DESIGNING A CHAIR TO LAST • THE PHILADELPHIA STORY FE DERAL

A CRAFTSMAN 'S JO URNEY 07> J ULY 1997

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READERSERVICENO. 137 FuaMITuaE '91 Fine Cabinet & Box Hardware the first ann ual conference of Precision machined from high luster, high copper brass. The F -tore Society cfldd a touch of d£9anC'£ to you, ci eai ion s, July 10-12, 199 7 ndvnllcillg the a rt of Purchase College, P urchase, NY fu rn itu re IIInkillg Historical and Crit ical Perspectives ' Techniques, Old and New' Networking ' Des ign & C reativ ity Presentation Drawings ' Developing the Field Limited Production ' Photography ' Plus , a Major Exhibition:" Surv ey of North American Furniture" Conference Coordinator: Dennis FitzGerald 914/25 1-6 763 , Box 18, Free Union, VA 22940 Larry & Faye Brusso Co. , Inc. http://monticdlo.avenue.gen.va.us/ Arts/Furniture 4865 Highland Road, Suite J, Waterford, MI 48328 Phone 810-674-8458

READER SERVICENO. 106 READERSERVICENO. 79

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THE CRAFTSMAN FURNITURE POLISH

nce you've flattened, matched, -~1- seamed, taped and fussed over lIiiiI', .., Othe veneer for your and babinga coffee table, you don 't want to take any chances when it comes time A uthentic pol ish created by to press it. With a Vacu Press® veneer­ furniture makers, with a name ing and laminating system you get high prominent enough to need no 1~C1lA hasre-invented the quality consistent results whether it's the steel rule by putting micro-fine marking further descript ion . A secret holesatevery scale position toinstantly locale a sharp diamond matched top or the curved formu la, handed down from pencil or scribe exactlyontarget! Now, instead of apron. You can depend on it. squinting at that bluroflines along theedge ofyour Whether you are a custom ­ finishe r to finisher since the time oldsteel rule, you caninstantly putyour mark pre­ worker who wants to try your hand at of Gustav Stickley. Our polish cisely where you want it with zero uncertainty and no veneeri ng or a large shop with a specific sustains the fin ish of wood. eye strain. Even ifthelighting islessthan perfect or veneering problem to solve, give us a your eyes are tired attheendoftheday, you canstill Satisfaction guaranteed. besurethat theprecision buill into every call, we have the right VacuPress® INOlA RUW actually shows upinyour finished work! system for you. $15 postpaid. When accuracy counts ... INCRA RULE'S! Available in 6'; 12" and 18" lengths. l'atentspending NEWI Full-length Instructional Veneering Video now available. To learnmore about thisextraordinaryline of precision The Craftsman WorkshoRS Marking Rules, Bend Rules and 'l-Rules, call,write, orfax: Vacuum Pressing Systems, Inc. Taylor Design Group. Inc. .." 553 River Road. Brun swick. Maine 040 II 11 0 Walter Dr., Eastwood , NY 13206 1'.0. Box 810262, Dallas, TX 75381 •~e;. Telephone 207-725 -0935 • Fax 207-725-0932 (3 15) 463-0262; fax 463-0593 Tel: (972) 484-5570 fax: (972) 243-4277 ':J..~"..,..ee

READER SERVICENO. 68 READER SERVICENO. 12 READER SERVICENO. 46

J U NE /J UL Y 1997 3 JUNE /j UL Y 1997 NO .11

On th e cover: William Walker's living room reflects both his roots and his range, with pieces of his own design in the foreground and an early cabinet after jam es Krenov in the background. See p. 56 . Photo by jonathan Binzen.

DEPARTMENTS

6 Letters 10 On Display A visit to New Hampshire's Strawb ery Banke Museum 14 Calendar Anot her Way to Lock a Cradle, p. 32 18 The Drawing Board Refining your thumbnail sketches with transparencies 70 Fine Furn iture Timbers Luscious pink pear 74 Materials Cracking glass 78 About the Authors 82 Index Index to issues 6 through 77 86 Furniture Stories john M cPhee recalls his grandfather's horned furniture Making Chairs Strong, p. 36 Computer Photograph Brings Lamp to Life, p. 54

