Editor’s note: Our Mind Upon Mind series is a nod to a 1937 Chips from the Chisel column (also featured in “Honest Labour: The Charles H. Hayward Years”), in which Hayward wrote, “The influence of mind upon mind is extraordinary.” The idea being there’s often room for improvement.To that end, we’ve asked you what else you have thought of, tried out and improved upon after building projects from our books.
Send us your own ideas! Email kara@lostartpress.com. You can read more about the submission process here.
Today’s pick is courtesy of Craig Regan, which may be helpful during your next stick chairbuild. Thanks, Craig!
— Kara Gebhart Uhl
Boring a compound mortise for a stretcher in a vertical leg is one of the more complex operations in stick chair building. I developed this shop-made, spring-loaded stretcher to assist in that process. It simulates the position of the finished stretcher and helps in the following ways.
1: It helps you lay out and fine-tune the correct position of the stretcher. This enables you to see how a stretcher will look before boring any mortises and makes sure you are aligned with the center of the leg.
2: Once the stretcher is in place, the steel ends can be pressed into the leg to establish an accurate center point for boring the leg.
3: It helps you measure the length of the stretcher. I use a “shoulder-to-shoulder” measurement then add the length of the tenons later. A pencil tick on the plastic spring housing records the length. A small spring clamp stabilizes the spring mechanism.
4: It’s also useful for prototyping new designs and helping you decide on the stretcher location.
Want to make one? You will need:
3/4” dowel (poplar wood is fine)
plastic toilet paper roller (you can find this at your local home center)
Kreg Pocket-Hole Jig pocket screw
J-B Weld quick-set epoxy
1/8” x 24 tpi steel rod
Instructions:
1: Disassemble the toilet paper roller by pulling it apart. Cut off the end cap on the narrow tube and insert a section of 3/4” dowel. Use a dab of J-B Weld expoxy to hold it permanently.
2: With the other 3/4” dowel, bore a 3/8”-flat bottom hole in to the dowel end. Insert the capped end of the larger tube and secure it with the Kreg screw and J-B epoxy. Note: You will need an extension bit to reach into the tube depth. Also, pre-drill a pilot hole 1/16” to prevent the dowel from splitting.
3: To size it, reassemble the spring housing with the spring compressed, and mark the unit plus or minus 1” smaller than the space between the chair legs.
4: Pre-drill the dowel ends and insert 1” sections of threaded rod. Grind a point on the rods.
One caveat is the limited length. The cost is about $5 a piece and assembly is quick, so making multiple custom sizes is no problem. You can also do a friction fit (no glue) with the dowel in the smaller tube. This makes swapping out different dowel lengths quick and easy.
Thanks for reading about my spring-loaded stretcher. I hope you find this useful.
With our final class at the Willard Street workshop behind us, I’ve rearranged the bench room, the Mechanical Library and the machine room for four woodworkers, instead of a classroom.
First and biggest change: We scotched four workbenches. We sold three and will move the fourth to Megan’s workshop. That change gave us space for an 18” x 30” x 60” assembly table that I built last week. I’ve always loved low assembly benches, but I’ve never had room for one – until now.
I’ve arranged the four remaining benches so they stand alone. You can walk all around them. They are all parallel to one another, just like in the workshop shown in Plate 11 of “l’Art du menuisier.” And they’re arranged by seniority – on purpose. Apprentice Katherine is up front by the window, then Journeyer Kale, Editor Megan and me at the back.
The idea is that the more experienced people will always be able to see what the less-experienced people are up to. And be able to jump in (or shout a warning) if something goes amiss.
The back of the bench room now has the junior editors’ editorial workstations – I built their height-adjustable table using a 1960s-era drafting table and a massive tongue-and-groove white pine top. There’s lots of space to spread out to write, edit and design.
In the Mechanical Library, more changes are afoot. Megan is staying in her same cubicle but will need a new desk (the desk Megan has been working on for the last 10 years is Lucy’s). The rest of the library is being returned to its original configuration: loveseat plus a tool chest acting as a desk, with everything facing my stereo. This is how I like to write and listen to records.
In the machine room, my Delta 14” band saw is going to Megan’s shop. It is being replaced by the JET 14” industrial band saw that used to be in the bench room. With no classes in the bench room, we need only one band saw up there. And the General 490 is staying up front.
I have additional small changes planned, and I’m sure we’ll move things around again. But I think the new bench arrangement works already. Photography is easier without benches being butted up against each other. And it’s nice to be able to get to all sides of your work. Plus, all the benches have the same arrangement of natural light: Loads of light from the front of the bench with a little side light from the south-facing windows.
Mostly, however, it’s quieter and we all have a little more room to move.
