We are honored and thrilled to welcome Roy Underhill to the Lost Art Press storefront on Saturday where he will sign books and willingly accept your adoration.
As you know, Roy is the host of “The Woodwright’s Shop” and runs classes at the Woodwright’s School in Pittsboro, N.C. He also is the author of a bunch of great books on hand-tool woodworking and our favorite woodworking novel, “Calvin Cobb – Radio Woodworker!”
Roy will be at the store from 10-11:30 a.m. and 1:30-5 p.m. (even legends need to eat lunch).
The rest of us (Megan, Brendan and I) will be there, too.
Our storefront is at 837 Willard St. in Covington, Ky. There is plenty of free parking within a two-block radius of the storefront. If you can’t get a space on Willard Street, try Pike or Main streets.
I first encountered Kentucky-style furniture when I visited the workshop of Warren May of Berea, Ky., in the early 2000s. While working with Warren on an article for Popular Woodworking Magazine, he invited me to his barn to see his collection of unrestored Kentucky pieces.
I was skeptical that it was a true regional furniture style. At the time I thought it looked like Ohio Valley Furniture that had gotten some airbrushing at the boardwalk. I said something along those lines. That elicited a scowl from Warren.
But it is a real style. And it is something to behold.
Today I spent the afternoon at the Speed Art Museum in Louisville, Ky., which has the largest collection of the stuff to my knowledge. There’s not a lot of published and public scholarship on the style out there. Some magazine articles. Some data at the Museum of Early Southern Decorative Arts (MESDA). And a book called “Collecting Kentucky.” So the best way to experience the style is a visit to the Speed.
It has been years since I last visited the Speed, and the museum has been through an extensive and impressive renovation. There’s a good permanent collection of paintings and objects that make it a legit city museum (Mummy – check. Chagall – check. Assorted Dutch masters – check). But it’s the museum’s Kentucky floor that is the crown jewel. This gallery offers an open floor plan. Not only does this allow you to examine the objects from many dimensions, it lets you to get behind and under the furniture pieces. Photography is encouraged.
The truth is that Kentucky furniture does share a lot of structural characteristics with Ohio Valley furniture, which I see all the time because that’s where I live. It’s a slightly heavy frontier style. The Kentucky element is that many pieces feature simple and beguiling inlay. The inlay can mimic high-style furniture, such as bellflowers. But it also can be playful and step outside the norms of what you might find in a furniture pattern book. Also interesting: The woods are local – nothing terribly exotic as near as I can tell (though it’s difficult to say for certain with some of the inlays).
I think it befits the state. It’s not flashy. From a distance, it’s easy to underestimate it as a simple vernacular-style piece. But get close, and it reveals its true charms.
Next time you are on your way to our storefront or points beyond, I recommend you take a couple hours to check it out.
I just dropped off another big load of lump hammers at our warehouse and they are ready to ship – $85 plus domestic shipping. Click here to order.
SORRY. We sold out in two hours.
These hammers might sell out quickly (they might not). So two words of advice:
If you want one, don’t wait.
Just because you put it in your shopping cart does not mean it is yours. We have had some customers put a hammer in their shopping cart and then leave the website for a couple days. When they came back, they could not check out. Then they wrote a Nastygram. Products are removed from our inventory when you check out – not when you put it in your cart.
And yes, we’re working our butts off on scrapers today as well.
One of the few places left in downtown Greenville I recognize – the ABC store behind the old pressroom. I parked here every day before work. I only went in there once – I was too poor to buy alcohol in quantities greater than one beer.
This week I returned to Greenville, S.C., where I had my first job at The Greenville News from 1990 to 1992. To be honest, I barely recognized the place, which has grown from a sleepy burg with a deserted downtown to a vibrant and bustling city with nice restaurants and an impressive arts scene.
To be fair, the city probably doesn’t recognize me, either. I wasn’t much of a woodworker (or a writer, for that matter) when I started work there in June 1990. But walking around its streets reminded me of a few important lessons the city taught me.
This is where I fell deeply in love with furniture. One of the newspaper’s photographers, Owen Riley, collected Arts & Crafts everything. His apartment, which was above mine on Atwood Street, was packed with original pieces that would make a modern-day collector freak the heck out. Owen spent hours telling me about every piece he owned. He explained the American Arts & Crafts movement to me in a way that cut deeply. He loved the furniture. But he also adored the textiles, the bookmaking, the ceramics, the philosophy – all the stuff that came before the movement became huge and flamed out.
He also took me on his sorties into the country to collect the stuff. And we peered in the darkness together at farmer’s markets and junk sales to look for spindles and the flash of medullary rays. This was the first step I took (without my father or grandfather) toward making furniture.
The former site of the old Greenville News building, a brutalist structure that is now being replaced with “lovely” high rises.
The newspaper hardened me into a writer who loved (and still loves) the front lines of the profession. I saw my first shooting victims here, piled up in the back seat of a car in the city’s now-fashionable West End. I interviewed my first murderer. Smelled my first trailer fire (hot plastic). Was interrogated by the State Law Enforcement Division. And was generally threatened almost daily. And once I was shot at during a drive-by.
Though I didn’t know it, this prepared me for the internet.
Experiences such as those usually tumble reporters into the editing ranks. Not me. Once I got a taste of the writing life, I never left it. At Popular Woodworking Magazine I was encouraged on an almost-yearly basis to become a manager or a group publisher or worse. I refused. I build and write every dang day. That habit started in this town, and I am indebted to Greenville forever for that experience.
My visit here this week has been surprisingly murder-free. I was invited by the Greenville Woodworkers Guild to offer a couple days of training and then speak to the club members. I don’t do many club events – I’d be on the road all year if I did. But during the last six years or so I’ve heard crazy rumors about the Greenville Guild. About its facility. And its members. I decided I needed to see for myself.
The Guild’s building is, honestly, like nothing I’ve ever seen. It features a shop that is cleaner and better equipped than most medium-sized commercial shops. There’s a bench room with 10 workbenches. An auditorium for 300. Lumber and project storage. A gallery. And lots of other areas of the building I didn’t get to explore.
New members pay a $200 initiation fee and then a $150 yearly fee and get to use the shop. That’s an incredible bargain. I’d join just for the access to the multiple wide belt sanders and 24” planer, but the commute would stink.
If you live in the Upstate of South Carolina, it’s an amazing resource and worth joining (as an anarchist, that statement is not easy to write). If every city had a place such as this, the craft of woodworking would be fundamentally transformed for the better.
Core77 has just published my latest column, which discusses when you should publicly disclose your prices and when you shouldn’t. You can read it – for free – via this link.
I have been wrestling with this problem since the 1990s when I sold my first Morris Chair to a couple. My price was so low that they gladly drove from Texas to Cincinnati to fetch it.
Since then I’ve made a lot more mistakes on pricing my work, and I likely will make more mistakes in the future. The Core77 column represents a bit of the scar tissue I’ve developed in the last 20 years.
The column also answers a question that customers ask: Why are Lost Art Press book prices the same at other retailers? Isn’t that racketeering? (It isn’t.)
Thanks, as always, to Core77 for allowing me to write about a wider range of topics than this blog will tolerate.
