about for a bit. I even paid money and took a tour of the mansion.
First, about the name Oak Alley:
Not entirely, the oak alley was planted in 1710. The mansion was not built until 1837.
Oak Alley was built from 1837-39 by Jaques Roman on the grounds of his sugar plantation. It was built entirely with enslaved labor. Jacques Roman died in 1848 of tuberculosis and the estate was then managed by family. As seems to happen so often, the family lacked the skill, knowledge and discipline to manage the estate. when the patriarch dies, the family is not prepared to continue running the business. The Civil War and the end of slavery did not help the plantation’s fortunes. in 1866, the plantation was sold at auction.
Oak Alley then passed through a series owners as its condition deteriorated. In 1925 the property was acquired by Andrew Stewart as a gift to his wife, Josephine. She commissioned architect Richard Koch to supervise extensive restoration and modernize the house. When Josephine Stewart died in 1972, the grounds and mansion were left to the Oak Alley Foundation. Oak Alley was then opened to the public.
Based on the history of this mansion, you can feel certain that the furniture within is not original to the estate. The best you can hope is that the owner has assembled an interesting collection of period appropriate furniture and accessories.
Well, they did. Or so I think, but I’m no expert. One of the first things that caught my eye was this overhead fan in the dining room . It’s function was to circulate the air and the resident flies:
In the master bedroom was this rolling pin bed:
The claim was made that the rolling pin was used to smooth out and pack the stuffed mattress. The mattress was stuffed with Spanish moss and other available organic materials. Insects aside, the problem has that this material tended to bunch and not compress uniformly. They used the rolling pin as a daily fix for this problem.
I have seen many similar beds and this is the only bed about which the rolling pin claim is made. It is also the only bed I’ve seen that the rolling pin is not securely attached. I’m not saying that the rolling pin was not removable and used for leveling the mattress. I’m just saying that I’ve not found any independent corroboration.
Not that it really matters.
There was this very attractive office:
On the property, they have built six replica slave cabins. The cabins are furnished with period appropriate vernacular furniture. As troubling as I find the whole notion, I took pictures:
To see the entire set of mansion and slave cabin furniture pictures, click HERE.
Way to sell a blog, huh? Right up front, warning the reader that they might be facing fifteen minutes of their life they’ll never get back. If you’re smart, you’ll click-through to Rachel Ashwell’s Shabby Chic blog. Today I hear she is covering when to use Alabaster, when Pure White may be a better choice and under what conditions Snowbound is right. Dover white was covered in a previous blog.
Today’s topic is Modern Designs from the Barcelona Museum of Design. This exhibit filled an entire floor of the aforementioned museum in the aforementioned city. From their opening placard:
From the World to the Museum
Product Design, Cultural Heritage
In almost everything we do throughout the day, we use one or more objects. If we want to sit down, we use a chair; to do laundry, we use a washing machine; to see each other, we turn on lights… These objects, which have a host of different designs and purposes, accompany us throughout our lives and show us how just as the world changes, so do objects.
How is it, then, that certain objects come to be a part of the Museum’s collection but not others? Each of the pieces on display is considered a representative sample of the design of its time, of the different material and technical contributions proposed by their designers, as well as of their sociocultural resonance.
Product design is one of our great forms of cultural heritage. After all, when we set our sights on Barcelona or Catalonia, now or a few years from now, we will only be able to understand how we lived if we if we know that objects we had by our sides, and some of them are now part of the Museum’s collection.
I thought it was a very interesting exhibit. The problem arose when trying to write the blog. It wasn’t all that different from the modern designs we are used to. Modernism seems to have transcended borders. (I always wanted to use transcended in a blog. Well, not always, but for a while.)
Does this chair scream Spain when you see it?