Home Furn itu re (ISSN 1076-8327) is pu blish ed six times a year. by The Taunto n Press. Inc.. Newtown, CT 06470 -5506. Telephon e (203) 426-8171. Periodicals postage paid at Newt o wn. CT 06470-5506 and at additio na l mailing o ffices. u.s. newsstand distribution by Curtis Circulatio n Co.. 730 Rive r Road , New Milford.NJ 07646-3048 and Eastern News Distributor s. Inc., O ne I> led ia Way. 12406 Route 250. l>lilan. all ·i4846-9705. GST # 123210981. FEATURES

22 Letting the Room 46 Fresh Curves Determine the Design for a Kitchen Table Dining furniture from BY MICHAEL HURWIT Z the Asian end of Arts and Crafts adds spice to a bungalow Lightening an Entertainment Center; p. 33 BY DARRELL PEART 48 Federal Furniture Was Revolutionary An interest in all things classical 28 Bold Color and ga ve rise to a delicat e furniture style

Ge ometry Expand a BY JENNIFER A . PERRY Table's Horizons BY HE NRY FO X 54 Computer Photograph Brings Lamp to Life 30 A Cradle that Swings BY DAVID FA Y High and Low BY TIMOTH Y CLAR K 56 William Walker's 32 Another Way to Lock the Cradle Furniture-Balancing Act BYW I LL IA M WHITE A custom designer mak es a mark in architectural and production furniture 33 Lightening the Look BY JONATHAN BIN ZEN of an Entertainment Federal Furniture Was Revolutionary, p. 48 Center 62 Triangle Cutouts BY RICHARD JUDD Enhance Vast, Flat Surfaces 36 What Makes a Seat BY JOS E REGUEIR O Stand Up to Abuse? A few critical joints will keep 65 Starting from the a dining chair sturdy for decades Simplest Chair BY BY WILLIA MM cA RT H U R

42 Uniting Two Cases 66 Fine Furniture in One Hutch Design 300 Years in the Making BYW ILLIAM SKI DMO RE Ever since colonial cabinetmakers planted the seed, furniture making 45 Etched Legs has flourish ed in Philadelphia Elevate a Display Shelf BY MARK GALLINI Furniture 300 Years in the Making, p. 66 BY GREGOR Y HAY

Postma ster: Send address changes to H Ollie Furniture, The Taunton Press. Inc., 63 S. Main St., P.O. Box 5506,New town. CT 06470- 5506. Primed in the USA • letters

