Dec. 15 is the last day to place an order with Lost Art Press and be assured that it will arrive in time for Christmas.
Our storefront will be open during weekdays up until Dec. 24. We are currently setting up the new storefront at 407 Madison Ave. Until that comes on line, we have stock available at our old location, 837 Willard St. in Covington, Ky.
We are doing everything we can to keep things in stock, and I plan to start making some more Exeter hammers on Sunday afternoon. Sign up to be notified when they go up for sale here.
One important note: We are running low on stock of “The Anarchist’s Tool Chest.” And it will then go out of print until I finish up the revised edition of the book. So if you want a copy as a gift for someone. Or you want a copy of the original edition (we are in its 16th printing), better do it now.
“American Peasant” is back in stock with a new diestamp on the cover. When I designed the cover for the book, I developed six different images, all of which I liked.
So we decided to use a different diestamp for each printing. We sold out the first printing last month, which featured an engraved spell I developed (it is a wish for bountiful wood).
The second printing features a detail of a peasant cupboard I drew for the book. This cupboard is engraved with the “fishing net” protective spell, plus some other agricultural spells.
The interior content of the second printing is the same as the first (except for a few typo corrections). So there’s no need to buy the new one if you have the first one. If you prefer the old cover, some of our retailers still have some copies.
‘Good Eye’ Goes to Press
Late last week, we transmitted the final press files for “Good Eye,” the new book from Jim Tolpin and George Walker. It is, naturally, about furniture design. And it explores simple proportions in a new and deep way.
Their last book, “Euclid’s Door,” showed how artisan geometry could be used to create the essential wooden tools for bench work. “Good Eye” takes a different tack. Jim and George take several beautiful pieces of furniture from different periods and then show the proportional systems behind them. Plus, “Good Eye” shows you how to reverse the process and use the same proportioning system to create new pieces.
If you have been following the work of George and Jim, this new book will expand your understanding of artisan geometry. If you are new to design, “Good Eye” or any of their other books are great entry points to the topic.
We hope the book will ship by the end of the year. I suspect the retail price will be $29. We don’t take pre-orders, but we soon set up a page where you can sign up to be notified as soon as it is released. And, as always, we have no idea which of our retailers will carry it. Read this for more information.
After more than a year of struggling to get our inventory under control, we did a little rearranging of things in our warehouse and figured out that we have enough open floor space to build our storefront, editorial offices and a new tool assembly area.
We were shocked that our plan worked.
For the last month, we have been building out the storefront and offices on the first and second floors. It’s going quickly because we had done a lot of prep work during the agonizing first phase of repair and restoration.
Our plan is to hold our Open Day on Nov. 23 at our current storefront at 837 Willard St. After that, we will move all our retail and editorial offices to the Anthe Building at 407 Madison Ave., about a half-mile away.
Here’s how that looks: We’ve finished building the walls in the storefront area at the Anthe Building, refinished the floor and have almost finished the interior painting.
When we move our retail operation there, we will have all our books displayed on the Monticello bookcase. We are building a tool chest that will be used to display our tools. Our apparel will be pinned to a big corkboard on the wall. And a Holtzapffel workbench will be in the center of the room for demos and trying out the tools.
The front of the storefront will be built out like a 19th-century store. We’re building a platform at window height that will fill the enormous window bay that faces Madison Avenue. On top of that platform we will have two large stair-step risers (4’ wide x 3’ tall) that will allow us to display our books, tools and apparel to passers-by. Between the two risers, we’ll have space to show off a project. The risers and platform are all mobile, so we can easily rearrange things for a holiday display (get your elf hat on, Megan).
We are still working out where to display the blemished books and tools. That will come after we get the other fixtures in.
Offices
On the second floor we are building our offices and tool-assembly area. The walls of the front third of the building have been scrubbed to remove the old dirt and grease. The fireproof drywall (at the county’s order) has been mudded, sanded and primed. We have a heat pump system installed on the second floor. We just need a little paint, a little electrical and some yellow-pine flooring installed over the original old flooring (which is too delicate for us to use, but we are preserving it).