A quick story about this design. As a wee lad, I was drug to a store where my mother located one of these chairs in yellow fabric with black piping discounted because of a large scratch on the frame. She claimed the damaged chair and raced to back the stack to see if she could find another imperfect unit. Not finding another and lacking a tool to install a matching scratch, mother then started arguing with an assistant manager to discount a second chair because one chair just wouldn’t do. He relented, not because of her clear and remarkable logic but the belief it was worth the $10 to be rid of her, thus rewarding bad behavior.
I am still traumatized by the sight of these chairs.
This chair is also familiar:
And their motorcycle, like most motorcycles, has a wheel in the front, one in the rear connected to a centrally mounted engine by a chain, with a seat, handle bars and a tail light:
These chairs are all familiar:
Why does furniture of this era remind me of 1950’s Warner Bros. Looney Tunes cartoons?
Of course, there is some unfamiliar furniture to be seen:
And this chair is among one of the most creative cross uses of technology I’ve seen:
The exhibit provides this explanation:
Another placard in the exhibit states:
If interested, you can see the entire photo set HERE.
This is George’s chamber pot:
George must be very proud of his chamber pot in that he took the time to inlay or have inlayed his name on the lid. George feels better knowing that it is indeed his chamber pot. Can you imagine George’s horror waking up in the middle of the night and using somebody else’s chamber pot. That must be why he put his name on it.
Or, I could be wrong. It could be this chamber pot was made by the George Chamber Pot Company of McKeesport, PA. Expensive way to display your company’s logo.
It could be the model name or style. You know, the George chamber pot.
Or maybe it was a retirement present. What better gift for your retiring 19th century executive than a monogrammed chamber pot?
Maybe he just doesn’t like to share…
Driving back from our research trip to Virginia’s Eastern Shore, we stopped in Norfolk for lunch and our first visit to the Chrysler Museum of Art. Our lunch was good, only sandwiches but well prepared with fresh ingredients. The museum was nice, too.
There was furniture scattered around and a nice exhibit of Art Nouveaux. All this will be covered in the near future.
I quickly documented all the furniture there and was ready to move on but my wife had other ideas. It was still raining hard and she was not ready to leave. We hadn’t yet seen the glass, the European and American paintings and sculpture, ancient and non-western art or photography. And what is the difference between modern and contemporary art?
There were two paintings in the European gallery of particular interest to me, they were period domestic scenes with furniture. Most of the furniture I see is in auction gallery or antiques shops. There is no context for the furniture. Historic mansions and museums like Winterthur and MESDA do show entire period rooms but these are all curated and idealized representations of the past.
Painted period rooms might be closer to the way things actually were. The artist was living there and then. These might not be 100% accurate but, like Wikipedia articles, close may be good enough.
The first is The Surgeon by David Teniers the Younger, Flemish, 1610 – 1690:
David Teniers the Younger Flemish, 1610–1690 The Surgeon, 1670s Oil on canvas Is there a doctor in the house? Not in this one. The medic in this picture is a lowly barber surgeon, a quack who preyed on the ignorant and poor. Surrounded by his potions and aided by two dimwitted assistants, he operates on a patient’s back, ignoring his painful yelp. The monkey crouching nearby is an age-old symbol of foolishness. He “apes” the patient’s pose, suggesting that the man is chained to the ignorant belief that the barber surgeon will cure him. Gift of Walter P. Chrysler, Jr. 71.480
The other painting of interest is Home by Sir Joseph Noel Paton, Scottish, 1821-1901.
Sir Joseph Noel Paton Scottish, 1821–1901 Home, ca. 1855–56 Oil on panel Noel Paton’s scene brims with details that bring its story of military valor and family strength to life. The Scottish soldier seated at center has just returned from the Crimean War. Slumped in a chair, his wife and mother fold over him. He has suffered serious wounds—his head is heavily bandaged and he has lost an arm in battle. But despite the sacrifices the family has made for home and country, the open Bible proclaims its spiritual strength in the face of uncertainty. The promise of a better future is embodied by the child sleeping peacefully in the cradle behind them. Museum purchase and gift of Walter P. Chrysler, Jr.