TOO MUCH INFORMATION outside dim ensions and possibly the LEFT TO THE IMAGINATION wood used, what information have I hGme· For a product to be successful, it must gained from the article? . rurruture deliver so mething . Depending o n I know the literature for Hom e EDIT OR your perspective, that so mething Furniture said this was not a "how­ Timothy D. Schreiner could be ex posure, information or to-do-it" magazine. That's an MAN AGIN G EDITOR knowledge. Hom e Furniture is understatement. You sho uld have Suzanne Roman ART DIRECTOR probably best utilized by eithe r of two indicated that there was little chance MaI:V Terrizzi groups: professional furniture that you could build it even if you had A SSO CIATE EDIT OR S [oIlCIIIUl/l Bittzen. Zachary Gaullein, builde rs or co nsume rs who wish to the skills. jefferson Kolle . commission custo m-made furniture. -ArnoldNelson, Redlands,Calif C OPY /PRODUCTION EDITOR The bui lde rs receive national La wrence Shea ART A SSI STANT exposure through yo ur maga zine TRADITIONAL VS . j O((V Hanleinson when their articles are published, and CONTEMPORARY EDITORIAL A SSI STA N T j ennifer Ma tlacle consume rs ge t the equivalent of a The recent Hom e Furniture included EDITOR -IN - CH IEF catalog for one-of-a kind furniture two letters of resp on se to the j ohn Lioely with information o n where to bu y it. traditional/modern squabble raised in DE SIGN DIRE CT OR Susan Edeima n "This is a fine relationship for Hom e the letters section of HI" #9 (January C O RPO RATE CIRC ULATI O N DI REC TO R Fu rn itu re, professiona l furniture 1997). I'd like to add my voice to the Do uglas Ne w/on builders and furniture bu yers, but it call for balance and for ope nness. PUBLISHER lames P Ch iauelli leaves the amateur woodworker This is a big world, and woodworking ADVERTI SING SA LES MANAGER reade r witho ut the transfer of is a lot of different things. I found No rman Sippel ADVERTISING SA LES MANAGE R knowledge that normally comes as Thomas Richardson's remarks ab out FI NE W O OD W OR KI N G pa rt of a subsc ription. I have read j ames Krenov parti cularl y disturbing. Dick !Vest several issues of Hom e Furniture Aesthetics ce rtainly transcend mere NATIONAL ACCOUNT M A NA G ERS Tall/ Brancat o, Da vid Gray: Linda Abbe" from cover to cover and the style. Whether traditi onalist or SENIOR A DV ERT IS I N G COO RD INATOR information provide d is so vagu e that modernist, wh o can fail to gain from Ka/IIIYII Simonds ADVERTI SI N G SEC RETAR Y you cannot hope to build the the impeccable rightness ofjames Hilda Ferna ndes furniture yourself. I design thin gs for a Kren ov's aesthetic sense and sense of TO CONTACT HOME FURN/TURE living, dea l with drawings every day, co ntent. Whether yo u "like" his Telephone: (800) 283-7252 (203) 426- 81 71 and as a serious hobby e njoy fu rniture or not, you can't den y his Fax: (203) 426- 34 34 woodwork ing. If anything , my immeasurable co ntribution, sho wing E-ma il : [email protected] combination of design ex pe rience, us that woodworking remains a living CUSTOMER SERVICE: Orders: (800) 888-8286 ability to crea te drawings, and level of thin g. It seems to me that HOllie Ot her inquiries: (800) 4 77-872 7 woodworking skills should be Furniture is giving excellent coverage E-mail : hfservice@taunt on. com enough that T could build the pieces to the range of woodworking. ADVERTISING SALES: (800) 283-7252 x 512 E-mail: hfads@ta unton.com presented in Hom e Furniture. That's -i-fohn Nesset, Minneapolis, Minn. TAUNTON TRADE CO : where we have a mismatch . There is Retail Sales: (800) 283-7252 x 265 so much information left to the In reference to Charles jacobs' letter Copyright 1997 by The Taunt on Press. Inc. ;'\0 reproduction without perm ission of The Taunt on Press. Inc. Subscription imagination of the reader that o ne in the April 1997 issue (H I" #10) rates: U.S. and possession s. S32 for o ne year , SSG for two years. $H2 for three yea rs; ou tside the U.S. and possession..... would need to do a co mplete layout den ouncing co nte mpo rary furniture S3H for one year , $67 fo r two yea rs, .$95 for three yea rs (in U.S. dollars, please ). Single co py. $6.95. Single copies outside [he of components, joints, etc., in o rde r to as soon "fo rgotten," he himself has U.S. anti possessions. $7.95. Address all correspo nde nce to build the project. Othe r than the forgotten one important point: All the appropriate department

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JUNE /JULY 199 7 7 • letters (continued)

