I’m in search of a nicely framed, uncluttered, well-lit, high-resolution photograph of a “possum belly” table or cabinet for use in Nancy R. Hiller’s upcoming book, “Kitchen Think.” Ideally, it would be shot from an angle similar to that of the white one shown at bottom right in the Pinterest screen grab above…but look more like the table at top right or the cabinets, and have zinc- or tin-bellied bottom drawers.
If you happen to have such as animal in your home and are willing to help, please email me: fitz@lostartpress.com. And if I get a passel, I’ll put up a post to show them all off. (Note: I’m sure I could find one from an antique dealer — but it would be more fun to get it from you!)
We have decided to cancel the June 13 open day at our storefront. We will reschedule it for a future Saturday when it seems like a good idea to get 100+ people together from all over the country and cram them into one small workshop.
We hope to restart classes this summer, but that depends on what is allowed by the state of Kentucky. If you signed up for a class, you will hear from the instructor personally about this issue. If you do have questions on classes, please email fitz@lostartpress.com.
We remain optimistic that things will return to (somewhat) normal this year, but our Ouija board is broken. And I’d never forgive myself if someone got sick because of a class or an open day. Our customers range in age from their 20s to their 80s, so we will continue to err on the side of caution.
A new kit of forged hardware for a three-till tool chest from Horton-Brasses, displayed here on an end piece for an ATC (7/8″ x 21-7/8″ x 24″), so you can get a sense of scale.
We got our hands on a set of new hardware for the “Anarchist’s Tool Chest” (or any large chest, really) from Orion Henderson at Horton Brasses – he’s calling it “The Anarchist’s Tool Chest – Reforged” – because it is hand forged for the company by a blacksmith. (The company is still offering the original kit, too.)
The kit includes two surface-mount chest lifts (HF-46; 6″ wide x 3″ tall) with square-head bolts included, two hinges (HF-49; 1-1/2″ x 2″ x 1/8″; fits stock 3/4″ to 7/8″ thick) with matching black screws, two sets of small ring pulls (HF-51) for the top two tills and one set of large ring pulls (HF-52) for the larger bottom till. (All the components are also available separately.)
A close-up look at the lifts.
This is some beefy, beautiful stuff. I think its rugged handsomeness will look great on a traditional tool chest, and I hope to order a set to install on the almost-finished ATC that is awaiting my return to the Lost Art Press shop. (I’ll be selling that chest, so the hardware and other finishing touches will be up to the buyer, of course).
And you might be wondering why only two hinges instead of the usual three Horton Brasses PB-409 hinges I’ve been using on these chests: These are substantial enough that two ought to be plenty strong. Christopher Schwarz assures me this is so, and he has made a number of ATCs with but two Peter Ross hand-forged hinges of various designs, so he would know. (For the record, I still think Peter Ross’s chest hardware is the cat’s meow – but this nice set is a fraction of the cost.)
Ring pulls.
Horton is also offering a smaller version of the chest lift (HF-45; 3″ wide x 2″ tall) that I think would look great on a Dutch tool chest.
On the left is the lid of the original ATC, with through mortise-and-tenon joinery. On the right is my ATC at the Lost Art Press shop, with loose-tenon joinery. You can’t see the difference (except on the back edge of the lid), and like the one on the left, the one on the right is strong enough for even the largest of sitters.
Editor’s note: As promised, Christopher Schwarz and I are writing a series of blog entries that explain how we have improved the construction process for “The Anarchist’s Tool Chest” during the last nine years (and several hundred chests).
Loose-tenon joinery goes back to Greek and Roman times – boats were built using drawbored loose tenons. I start with this fact so as to (hopefully) stave off slings and arrows (which go back further than Roman times).
When Chris built his lid for the first Anarchist’s Tool Chest (the one in the book), and when I built my first one (now in my basement shop at home), we cut through mortise-and-tenon joints for the lid. Now, we employ that loose-tenon joint that goes back to antiquity. Sure, we use a modern approach (the Festool Domino), but the joint is time-tested, and plenty strong enough for these lids (a theory that has been tested time and again by people triple my size sitting on the lid of my chest at the Lost Art Press shop).
The mortises and tenons as shown in the book.
If you’re building one at home and feel the urge, go ahead and cut the mortises and tenons if you like – that joint is the strongest. But also plenty strong enough are two other joints Chris tried out in classroom settings: the bridle joint (slightly easier/faster), then the half-lap joint (easier/faster still). He was on a quest to get the builds down to five days when he tried these out – and they helped to shorten the journey…but not enough.
