Our warehouse began shipping pre-publication orders for “Welsh Stick Chairs” yesterday and is working on getting the remainder out in the mail today.
I’m going to be a bit of a wiener here and say that I think our edition exceeds the quality of all the previous editions. This had little to do with me and everything to do with our prepress agency, the special printing press we used for this job and the press operators.
In comparing the images among all the editions of “Welsh Stick Chairs” I own, I can find no image degradation in ours. The text is, of course, super crisp because we reset the entire thing using the original fonts and line spacing from the first edition (even replicating a number of typesetting errors in the interest of accuracy).
The biggest manufacturing improvement is that we sewed the signatures in addition to bedding them in adhesive, making for a permanent book.
John Brown’s words are, of course, the same and cannot be improved upon.
Even if you decide to pass on purchasing this book, don’t worry. We’ve made sure our edition will be around for generations to come when you (or your children) decide to pick up a copy.
“Welsh Stick Chairs” is $29, which includes domestic shipping (yes, even to Alaska and Hawaii).
A fair number of the stick and staked chairs that I make lack stretchers between the legs. But some of my chairs have them. So I get asked regularly: When do you use stretchers and why?
The simple answer is I add stretchers when the customer wants them. But that’s not a helpful answer for those getting started in designing and building chairs.
First a little history: Chairs don’t have to have stretchers to survive. I’ve seen plenty of chairs that have survived 300 years or more without stretchers. And yet, because most modern chairs have stretchers, a chair can look odd or alarming without them.
Stretchers add rigidity to the undercarriage and make the lower area of the chair visually balanced with the stuff above the seat – the spindles, arms and other hoo-ha. And they really aren’t a lot of labor to add to a chair. I’d guess that the stretchers add about an hour to the construction time of a typical chair.
So I guess the question then becomes: Why would you omit stretchers? A lack of raw material? Stylistic reasons? A lack of skill by the maker?
I think those reasons are unlikely.
The best explanation I’ve read is in Claudia Kinmonth’s “Irish Country Furniture: 1700-1950” (Yale). She begins her explanation with a description of the damp and earthen floors in a typical cottage. Then she adds:
Uneven floors have a bad effect upon seats with legs rigidly joined by stretchers. Except for mass-produced chairs, the majority of locally made stools and chairs had independent unlinked legs, which could be individually removed and replaced by the householder whenever they become worn or loose. This lack of stretchers combined with the common use of the through-wedged tenon to attach the legs to the seats, meant that chairs could survive inclement periods for long periods.
Kinmonth then goes on to describe several historical examples of stools and chairs that have had repairs.
To me, ease of construction and repair makes the most sense. If anyone else has a better explanation, you know what to do.
I disagree with people who say wood should be partly seasoned for steaming. The best would be ‘cut down yesterday, steam today’. Anyway, as soon as this ash is cut up it starts to dry. The moisture is sap. I drive it home and put it in a butt of water. Then I get my steamer rigged.
Two steamings a year supplies all the bends I need. My steamer consists of a 6′ length of heavy cast-iron pipe, 6″ internal diameter. At one end is a good fitting elm plug with a 1 ⁄2″ hole through it, in which is a copper tube. There is a wooden frame to support this end of the pipe and a pair of ‘scissors’-type gallows to hold the other end. The copper pipe leads into a 2-gallon stainless steel tank. (The tank came from the inside of a liquid vending machine and it is a pressure vessel.) For heat I use a trusty primus stove. The open end of the pipe also has a plug with a handle on it. I also have a small 1 ⁄4″ hole bored through this end with a removable wooden plug. I will explain why later. The whole pipe is lagged, sewn up in old rags and insulating material.
I start early on a steaming morning. Up at 6 a.m., fill the tank with water, light the primus. Everything must be ready and in its place, like an operating theatre. Forty ash sticks, pieces of string to tie round them so that I can pull them out, thick leather gloves, jigs for bending around, cramps, everyone I can lay my hands on, in fact no hold-ups. It’s like the morning of the big fight!
I can get from five to seven pieces in the steamer, it depends how curved they are. Each piece has string which hangs down under the removable bung. Gradually, the whole contraption heats up. By lowering the outer end of the pipe I can drain off excess water, for until the pipe hots up, the first steam condenses. At this stage I leave the small bung, in the 1 ⁄4″ hole that I mentioned, out. Soon, say by about 7.30 a.m., a small jet of steam comes out of this small hole and I know we have ‘steam up’. The lagging of the pipe is so important. What is needed for bending is heat, wet, and pressure. Now I have worked out that if I remove the little plug from the 1 ⁄4″ hole and the steam shoots out 6″ or so – I have pressure!
How long should I leave these pieces in? Difficult to say. About two hours is the norm, but I have left them too long when they get soggy and lose all the natural springy wood-like qualities. Really they want the minimum time that will allow them to bend. There are as many different theories as there are stars in the sky about bending wood with steam. What works for you! Meanwhile, I must prepare my jigs, and have a set of replacement ash blanks ready. I don’t want visitors today!
