Several years ago I picked up this little tool at an antique store. It works great for tracing shapes accurately. I had quite a few questions today about it, and I don’t know what it is called or if it can still be purchased. If anyone can identify this thing or where one could be bought please comment.
Dreary days tend to make me dreary; it’s like I never fully wake up. Today has been one of the best rainy days I have ever had, fully awake and hitting on all cylinders.
I am visiting Hancock Shaker Village working on documenting several more pieces in their collection. Since my last visit, about 200 items that had been in a traveling exhibit the past few years have returned.
Issac N. Youngs wall clock #21 in its traveling case.
So, I have spent the entire day hidden away in the Brick Dwelling measuring and photographing some of my favorite furniture. It has been absolutely wonderful.
We will have both Improved Pattern Dividers and Design Curves for sale in Crucible’s online store at noon Eastern time on Thursday, May 25.
Why are we waiting until Thursday? I’m still traveling after Handworks in Amana, Iowa. I decided to take a couple days off to see friends and clear my head after the last few months of grinding work to prepare for this fantastic show.
All of the tools are in the back of the trailer, which is parked on the prairie somewhere.
On Tuesday, I will drop these tools off at our warehouse in Indianapolis in the late afternoon. The warehouse employees will make a final count and return them to stock on Wednesday. So Thursday is the earliest we can make them available to you.
Thanks for your patience, and I hope everybody who wants one of these tools will be able to purchase them on Thursday.
Lignarius noseyparkerus exhibiting a behaviour often seen in the wild. They frequently travel in small packs and have the ability to flop like flounders as soon as a docent has turned her back.
“While publications of the 1930s and 40s explored the origins of design, principles of construction and the materials employed, it was not until the 1970s that the joinery of such furniture was discussed in print. In a developing field where scholars and art historians were puzzling over dating, types, functions and materials this neglect is understandable. In addition, there lurks the suspicion that learned investigators, accustomed to intellectual pursuits, found the exploration of furniture making unbefitting to their station. Undoubtedly, ladies and gentleman at work on paintings or jades cut a more poetic and elegant picture than those sprawled below tables or chairs.”
– Grace Wu Bruce, a noted expert and dealer specializing in Ming and Qing Dynasty furniture was commenting specifically on the dearth of information on the joinery of Chinese furniture.
I think there are parallels in the study of Western furniture styles and the availabilty of information on joinery. Scholarship and publications on furniture styles often focused on classifying when a piece was made, where it was made, what woods were used and who was the maker. How the furniture was made, if investigated, was not always published.
In the last forty years or so finding out “the how” has become easier as woodworkers took on the task of researching and replicating historical furniture styles. In their research they opened up a world of variations in methods and tools. Publications that were previously limited to one language or one continent were made available to all readers and makers. Pushing these efforts along was the expansion of online resources and the use of blogs to document research and experiments in making furniture.
However, not everyone is conducting research for an article or a book. We still need those curious and intrepid souls who enjoy exploring out-of-the-way shops and regional museums and know how to charm their way into taking a closer look at that one piece that has caught their eye. If need be, they are perfectly willing to sprawl on the floor and get a bit dusty.
The façade of the Stetson Shoe Company facility shows a robust, respectable enterprise and suggests a considerable level of financial prosperity of the company’s owner.
Studley married Abbie Stetson of Washington Street in Quincy on Feb. 10, 1870. The details of their meeting and courtship are not known. He was 31 and she 25 at the time of their wedding, and their marriage lasted almost 50 years until her death in 1919.
The picture of prosperity for Studley’s family is unclear, but the same cannot be said of the Stetsons. Abbie’s father, David B. Stetson, was a prosperous merchant, with his fortune founded on a successful eponymous shoe factory in nearby Weymouth and at least one retail store in Quincy. He began as a very young man with a door-to-door shoe cart and eventually expanded every aspect of his enterprise to produce a stylish and sought-after line of footwear.
When David Stetson died 1894, his obituary asserts that “he had amassed a comfortable fortune.”*
The Stetson household was strongly anti-slavery; David Stetson was an original member of the Republican Party and devout in his regular attendance to the local Congregational church.
Apparently he instilled his four children with a sense of business and financial acumen that they practiced throughout their lives. At the time of his death, it was younger daughter, Ella, who managed the family business, considered to be one of the foremost shoe and boot purveyors in the Boston area. Brother Warren Stetson managed the shoe and boot manufactory, while brother Arthur Stetson was owner of a successful printing company specializing in artistic press-work. Abbie was by then married to Henry Studley, and was clearly an active partner in the couple’s growing real estate empire.
In short, both the Studley and Stetson families were diligent, hardworking, talented and successful clans. As their marriage began in 1870, Abbie was already accustomed to financial success through observing and working with her father.
We might think that the person who created this magnificent tool ensemble and the accompanying workbench was someone consumed by developing and honing this particular skill set to the exclusion of everything else and thus had no other outside interests. That Studley was committed to the practice of craftsmanship at the very highest level is beyond question, however, the intensity of his financial interests and activities outside the workshop were also fundamental parts of his life. The public record of the Studleys’ real estate transactions in particular is truly impressive. The fact that Henry was on the board of directors of a local bank for three decades certainly adds complexity to the tale and sparks a great deal of speculative reflection on the role of the tool cabinet in his life.
While we may be reduced to informed speculation about Henry Studley’s training, skills and woodworking accomplishments, we are not uninformed about what he and his wife were up to in their private finances, thanks to the tireless research of retired history professor John Cashman, who contributed greatly to the scope of this account. The Norfolk County Registry of Deeds records Abbie being a signatory to at least 342 real estate transactions during a roughly 25-year period. During the same period, Henry’s name appears as a signatory on at least another 80 transactions.
At first I wondered about this disparity in the public records, but when Cashman found the obituary noting Studley’s three decades of membership on the Quincy Cooperative Bank’s board of directors, an obvious conclusion to me was that his fiduciary responsibilities and regulatory restrictions curtailed his direct real estate investments as a matter of law. Further, as Cashman pointed out, Abbie’s aggressive real estate activities commenced soon after her father’s death, and perhaps with the infusion of liquid assets from his estate. In the model of a very modern power couple, Henry filled the “sitting on the board of the bank” role while Abbie did the buying and private lending.
This single page from the Registry of Deeds confirms the breadth of Abbie Studley’s activities as a mortgage broker in the Quincy community. There are several such pages in the registry for both Abbie and Henry.
Abbie’s will and probate records from 1919 paint a fascinating picture of her not as the wife of a prominent and superbly skilled craftsman, but rather almost as a partner in a real estate conglomerate. Even though her probate records state that she owned no real estate outright at the time of her death, the listing of assets being probated is noteworthy. Among them are almost 80 mortgages she held in her own name with a stated worth of $55,504.74. Not a huge fortune, but neither was it a paltry portfolio. Depending on which calculation model is used, Abbie’s estate would be worth between $750,000 to several million dollars in today’s economy (2014).
She and Henry had no children.
The Stetson and Studley lodgings are long gone, and though I regret their destruction I can simultaneously appreciate the beauty and utility of Quincy’s Thomas Crane Public Library. This photo shows roughly the area of Henry and Abbie Studley’s residence, now home to the “new wing” of the library.
Sadly, the home where Studley lived his last 50 years is long gone, replaced by the new wing of the stone H.H. Richardson-designed Thomas Crane Public Library, but I have stood on the sidewalk where he walked for that half-century.