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.
Kerry Pierce's Tips for
Buying Molding Planes
1. Hollows and rounds are the most common molding planes on the antique market and the most useful. A modest collection of these planes can be used to create complicated shapes if you don’t have the specific complex molder you need. They can also be used to remove the waste before finishing up with a complex molder that you do have. This was common practice in the 19th century for craftsmen sticking wide moldings.
2. Side beads and center beads are also quite common, and they’re also quite useful. I use side beads around the openings on glass doors and on the corners of country-style cabinets. I have also used one to round the edge of cock beads (before the cock bead is ripped from a board.) Center beads are often found with two large holes passing through their bodies so that a fence from a plow plane could be installed. This allowed a craftsman to create a bead—quirked on both sides—that was placed a consistent distance from the edge of a board.
3. Complex molders are those that include two or more elements. Narrower complex profiles will likely be of more use to furniture makers than the wider complex profiles, which were intended to create more massive architectural moldings.
4. A molding plane must have a reasonably straight sole. I have straightened the soles of a couple of bowed molders with a bench plane and some hollows and rounds, but it’s hard work, and the process alters the original profile, requiring that the iron be re-shaped.
5. The profile of the sole and the profile of the iron’s cutting edge should match. It is possible to reshape a mismatched iron, but it’s fussy work.
6. Boxing—the inlaid strips of boxwood on the sole’s wear points—should be present, although loose boxing isn’t much of a problem because it’s easy to re-glue the boxing into place.
7. When the back edge of the iron is tight against the back side of the throat, the iron and sole profiles should match. Sometimes on molders that have seen hard use, the back edge of the throat is so worn that the iron must be shimmed to keep it in its side-to-side position.
8. When you buy molding planes, don’t buy what you need. But what you like. You’ll learn to need the ones you have if they spend enough time in your shop. -Kerry Pierce