What About Willard Street?
As most of you know, Lucy and I live above the shop at Willard Street, so this will reduce the hustle and bustle below for us. The first floor will remain exactly as it is now – except for the fact there will be no retail sales there.
The bench room will remain the same and be used for classes. The mechanical library will be intact. And the kitchen and biergarten will remain the same for students and our employees to enjoy.
The machine room won’t change at all. All the machines are mine personally, anyway. So there’s no plan to move those.
Megan, Kale and I will work at both locations, depending on the day. I’m sure we’ll find a rhythm eventually.
And Then…
There is still tons of stuff to do at Anthe. We need to restore the exterior and make storm windows for the third-floor windows. And eventually we will have a break room on the third floor (or maybe the second floor) for employees.
The curators (one is standing in the rear of the photo) were pleasantly bemused by us.
I love books, photos and drawings, but if you want to quickly learn a lot about making and designing chairs, there is one path: Study the suckers in person every chance you get. Up close and slowly.
Last week, Welsh chairmaker Chris Williams arranged for me and some friends to study four old stick chairs in the collection at the Carmarthenshire Museum. Only one of these chairs was currently on display, so it was a chance to see some chairs that aren’t in the public eye. In addition to Chris and me, we had Megan Fitzpatrick, Kale Vogt, Ryan Saunders plus Tim and Betsan Bowen of Tim Bowen Antiques. Lots of eyes, both fresh and old.
This entry is a close look at these four chairs, and some of what I learned from them. There’s no way this blog entry can replicate my in-person experience. But it’s cheaper than a trip to Wales. Note, I didn’t take measurements of these chairs, so don’t bother asking for them. For me, the proportions and angles are far more important than eighths of an inch.
The short sticks were the first thing we investigated.
Brown Comb-back
This is a massive and well-proportioned chair that has a low stance and some curious details.
Let’s start with the obvious: it has only two short sticks holding up the armbow. That’s a rare configuration for a comb-back, so we immediately took a closer look. The thick brown-yellow paint (one of several colors) didn’t show any evidence of missing short sticks. But turning the chair over showed us the truth.
Though the underside of the arm was painted, raking light from a flashlight showed evidence of at least two more sticks that were missing under each arm. This was a relief in some ways, as the single stick under the hand was tempting me to try something stupid in a future chair.
Here you can see how the seat and arm curve inward toward the front of the seat. Also, note the two different hand shapes.
Next, we looked at the seat. Despite what I’ve seen in the past, I’m always surprised by how thick the seats on these chairs can be. I’ve seen them as thick as 3”. This one is a full 2” thick, with a generous bevel on the front of the chair that lightens the visual load (the “vertically striped shirt” of the chair world).
The seat looked like a typical D-shaped seat until we took a look from the rear of the chair. The sections of a D-shaped seat that are usually straight weren’t straight. They curved in toward the front edge of the seat.
When we looked at the shape of the armbow, this made sense. The armbow also curved inward toward the front of the chair. Many Welsh chairs begin with an arm shape, with the seat shape flowing from that. Perhaps the arm was made from a curved branch. Perhaps not. The paint wasn’t telling.
Other interesting details: The hands of the arm were not identical. This happens more than you might think. I don’t think the builder intentionally made two separate hands. I suspect that the hand shapes were determined by the wood itself, its defects or voids.
Note the repair on the arm – a common feature on these chairs and nothing to be ashamed of.
The legs were shaved round – you could still feel the facets.
A straight-on shot of the comb (you’re welcome).
My favorite part of this chair is the playful comb. Its basic shape is common: two Mickey Mouse-like ears on the ends with a raised area between them. But the chair’s builder went further. The ends have a delightful cove on the underside. And the top of the comb has a nice convex curve. The whole thing looks like a crown.
Despite the bark on the front seat, this is a well-considered chair.
Lowback
This tidy lowback has some secrets, some of which we were able to suss out.
