This was my fun activity yesterday – hand-stamping 1,000 envelopes for the next batch of card scrapers.
We’re working on the next batch of Crucible Card Scrapers this weekend and will have them in the store in the coming week. We ran into a production snag at the waterjet cutter, but we’ve gotten that fixed so things are moving smoothly again.
As to Lump Hammers, Brendan Gaffney is planning on assembling another big batch this week. We’re also working on a way to greatly increase our output (believe it or not it has to do with tool paths on the milling machine).
As I’ve mentioned before, we are quite grumpy when things are out of stock and are working at this every day. We greatly appreciate everyone’s patience and hope this is a short-term problem.
Website Change As a way to streamline our lives, we’re moving all the Crucible tools into the Lost Art Press store. When the move is complete, we’ll close the dedicated Crucible website and redirect all the traffic to Lost Art Press.
Consolidating the websites will save us loads of time, which is the primary reason for the switch. We’ll also save a little money by having only one website.
I am certain there will be some chatter out in the world that this consolidation is “the beginning of the end” for Crucible. I assure you, it is absolutely not. In fact, I’m planning on getting a Crucible tattoo on my forearm – my first – to match John’s. That’s how dedicated we are to growing the tool business.
FIG. 1. DRAWER WITH PROJECTING MOULD The reference letters in the various sketches are as follows: DF, drawer front; K, kicker; B, bearer; P, dustboard; T. B., top bearer; R, runner; C, cocked bead; V, veneer.
One of the perplexing questions which the cabinet maker appears to have never settled definitely is: should drawer fronts stand out slightly in front of the carcase and the bearers, or should they stand back with a slight break? Here are a few notes which may assist readers in deciding the question.
At Fig. 1 the drawer projects beyond the bearers and at the same time forms a rebate or lap around the drawer proper which is more or less dustproof. In cheap work the projecting front is applied, in which case the drawer is through dovetailed at each corner and, when completed and run into position, the 3/8 in. or 1/2 in. front piece is applied and glued in position. If shrinkage occurs in the drawer boxing, the applied piece hides the joint owing to its overlap.
There is, however, likely to be one defect when the drawer is open. Owing to atmospheric changes, and the continual opening and shutting, the polished front edges of the bearers are apt to become marked by the overlapping portion of the drawer front (see arrow).
FIG. 2. DRAWER RECESSED. The reference letters in the various sketches are as follows: DF, drawer front; K, kicker; B, bearer; P, dustboard; T. B., top bearer; R, runner; C, cocked bead; V, veneer.
At Fig. 2 the drawer front stands in about 3/32 in., and this method is the one most generally used. The usual trouble with this type is that the polisher neglects to fill in, stain and polish the inside edges of the bearers and carcase ends to the same degree of efficiency as the drawer fronts, etc. (see arrow). The result is that the continued use of the drawer quickly wears away the polish on the break and the job appears shabby.
The moulding around the drawer front is worked in a variety of shapes and the drawer front has the appearance of a fielded panel. If the face of this fielded panel happens to be veneered there is very little fear that the edges of the veneer will chip away, because it does not come in contact with the bearers.
If the drawer front has square edges and is not fielded, the veneer is liable to chip at the edges which come in contact with the bearers.
FIG. 3. DRAWER PROJECTING. The reference letters in the various sketches are as follows: DF, drawer front; K, kicker; B, bearer; P, dustboard; T. B., top bearer; R, runner; C, cocked bead; V, veneer.
Fig. 3 is a very successful method for drawer fronts. Here the drawer front stands 1/16 in. to 1/8 in. forward and the break (see arrow) on the drawer front does not rub against the bearers or the carcase end. The polisher rarely neglects to obtain a good finish on this top edge of the drawer (which usually carries the lock) and when filling in and staining the front of the drawer sufficient material creeps over the ends of the front to ensure a decent finish on the end grain. This appears to be a fairly satisfactory method and the edge of the polished drawer front is not worn away by the continued opening and closing action. The idea, of course, works out the same even if the drawer front is a square edged one; that is, without any moulding around it.
FIG. 4. THE USE OF THE COCKED BEAD. The reference letters in the various sketches are as follows: DF, drawer front; K, kicker; B, bearer; P, dustboard; T. B., top bearer; R, runner; C, cocked bead; V, veneer.
At Fig. 4 we come to what is probably the oldest and best method of protecting a veneered drawer front. This is known as the cocked bead method and is frequently found on Queen Anne furniture. Around the drawer front a rebate is formed and into this the beads (C) are glued. In some cases they are also pinned. The beads have one rounded edge and are mitred at each corner. The projection when polished is not defaced by friction and the edges of the veneered front do not come in contact with the bearers or the carcase ends during the travel of the drawer.