Now, we pull out the Domino XL, because it’s the only way we’ve found to get the lids glued up before the students leave on Day 5 (and again, the joint is plenty strong). And while at the beginning of the week, we get a grumble or two from time to time when someone asks how we’re doing the lids, by Day 5, everyone is so tired and eager to be done that they embrace the change. And they all leave with the frame-and-panel assemblies done.
But the Domino XL is a $1,500 tool, so use one of the three other approaches if you don’t have or have access to one.
After running the mating grooves on the frame pieces and panel (which in all but the most advanced-student circumstances we do with a dado stack on the table saw), dry-fit the assembly to determine the layout of the two 12mm x 140mm loose tenons. We use the same setup for all students in a given class, so we then set two combination squares to the desired settings: one small (the shorter measurement) and one large (the longer measurement).
While you could perfectly align all the pieces and mark across both at once, we find it’s safer (read: fewer mistakes) if we have folks use the squares – with a reminder to always register the stock off the outside edges – to mark the mortise locations on each piece individually. Anal-retentive? You bet. Does it cut down on errors? Absolutely.
To further reduce the possibility of mistakes, we set up stops to hold the work while using the Domino; they restrain the work against the fairly significant pressure required to plunge the tool into the work, and hold the work flat to the bench. If the mortises aren’t at 90°, it causes problems, so everything we can do to help make them perfect, we do.
With the work restrained, it’s simply a matter of keeping the fence on the Domino flat to the wood, so we encourage – strongly encourage – that you grasp and push down with one hand, using your other hand to plunge by pushing on the back of the tool, but not grasping the handle. (We’ve found that grasping the handle results in folks pushing down and tipping the tool a bit during the cut.)
Here, I’ve aligned the registration mark on the business end of the tool with one of my mortise location marks on the rail. Note that all my pressure downward on the tool is with my left hand. My right hand is simply pushing in. I also have the toes on my left foot hooked under the rail of my workbench. You have to exert a fair amount of pressure to plunge the tool’s cutter into the work; my hooked toes keep me from sliding backward.
After the mortises are cut, make sure you dump out the sawdust in the bottom of the mortise. Though our dust collection is good, it’s not good enough to clear all the dust from the mortise bottoms.
No, you don’t really need this picture…but I was so happy to catch the falling dust with my camera that you get it anyway.
With the mortises all cut, do a dry assembly before opening the glue.
Oh good – it worked! (Note the faint marriage marks on the top of all the pieces – I re-established those on each piece after I planed up the surface. Those make it a snap to get things together in the right orientation.)
Once everything fits together, cut a 30° bevel on the top edges of the lid (or just soften the edges, per the book) before glue-up.
No bevel on the left; bevel on the right (plus my lid panel is a little thicker, not by design, but because that’s what the stock for the class in which I built this one allowed).
Arrange the rails (the long pieces) with the mortises facing up, and squeeze in a healthy amount of glue, spread it all around and up the mortise sides with an acid brush, then stick the loose tenons in place. Put glue in the stile mortises (move quickly now, as things will get drippy) and slip them onto their mates on one rail. Slide the lid panel in place (remembering that the lid panel lips over the rails…not under), then put the second rail in place and clamp until dry.
Unless things go very wrong, you should need only one clamp at each end. Make sure to push the rails and stiles down flush to the clamp’s bar – that will help you get a co-planar assembly.
Now, just as it says in the book, cut dovetail joints for the dust seal (one tail on each side piece) and glue the dust seal to the front and sides of the lid. Then add some nails for good measure. The dust seal will see a lot of opening and closing action.
There’s one last difference – and this one is motivated by experience, not by a classroom setting. In “The Anarchist’s Tool Chest,” Chris writes to cut a bevel at the back ends of the dust seal to act as a stop when the lid is open. The bevel can break off with repeated use, so now, we cut these two sticks flush with the back edge of the lid’s frame-and-panel assembly. The wall makes an excellent lid stay.
At left is the “stay” image from the book; in the center is one of Chris’s bevel stays after nine years of use; at right is my flush-cut dust seal. (I have a chain on my chest that acts as a stay…but the wall is right there, so I don’t really need it.)
Lost Art Press co-founder John Hoffman has never used his gorgeous half-set of Old Street Tool hollows and rounds – his woodworking passion (when he has time for it amidst the LAP business side of things and other demands) is Windsor chairmaking…where there is little need for H&Rs. So, he’s offering up for sale this new-in-the-box half-set (even Nos. 2-18: 1/8″,1/4″, 3/8″, 1/2″, 5/8″, 3/4″, 1″, 1-1/4″ and 1-1/2″), in hopes someone can make good use of them.
The price is $3,000 (retail is $3,850), plus shipping from Indianapolis. If interested, please send an email to fitz@lostartpress.com.
