On Friday we sold the last beige copy of the second printing of “The Anarchist’s Tool Chest” and are now shipping the charcoal third printing, which includes a full index and a slightly extended ending.
The page count is now 494 pages, but the price remains $37 plus shipping.
The new printing is also on its way to our retailers. Yesterday I shipped 612 pounds of this book to Lee Valley. (Note to self: Write shorter, lighter books.) Plus 200 pounds to Highland Hardware.
One final note: All the copies that we sell through our store are autographed. I’m only mentioning this because we get this question a lot.
The third printing of “The Anarchist’s Tool Chest” is available here in our store.
We have a box of slightly damaged copies of “The Anarchist’s Tool Chest” from the first two printings that we are offering at the reduced price of $18 plus shipping.
The damage to these copies is cosmetic: A corner was bruised during manufacturing or shipping, there is a small tear to the cotton cover, or a drip of glue from the bindery.
All the copies are 100 percent readable.
All the copies are also marked as damaged with a green marker across the bottom. All sales are final on these copies. We have only 14 damaged copies. Once they are gone, they are gone.
What is all this about joint stools, you ask? English examples abound, but surviving New England ones are rare today. But in the period, they were so commonplace that it is hard to imagine a period house without them. Probate inventories filed at the time of a person’s death are a standard resource for material culture studies, and in these records we find numerous references to joint stools. Rarely itemized by themselves, they are usually lumped with a table or other seating furniture. In 1646, Michael Carthrick of Ipswich, Mass., had:
“one great cubberd £1; an old little table & 3 chaires 4s/6d; one bedsted in the
parlour £1/4s; one chaire & 3 joyned stooles 10s; 2 chestes & 3 boxes £1” [The values are pounds/shillings/pence. 12 pence to a shilling, 20 shillings to one pound (£). At that time in New England, a master tradesman might earn 2 to 2-1/2 shillings per day.]
A typical New England reference is this 1647 listing: “One longe table & frame, 4 joynt stooles & a bench £1-13.” In this case, the “table” is what we would call the tabletop, and the frame is just that, the understructure of the table. We find the same sort of thing back in old England, the stools once again lumped with the table and usually also a “form” – a joint stool stretched out to bench-length. In Essex, England, in 1638 John Osbourne’s inventory recorded “in the hall: One great joyned table, eight stooles and one forme, £1-10s.”
Poke around the English countryside enough and you can run into a table, joint stools and form that are all still in place, 350 to 400 years in one spot! The table is really just a joint stool made on a very large scale, same construction, same format. Easier, really. All 90° shoulders.
Randle Holme, the author of The “Academy of Armory & Blazon” had this to say about joint stools: “It is so called because all made and finished by the Joyner, haueing a wood couer: In most places in Cheshire it is termed a Buffit stool.”
Another interesting reference to them is a court case in London surrounding an infringement of trade issue, between the Turners of the City and the Joiners.
1633 We have called before us as well the Master & Warden of the Comp[an]y of Turners as also the M & W of the Compy of Joyners. It appeareth that the Compy of Turners be grieved that the Compy of Joyners assume unto themselves the art of turning to the wrong of the Turners. It appeareth to us that the arts of turning & joyning are two several & distinct trades and we conceive it very inconvenient that either of these trades should encroach upon the other and we find that the Turners have constantly for the most part turned bed posts & feet of joyned stools for the Joyners and of late some Joyners who never used to turn their own bedposts and stool feet have set on work in their houses some poor decayed Turners & of them have learned the feate & art of turning which they could not do before. And it appeareth unto us by custom that the turning of Bedposts Feet of tables joyned stools do properly belong to the trade of a Turner and not to the art of a Joyner and whatsoever is done with the foot as have treddle or wheele for turning of any wood we are of the opinion and do find that it properly belongs to the Turner’s and we find that the Turners ought not to use the gage or gages, grouffe plaine or plough plaine and mortising chisells or any of them for that the same do belong to the Joyners trade. [From Henry Laverock Phillips, Annals of the Worshipful Company of Joiners of the City of London, (London: privately printed, 1915) pp. 27, 28.]
Here in New England, there was no such restriction on a man’s trade. If you had the training and skills, you could work at both the bench and the lathe. The same was true in the countryside in England. In “Elizabethan Life: Home, Work & Land,” (1976) F. G. Emmison quotes a will from Essex England: “Thomas Quilter of Great Dunmow”, who combines the twin crafts of joiner and turner, divides his “working tools” equally between his two sons, giving each “a turning lathe and a grindstone unhanged.” The elder son is to have the larger grindstone if he will teach his brother “joining and turning in the best manner he can.””
This obscure family of ours was early in the Reformation, and continued Protestants through the reign of Queen Mary, when they were sometimes in danger of trouble on account of their zeal against popery. They had got an English Bible, and to conceal and secure it, it was fastened open with tapes under and within the cover of a joint-stool. When my great-great-grandfather read it to his family, he turned up the joint-stool upon his knees, turning over the leaves then under the tapes. One of the children stood at the door to give notice if he saw the apparitor coming, who was an officer of the spiritual court. In that case the stool was turned down again upon its feet, when the Bible remained concealed under it as before. This anecdote I had from my uncle Benjamin.
— Peter Follansbee, one of the authors of “Make a Joint Stool from a Tree,” coming soon from Lost Art Press, Jennie Alexander and Follansbee. (Illustration at top: Eleanor Underhill; photos: Peter Follansbee.)
Writing table for Maximilian Emanuel, elector of Bavaria, 1715.
One of my friends teaches a freshman composition class at a university. At the beginning of every class she hands out an index card to each student and asks them to write down the answer to this question: What do you hope to gain from this class?
Sometimes looks can be deceiving. Megan Fitzpatrick, the managing editor of Popular Woodworking Magazine, says she’s a 14-year-old boy trapped in the body of a 43-year-old-woman.
Wait, I shouldn’t tell that story.
Sometimes looks can be deceiving. To the outside world, Megan sometimes looks like the “I Can Do That” spokeswoman. It’s true that she’s probably built more “I Can Do That” projects than anyone. But that’s not because those are the only things she can build.
Close observers of the magazine know that she has built some big case pieces with lots of hand-cut dovetails, cove moulding and inset doors and drawers. But only the people who work with her know the whole story.
Megan is one of the more ambitious woodworkers I know. She always picks projects above her skill level in some way and then pesters seeks out the knowledge to build them. That’s how she learned dovetailing, inlay, sharpening, you name it.
While that might not sound so unusual, she also is ruthless persistent about learning everything about a topic. When she wanted to learn dovetails, I think she asked everyone in the office at Popular Woodworking Magazine to teach her separately. Then she’d compare the techniques and forge her own path.
In December, Megan decided to build a spice box with line-and-berry inlay as a gift for her mother. You can read the harrowing tale here. Bottom line: I hope Megan will be able to show off more of her highbrow skills – other than iambic pentameter – in the coming years.
It’s easy in this male-dominated business for some people to see women in the craft as window dressing, as has been the case on certain home-improvement television shows (I’m looking at you, Dean). Don’t buy into that with Megan, or you are liable to get a roundhouse kick in the ear.