Let’s recap what we know about chairs. There are one-legged chairs:
And the conventional four-legged chairs:
Today, we were on the Eastern shore of Virginia tracking down the final resting place of my wife’s dead relatives. By 2:00 PM, we were out of places to look and relative to look for. As it happens, there was a large antiques mall just a few miles up the road. And it was raining. We went.
I wandered around a bit and thought I had found the elusive five-legged chair when I saw this one:
Upon closer examination, I realized it only has four legs but the are incorrectly placed:
These furniture makers have no respect for tradition. Furniture making is no place for original thinking. The furniture gods are surely angry.
One more look:
Of course, it would be hard to rock back. Maybe lean side to side…
I was looking through the family picture album and came across this one:
We were there on vacation. We passed this café and stopped to look at the furniture. We could tell the chairs were Thonet. Turning them over we saw they were branded Thonet and Made In Poland.
We couldn’t tell about the table. My Mother did the only reasonable thing and checked the table for markings. I could easily walk under the table but I couldn’t read so my use was limited.
Ever the lady, she even managed to keep her legs crossed at the ankles.
And, yes, she was wearing pearls.
(With apologies to Gianni Berengo Gardin and others)
As you all must realize, all our blogs go through extensive editing and quality contoll checks. The link for the flickr photo set accompanying today’s earlier blog, Primitives From Hickory Mountain, was disabled shortly after posting. I believe we were hacked. I am going through the forensic evidence and now believe it was either the Russian FSB, the Iranian Ministry of Intelligence, the North Korean Bureau 121 or, most likely, the dreaded Landespolizei, the Liechtenstein National Police Force. We have had issues going back many years.
There is a small chance I deleted it when I went back in to edit the link to make the link open in a new window, but I doubt it. Beginner’s mistake.
If you were unable to see the photo set (as opposed to not wanting to see the photo set), you can go back and reread the blog (it’s that good) or click on the link HERE.
Last blog, I featured some of the workbenches from a local antiques shop renowned for their primitives. Renowned might be a bit strong but it’s late and I want to get this done.
As I wrote, they have more than a few workbenches:
They are more than workbenches. They have lots of pie safes:
with a very odd latch:
And chairs. Lots of chairs:
Lots of trunks and chests:
Chinas and cupboards:
No antiques store is complete without dressers:
And a smattering of painted pieces:
To check out the full set, click HERE.
A local antique shop specializes in primitive/vernacular furniture. Specialize is the wrong word to use. Specialize indicates a consciousness of thought. A strategy. I think these people just buy and sell stuff they like. It’s more of a that’s who they are than a marketing decision.
A few weekends back they had their annual open house. I knew it was an open house because they had printed and distributed flyers saying there would be an open house. There might have been free coffee but since I don’t drink coffee, I neither noticed nor cared. Next year I will be sure to take note for those of you out there that might be concerned.
Can you have an open house without free coffee?
The only difference I could discern was that there seemed to be more people there than typical. Probably because the owners printed and distributed flyers and customers assumed there would be free coffee.
They had a good assortment of primitive and vernacular furniture as well as the flyers and free coffee. As you would expect, a good percentage of this furniture is work related. As in that work in an foreign and abstract concept to me, I was fascinated by this furniture. I thought I might share some with y’all so we might all be enlightened.
This stool might be a work stool, no one can prove it’s not:
This is a broom maker’s bench:
I can’t remember the vocation associated with this bench:
This is the token conventional workbench:
Only small work done here:
A bench with storage:
A larger bench with storage:
Big bench, different configuration:
Some storage stacked up:
I’m sure this is not a salad spinner.
There is a tool chest:
Leaving their shop, I headed to nearby dealer located in a strip mall. From well-worn wooden flooring to fading linoleum No benches or tool chests but there were leg vises:
I can’t wait for next year’s open house with the implication/inference of free coffee.
