The Lost Art Press 2023 Holiday Open House is this Saturday (December 2) from 10 a.m.-5 p.m. at the storefront: 837 Willard St., Covington, Kentucky, 41011. Sure, we’ll have our full line of books, tools, apparel etc. available, but most exciting is that we’ll have a special guest, educator Jerome Bias, in the shop this week to teach a 6-board chest class, and who is working on a book that explores his family history through woodworking.
We’ll have cookies and holiday drinks (both adult and non-alcoholic offerings), and visitors can take home (free!) an old poster or two – long thought out of stock – from a couple boxes that magically appeared when we moved fulfillment to Covington’s Anthe Building. We’ll also have a shelf full of “blems” (books that are perfectly readable, but got a bit dinged on a corner or what have you), and a small number of beehive bottles of Piggly No Wiggly glue that we’re selling at a reduced price now that we’ve changed to cylindrical bottles. And who knows what else we’ll dig up before Saturday!
Speaking of the Anthe building, we’ll lead two tours thereof (starting from the shop on Willard): the first at 11 a.m.; the second at 2 p.m. The Anthe building is just more than a half-mile away at 407 Madison Ave., so if the weather allows, anyone who wants to can walk over (but there’s parking available if you prefer to drive).
We’ll be doing demos throughout the day – just ask if there’s a tool or technique you want to see/learn – it’s an in-person Open Wire.
Hope to see you on Saturday!
– Fitz
p.s. We won’t be doing an online Open Wire this week; it will return on Dec. 9.
This chair is a close cousin to the chair offered here a couple weeks ago. Same great wood and same finish. The only difference is this chair has a stout H-stretcher, making it suitable for all sitters.
I am selling this chair for $2,600, and that price includes the crating and shipping to anywhere in the continental U.S. The chair is being sold via a random drawing – details below.
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°, with a back tilt of 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 amazingly rip down to make the seat). All the housed joints are assembled with hide glue and elm 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.
Purchasing the Chair
We’re selling this chair via a random drawing. If you wish to buy the chair, send an email to lapdrawing@lostartpress.com before 5 p.m. (Eastern) on Friday, June 7. Please use the subject line: “Hobbit Chair.” In the email please include your:
Name
U.S. shipping address
Daytime phone number (this is for the trucking quote only)
On June 7, we will pick a name at random and contact that person. Note that if you don’t hear from us on Friday, you did not win (sorry – the mail program has made bulk replies impossible). We will happily crate up the chair and ship it to your door. (I’m sorry but the chair cannot be shipped outside the U.S.) Shipping and crating is included in the price, with no additional charges whatsoever.
This is the last Hobbit chair for awhile (and last mahogany chair for awhile). I have a new design in my notebook that I am eager to bring into the world.
We received our first load of entries today for the “Stick Chair Merit Badges.” And everyone followed instructions. Thank you!
It’s great to see all the different chairs and their personalities (and their owners). If you would like a merit badge for your shop apron or tuxedo, there is only one way to get them and here are the instructions.
If you don’t sew, and you don’t know anyone who does, you can also glue these patches on garments. I use Fabric Fusion, which is used for fabric repair. It works like woodworking glue. Apply a thin and consistent coat to the back of the patch. Tape it to the garment. Place something heavy on top of the patch for a couple hours. That’s it.
Like furniture, a glue-only joint isn’t as good as something with a mechanical interlock. But this is better than rubber cement.
Note that the “Stick Chair Merit Badges” patches are not iron-on. They need to be stitched or glued on.
The following is excerpted from “Campaign Furniture,” by Christopher Schwarz.
For almost 200 years, simple and sturdy pieces of campaign furniture were used by people all over the globe, yet this remarkable furniture style is now almost unknown to most woodworkers and furniture designers.
“Campaign Furniture” seeks to restore this style to its proper place by introducing woodworkers to the simple lines, robust joinery and ingenious hardware that characterize campaign pieces. With more than 400 photos and drawings to explain the foundations of the style, the book provides plans for nine pieces of classic campaign furniture, from the classic stackable chests of drawers to folding Roorkee chairs and collapsible bookcases.
Folding clamshell bookcases weren’t just for officers or bureaucrats of the British Empire. These tough pieces of cabinetwork were ideal for students or any bibliophile who had to be mobile.