First, look at the front edge of the seat. Yup, that’s bark. Wide boards have always been difficult to come by, so they didn’t waste any width on this one.
Evidence of a replaced stick.
The front posts were curious. They looked more English or West Country to my eye. They were joined to the chair with square mortise-and-tenon joints, while the rest of the joints in the chair were cylindrical. A close look under the arm showed us the shadow of a round mortise behind the square front posts. Likely the front posts are a replacement.
Also curious: None of the tenons for the short sticks poke through the armbow. They’re all blind. This feature is isn’t unique to this chair. It got me thinking how the mortises were drilled when the chair was built.
All the mortises through the seat were through-mortises – not blind. I think there’s a chance that some of the mortises were drilled from below the seat and then directly into the arm. The sticks all seem to lean back the same amount. So, it’s possible. Who knows?
Nice shoe. Some would call this a “swan’s neck.“
Finally, take a look at the beautiful shoe. The detail on its ends – an ogee and fillet – are nicely proportioned. And the hands are also tidy. I think this chair was made by a skilled hand.
This piece deserves its own investigation.
Unusual Child’s Chair
The third chair is one I didn’t spend much time with because of its odd construction. You see this in chairs in Ireland and Scandinavia more than Wales. I kinda wonder if it’s an import. The turned legs and insanely thick seat added to its curious stance.
I forgot to ask the curators about the provenance on this chair. Perhaps that will give us some answers.
The charmer of the group (both the chair and Chris Williams).
The Best of the Bunch
The final chair in this group was my favorite (I wasn’t alone). All the details point to the fact it was made by a trained woodworker. The provenance of the chair supported this idea.
A clever and attractive stretcher arrangement.
First, take a look at the undercarriage. The side stretchers are tapered octagons. What is (somewhat) unusual is that they are ovals in cross-section. The stretchers are thicker than they are wide. It’s a trick that allows you to use a thicker tenon for the medial stretcher without adding bulk. I’ve seen this detail before, but not this well executed.
I’ll be stealing that idea.
The hands.
The hands on this chair aren’t identical, but they are close and crisply executed.
Compared to the other chairs in this group, the rake and splay of the legs is dramatic, adding to the overall dynamic stance of the chair. Also, take a look at the long sticks and the comb. The long sticks splay out perfectly. When paired with the undercarriage, the chair has an attractive hourglass shape.
Note how the arm is attached (and another shot of the undercarriage).
The most unusual aspect of the chair is its front posts. They’re tenoned into the arm but then lapped onto the seat and reinforced with screws. It’s another of the joiner-like touches on this chair that points to a trained maker.
This chair is the one the museum has on display for the public. I agree with their choice. This is a special chair.
The editorial staff is currently on the road to Wales, which is why we haven’t been posting much on the blog this week. Despite our remoteness (physically) we’ve been working on Lost Art Press stuff the whole time.
Here are some updates on new things and reprints.
“Dutch Tool Chests” by Megan Fitzpatrick should ship from the printer this week. We’ll have it up for sale next week. All copies purchased directly through Lost Art Press will be signed by the author.
“Good Eye” by Jim Tolpin and George Walker is in its final stages. George and Jim have a few corrections to the text. We’ll make those when we return. Then the book will be off to the printer – and out right before Christmas (assuming no publishing tragedies).
“American Peasant” (second printing) should be back in stock by Nov. 13. The second printing will have a completely different cover than the first printing.
Exeter hammers should be back on sale sometime during the week of Nov. 18. We have a bunch of hammer heads on hand now and are waiting on the handles. With any luck, we’ll have 500 more hammers out in the world by the end of the year.
“The Woodworker” series of books. Many of you have noticed that we are out of stock on all four volumes of our “Woodworker” books. These will be back in print in early 2025 in a nice softcover format. During the pandemic, the prices for making these books nearly doubled. We can’t in our right minds double the retail price on these. So we are switching to a softcover. The binding will be the same: folded, stitched and glued signatures. The only difference will be the cover. We hope to sell the set of four books for $99 as a result.
