John looked under the bench and found a piece of wood which he thought would do for a wedge, only the end wanted sharpening.
“Shall I take your broad chisel and sharpen it?” said he.
“No,” said Ebenezer. “I have not taught you to use the chisel yet, and it would not be safe.”
“What would be the danger?” asked John, —”that I should cut my fingers?”
“No,” replied Ebenezer. “I am not afraid of that. We don’t usually give ourselves much concern about our apprentice’s fingers. The damage that I fear is, that you might dull my chisel, and that would be of much more consequence. You see if you cut your fingers, they will get well of themselves, after a little time; but it would make me a great deal of trouble to sharpen up my chisel, if you were to get it dull.”
(John then proceeds to finish sawing a board, and Ebenezer comes to inspect the result.)
“Have I sawed it pretty straight?” John asked.
“We don’t praise apprentices much,” said Ebenezer, “especially when they are beginning, for fear it should make them conceited. People that know very little are always apt to be very vain of what little they do know.”
When we started Lost Art Press in 2007, our goals were simple: Print books that we want to read. Keep the overhead as low as possible. Don’t borrow money. Don’t do something stupid to overextend ourselves.
So John Hoffman and I stored and shipped all our books ourselves. (My sunroom and living room have been stacked to the ceiling.) We did our own accounting. We were our own webmasters, secretaries and janitors.
We’ve grown tremendously during the last five years, and we ship tens of thousands of books to customers and retailers all over the world. But we are still just two guys with laptops. No employees. No building, photocopier or debt.
We’ve managed this by farming out everything to our friends and colleagues, from editing manuscripts to page design to filing tax forms. And today we took a big step forward by moving our warehouse full of books to MSL Packaging & Fulfillment in Indiana. We looked at using a big international fulfillment house, but MSL suits us better. It was started by two guys who always pick up the phone when we call (sometimes while eating bacon) and who share a lot of our principles.
This move will increase the speed with which you get your orders – MSL is jacked right into our ordering system. And it will free us up to work even more on books, woodworking, editing, layout and blogging.
If you have a problem with an order (it happens) you’ll still deal directly with John or me. We will never cut the line of communication to our customers. (If it weren’t for you, John and I would be in miserable corporate jobs.) All out contact information is here.
• If you have a question or problem with an order, contact John Hoffman at john@lostartpress.com.
• If you have a question about the content of a product, contact me at chris@lostartpress.com.
We answer all e-mail, even if you are a rude prig. If you don’t hear back from us in 48 hours, we probably didn’t get your e-mail. Try again.
Oh, and the title of this blog entry? That’s what our accountant said to me on the phone this week when I called with a silly tax question.
Portret van een van twee Indische timmerlieden. From rijksmuseum.nl
We now accept PayPal for all orders placed through the Lost Art Press store – that’s in addition to Visa, Mastercard and American Express. So if you’ve been hoarding money in a PayPal account, we have another way for you to spend it.
If you are an international customer who wants to purchase a download, you can now do that directly through our store. Our store accepts international credit cards (and PayPal) for downloadable items. Your download will be delivered immediately and with all the regular security enjoyed by domestic customers.
Yes, we are still working on shipping all items internationally. We’ll be taking a big step forward to that goal this week.
Also, we ship the deluxe version of “To Make as Perfectly as Possible” everywhere in the world. For information on shipping and pricing, send an e-mail to John Hoffman at john@lostartpress.com. We now have custom boxes for the deluxe edition that make it a snap to ship this massive tome without damage.
While we’re a few weeks away from the release date of our “Campaign Furniture” book, we already have the related T-shirts and hardware in stock and ready to ship. Here are the details and links for these items. Both items are available for only a short time.
‘Stop Staring at My Chest’ Shirts This shirt, like all our shirts, is made in the United States on soft 100-percent cotton. The front features a campaign-style chest of drawers from the 1909 catalog of the Army & Navy Co-Operative Society. The back features the phrase “Stop Staring at My Chest” and the new Lost Art Press logo.
The army green shirt is made by American Apparel shirts in Los Angeles. The shirts (4.3 oz. cotton) are printed by a small family-run firm in Noblesville, Ind. The shirts are $20, plus first-class shipping in the United States.
If you want one of these shirts, we recommend you order now. We usually carry a shirt design for about three months until they are sold out. Then we make a new one. Click here to order.
Tribolts for a Campaign Stool
The only thing difficult about building the camp stool from “Campaign Furniture” is finding an affordable tribolt that allows the legs to fold smoothly. The book offers a hardware-store solution, and it shows you how to make the tribolt pictured here.