those traditional styles treated with brought back a fond mem or y to me. I and their lives , that still inspires. such reve ren ce we re, at one time, had been traveling Great Britain, I aske d if it might be possi ble for me contemporary. looking for a furniture mak er to wor k to find a place in his sho p. He replied Admittedly, to know where yo u're for. I found my way to the of that he 'd recentl y taken on a young go ing, yo u have to know where Barns ley's lovely hom e on a Sunday, lad , and at the time, one "school you've been. However if you fail to and unannounced. He invited me in, leaver' was enoug h. Neverthe less, look ahead now and again, you 'll and showed me many fine pieces and there was a plentiful spirit the re that [ only end up run ning into a ditch . his workshop. I particularly was fortunate to have expe rienced, -Scott Massey, Van couuer;Be rem ember the sweet fine sycam ore albeit for a sho rt time. that he liked to employ. His -Dennis Young, Hotalea.fapan One more view on conte mporary vs. shop had a wonderful atmosphere, traditional design.I subscribe to your very English, and one could really VISIT OUR WEB SITE magazine for the chance to see what se nse the brilliant traditi on that was AND WRITE TO US ON E-MAIL my contem poraries are doing to bein g perpetu ated there. Home Furniture is now on line . Visit advance furn iture design . If I want to I had recently completed a four-year our Web site. unotutaunton.com, for see traditional-style furniture there are apprenticeship in Japan, and Mr. a look at wh at is in the current issue hundreds of books with thousands of Barns ley and I had a lengthy of the magazine. The site also has photographs rea dily available to discussi on on similarities and information abo ut other Taunt on anyone who has a library card. differen ces in the two cultures' Press magazines as we ll as about our Contemporary design is not that approach to woodworking. I showed large se lection of books and videos accessible, which makes publications him a small Japanese that I on subjects of interest to fellow like yours more valuable to thos e of carried, and he comme nted that he enthusiasts. us who think furni ture design needs thought it was quite beautiful. I Our online presen ce also makes it to grow and branch and be ende d up staying for a dinner that his easie r to co ntac t us. Send que ries or representative of the time in whi ch it wife prepared. co mme nts ab out the magazine to was created. Mr. and Mrs. Barnsley were the most our e-mail address:hj@tallntOI1. Colll. We are creating the traditional style gracious of peopl e. It was a few years We also encourage you to se nd letters of the future right now, not to replace before the end of Edward's caree r to the editor for publi cation to the Chippe ndale or Biedermeier but wh en I dropped in on him. He had e-mail address . to stand with them in an other few becom e quit e well known and hundred years. highl y respected . I was a pers on of Submitting an article. If you have an inter­ W) ~ fairly limited woodworking -ScottArmstrong, Powell, esting story about how you designed a piece ex pe rience, yet [ shall never forget of furniture, we'd like to hear about it. Send a INSPIRED BY BARNS LEY the ge nuine kindness of the Barnsl eys letter with photos to Home Furniture Editorial, The photographs of the cottage and in the way that they ope ned their 635. Main St., P.O. Box5506, Newtown, CT woodwork of Edward Barnsl ey in horne to me. They both had a 06470-5506. We pay for articles we publish and return materials we can't use. your Summer 1995 issue elfF #3) co nviction toward furniture making,

The Ta unton Pres s:Paul Homan, chairman: Peter Chidsey. pre-sident. I>ialll' Ik ard sley. .\la rg;lret Patner. xtadclainc Frl.'ngs, Tracy Le-Brun . De-bra Mc-Cormack , Gina Paois, Andrea Shorrock Patterson. sccfI.:lary. Corporate Edttortabjohn Lively. editor -in-chief8; vice n istritnutou: Pau l Setpold. l.oum BUll, Mary Ann Costagltola. De borah Greene. Linnea Ingram. Brian Leavitt. Aaron Taunton p re sid e nt. Bursles: Carolyn Man da runo. editor: Ruth J)ohSt:\":lgt.: , Peter Lund, f-rederick xtonnc-,. jonathan Pond, Elsk' Rod rig ue z. Alice Saxton, Eileen Sheehan. •\t an ufa cturin~ : Kathleen P UBLI C ATIO NS Chapman. Thomas C. ,\k Kcnna. Ronco Olah. Jennifer Rcniihan. Diane Davi-e.director. Kathleen Do no \";ln.I'np ress' Austin Starblrd. john Garofalo. Stephen Roma. Patricia Siget n. Debo rah Sinitskv. Sew Products. Suzanne Homan. editor: .k fli..-rson Ko lle . :\Llrc <:(ljwtogmp lty : Bovd Hag en . Anthonv Phillips. t'nnnoticm: Philip Allard.FranCt'SC;1Armtnio. Schappert. Cbri -toplu-r .\Irer~. Pete r Ilisllt lp. .\Iicllad Capalbo.jeannette i':'I.~l';lL I'atrida HIISC. Charlc-, IIolli s,Jd Trl·}

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READER SERVICENO. 753 READER SERVICENO. 754 CRAfTSMAN HARDWARE Imported and Domestic by CHRIS EfKER Hardwoods Hand-hammeredcopper brassand bronzehardware 4/4 to 16/4 thickx 4"-16" widex 6'-16' long withauthenticcraftsman detailand style. Most completelIneof Artsand Crafts FLITCH SAWN or SQUARE EDGED periodcabinetand architectural MILLED TOYOUR SPECIFICATIONS hardwareavailable,includinga fuIlline SHIPPED NATIONWIDE ofelectrical plates. Fast, FREE quotesby fax or phone! FAX 914/946-3n9· Phone 914/946-411 1 m.L.COnOOn CONIIPANV ....c:_ fo r Catalogand pricelIstsend$4.00 to: White Plains, NY • Stormville, NY CHRIS EfKER /CRAfTSMAN HARDWARE Send52forour32-page color catalog to: P.O. Box\6\ Man:eline.Missouri 64658 252Ferris Ave· White Plains NY 10603 READER SERVICENO. 801 READER SERVICENO. 42 JU NE /JULY 19 9 7 9 .ondisplay BY JEFFE RSON KOLLE