Built like a chest or trunk, these bookcases were typically dovetailed at the corners for maximum strength. The interiors varied. They all had shelves – of course. Sometimes the shelves were adjustable; sometimes they were fixed. You might find cubbyholes or drawers near the base of the chest.
And sometimes each side of the bookcase was further protected by a hinged door that was solid wood, glass or a metal mesh. All of the examples I’ve encountered were secured with a chest lock or a hasp. The bookcases also wore brass or iron corner guards to protect the books if the piece took a serious hit.
The example I’ve built for this book is pretty simple. It’s made from quartersawn oak and is dovetailed at the corners with half-blind dovetails. Each half of the clamshell case features two adjustable shelves that are suited to hold smaller books. At the base of the carcase are four dovetailed drawers that are fronted by flush drawer pulls.
The backs of the carcase are panels that float in grooves in the carcase pieces. In this piece, I’ve covered the interior with an embossed wallpaper. Then I painted and shellacked the paper to make it look vintage. The exterior is finished with garnet shellac.
Build the Carcase The carcase of this bookcase is somewhat like a dovetailed drawer. All the corners are joined by half-blind dovetails. The backs float in grooves in the dovetailed shells. Begin construction by dovetailing the tops and bottoms to the sides of the carcase.
To match many bookcases of the period, I cut the tails on the tops and bottoms of the carcases. The pins are on the sides. Because these bookcases normally sit on top of another piece (such as a campaign chest), the orientation of the pins and tails isn’t much of an issue.
After cutting the tails and pins, plow the 1/4″ x 1/4″ grooves for the carcase backs. The grooves are 1/4″ from the outside edge of the carcase. Then lay out the locations of the 1/2″-wide x 1/4″-deep dados for the shelves. I gang the carcase parts together to make the layout (relatively) foolproof.
Fig. 11.2 Don’t measure. Strike one wall of each dado for the shelves. Then use the shelf material to strike the other line of the dado. This ensures a good fit.
Fig. 11.3 Saw the walls. Place your thumb in the groove to stop your saw as you saw each wall of the dado.
Saw out the walls of the dados, then chop up the waste with a 1/2″-wide chisel. Plow the waste out with the chisel. Try working both bevel-up and bevel-down. The bevel-up orientation will remove waste in a hurry – perhaps to the point where you will go below your desired depth. Chiseling bevel-down is slower, but you don’t take as big a bite. I usually remove most of the waste with the chisel bevel-up, then I finish up with it bevel-down.
Fig. 11.4 (left) Choppy. Break up the waste between the dado walls with a chisel that is the same width as the dado. Fig. 11.5 (right) Plow the waste. Remove most of the waste with a chisel. Work bevel-up to remove material quickly; work bevel-down to add some control.
After you have the bottom of your dado roughed out, clean it up to a consistent depth with a router plane. You also can use the side of the router plane’s iron to scrape the vertical walls of the dado, fairing and squaring them.
Fig. 11.6 Plunge forward. The router plane isn’t suited to take a big bite. The waste jams up against the post of the iron too easily. Use the router to remove the smallest amount of waste from the bottom of the dado.
With the dados cut, knock the carcases together and measure the final dimensions of the back pieces. Cut the back panels to size, then rabbet all four edges so the panel floats in the grooves. Be sure to leave some space for expansion of the back. I used quartersawn oak, which doesn’t move much, so I allowed for only 1/8″ of movement in each panel.
Fig. 11.7 About that much. I don’t cut my panels to size until I have the carcases dry-fit. This (usually) prevents me from making a stupid error.
Gluing up the carcases is an odd job. You want to glue each carcase so its joints are tight. But you also want to glue up each carcase so it is the same shape as its mate. Otherwise, you will end up (I promise) with two carcases that are different shapes.
So apply glue, then clamp up each carcase independently. Place the two assemblies on top of one another and clamp them together along the seam. Once those clamps are on, check the uber-assembly for squareness. After the glue is dry, plane up the carcases individually. Then clamp them together and fair the seam between the two shells.
Fig. 11.8 Rabbet that. Cut the rabbets on the back panels. Cut the rabbets across the grain first. Then follow that with the rabbets that run parallel to the grain.
