We’ve selected (by choosing random numbers and matching them up to the entrants in the order the emails came in) the winners of the Crucible Tool 5-year anniversary lump hammers engraved by Jen Bower, and the lucky 10 have been notified. Next week, these tools will be on the way to their new homes. (I’m awaiting shipping boxes and a plowed road to the post office.)
We’re also working on a new anniversary tool – one that is very dear to me – and hope to be able to say more about it shortly. Stay tuned!
Multiple sources are reporting the sad news that Garry Knox Bennett, a giant in the furniture making world, has died. He was born in 1934 in Alameda, Calif. The following is excerpted from “The Difference Makers,” by Marc Adams (2019).
Garry Knox Bennett is an American icon in the field of woodworking. He studied painting and sculpture at the California College of Arts and Crafts and is a self-taught furniture maker living in Oakland, Calif. His trademark is the combined use of fine metalwork and woodworking. Garry’s work is in private collections as well as the Museum of Fine Arts, Boston; The Mint Museum in Charlotte, N.C.; the Museum of Arts and Design in New York City (formerly the American Craft Museum); the Mobile Museum of Art in Alabama; the Montreal Museum of Fine Arts; the Oakland Museum of California; the Racine Art Museum in Wisconsin; the San Francisco Museum of Modern Art; the Smithsonian American Art Museum; the Victoria and Albert Museum in London; and more.
GREEN CAGE LAMP. This lamp is an example of the range of techniques, materials and shapes that comprise much of Garry’s work. Mixed materials, both found objects and re-purposed material, serve as a challenge to Garry to make everything work together successfully. Photo by AJ McLennan
A major retrospective of Garry’s work was initiated at the Museum of Arts and Design in New York City (formerly the American Craft Museum) in January 2001, which included a showing at the Oakland Museum of California. The exhibition was documented with an extensive book on his work: “Made in Oakland: The Furniture of Garry Knox Bennett.” Garry has taught and lectured extensively in the U.S. as well as in Canada, Australia and the U.K. In 2004, he received the Award of Distinction from The Furniture Society and was honored as Fellow of the American Craft Council. In 2011, Garry received the James Renwick Alliance Master of the Medium award in Washington, D.C.
On the Professional Side After leaving the California College of Arts and Craft in 1960 to pursue painting and welded-steel sculpture, Garry found work in the Bay Area making sculptural light fixtures for homes and commercial buildings. Work was sporadic, however, and commissions from his paintings, sculptures and art shows were not enough to ensure a consistent income for his growing family. Garry searched for an avenue that would allow for a base income to enable him to focus on his art.
NECKLACE. In the 1960s, 1970s and into the 1980s Garry designed and made jewelry, both costume and fine. He set up a section at his company for lost-wax casting. Many of his designs were put into production. Making jewelry started with the peace symbol, which Garry mass-produced in the 1960s. He later set up both precious metal-casting and pewter-casting. A lot of the production jewelry was made utilizing a punch-press. Garry had specialized stamping tools made that could be used for this production work. The one-off precious metal work was Garry’s way of dealing with his frustration with not being able to work on his sculpture and painting at the time. He spent several years building a business and then returned to his studio full time, turning the business over to a partner. Photo by AJ McLennan
Garry and his lovely wife, Sylvia, had an opportunity to build a home and live in a rural setting on land owned by Garry’s ex-stepfather, a rice farmer in Lincoln, Calif. The plan was for this “rural living” to afford a modest livelihood as part-time property caretakers and part-time artist. On the outside it seemed an ideal way for Garry to grow in his work, but the reality was otherwise and they returned to the Bay Area after five years.
Still looking for that “thing” that would generate basic support, Garry discovered the next opportunity through friends who had a shop in Berkeley, Calif. They approached Garry about making some jewelry, primarily earrings. It was the 1960s and the beginning of San Francisco’s Haight-Ashbury “hippy” days – anything large and dangly with beads was hot! During this time, Garry designed and produced peace symbols, roach clips and assorted “hippy” accoutrements. His company, “Squirkenworks,” was started in 1965. Garry viewed himself as a commercial sculptor and artist who sold to both a wide counterculture market and an upscale clientele.
His choice of material was brass brazing-rod, which he had used in his sculpture. It was cheap and readily available. The work was a huge success and evolved into a major line of precious-metal jewelry, which was sold in stores across the U.S. Henri Bendel in New York City was a customer. The result was a stable income for many years, allowing Garry to retreat and focus on his personal work.When Richard Nixon outlawed drug paraphernalia in 1974, Squirkenworks ceased manufacturing, and the “Summer of Love” segued into the “Death of the Hippy.” An era was over. Garry, however, chose to expand the plating shop that he had set up for his production work and offer precious-metal plating to other manufacturers. The shop is still operating as Gold Seal Plating today.