Period Furniture in an Authentic Setting

Missing an r, with an extra e to its incorporation as a tacked on at the end: museum in 1958. Strawbery Banke. It's a There are houses, shops, funny na me for an and ba rns, all of which you extrao rdinary museum of can walk around and look pe riod furniture and antique at, imag ining life before ho uses in Portsm outh , New the Internet, the interstate, Ham ps hire. The town was the automobile. The re is a first called Strawbery wide variety of ex hibits Banke , fo r the ve rda nt inside the buildings: fields of wild berries that displays of woodworking grew along the shores . Th e tools, ex hibits about house name was cha nged to construc tion, arc heology, Portsmouth in the middle coopering, and period of the 18th ce ntury. crafts like candle making The museum refe rs to and open hearth cooking . itse\f as "an historic And, of co urse, there is waterfront ne ighborhood." furniture. Forty-six buildings in Th e mu seum has a vast A feel ing of a simpler life is evide nt in the furnished room s of varying states of co llec tio n of Portsm outh Strawbery Banke museum in Portsmout h, New Hampshire . restoration make up the furn iture. The re are nin e museum , an d most of furnished hou ses in the them are crowded alo ng mu seum, displaying and by the 1950s, the port none of the other-side -of­ narrow, unpaved 17th ­ pieces tha t run the gamut city, once known for its the-glass feelings of false century streets. People from a Queen Anne man sion houses, was perfection I get at so me lived and worke d in the highboy, made in 1738, to known mainl y for its Navy mu seums. Some of the area for 300 years pri or factory-made furniture prison, its seedy bars and buildings need , there from the 1950s. its houses of ill repute. An was mu d in the narrow Portsmouth was a major urban renewal plan--a streets, and the lawns didn't furnitur e-making ce nter euphe mistic term in the look like go lf courses. But as ea rly as the mid-18th 1950s----called for the the mu seum bu stles with ce ntury. It was in the widesp read razing of activi ty; peo ple are Federal period , from the the town's period w orking everywhere. 1790s to around 1820, that neigh borhoods, and, in The re are no guided the city ex perienced its fact, man y were bulldo zed. tours; you can wander the grea test wealth and when Recogni zing the imminent grounds freely seeing its furniture reach ed its annihilation of their city's what yo u wa nt to see, pin nacle . history, a sma ll group of discovering things at your In the town's heyday, the visionaries were able to leisure. One building, the wealthy merch ant class save the neighborhood that William Pitt Tavern, is full Saved from t he b ulldozer built hundreds of high -style now comprises Strawbery of period reprodu ction in the 1950s, a neighborhood houses and filled them with Banke museum. furniture that you can sit of over 40 period buildings is high-style furniture. The While I was visiting o n, touch , open the now a mu seum. town fell o n hard times, Straw bery Banke, I had dr awers of if you like. Of

HOME FURNITURE Photos.jefferson Kolle, exce pt where noted ; 10 [O f) photo this page : courtesy of Strawbery Hanke From the publishers ofHome Furniture THE BEST s EASIEST WAY TO VENEER s LAMINATE Wait till you see what fellow woodworkers are up to!