In the beginning it was simple, like this tilt-top table/bench contraption:
It’s a convertible table/bench. The top pivots around the rear pins and is locked in down position by the front pins. It should be symmetrical and the top should be able to hinge around the front pins.
Typically, there is storage in the base.
Let’s make it more complicated.
The hinges look seriously undersized yet it exists.
Now let’s engineer it and make it more complicated and harder to produce.
This base also has storage.
Another difference is that this unit has 2X4 legs and not sides made from boards.
The only advantage of this construction I can see is that the table top sits lower in the bench position. This could be useful if you need the wall space for your art collection:
Finally, the Arts & Crafts/Mission variation of this idea:
Here, the top pivots around bolts with vertical movement provided by slots on the supports. For added stability, the “feet” on the supports rest in cups on the seat.
Many ways to achieve the same goal.
Saturday night we went to an auction where we got to leave stuff. Let me rephrase that. Saturday night we were honored to donate various hand-crafted items to an auction benefitting our friends’ church camp. This is at least the sixth year we have been so honored. At least.
This year we donated four lots from the shop and one item given by my wife that did not functionally or aesthetically meet her expectation when received. Perfect for someone, just not her.
First lot was these wheeled wooden toys, subdivided into four lots:
Regular readers may think this looks an awful lot like our Toys For Tots offerings. Nothing could be further from the truth. These are entirely different. Just look:
Next was this dovetailed and painted nail carrier:
It started life as the dovetailed nail carrier designed by Chuck Bender, late of 360 Woodworking. I showed the unfinished project to the camp director and his wife for approval. They suggested milk paint. I used General Finishes milk paint which really isn’t but that’s a story for another day.
Keeping with the spirit of the church camp benefit auction, I donated a wine carrier based on a dynamite box:
Lest you worry that I might run out of dynamite boxes and various sized reproductions, be assured, I have more.
More on these later.
I, on occasion, build things as a proof of concept, or to see hows it’s done or because I want to. These items don’t always have a place to be and languish in the shop. This auction does give a forever home to some of these forgotten projects. Won’t you help?
There was one purpose built item, this unique pizza peel:
It was my wife’s idea. I made her one a few years back. I didn’t love it. It was meant to be a prototype but it worked and she liked the look. I always knew I could do better.
Below is the sausage making. If you wish to continue believing I am brilliant and a design genius, stop reading now. Otherwise, prepare to be disillusioned.
I thought about it for a long time but didn’t start until I realized on Friday that it was due to be delivered on Monday. I raced to the shop and started looking through the wood pile. I found some 5/4 by 7.5″ wide maple long enough for the body. Then I found some 32″ long 6/4 walnut for the handle. My thought was that I would inlay an 8″, 10″, 12″ and 14″ circle for proper pizza dimensioning. The peel need to be at least 16″ wide. After four squaring the stock, I was short of design goals. I dug around and found some 1/4″ cherry, laid it out and still came out a bit narrow. More digging came up with the last of the thin walnut for the ears.
Off to the band saw to resaw the stock. The walnut was no problem. The wider maple was a problem. Either a dull blade or overly aggressive feed rate through the saw lead to the blade deflecting changing 1/2″ design goal to a 3/8″ design concession.
After the glue-up, a few passes though the drum sander, the 3/8″ design concession was almost met. You would never know if you didn’t have calipers. It sanded out well.
I used the previous peel as a template and the band saw made quick work of the dimensioning and shaping. An assortment of sanders made it pretty. Time with a spoke shave tapered the lip and contoured the edges.
At just under 3/8″, the handle was too thin. Back to the wood pile to retrieve the thin walnut and cherry and more glue and clamps. More time with the spoke shave and integration was complete.
On to stringing. A plunge trim router with a 1/16″ bit and home made circle jig made quick work of defining the circles. I had holly of the appropriate dimensions. Looking through my thin stock, I found some mahogany of the proper size. I used my table saw and a fine toothed 7.25 ” blade to rip off some 1/16″ stringing. Mahogany is a bit brittle but manageable.