— Christopher Schwarz
Editor’s note: Our ATCs facing off across the room reminds me of the dueling banjo scene from Deliverance.” I do not, in this scenario, know which of us is Lonnie …
Molly Gregory, 1940 or 1941. Courtesy of David Silver.
Mary “Molly” Gregory was a talented and determined woodworker who used her skills widely, from constructing farm structures, and renovating and building homes, to designing and building custom furniture that would eventually be displayed in museums.
She’s perhaps best known for her time at Black Mountain College, a liberal arts college founded by John Rice on a farm in rural North Carolina. Often touted as “a grand experiment,” Black Mountain College was rooted in progressive education philosophies and drew many well-known modernist artists. Students and faculty built much of the campus themselves, including buildings and furnishings.
In his book “The Farm at Black Mountain College,” David Silver describes Molly as his “personal MVP of BMC [Black Mountain College].” In his Spring 2010 essay in Northern Woodlands, Robert Kimber, who knew Molly personally, writes that he and his wife named their son, Gregory, after her. Molly continues to inform and inspire, as exemplified in Holly Gore’s recent doctoral dissertation featuring case studies of modernist woodworkers from the 1930s to 1970s, “where work is actually itself the medium,” including Molly.
In “Curator Conversations: Woodworking, Labor, and Modernism with Holly Gore,” Gore shares a picture of Molly in the woodworking shop that she ran, taught classes from and helped build at Black Mountain College. Community, Gore says, was at the heart of the curriculum. As was its experiment with democracy. Woodworking was a core activity that not only produced objects, but also citizens. Black Mountain College gave Molly access to leadership and treated her not as a consumer but as a citizen.
With thanks to Lost Art Press researcher extraordinaire Suzanne Ellison for the suggestion, here’s Molly’s story.
Born in 1914, Molly was raised on a farm in Framingham, Massachusetts, outside of Boston. During the Depression, she attended the Beaver Country Day School, a progressive, all-girls’ high school founded in 1920. One of its founders, Mabel Warren Bradley, leaned heavily on John Dewey’s educational philosophy of learning by doing, a philosophy Molly also embraced.
“John Dewey was influential at Beaver, so I’d been ‘Deweyized’ from the beginning,” Molly said in a 1997 interview, part of “The Mary Emma Harris and Black Mountain College Project Inc. Oral History Collection” from Appalachian State University.
In 1932, Molly was one of 87 women to enroll in the inaugural class at Bennington College, a liberal arts women’s college, where she studied sculpture. She graduated in 1936 and got a job teaching elementary-aged children at The Cambridge School of Weston.
“While hired to teach sculpture, Molly also taught ceramics, and life drawing, and oversaw athletics and directed the woodshop,” Silver wrote. “She particularly enjoyed her time with shop teacher Alfred Hulst, who helped Molly refine the woodworking and building skills she had learned on the family farm.”
Molly had several friends and acquaintances who had various connections to Black Mountain College. Molly’s Bennington roommate, Ruth Bailey, attended Black Mountain College after leaving Bennington. Harper’s Magazine published the story of Black Mountain College – “Education on a mountain” by Louis Adamic, which Molly read. Molly visited Black Mountain College several times. She liked its focus on community over self, and the students and faculty liked her. She was also ready for a change.
“It was clear that if I stayed in sculpture, I was going to be a teacher for the rest of my life because I wasn’t a good enough sculptor,” she said in her oral history.
Student Work Crew at Black Mountain College, from the Black Mountain College Bulletin, Vol. I, No. 3, February 1943. Photo courtesy of David Silver.
So in 1941, Molly drove her 1935 V-8 Ford to North Carolina and enrolled at Black Mountain College as an apprentice teacher and a student of Josef Albers. After one semester, she was both student and teacher, leading classes in woodworking and sculpture.
“Molly established regular shop hours six days a week during which any member of the community could learn woodworking skills and work on projects,” Silver wrote. “Most importantly, Molly transformed the woodshop from a space where somewhat random individual works were produced to an organized shop with a mission: to build much-needed items for Black Mountain College.”
On its website, Black Mountain College describes Molly as someone who quickly proved herself indispensable, “particularly during the war years when she led the work program and oversaw those aspects of campus life crucial to its survival. She took over the woodworking shop begun by Robert Bliss and oversaw the completion of the Studies Building. Nearly all of the furnishings and designs for the student studies, dormitories, and academic and agricultural buildings were created in the woodworking shop with instruction by Gregory.”
“Page-Gregory Tea Wagon,” designed by Don Page and Mary “Molly” Gregory (Photograph by Claude Stoller). North Carolina Division of Archives and History, Black Mountain College Research Project, Visual Materials, Black Mountain College Collection, Western Regional Archives, Asheville, North Carolina. Photo courtesy of David Silver.
