American Period Furniture 2007  Online Extras

SAPFM Members
in the News

Justin Kauffman won Best in Show in the Traditional Body of Work category at the Milwaukee Fine Furnishing's Show.

Glen Jewell's shop is featured in the America's Top Shop series in the October/November issue of Woodcraft Magazine.

Brian Coe has written about a Moravian Christmas pyramid and describes how to make one in the 2008 Christmas issue of Early American Life.

Mary May's carving career is the subject of a feature article in the October 2008 issue of Woodshop News.

Al Hudson's work is featured in the October/November 2008 issue of American Woodworker Magazine.

Ed Stuckey's Federal demi-lune card table appears in the December 2008 issue of Woodwork magazine.

Tony Kubalak has won the Best Traditional Design Award from the Minnesota Woodworking Guild. Tony exhibited a Philadelphia Queen Anne side chair. You can read more about Tony's honor and the chair in the August issue of Woodshop News.

Congratulations to the following SAPFM members who appear in Early American Life's 23rd Directory of Traditional Crafts: Dennis Bork, James King, Tony Kubalak, Paul Rulli, Mark Soukup, Duane Wendling, Fred Chellis, Brian Cunfer, and Jim Van Hoven. Cartouche Award winner Gene Landon served as one of the judges for this year's Directory.

Eight pieces of Bob Whitley's work from the Michener Art Museum's retrospective exhibit appear in the Gallery of the August 2008 issue of Woodwork magazine.

Walt Segl's shop is featured in an eight-page spread in WOOD magazine's special interest publication America's Best Home Workshops 2008.

Jeff Headley explains how to make a veneered serpentine drawer front with cockbeading in the July/August 2008 Fine Woodworking. In the Master Class feature, Jeff shows how to apply stringing to the same serpentine shape. Joel Ficke and W. Patrick Edwards have work featured in the Reader's Gallery.

Joshua Lane, Co-curator of Historic Deerfield, is mentioned in the May 2008 Magazine Antiques for his role in organizing the exhibition Into the Woods: Crafting Early American Furniture. The exhibition runs through 2012. Visit Historic Deerfield for more information.

Phil Lowe's McIntire armchair, Frank Woolley's serpentine bombé, and Mike Greenberg's collectibles box appear in the Gallery section of the June 2008 issue of Fine Woodworking.

Joel Moskowitz explains how he hollow grinds chisels in the June 2008 issue of Fine Woodworking.

Steve Latta compares 16 different marking knives in the June 2008 issue of Fine Woodworking.

Robert Whitley's furniture is featured through June 1 in a retrospective of his work at the Michener Art Museum. Robert is the 2002 Cartouche Award winner.

Mark Arnold writes about the Peabody Essex Museum's The Art of Woodcarving in America exhibit in the June 2008 issue of Woodwork Magazine.

Tony Kubalak's serpentine bombé and Joel Ficke's Philadelphia high chest appear in the Gallery section of the June 2008 issue of Woodwork Magazine.

Steve Latta writes about reproducing moldings in the April 2008 issue of Fine Woodworking.

Alf Sharp, 2008 Cartouche Award recipient is featured in the March issue of Woodshop News.

Peter Howell's workshop is featured in the February/March 2008 issue of Woodcraft Magazine.

Patrick Edwards writes about painting in wood in February 2008 issue of Fine Woodworking.

Stulmacher's Tools

The Chairmaker Part III

Now we turn again to the side chair, fig. XVII. In its construction the chairmaker starts with the back stiles, e & f and g & h, which are approximately 1½ inches thick and 2 inches wide. Every back stile is curved along its length, e & d, always in its width, e & r, and often also in thickness at e. For every type of chair the chairmaker has patterns made from thin boards that he uses to [trace] on the wood the curved parts of chairs as well as the back stiles. For the back stiles he selects a board of serviceberry that is at the most two inches thick and traces according to the pattern, fig. IX, as many back stiles one next to another as the width of the board allows and cuts it with a turning saw, p. 182. The thickness of the boards gives the width, e and t, of the back stiles, and this applies to all curved parts of the chairs. Generally, one half or a full dozen chairs are made at a time, and therefore the chairmaker saws as many back stiles at the same time as the number of chairs calls for. This also applies to all the other parts. The chairmaker, therefore, pairs the cut out back stiles and chooses two back stiles that best match one another for one chair. He then planes the one thick side of every back stile with the jointer plane, p. 183, marks according to dimension the true breadth, e & t, of the back stiles on its planed side with the marking gouge, fig. VI, and then planes the second thick side of the back stiles with the jointer plane. In the same manner he planes first the broad side, e & t, of the back stiles, marks the true thickness of the stile with the marking gauge, and then planes the second width. Both wide sides are in part curved. He can, therefore, plane only the straight parts with the jointer plane.

The beginning of the curve he must plane with the smoothing plane, and the deepest curve is smoothed with the compass plane, fig. V. In the case where the back stile is curved on the thick side and also on the outer edge, he has to glue a piece of wood at e according to the thickness of the stile [because] he would have to choose too thick a board were he to achieve that curve from the rough stock. After that he curves the side with the saw and planes the broad side, e & t, as before. The planed back stiles are then marked, or more clearly expressed, the spot indicated where the mortises of the rear rail, d & l, and the mortises of the shoe rail, i & k, and the side rails, d & m, are to be chiseled, and at the same time where the tenons are to be cut on which the crest rail, e & g, is to be fastened. This tenon naturally comes to stand on the top of the back stile. The mortise for the back rail, d & l, is 17 inches above the lower end, f, of the leg and the mortise for the shoe rail, i & k, is 3 inches higher. These mortises and tenons are marked at the same time using a striking knife with the square and marking gauge, fig. VI. The chairmaker cuts the mortises with a mortising chisel, fig. VII, and smooths them with the firmer chisel (Stechbeutel). He cuts the tenons at their end with the "tenon saw" (Pinensäge), p. 183, cutting them to thickness with this type saw. This is the order with all mortises and tenons.


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