Author: Lost Art Press

When John Brown taught chair classes in the United States in the 1990s, he famously threw a student’s machinist calipers into a lake to make a point about how his chairs should be built.

Then, while teaching at John Wilson’s shop in Michigan, John Brown lost his temper with Wilson after class one evening. Wilson was hosting the class and was also making one of the chairs. In the evenings, Wilson had to work to keep up with the students because he was busy during the day.

John Brown caught Wilson using machines to quicken the work and lit into him.

Despite his outbursts of temper and strong opinion, every student of John Brown who I’ve met adored or revered him.

Chris Williams, who worked with John Brown for more than a decade, also has very strong opinions, much like John Brown. But Chris doesn’t have the temper. Every sermon on saddling the seat, building the armbow or rounding the sticks ends with this:

“That’s how I do it. You might do it differently. It doesn’t matter, really,” Chris says. (As I’m typing this, Chris is saying those exact words to his students sizing their tenons.)

Which approach is better – fury or flexibility? I can’t say. The students in Chris’s class seem to really like Chris’s gruff but gentle approach.

Me, I’m just glad Chris hasn’t (yet) thrown my dial calipers into the Ohio River.

— Christopher Schwarz

With many woodworking classes, the goal is for every student to end up with identical chairs, tool chests or side tables.

But that approach is opposite to the spirit of a Welsh stick chair.

Welsh stick chairs weren’t manufactured (and I hope they never are). Instead, they were usually built as a side business for the undertaker, farmer or wheelwright. Or they were made by the person who wanted a chair to sit on.

As a result, no two chairs are ever alike. Add to that the fact that many of these chairs are made using branches from the local forest, and it’s impossible for two chairs to be alike.

During Chris Williams’s class this week, every demonstration begins and ends with the admonition: Do it this way, but if you don’t end up doing it this way that’s OK because it’s your chair.

Additionally, Chris repeats some of the Zen-like phrases John Brown used as he worked. When making the front edge of the saddled seat, one should “think flat” over and over to avoid scooping it out too much. To make the tenons, “think round, think round, think round” as you make the tenon with a block plane.

There aren’t a lot of jigs to save you with this chair. And the toolkit is the smallest I’ve ever seen in a chair class.

So the chair isn’t in the jigs. It’s not in the tools. It’s in your head. Your job is to push those thoughts through your fingers and into the wood.

So step one: Think of a chair.

— Christopher Schwarz

Today I’m going to tell you a nice story. Later in the week I’ll tell you a shocking one.

For the last couple weeks I’ve been unusually chipper, despite all the crap I’ve been managing with my father’s estate. In fact, the other day, my spouse, Lucy, looked at me a bit odd as I was making coffee at 6 a.m. with a s&*t-eating grin on my face.

“You OK?” she asked.

Being somewhat self-aware I answered. “Yes. This coming week is the closest I’ll ever get to taking a class with John Brown.”

Welshman John Brown died 10 years ago after changing the lives of thousands of woodworkers with his book “Welsh Stick Chairs” and his columns in Good Woodworking magazine. The chair he showed in his magazine articles inspired me to seek out chairmaking classes and to dive deep into the historical record of vernacular furniture.

At some point, Chris Williams sent me an email about his work with John Brown, which began in the mid 1990s and ended with John Brown’s death in 2008. After hundreds of emails across the Atlantic, I resolved to bring Chris here to teach Americans how Chris builds a Welsh stick chair. It’s different than John Brown’s, and that’s part of the shocking story coming later this week.

We’re calling this chair the Williams Welsh Chair (#williamswelshchair), and it’s unlike anything most American eyes have seen.

Today we glued up the arm bow and saddled the seat for this chair. I’ve worked with a lot of chairmakers in the last 25 years, and I can honestly say that the way Chris approaches his chairs is unique and definitely worth listening to.

And that’s the point of Chris’s upcoming book, tentatively titled “The Life & Work of John Brown.” While today was overwhelming (and the next four days will only get worse), I managed to snap these photos of the construction process. I hope you enjoy them.

— Christopher Schwarz