Molly built a conference table for the faculty room in the Studies Building and helped make tables for the dining room. Also out of the shop came kitchen cupboards, drafting tables, bookshelves, carving benches and more.
“In November 1942, just over a year after Molly’s arrival, the woodshop was humming with do-it-yourself activity,” Silver writes.
Students were constructing their own benches for the weaving department and building milk racks for the kitchen, according to Silver. A professor used the shop to make a table and cabinets for his study.
Woodworking class with Molly Gregory. Mary “Molly” Gregory Photos and Prints, Black Mountain College Research Project, Visual Materials, Black Mountain College Collection, Western Regional Archives, Asheville, North Carolina. Courtesy of David Silver.
“With Molly at the helm, the woodshop trained a new generation of students how to hammer, saw, and drill – how to make things,” Silver wrote.
While working on the Studies Building, Molly took it upon herself to also fix up the few power tools they had.
“So, there was a buzz saw [circular saw], and there was a jointer, and there was a drill press and so on, but nobody had time to fix them up or get them going,” she said in her oral history. “I did that because I thought a buzz saw would be a help. It was terribly interesting because for me the idea of ripping boards by hand when you had a buzz saw was for the birds. But the North Carolinian carpenters thought nothing of ripping miles of boards, just by hand.”
The farm at Black Mountain College. Photo by Joseph Breitenbach. Photographic Collection, Black Mountain College Papers, Black Mountain College Collection, Western Regional Archives, Asheville, North Carolina. Photo courtesy of David Silver.
During the war, Molly was also instrumental in developing a farm at Black Mountain College, one that yielded enough produce to feed the entire community. One of the first things she did was create plans for a milking house. She designed and helped build new fences and multiple structures, including one to store farm machinery, a bullpen, a hog pen, a henhouse and a beef shed.
Mary “Molly” Gregory Photos and Prints, Black Mountain College Research Project, Visual Materials, Black Mountain College Collection, Western Regional Archives, Asheville, North Carolina. Photo courtesy of David Silver.
“Molly designed the hog house and built it entirely in the woodshop, constructing six-foot prefabricated sections, lugging the pieces to the farm, and assembling them in situ,” Silver wrote.
“As a Quaker Friend, Gregory’s influence can perhaps be found most readily in The Quiet House, a building designed and built with student Alex Reed in memory of Mark Dreier, the young son of BMC founders Ted and Bobbie Dreier, who died in a vehicle accident on campus,” according to Black Mountain College. “The benches of The Quiet House resonate with the Quaker influence and invite contemplation.”
“Mary ‘Molly’ Gregory, Spring 1942,” Photograph by Howard Dearstyne, Martin Duberman Collection, 1933 – 1980, Western Regional Archives, Asheville, North Carolina. Courtesy of David Silver.
In short time, Molly was wearing many hats. She was the supervisor of the woodshop. She was teaching full-time. She ran the farm books. And she was the farm manager.
“Truth be told, Molly was exhausted,” Silver wrote.
Molly left Black Mountain College in 1947 and moved to Woodstock, Vermont, where she ran a woodworking shop – Woodstock Enterprises, owned by a former Black Mountain College student, David Bailey – for six years.
Woodstock Enterprises focused on custom furniture and cabinetry, as well as remodeling and general construction projects.
In 1953, Molly decided to go out on her own. She founded her own woodworking shop, in Lexington, Massachusetts, and then in Lincoln, Massachusetts. For nearly 35 years, she designed furniture for homes and churches, did custom interior work, and renovated and built houses. She had several employees who worked for her.
In Lincoln, Molly lived in an apartment she built for herself, located inside a barn owned by friends, Kimber wrote. Her shop was located on the barn’s ground floor. She also had a Jersey cow, chickens and a dog named Griselda whom she called Grum.
“Although she had grown up on a farm and wound up running the farm at Black Mountain College, where she had gone to teach in 1941, she was, first and foremost, a woodworker, the very best of several first-rate ones it’s been my good luck to know,” Kimber wrote. “She could do it all. From designing and building a house to fine cabinetmaking to intricate carvings for a church altar. And along with everything she knew about woods and their properties and tools and their uses, she had an artist’s eye, which she had developed to a high level working with Josef Albers at Black Mountain. Whatever she built, whether barn or sideboard, had clean, simple lines and seemed just made for whatever setting it was in.”
Kimber also noted her problem-solving ability.
“Once, when she’d been installing a set of classy and expensive kitchen counters and cabinets, a knot broke out of the middle of one of the counters,” he wrote. “What to do? She made an inlay in the shape of a leaping dolphin, converting a disaster into a beautiful decorative detail. ‘If you can’t hide it,’ she said, ‘feature it.’”