TANSU CHEST WITH DRAWERS. This Tansu Chest with drawers has a painting covering the entire back side of the cabinet. The panels on the various drawer-fronts are Garry’s metal “electroprints,” a technique Garry developed utilizing multiple colors of plating applied to a metal surface and then treating and stabilizing those plating-colors, (gold, silver, nickel, copper and brass) with chemicals to add even more complex color. Producing both one-off prints and limited editions, this was a complicated process that took several years to develop and perfect. Photo by M. Lee Fatherree
Garry’s move to functional work was possibly initiated by his early light fixtures. One of his commissions was a fixture that started at a front door entry and traversed the entire home, following the ceiling through the living room and ending in the dining room – illuminating one of Garry’s paintings that the client owned. Initially he worked exclusively with metal, which included a series of metal clocks. His first series of functional work, Cloud Clocks (all metal), was exhibited at Gump’s, then a world-renowned fine and decorative arts gallery in San Francisco.
He gradually moved toward some very primitive wooden casework. At first his only woodworking equipment was an old table saw that he used when he built his first house on his ex-stepfather’s farm. Garry found cabinets intriguing and started making some simple and, according to Garry, “very crude by woodworking standards” cabinets with drawers that often incorporated elaborate light fixtures attached to the casework.
The rear-view of this chair shows the tension-bar Garry designed to “give” when a person leans back in the chair. There is a supportive “give” (with pressure) which allows for great comfort in prolonged sitting. Garry has used this back-rest torsion design on many of his chairs. Photo by M. Lee Fatherree
An old friend who had a gallery in San Francisco was about to open a new gallery for furniture and glass and asked whether Garry would be interested in exhibiting in a group furniture show. Although Garry didn’t consider himself a furniture maker, he was interested in being included. So he turned to a group of like-minded young furniture makers in his area to see what kind of work was being produced. Although the majority of work at the time was impressive, he noticed there seemed to be far more attention paid to intricate dovetails while overlooking some pretty basic design concepts. Most work lacked visual excitement, shape and color. The door was open for a California-style furniture earthquake.
RIETVELD REDUX (white chair with bead dangles). Part of the recent Chair Series, Rietveld Redux is another of Garry’s take-offs on a Rietveld design. Garry has always utilized beads in his work. In the 1960s he was given boxes of amazing old beads from all over the world by a friend who imported and supplied beads to the bead-focused “hippy” generation. This friend was moving to a new location and brought over all the old remnants and (literal) sweepings when he cleaned out the building he was in. Garry has used these beads as parts of drawer pulls, embellishments and all of the “dangle” elements in this chair and in his earlier African Chair series. Photo by M. Lee Fatherree
Noticing the extreme focus on joinery, fine wood and lots of dovetails by many of these makers, Garry decided to make a piece of furniture for this new gallery exhibition that was visually exciting. Garry said, “there is much more to making an interesting piece of furniture than just fancy wood and joinery.” He intentionally set out to show that an untrained person could execute reasonable joinery and make a special piece that can become more than the sum of its joints. His now-famous “Nail Cabinet” was born.
WING Z CHAIR. This chair was one of the first of the Z chairs Garry made. A takeoff on a classic Gerrit Rietveld chair, this chair is comfortable and strong. Garry made some crucial changes in the engineering of the original Z. Photo by M. Lee Fatherree
This piece was a reaction to the decree that “the wood is paramount.” For Garry, wood was one vehicle to an exciting visual outcome. Design, function and excitement were far more important to him than the fact that an exotic material was used. The “Nail Cabinet” was conceived as a statement. And, to be honest, Garry grossly underestimated the reaction in downtown San Francisco that it would generate. Many perceived it as an abomination and sacrilegious (to put it mildly). With the criticism came unexpected attention. The labels of renegade/Philistine etc., opened a door that Garry was ready to enter. From that point, Garry put painting and sculpture on the back burner and it was furniture full-speed ahead.
NAIL CABINET. The nail is a common 16 penny nail, bent and distressed, hammered into the finished door intentionally. After the nail was removed and stolen from an exhibition, Garry replaced it and then wired it to the door so it could not be easily removed again. Photos by M. Lee Fatherree
This little bit of notoriety enabled Garry to comfortably explore a divergent approach which he found to be exciting. After the “Nail Cabinet,” the public would not be shocked by what would follow. Coming from an art background, his base was composition, balance, design and visual excitement, all of which were missing from most of the furniture at the time. Garry moved beyond the “California roundover” (referencing the soft edges given to most of the work being done in the late 1970s on the west coast). He was able to produce quality work without the sophisticated skill and training of the east coast approach to furniture making.