My jigs are all sorts. The first one is a very fine piece of work. A 2″ piece of elm, looking not unlike a chair seat in outline, nailed to a larger piece of 2″ elm. Around the perimeter of the jig, and about 11 ⁄2″ out from it, are 3⁄4″ holes at 3″ intervals. The idea is to bend the arm around, putting .” dowels into the holes, and then wedging the arm tight to the jig. It takes longer to write than it does to do! I have about four different shapes, and these determine the type of chairs I make. As the year goes on I judge what I will need. Some jigs are old seats that were too hard to chop. I bore slots at intervals about 2″ in from the edge. In making jigs I have to overstate the curve a little, for like all things natural, wood tends to want to go back to where it was.
9.30 a.m. approaches. Jigs are all ready, the first one cramped solidly to a bench. After all these years, the heart still beats faster. On with gloves. If ever the proverb ‘make haste slowly’ applied it is now. Out with the bung, a rush of steam. Pull the string you want, holding hot ash in one hand, replace the bung. Dispose of string and look for centre mark on arm. Now, place it on jig, bang in dowel, and wedge, ease round, no jerks, dowel and wedge, round, dowel and wedge, then the other side, round, dowel and wedge, round, dowel and wedge … it’s there, o.k….no split-outs. The tone is set for the day. And so it goes.
I have steamed six and had one good arm, I have steamed six and had six good arms. I could get masterful results by using a strap contraption. This is a method whereby a thin metal strap is clamped to the hot arm, and it is then bent round the jig. This requires more accuracy than I use. The pieces must be an exact length to fit in the end blocks of the strap. My main objection to this method is that if the arm is going to break or shred, better it happens now than when the chair is in use. Remember those lovely Thonet bentwood chairs? The wood for them was bent in huge numbers. Heated in an autoclave, and bent, dozens at a time in hydraulic presses. I have rarely seen one without a sheer brake, or incipient brake. Steaming is an art; science and technology cannot do it. Sometimes, having successfully bent an arm, I get the next piece out, put it on the jig, start to pull and realise this piece is not ready, although steamed for an identical time, and I put it back in the steamer.
I leave the arms on the jig for a couple of hours until the next lot in the steamer are ready. Then I release them and tie a cord across the open end to maintain the bend. Until they are cool and dry they will not maintain their shape. Steaming vastly accelerates the drying process. The sap is all out, and only water remains. The residual heat rapidly dries them. In one month they are totally dry.
The printing plant says that “Welsh Stick Chairs” will leave the dock on Thursday and head to our warehouse in Indiana. As soon as it arrives, we’ll start shipping out all the pre-publication orders.
If you haven’t ordered yet and would like to be among the first to receive it, there’s still time to order. The book is $29, which includes domestic shipping, and can be ordered here.
Why is This Book Only for North America? Meghan, who handles our customer service inquiries, has been swamped with emails asking why we can’t ship this book outside North America (not even to Wales, which I know is wacky).
I promise you this: We would if we could.
Lost Art Press was able to obtain only the North American rights to the book. The remainder of the rights are held by a U.K. publisher. We dearly wish we could obtain world rights for this book. And perhaps someday that will happen.
But until that day, we take our contracts and agreements seriously and have no plans or desire to skirt our agreement. So sorry, we can’t ship you a copy (or 100) on the sly with a wink and a nod. We just can’t.
I’m sure someone will smuggle some copies of this book outside North America – it happens with music and books all the time. But we won’t be the ones to do it.
We will have copies for sale at the next Lost Art Press open day on July 14. I’ve never heard of people taking a holiday just to buy a book, but if you are that passionate, here’s a list of other things you could do on vacation in Cincinnati.
Many of you have been asking about some of our newer titles, with specific questions about content and wondering if these books are right for you. So we have assembled pdf excerpts for each of these books, which you are welcome to download.
The pdf for “Ingenious Mechanicks” by Christopher Schwarz includes the table of contents, introduction and Chapter 1: Why Early Workbenches?.
The pdf for “Slöjd in Wood” by Jögge Sundqvist includes the table of contents, a six-page description of what slöjd means, “the kitchen as a workshop,” the benefits of working in slöjd, and a chapter that shows you how to make knobs and latches.
The pdf for “Cut & Dried” by Richard Jones includes a detailed table of contents (three pages, singled-spaced), foreword, acknowledgements, a guide to the abbreviations used in the book and Chapter 7: Coping with Wood Movement (25 pages on dimensional change, distortion, moisture cycling and stress release (kickback)).
The pdf for “Welsh Stick Chairs” by John Brown includes a poem, introduction, author’s foreword (there are two) and his chapter on Bending Wood for Chair Parts.
You can find more details and ordering information for each of these books here.