FIG. 5. MOULDED BEARERS. The reference letters in the various sketches are as follows: DF, drawer front; K, kicker; B, bearer; P, dustboard; T. B., top bearer; R, runner; C, cocked bead; V, veneer.
A somewhat unusual method is given at Fig. 5. It is costly to produce and calls for very fine craftsmanship. The edges of the bearers and the inside edges of the carcase ends have a mould worked upon them. The bearers are twin-tenoned into the ends (see Fig. 6) and all the moulded edges are mitred together. Thus we have the mouldings worked upon the solid portions of the carcase and bearers instead of working the moulding on to the drawer fronts. The drawer front usually forms a break with the mouldings by an inset of 1/16 in.
FIG. 6. DETAILS OF FIG. 5
Drawer fronts may be stopped in their required positions by fixing two rectangular pieces about 1/8 in. thick immediately behind the lower edge of the drawer front; or they may be stopped by fixing suitable pieces of wood to engage the back ends of the drawer sides. In either case the worker should arrange the stops so that no shrinkage will take place.
During my visit to the Speed Art Museum in Louisville, Ky., last week I got to examine a few interesting chairs (surprise!). This little black number from Franklin County (likely Frankfort), was one of my favorites.
Built about 1815 from poplar and other woods, the chair features simple bamboo turnings and an almost-circular seat. Some of the details I particularly like:
The feet taper like the neck of an upside-down Coke bottle. This leg shape is something I see on a lot of Kentucky post-and-rung chairs from the mountains. (Note: I’m sure this shape is also found elsewhere – I just come across it a bunch here.) Chester Cornett’s simpler chairs have a similar, but much more dramatic, curved taper.
I like the tilted armrests. So often the armrests are horizontal to the seat, which can be a bit dull. I have no idea how these feel to the body in service (too many watchful guards…).
And I adore the little black patch on the end of the worn armrests. Why is this paint not worn away? I wondered if there was some sort of dark wood plug inset into the end of the armrest. All I saw was paint. The wear pattern is unexpected – I’d expect the front to be quite worn.
Anyway, this wasn’t my favorite chair at the Speed. Perhaps another time.
We are honored and thrilled to welcome Roy Underhill to the Lost Art Press storefront on Saturday where he will sign books and willingly accept your adoration.
As you know, Roy is the host of “The Woodwright’s Shop” and runs classes at the Woodwright’s School in Pittsboro, N.C. He also is the author of a bunch of great books on hand-tool woodworking and our favorite woodworking novel, “Calvin Cobb – Radio Woodworker!”
Roy will be at the store from 10-11:30 a.m. and 1:30-5 p.m. (even legends need to eat lunch).
The rest of us (Megan, Brendan and I) will be there, too.
Our storefront is at 837 Willard St. in Covington, Ky. There is plenty of free parking within a two-block radius of the storefront. If you can’t get a space on Willard Street, try Pike or Main streets.
I first encountered Kentucky-style furniture when I visited the workshop of Warren May of Berea, Ky., in the early 2000s. While working with Warren on an article for Popular Woodworking Magazine, he invited me to his barn to see his collection of unrestored Kentucky pieces.
I was skeptical that it was a true regional furniture style. At the time I thought it looked like Ohio Valley Furniture that had gotten some airbrushing at the boardwalk. I said something along those lines. That elicited a scowl from Warren.
But it is a real style. And it is something to behold.
Today I spent the afternoon at the Speed Art Museum in Louisville, Ky., which has the largest collection of the stuff to my knowledge. There’s not a lot of published and public scholarship on the style out there. Some magazine articles. Some data at the Museum of Early Southern Decorative Arts (MESDA). And a book called “Collecting Kentucky.” So the best way to experience the style is a visit to the Speed.
It has been years since I last visited the Speed, and the museum has been through an extensive and impressive renovation. There’s a good permanent collection of paintings and objects that make it a legit city museum (Mummy – check. Chagall – check. Assorted Dutch masters – check). But it’s the museum’s Kentucky floor that is the crown jewel. This gallery offers an open floor plan. Not only does this allow you to examine the objects from many dimensions, it lets you to get behind and under the furniture pieces. Photography is encouraged.
The truth is that Kentucky furniture does share a lot of structural characteristics with Ohio Valley furniture, which I see all the time because that’s where I live. It’s a slightly heavy frontier style. The Kentucky element is that many pieces feature simple and beguiling inlay. The inlay can mimic high-style furniture, such as bellflowers. But it also can be playful and step outside the norms of what you might find in a furniture pattern book. Also interesting: The woods are local – nothing terribly exotic as near as I can tell (though it’s difficult to say for certain with some of the inlays).
I think it befits the state. It’s not flashy. From a distance, it’s easy to underestimate it as a simple vernacular-style piece. But get close, and it reveals its true charms.
Next time you are on your way to our storefront or points beyond, I recommend you take a couple hours to check it out.