NAIL CABINET IN CRATE. Several years ago, a film crew was doing a story on Garry and they wanted to see the nail cabinet, which he still owns. When he took the crew to where it was being stored after its return from an exhibition, they removed the front of the crate to film it. When Garry saw it sitting in its crate with just the front panel off he said, “Stop. That is how I want people to see it from now on.” (Garry has requested it be exhibited “in the crate” for any future exhibitions and it has so far.) Photos by M. Lee Fatherree
His life is unique in that his choices have been made by just following a thread that has allowed him to do exactly what he wants to do in his own fashion, which is not an easy task. Garry underplays the business of art, but it exists. It is the conscious act of embracing anything that will enable you to do what you wish in the manner you choose. He lives by a simple rule: Set up a challenge and then go for it; success or failure, the effort serves to expand one’s abilities.
OWL DESK. One of the last large desks Garry has made – spectacular wood. Painted elements on the backboard and inside the drawers (he often paints inside the drawers of his pieces) add striking detail. Illumination is built in. This desk also has file drawers and computer accommodations. Photos by M. Lee Fatherree
On the Personal Side I first contacted Garry about teaching at MASW in the late 1990s, but it wasn’t until the summer of 2005 that the dream became a reality. Garry agreed to do a workshop where students, along with Garry, would make a table that would be auctioned with proceeds split 50-50 between The Furniture Society and the Roger Cliffe Memorial Foundation. Made from walnut, the table featured a breadboard top with massive through-mortise-and-tenon joinery, which is typical of the GKB style. When completed, Garry and each student signed the underneath of the tabletop. The table sold for more than $10,000….
DANCING BANANA CLOCK. Utilizing found objects, this clock was part of another series that followed many years later with an exhibition at Peter Joseph Gallery in N.Y. Photo by M. Lee Fatherree
Garry likes to enjoy life to the fullest. He is witty, artful, funny, clever and maybe every now and then a little sinful. Seth Stem, professor at the Rhode Island School of Design (RISD), once told me that he invited Garry to be a guest lecturer at RISD. Somehow the story goes that Garry’s flight arrived very late and by the time he got to Seth’s house it was the middle of the night. Pounding on Seth’s door, Garry yelled, “Where’s the beer?” I’m not quite sure if that story is true (it might have been something harder than beer), but Seth warned me that having Garry teach at MASW might be an experience. Seth knows that I’m a straight shooter. I don’t drink, smoke, cuss, gamble, use drugs or any of that “sinful” stuff, and when Seth heard I had invited Garry to teach at MASW, he thought he better give me a heads-up.
VENUS OF WILLENDORF MEETS ALLY OOP. This desk/table is one of Garry’s favorites: very rough, direct and quick, his three preferred ways to work. Photos by M. Lee Fatherree
Although I had talked to Garry often, I never will forget the phone conversation we had before his first trip to MASW. The concern in his voice bordered somewhere between terrified and repentant. “Marc, before I come to Indiana I have just one question. Now Indiana, isn’t that one of those Bible Belt States?” He promised me that he would be on his best behavior. As it turns out, Garry was a true gentleman and was one of the most gracious, polite and wonderful instructors I have ever had. At the end of his first workshop I will never forget saying goodbye in my driveway. He took me to the side and told me what it meant to him to be a part of our program, then gave me a big brotherly hug and drove away – straight to the bar.
LITTLE TALL TABLE (with drawer). A recent piece that reflects many of the shapes and techniques Garry has utilized throughout the years. Saw-tooth drawer front, inlay on top (epoxy, wood, paint) with wedge-legs and the mixed materials utilized between the top and base. Photo by AJ McLennan
A reminder that you have until 5 p.m. Eastern today to indicate your interest in one of the 10 Crucible Tool five-year anniversary Lump Hammers, hand-engraved by Jennifer Bower. We received the finished hammers today, and my pictures don’t do them justice (no surprise, though, that Jenny’s work is gorgeous).
The hammers are $350 each plus the actual cost of shipping. If you’re interested – and haven’t already done so – send an email to lapdrawing@lostartpress.com with the subject line: hammer (please do not send other email to that address; it won’t get read until our next drawing). In the email body, please include your name, phone number and mailing address. (U.S. only, I’m afraid.)
We’ll select the winners this evening or possibly tomorrow. The winners will each receive an invoice they can pay online, then we’ll send the hammers to their new homes next week.
I am pleased to announce that we have hired Megan Fitzpatrick as the editor at Lost Art Press. She is our company’s first employee, and I cannot think of anyone I’d rather have in that position.