More sanding and the peel was ready for a finish. Salad bowl finish went on and enhanced the colors. The maple went darker than I hoped and the holly popped more than anticipated. That is my only disappointment with the peel.
I think it turned out well in spite of my best efforts. The more woodworking one does, the more one is rewarded with accidental successes.
The peel went to good friends of ours, both turners. Last year he won this platter I turned:
(More on this platter later.)
At this rate, they will shortly have more of my finished pieces than I have.
This peel will never see the inside of an oven they claim. It will be mounted on the wall as art. I wish I knew that before I spent all that time tapering and thinning the leading edge.
My wife won this nice little bench:
This is a bench I could have built. The problem is I haven’t.
While doing some research recently I stumbled across a relatively new iconic chair in the making. The research facility I wandered into was a local retailer that specializes in Danish and Modern furniture. A chair caught my eye and seeing a likely sale, the owner excitedly started telling me about what she called the trio or Masters chair:
The description of this chair is as follows:
Philippe Starck and Eugeni Quitllet pay homage to three different midcentury-modern masters in one sleek, versatile indoor-outdoor seat. The Masters Chair (2010) weaves together the back silhouettes of Jacobsen’s Series 7™ Chair:
The Model 3107 chair is a chair designed by Arne Jacobsen in 1955 that uses the previously invented technique through which plywood can be bent in three dimensions. Over 5 million units have been produced exclusively by Fritz Hansen.
There is a scandalous history to this chair from 1963 available HERE. Not click bait, honest.
The next chair honored is the Eameses’ Molded Shell Chair:
Arguably one of the 20th century’s most beloved designs, the Eames Shell chairs remain a sought after design classic nearly 55 years later. The molded fiberglass chairs are the result of Charles and Ray’s 6 years of experimenting with molded plywood to create a single shell form. Unable to successfully create the single shell with molded plywood at the time, Charles & Ray saw an opportunity to fulfill their vision using a new material: fiberglass.
There is a history of the Eames chair HERE.
And the third honoree is Eero Saarinen’s Tulip™ Armchair:
Eero Saarinen developed the Tulip Armchair as part of the pedestal series in the 1950’s. The Saarinen Tulip Chair, the corresponding pedestal table, and other furniture he developed, represent the peak of Eero Saarinen’s career in which these lasting icons of modern classic furniture were brought to the forefront.
Eero Saarinen called himself a “form giver,” and everything he designed – from the Gateway Arch in St. Louis to his Womb™ Chair to his Pedestal Table – had a strong sculptural quality. “The underside of typical tables and chairs makes a confusing, unrestful world,” said Saarinen. In a 1956 cover story in Time magazine, he announced that he was designing a collection to “clear up the slum of legs in the U.S. home.” Later that year, he completed his Pedestal Table and Tulip Chair Collection (1956) with its cast aluminum base inspired by a drop of high-viscosity liquid.
Eero Saariens was talented architect and designer and you should read more about him HERE.
I know that this is a plastic chair and not to everyone’s liking. Not of wood and not built using traditional methods. Still, it is interesting to understand the history, the present and future of furniture. Furniture does not exist in a vacuum. It is influenced by what has come before and will influence what comes after.
They can’t all be Windsor chairs. Well, they can be but what fun would that be?
Yesterday’s blog was all about a folding Chinese that keeps showing up live and in print. I showed a picture from Ole Wancher’s 1966 book The Art of Furniture. (Ole Wanscher (1903 to 1983) to repeat, was a renowned Danish furniture designer and author of several books on furniture and design.) This be that picture:
My Danish language copy of Møbeltyper (Furniture Types – 1932) arrived. Also by Ole Wanscher. On page 15 you find the 1932 version of the chair:
The Chinese chair has been iconic for quite a while.