Chris is already hard at work (shocking, I know) on a second LOTR-inspired chair, and I’m belaboring every word in my Dutch tool chest book manuscript. But we’re also here to answer your burning hand-tool woodworking questions. Or cat questions. Or late 19th- early 20th-century Russian literature questions (that’s Chris, not me; he contains multitudes). So post ’em in the comments below, and we’ll answer.
Comments will close at around 5 p.m.
– Fitz
Because of the Backwoods Chairmakers event in Berea, Ky., on June 2, we have decided to open our storefront doors here in Covington, Ky., on June 1 and June 3. This will allow travelers who are coming from out of town to stop by on their way to or from the event.
These days we keep sometimes-scattershot hours because we might be at the lumberyard, packing books at our warehouse or teaching out of town.
But on June 1 and June 3, we will be at our storefront (837 Willard Street, Covington, Ky., 41011) from 10 a.m. to 4 p.m. to welcome you. We’ll have all our books, apparel and tools. Plus some blemished and returned books at half price (cash only on blemished books).
On June 2, Kale and I will be at the Backwoods Chairmakers event, documenting this once-in-a-lifetime gathering. We’ll also have a small table of chairmaking books for sale there. We will not have our full line of books at the event.
Either way, we hope to see you this June.
— Christopher Schwarz
This chair is based off a couple chairs I built a few years ago, which were based off the chairs I built for my two kids, which were based off a chair that Bilbo Baggins briefly sits in during “The Fellowship of the Ring.”
I haven’t watched the movie in ages, but I remember the arms of Bilbo’s chair were different, the short sticks were turned spindles, and the legs were different – maybe a decorative groove. And I can’t recall what the undercarriage looked like.
But other than those tiny details, this is an exact replica.
This chair is made of mahogany that is at least 70 years old. I bought it from Midwest Woodworking in Norwood when it was going out of business. The wood is gorgeous stuff, light and strong.
The chair is set up for dining. The seat tilts about 3°, the back tilts another 12°. The seat is 16” off the floor, which makes it comfortable for a wide range of sitters. The seat is a single wide plank of mahogany (that I had to rip down to make the seat – amazing!). All the housed joints are assembled with hide glue and ash wedges so that the chair can be repaired long in the future.
The finish is super blonde shellac with a thin coat of black wax, which tones down the red and accentuates the wood’s pores.
As mentioned above, the mahogany is straight and strong. But because there are no stretchers, I recommend this chair for sitters less than 220 lbs. I’m being over-cautious. (Also, if a leg ever snaps on any of my chairs, I’ll repair it free of charge.)
Purchasing the Chair
We’re selling this chair via a silent auction. If you wish to buy the chair, send an email to lapdrawing@lostartpress.com before 3 p.m. (Eastern) on Tuesday, May 28. Please use the subject line: “Hobbity Chair.” In the email please include your:
The highest bid wins. If you are the “winner,” the chair can be picked up at our storefront. Or we will happily crate it and ship it to your door. (I’m sorry but the chair cannot be shipped outside the U.S.) The reserve price is $500. Shipping and crating is included in your winning bid (with no additional charges whatsoever).
— Christopher Schwarz
P.S. Plans for this chair will be in the second issue of The Stick Chair Journal. Also, Kale and I are working together on a second Hobbit-y chair in the same gorgeous mahogany. It will be up for sale in a week or so.
Editor’s note: The “bulk reply” plugin on Chrome has stopped working, and I cannot find a replacement on any of my browsers. So if you don’t hear from me (Fitz) by the end of the day on the deadline day, I’m afraid you are not the winner (this applies also to the recent Irish chair, and Ash and Elm chair). I’m sorry I haven’t time to send individual responses to the many entrants who did not win. If I did, it would read: “Thank you for your interest, and stay tuned – Chris is making more chairs, and there will be other opportunities.” Which is true in perpetuity!
