American Period Furniture 2007  Online Extras

SAPFM Members
in the News

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 II

15. Lastly, the chairmaker planes the Spanish cane, with which he canes the seats and backs of the chairs, in the following manner with the cane plane (Rohrhobel), fig. XV. The Spanish cane, upon purchase, is approximately one-half inch thick and six to ten yards long. It has, by its nature, bumps and indentations here and there and these must be trimmed by the cabinetmaker with a small knife (Messer) fashioned from an old sharp straight razor (Barbirmesser). With this same knife the chairmaker splits the cane down its length in four equal parts. He roughly cuts off the inner core [Peddig] from each quarter with the knife. The cutoffs are used for caning chairs by unscrupulous chair merchants. Each quarter the cabinetmaker divides again into at least two equal parts, dividing the whole cane into at least eight equal parts. Therefore, he calls this split an "eight part." Should the chair be finely woven, he splits each cane into twelve and sixteen parts. Each eighth, twelfth, and sixteenth of the cane is called a "thread" in this workshop, and so it shall be called henceforth. Such a "thread" is now planed on its rough edge with a cane plane in the following manner. To a protruding wood block of the [cane] plane, a & b, fig. 15, is connected a horizontally fastened blade, d, by a bolt to the housing, b & c, so that its cutting edge is fixed somewhat at an angle off of the housing, c & b. Between the block, a & b, and the housing, b & c, lies a spring that raises the block, a & b, when one unscrews the wing nut, e. The protruding block, a & b, is placed on a screw spindle. From this it is evident that the blade, d, which is connected with a & b, is moved closer to, or away from, the housing when one screws the wing nut up or down. By this contrivance of the plane the chairmaker can plane the cane thread thick or thin according to the fineness or coarseness of the weave. He fastens the cane plane with the screws, g & h, into two holes of the [plane] bench. Then he pulls each cane thread between the housing, b & c, and the blade, d, in such a manner that the smooth side of the cane comes to lie on the housing, b & c, so that the blade, d, planes the rough side of the cane thread. The chairmaker sets the required width of the cane thread with the reducer (Schmaler) fig. XVe. Such a reducer consists of two vertical standing blades which are inclined at an acute angle opposite one another. They are fastened in the housing, b & c, with a wedge, f, yet so that the chairmaker can push them in the direction, f & e, that he wishes. He can thereby increase or decrease the distance between both blades according to whether the cane should be wide or narrow. Then the chairmaker pulls the cane thread through the space between both blades, thereby cutting it to width. There are all together four reducers on every cane plane, which are illustrated on the cover plate, because the chairmaker sometimes uses a coarse and fine weave and sometimes a coarse and fine cross stich (Kreutzstich) to cover the chair. The following brings this latter to light. The chairmaker is lastly in possession of a common turner's lathe, along with the necessary turning chisels. He turns on this lathe the required cross (stretchers) of some chairs, p. 185, which today are no longer fashionable. He also does the sculpted (carved) work on the chairs himself, except in the case when he wants the piece to be artistically and cleanly done, or when time fails him. In both of these cases he gives it over to the sculptor's (carver's) work, which we have already discussed.


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