Fig. 11.9 Glue the two. You want these carcases to mate. So glue them up in tandem. Clamp the tops, bottoms and sides. But also clamp the carcases together so their edges align.
Fig. 11.10 On a platform. A leg vise and a platform (made from scrap) is a powerful setup for planing the joints of your carcases.
Install the Lock This is an excellent time to install the hinges and lock. While most woodworkers have installed butt hinges, many have not installed a chest lock. They are actually simple to install if you take the process one step at a time and don’t measure too much.
Fig. 11.11 (left) One hole. A scant hole in the carcase guides the installation of the chest lock. Fig. 11.12 (right) The bulk of the waste. Sawcuts help break up the waste. Chop parallel to the grain lines with a chisel to remove most of the waste.
The key to installing a chest lock is to drill a hole where the pin will go. The pin is the most important part of the lock. The key is inserted onto the pin then rotates on it to unlock the bookcase. So all the layout is determined from the pin.
Fig. 11.13 (left) Use the hole. The hole you bored for the pin also guides the installation of the escutcheon. Trace around the escutcheon with a fine pencil. Fig. 11.14 (right) Saw out the waste. Saw the walls of the hole for the escutcheon, then chisel out any waste.
Measure (shudder) from the top of the lock to the center of the pin. Transfer that measurement to the carcase and make a dimple with an awl. You want to drill at this location a hole through the carcase that is slightly smaller than the diameter of the pin itself (1/64″ or 1/32″ undersized is about right).
Then, from the inside of the carcase, press the lock into the hole. It should stick there.
Fig. 11.15 The final recess. Press the lock back into place and trace around its exterior plate. Chop out the waste.
With the lock pressed into the hole you can trace around its inside case with a thick (or blunt) pencil. This pencil line represents the next recess you should saw and chop out. Then you can install the press-in escutcheon on the outside of the carcase.
Interior Structures These bookcases can be divided up in a variety of ways. This one has two drawers at the bottom of each case. When I started on this case, my plan was to have only one shelf on each side. After assembling the carcase, I decided to add a couple more shelves and make them adjustable. This was an easy matter of sawing some more dados in the carcase walls.
At this point I also had to saw the 1/2″ x 1/8″ dados for the dividers between the drawers in each carcase. This was a simple matter of sawing, chiseling and routing the waste. You can then glue these pieces into the carcase.
Fig. 11.16 Line up the dados. I cut the dados for the drawer dividers after assembly. Using a square, I lined up the walls of the dados and marked out what needed to be cut away.
Then I turned my attention to the drawers. Despite my best efforts, the holes for the drawers were all slightly different. So I fit individually the drawer parts for each drawer opening. When I do this sort of work, I fit the drawer front so it will just sneak into its opening all around. I cut the drawer back to that same length.
I fit the drawer sides so they slide in and out of the carcase like I want the finished drawer to slide. I wait to cut the drawer bottom until the drawer is assembled.
The drawers I make are typical for the 18th and 19th centuries. The sides join the drawer back with through-dovetails. The sides join the drawer front with half-blind (the British call them “lap”) dovetails. The bottom slides into the assembled drawer in a groove plowed into the sides and drawer front.
Fig. 11.17 Parts in place. Fit your drawer parts so they match the dimensions of the drawer opening. If the individual parts fit too tight, the drawer will surely stick.
Once the joints are cut, glue up the drawers. Make sure the drawers are dead square – you can pull them into square with a tight and well-fit drawer bottom if necessary.
Once your drawers are assembled, clean up the joints with a plane and fit each drawer into its opening. The tighter the fit, the less likely the drawer will bind when you pull it out.
Fig. 11.18 Drilled out. I usually remove most of the waste with a drill – in this case a Forstner bit. All this ugliness will be hidden behind the pull’s backplate.
Then add the pulls. I used some vintage pulls that were made in the mid-20th century, which are surprisingly similar to ones made today. Just as when you installed the lock, installing the pulls is a multi-stage process. First you waste away the deepest and smallest recess for the pull. Then you fit the pull into that hole and trace around the backplate. Then mortise out the area for the backplate and you can screw the pull in place.
Fig. 11.19 Traced & chopped. After fitting the pull into the first recess, press it down and trace around the backplate. Then you can chop out that waste.