I am not going anywhere. I will be the publisher. That means I’ll be deciding what titles we’ll print, what tools we will make and – most important to me – I’ll be writing many more books for Lost Art Press (my real love).
Why are we doing this? During the last few years our company has grown to the point where it cannot function with only me, John and a few part-time contractors. We now ship more than 60,000 books a year. And we make tools and apparel, too. We have dozens of supply chains and more than 50 books that have to be managed – plus another four or five new titles every year.
I have resisted hiring employees because I don’t want to manage people. And I don’t want to control anyone’s livelihood. Luckily, Megan does not have to be managed.
Megan and I have worked together for about 20 years now. I first met her when she was on the marketing team at F&W Media about 1998, and she had no problem bossing around my boss when he was late. I immediately liked her. I later hired her as my managing editor at Popular Woodworking Magazine, and she made quite an impression on her first day. When the IT guy (a former Marine) repeatedly failed to do his job, she quietly but fiercely (and correctly) explained his shortcomings to him and reduced him to tears.
Megan was a beginning woodworker when I hired her, and she quickly latched onto anyone on the magazine’s staff who would teach her things. Her skills advanced quickly. After I left the magazine in 2011, there was some shuffling about on the staff and she ended up as editor. And I was one of her freelance authors.
After so many years of working together in different roles, Megan and I can (mostly) read each other’s minds. We (mostly) don’t annoy one another. And we both agree 100 percent on how to make good woodworking books and how to treat our authors.
So not much will change here, except for the fact that I’ll have more time to write books and blog entries. And Megan will be in charge. She’ll continue to teach woodworking classes here and elsewhere. And I hope she will continue to write for Fine Woodworking as well.
Please congratulate Megan on her new job. And I hope we get to work together for another 20 years (and that she never has to make me cry).
— Christopher Schwarz
(Ed. note: I will never try to make authors, customers or Chris cry. The guy he’s talking about, though, absolutely deserved it.)
The following is excerpted from “The Workshop Book,” by Scott Landis. First published in 1991, it remains the most complete book about every woodworker’s favorite place: the workshop.This edition was published in 2021 with a new foreword by Roy Underhill.
“The Workshop Book” is a richly illustrated guided tour of some of the world’s most inspiring workshops — from garage to basement shops, from mobile to purpose-built shops.
Landis traveled all over North America to discover the workshops featured in this book. The result is an intriguing and illuminating look at multiple successful approaches to shop layout.
Clamps, like other hand tools, live on the wall in many workshops. Hanging his clamps was one of the first projects Bob Allen undertook when he set up his new workshop in Raleigh, North Carolina. Allen’s open layout makes it easy to find the right clamp in a hurry, but to speed the process, he also marked each clamp with its maximum clamping distance.
Ken Bishop’s rolling clamp caddy. (Photo by Ken Bishop.)
Allen’s layout is attractive if you have the space, but clamps may be needed anywhere in the shop, wherever the action is. For that reason, a lot of woodworkers store their clamps on rolling carts. Many clamp carts hold one or two types of clamps well, but Ken Bishop’s rolling clamp caddy seems as comfortable with long pipe and bar clamps as with wooden handscrews and small C-clamps. Bishop’s caddy is built from standard 2×4 lumber, mounted on a plywood base and 2-in. casters. All the horizontal components, which carry the clamps, are 24 in. long. The plastic bucket contains an assortment of hardwood glue blocks.
Rotary clamp rack. Note: Conduit may be suspended from a 6-in. wide plywood crosspiece between ceiling joists, as shown, or though-bolted directly to the joist.
Robert Markee, of Iowa City, designed the rotary clamp rack shown in the drawing [above] to hang from the joists of his workshop ceiling. “It’s nothing but a lazy Susan, hung from the top,” he explains. Markee has four of them in his shop, two filled with clamps (93 on each one, at last count) and the others draped with hammers, screwdrivers, wrenches and various other hand tools. The rack is suspended by bolts through the top and bottom of the central conduit, and is held in place by the weight of the tools. “Heavens,” Markee says, “I think I’ve got 50 lb. on there!”
Lewis Judy’s clamp can.
Clamp racks don’t get much simpler than Lewis Judy’s galvanized clamp can. Judy bored concentric rings of 1-in. dia. holes in a plywood disc and jammed it inside the top of a garbage can to receive bar clamps. He spaced the holes about 3 in. apart, staggering them as they radiate out from the center. The bottom of the can is filled with sawdust to protect it from the long bars. “I don’t know how many it holds,” Judy says, “but I can’t lift it.”