If, however, you do not have a drill press or a proper tap to make the tribolt, buying one might be the best answer. So we asked woodworker Mike Siemsen (who came up with the idea for the hardware) to make 100 of these tribolts, which we are selling for $12 plus $3 first-class domestic shipping.
These bolts are ready to use with legs that are 1-3/16” in diameter, which is the size we recommend for these stools after testing several to failure. The tribolt is installed easily by drilling a 5/16” hole in each of the legs. Then you screw the three bolts into the center nut. You can lock them in place with thread-locking fluid if you wish, though we have not found it necessary.
The center hexagonal nut is not visible in the finished stool unless you get your face right up in the stool. However, if you do not like the nut, we recommend turning a small wooden finial or cap that can screw into the nut.
Please note: This is not a stock item for us. We have 100 tribolts. Once they are gone, we will not restock. Click here to order.
One of the treasures I inherited when buying my house was a falling-down chicken coop/rabbit hutch with (I can say without blushing) a brick shithouse tacked onto the end. It is in the courtyard, and was built in a hurried fashion, with the materials the farmer had at hand – some brick, some stone, concrete block, wood and a steel roof that had come loose at some point and was weighed down with odds and ends of heavy things. The toilet, judging from its style, was in use well into the 1960s, flushed with a bucket.
So, being the sensitive type, this fall I decided to have a go at renovating the ruin; I sought to maintain the fabric, the “built textures of the countryside,” as they say in the more sensitive kinds of house magazines.
I was sitting at the table outside, looking at the building and plotting my campaign when my neighbor Roger turned up and sat down.
The start of the rescue operation
“What are you thinking about, Brian?”
I told him I was going to fix up the chicken coop, and asked how he would do it.
He gave me a startled look, like he does sometimes, and took a couple of puffs on his cigar.
“Well, I’ve got a sledge hammer in the garage if you want, but you could just maybe give it a shove and save me the trouble of walking across the street. Probably faster, too.”
A couple more puffs, he laughed.
“Ha! ‘Course if you actually had any chickens, you could just find a feather and knock it down with that.”
So I got to work with some old bricks I had salvaged from a half-demolished chimney in the barn, learning the joys of bricklaying when one day my wife was watching me rip out some of the old rotten limestone. (The local stone is often very soft and porous; acids in the rain plus salts in the ground water can eat it up over decades.)
“It’d be nice if you could use some stone when you rebuild that part. Like it was kind of a patchwork, quoi. Roger gave you some stone, didn’t he?” she said.
Stone cutting. Why not? I remembered a book I had seen one time, and ordered it from the publisher’s site. “Pierre de Taille” (cut, or ashlar, stone) by Jean-Marc Laurent, Editions Eyrolles (2004). Turned out it is an excellent book. One interesting thing that struck me while reading it was how closely it followed Roubo. The tone and information is the same. The book is mostly oriented toward people looking to follow what a stone mason is doing on a renovation project of some kind. But in fact, almost all the info is there, set out in precise detail – the tools, how to use them, the sand and lime for mortars, the different kinds of stone, common problems in old stonework and how they should be fixed.
I needed to cut and dress some of the local stone. From this section: “The Cockscombs” (Chemin de fer, in French) “The straight cockscomb is used to dress the visible faces of a stone. It is made of a rectangular piece of wood (beech), to which is fixed a handle in the same wood, and in which on the other face cuts have been made with a saw. In the cuts, blades of tool steel, sometimes with teeth, sometimes not, have been embedded.”
The cockscombs are basically planes for stone, used on soft to medium stones, and are used for facings and mouldings, like wood planes. Laurent goes on for more than a page on these tools.
But how was I going to cut the old stones to more or less the right size? The next bit was on saws, and mentioned various types, among them “La scie type scie egoine” – that is, a regular hand saw, though the ones for stone have carbide-tipped teeth. In the end I tried a an old saw for wood that is too dull to use and had hardened teeth that can’t be resharpened. Worked OK.
Nothing earthshaking. You need the information, you can buy a book and get it. It’s obvious today that is how it works. You describe the tools, and then what to do with them to create what you want. But reading through parts of Roubo, and now the woodworking parts of André Félibien’s “Principles of Architecture,” it’s clear it wasn’t always obvious. Even just the idea that detailed information would or could be interesting to someone outside a given trade was actually quite new. Félibien was one of the pioneers, and it’s a fascinating book. Roubo created the form that we still use today.
— Brian Anderson
Brian Anderson is a translator and woodworker living in France. He is translating the woodworking parts of André Felibien’s Des principes de l’architecture, de la sculpture, de la peinture… avec un dictionnaire des terms for Lost Art Press. The book is due out in the Autumn of 2014. Anderson translated Grandpa‘s Workshop for us.