She also continued to teach on the side.
“I had a wonderful job at Concord Academy working with the students in carving,” she said in her oral history. “We built a chapel and carved the altar and made the steeple.”
Molly taught woodworking at Concord Academy from 1958 to 1972. Memorabilia, Memories, Memorials, published by Concord Academy in 2010, notes “Students under her direction carved the Corinthians panels mounted at the front of the Chapel, the altar, lectern, and music stands.”
She also taught at Shady Hill School and Belmont Day School.
At 85 years old, Molly could no longer live in the barn. She moved to The New England Friends Home in Hingham, Massachusetts, where she spent her time quilting and watercolor painting.
Although she was not allowed to have pets, Kimber writes, “She built a small-scale fire escape, not for herself but for her cat, Sophia, who used that unobtrusive structure to leave and enter Molly’s second-story room day or night, unseen by other residents or the staff. Sophia occasionally brought red squirrels along too, some alive, who would often find refuge in Molly’s closet.”
A few years before her death, a sideboard she made in the early 1960s was part of an exhibition called “The Maker’s Hand: American Studio Furniture, 1940 to 1990” at the Museum of Fine Arts in Boston. (See the accompanying book by Edward S. Cooke, here.)
Describing the sideboard, Cooke writes, “Her small shop (which had a few male employees) produced furniture, including a large walnut sideboard in a distinctive mode that blends a variety of joinery and ornamental characteristics. Especially notable in the sideboard are the arched support at the base and the rhythmic drawer arrangement; a large cupboard for trays is also cleverly included at the back of the case.”
Molly died November 21, 2006, in Hingham, Massachusetts.
After her death, her work was featured in a 2014 exhibition called “Black Mountain College: Shaping Craft + Design” at the Black Mountain College Museum
Her work has also been on display at the Asheville Art Museum and the Los Angeles County Museum of Art.
Editor’s note: Our Mind Upon Mind series is a nod to a 1937 Chips from the Chisel column (also featured in “Honest Labour: The Charles H. Hayward Years”), in which Hayward wrote, “The influence of mind upon mind is extraordinary.” The idea being there’s often room for improvement.To that end, we’ve asked you what else you have thought of, tried out and improved upon after building projects from our books.
Send us your own ideas! Email kara@lostartpress.com. You can read more about the submission process here.
Today’s pick is courtesy of Sam Robinson. In the third issue of The Stick Chair Journal, coming in January, you’ll find full plans for building a Lincolnshire Windsor, which has steam-bent arms. (Paid subscribers to The American Peasant Substack have access to this article now.) Sam’s method is a great way to bend the arms without a box. Thanks, Sam!
— Kara Gebhart Uhl
Steam boxes take time to make and space to store. This is a quick alternative using inexpensive, flexible, tubular plastic (sold in the U.K. as lay-flat tubing).
Lay-flat tubing.
All you do is cut the plastic to length, slide the wood* and the steamer hose inside and seal the ends (by folding them over and tying with string or cable/zip ties).
Just add steam – from a wallpaper stripper in this case.
Turn on the steamer, stand back and enjoy watching it inflate.
Pierce a tiny hole in the top of the bag for the steam to escape and at the bottom for it to relieve itself of the condensed water.
Better out than in.
One big advantage of this over steam boxes is that you can bend the wood while it’s still in the bag – just turn off the steamer and bend the whole deflated thing. This means the wood stays hot for longer and you don’t have the issue of it cooling down fast once it’s left the box. Alternatively, you can treat it like a steam box by sliding the wood out and bend it as normal.
It is possible to reuse the bag if you’re careful with it, although using it in a compression strap like this is asking a lot.
Winner. Probably wise to remove/cut away the bag after it’s cooled so the wood can completely dry out.
Steam boxes have their place, especially if you’re doing multiple components at one time. But this is a handy, quick alternative – and being able to bend without removing the wood from the box can certainly increase the odds in your favor on difficult bends.
— Sam Robinson
* I slide green wood right inside. With dry wood, either kiln dried or air dried,I soak it for a few days first.
In this update to his 1978 classic, the original text is intact, and the old photos are in black and white. Throughout this edition book, Drew has added text, which is in a slightly different font, to explain what he does differently now after 40 years of daily work on the North Carolina farm he shares with his wife, Louise.
In many ways, the book is a delightful conversation between the younger Drew, who is happy to chop down trees with a felling axe, and the older Drew, who now uses an electric chainsaw and band saw to break down stock to conserve energy (and likely aspirin). New illustrations and color photos throughout show how Drew works now.
The 1978 edition of “Country Woodcraft” inspired a generation of woodworkers to make spoons, bowls and other handy home implements. We hope that “Country Woodcraft: Then & Now” continues to inspire another generation.