Don’t be afraid to file parts of the pull to make it fit or function.
Finish the Interior Some of these bookcases were lined with felt, cloth or some sort of wallpaper. To give this bookcase a Victorian look, I lined the interior with an embossed wallpaper. Then I painted the wallpaper and coated it with shellac (like the rest of the carcase).
Adding wallpaper is easy. Cut the paper so it fits the opening (or is slightly bigger that the space required). Roll some wallpaper paste on the back of the wallpaper. Fold the pasted surfaces on themselves, closing them like a book. Wait 10 minutes.
Fig. 11.20 Easy wallpapering. If you’ve ever hung wallpaper, you’ll be amazed how easy it is to do on a horizontal surface. It doesn’t sag.
Then you can unfold the wallpaper and apply it to the wood. Use a wallpaper brush to press the paper to the wood. Don’t use a squeegee tool if you are using embossed wallpaper – it will destroy the pattern.
If your paper is oversized, trim it into the corner with a utility knife. Then turn your attention to the next piece of wallpaper. Let the paste dry for 24 hours before trimming the bits that cover the dados.
Fig. 11.21 Paste then trim. Use one piece of paper on the sides of the carcase. After the paste has dried 24 hours, use a knife to slice away the paper covering the dados.
Paint the wallpaper if you like; I used a green milk paint I had on hand. With embossed wallpaper you can create a nice two-tone effect with little effort. Brush on a coat of paint. Wait about five minutes for the paint to set up a bit. Then gently wipe the paper with a sponge. The sponge will remove the paint from the high spots.
You can use contrasting colors to paint the high spots and low spots. But remember: Books will cover the wallpaper most of the time. So don’t go too crazy.
Fig. 11.22 A little dab. After the paint flashes, gently wipe the high spots with a sponge to brush away part of the paint.
After the paint dries, finish the entire case. I wanted the outside to look a bit aged, though not distressed. So I finished the entire case, inside and out, with two coats of garnet shellac. Then I wiped a black wax on to the exterior surfaces of the carcase. After the wax flashed, I wiped off the excess, leaving the black in the pores.
Then I coated the entire piece, inside and out, with one coat of a dull lacquer to cut back some of the shine from the shellac.
The final step was to add some corner hardware. As an experiment, I used applied corner guards that are secured with escutcheon pins. They don’t look as nice as inset corner guards, but they are better than nothing.
I recently finished this Irish stick chair in red oak during a chair class and am offering it for sale to readers of the blog. This chair will be sold via a random drawing for $1,600 (that price includes both crating and shipping to your door anywhere in the lower 48).
Details on how to buy the chair are below.
About the Chair This chair is adapted from “The Stick Chair Book” (a free download). It is almost identical to the chair I built for my recent article in Fine Woodworking. It is a low chair (the seat is 16” from the floor), with a back that leans 20°. It is designed for one task: Sitting around with friends and family and talking, reading or sharing a drink.
Like all my chairs, this Irish chair is assembled with hide glue so it can be repaired easily in the future. The finish was a bit of an experiment. The oak was first colored with lye, which gives it a warm chestnut color. Then painted with General Finishes “Milk” Paint in Emerald (sadly, a discontinued color). Finally, I applied a thin coat of Black Bison Wax from Liberon (dark oak). Then I rubbed out the black wax, carefully burnishing through the paint in areas to give the chair a bit of an aged appearance.
I don’t do this finish often, but it seemed right for this chair.
The through-tenons on the arms are left slightly proud and are burnished, again to add some years to the piece. All the sticks and legs are left faceted straight from the tools, which adds texture and character to this folk form.
How to Buy the Chair The chair is being sold via a random drawing. If you wish to buy the chair, send an email to lapdrawing@lostartpress.com before 3 p.m. (Eastern) on Thursday, Aug 29. Please use the subject line: “Irish Chair.” In the email please include your:
Name
U.S. shipping address
Daytime phone number (this is for the trucking quote only)
If you are the “winner,” the chair will be shipped to your door. The $1,600 price includes the crate and all shipping charges. Alternatively, the chair can be picked up at our storefront. (I’m sorry but the chair cannot be shipped outside the U.S.)