We just sent the “American Peasant” book to press, but it’s a lot like landing in a foreign country (yay!) and having to wait behind 1,000 people at the immigration window (ugh).
Normally, our books come out about five or six weeks after we send them to press. But these are not normal times. Thanks to the latest brood of cicadas venture capital ridiculousness, all our books are in a long queue at the printer. Right now, the best they can say is: Maybe it will be done in August or September. Maybe later. Maybe sooner. Can’t say.
I have no desire to change printing plants. We’ve worked with this one for 17 years, and I know exactly what their sheet-fed presses are capable of, and how to get the best results out of the different papers they stock. This hard-won knowledge keeps the cost of printing and thus the retail price down.
So we will just have to wait. It took two years to write “American Peasant,” so waiting a couple months shouldn’t be a big deal. Right?
In the meantime, above is a preview of the cover (no, I have not been taking street drugs), and some of the images and spreads from the book; the gorgeous opening images of each project are by Narayan Nayar.
I’m excited to see “American Peasant” released into the wild, but until then, I’m working hard on issue 2 of The Stick Chair Journal.
— Christopher Schwarz
The following is excerpted from Matthew Bickford’s “Mouldings in Practice.” In this book, Bickford shows you how to turn a set of complicated mouldings into a series of predictable rabbets and chamfers that guide your hollow and round planes to make any moulding that has been made in the past or that you can envision for your future projects.
The first half of the book is focused on how to make the tools function, including the tools that help the hollow and round planes – such as the plow and the rabbet. Bickford also covers snipes bills and side rounds so you know their role in making mouldings. Once you understand how rabbets and chamfers guide the rounds and chamfers, he shows you how to execute the mouldings for eight very sweet Connecticut River Valley period projects using photos and step-by-step illustrations and instruction.
Below is one of the appendices, which shows you how to make a simple sticking board – a must have appliance for the hand-tool shop.
A table saw has a fence, a powered jointer has a table, your bench has dogs or a stop. Like any other task in our craft, bracing a piece while working is necessary. The solution is not always obvious. A sticking board is the appliance you will make to hold your work as you create profiles using your planes.
A sticking board in its simplest form is a base, a backer board and a stop. I use 1/2″-thick MDF (medium-density fiberboard) with screws set in a few inches from the end for the stops.
I add screws on both ends of the sticking board for the times when I need to plane in the opposite direction so the board’s grain runs in my favor. I make the sticking board wide enough so that it can be pinched between the dogs on my workbench and puts the work near the front edge of my bench.
Most of the force you exert upon the piece with these planes will not simply be downward against your bench. The piece you are working is often angled, so the planes are held at an angle, too. Simply clamping a piece between two bench dogs is not ideal for several reasons. This is one of those reasons.
A sticking board gives you a backboard to press against and resists this lateral pressure. The sticking board can be clamped in your bench between dogs and/or held down with holdfasts, screws or numerous other solutions. A firmly held sticking board prevents the workpiece from snapping out of the dogs and you from doing a belly flop across your bench and damaging the plane, iron and the moulding being stuck on your bench.
The sticking board will also prevent the clamping pressure of the two dogs from distorting a thin moulding.
Because the piece being worked upon is not usually pinned in the sticking board, gauging your progress does not require you to bend down and look for gauge lines, leftover rabbets or flat spots in less-than-ideal light. Simply pick the piece up, rotate it and examine it.
As a moulding becomes more intricate, so does the sticking board. The rabbet for a picture in a frame is cut first, making it more difficult to work from that point. Attaching a perfectly dimensioned piece to the board can make a non-square piece sit square again.
Attaching an angled plate to the sticking board allows the user to attach a crown moulding to the board.
The options for specialized sticking board design are too many to list. Change the board to fit the piece.
Finally, a sticking board, if rigid enough, can turn a typical 7′-long workbench into something more than 8′ long. I even have a game plan for the time when I need something even longer.