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accessories, turnings, musical instruments www.craftcenter.worcester.org • email: [email protected] and carvings by woodworkers from all over 25 Sagamore Road 508-753-8183 the United States and around the world. Worcester, MA 01605 Fax 508-797-5626 Each functional. .. creative...beautiful. .. READERSERVICENO. 82 exquisitely detailed. The pieces are shown in full color often with accompanying Since 1860 . wood craftsmen have used B RI\VAX to pro tect. restore and re ­ close-up details. condition fine furniture and antiques to their original "patina" which could only be SOFfCOVER, 192 PAGES, ISBN: 1-56158-124-0, ITEM 070255, $24.95 duplicated by laborious hand rubblnq before the B1t1WAX blend . This unique "crafts­ man's choice" is now available to American professional woodworkers and refinishers , To order, call 1-800-888-8286, as well as the quality conscious individual who simply wants to keep their turnishings and ask for operator W559. in top condition. IlIUWAX is available in Clear, Light Brown, Dark Brown, Golden , and Antique Or write: Taunton Direct, Inc. (Cherry) . Taunton For more information. or to order, call or write: 63 S. Main St., P.O. Box 5507 BOOKS & VID EOS TR G P roduct s 1- 800-3BRIWAX 6135 Peacht ree Du nwoody Rd ., Suite 201 Newtown, CT 06470-5507 forfellowenthusiasts Atla nta, G eo rg ia 303 28·45 41 (404) 399-0776 • (800) 327-4929

READ ER SERVICE NO. 41

JUN E /JU LY 1 9 9 7 11 • on display (continued)

course , like all museums, Th ey loo k like the the rooms full of period occu pants just ste p ped antique furniture have out for a minute. You can ba rriers arou nd the sme ll the beeswax o n furniture , but yo u ca n poke the fu rniture, and see the yo ur head into the rooms. fingerprints o n the glassware. Knowing how fu rniture was lived with helps yo u ap p rec iate its sty le and desi gn . No o ne Displays of tools and handcrafts fill many of the buildings. Others are lives in the houses, but yo u full of furnit ure from the 18th throug h the 20th centuries. can feel their presence. Straw bery Banke is o pe n from the first weekend in December. Admission is $9 May through the last for adults, less for seniors, weekend in October. It children and groups. For Portsmouth furniture was fancy reopens fo r Tha nksgiving further information, call and high -style. Strawbery Banke w eek end and holiday (603) 433-1100. has a vast collectio n of furnit ure candlelight strolls on the Jefferson Kolle is an associate from this New Hampshire seaport . first tw o weekends in editor at Home Furn it ure.

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READER SERVICENO. 752

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READER SERVICENO. 34 READER SERVICENO.3 12 HOM EF UR NIT URE craftsman's corner

Thisspaceis reserved Historic Windsors for advertising of hand-crafted Kit or Custom Built custom furniture for sale. Exacting replicasbylradltional artisans whose workis in the White For more information call House &majormuseums.21 s ~les ofchairs,stools & se uees- or _....l-++++.j..jJJ 800-926-8776, ext. 553. well buildyourideas. Museum fi nishes or craftsman'skits,at s urpris in~y reasonable prices. Call forJreeportfolio 610-678-6049 THEAMISH WORKSHOPS 1',0. Box 6115, Wyomissing, I'A 19610

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Gn~ g A n :en aux FURNITURE & C u h inetlila ke rs Furniture Ma ker Creole 11m/ Actuliu II Reproduct ion s 2 1st Century Designer 18th r-e-n fu r -y e n· ul.· -: 1- . - - -~. lI· ·itiirt. . .' Fur-nitur-eis ~ o ll ~ h l ----..;,;,,:. aftt'r by pl 'il"a ll' ('lIlIl· (·t oni a w l ---- ~ !I!!II muse ums. D isr-nv r-r th e ~nu ·t·flll e l t· ~ a I H· t · ~. o f en r-lv C n ·o lt· .sh "lt, lilt' 1~ lI d . ..-. in .:It-an line s -- l'illlJllt· de tail of til .·!... ean·fu ll)' ITartt·.! CUSTOM BUILT iuu-r-p r e ta tiune . As seen in Renovotions Sly/e. Spring 1997 • Colonial • Early American • Shaker • Country Call 609-859-1790 with inquiries Bernie Campbell 1:111 Cu uutr y Clu h l>r,. , Cuving ltln, LA iO·l:U Brochu re. ava ilabl e 241 Hillcrest Drive, Mad ison Heights , VA 245 72 :;0 1-111)2-i96i ur :;04- 119:l -lIi Il2 139 Newbold. Carner Rd. Vincentown, NJ 08088 804-846-6883 READ ER SERVICE NO. 759

JUNE / JULY 1 9 9 7 13 • calendar JUNE/JULY 1997

CALIFORNIA Haystack Mountain Sch oo l of Crafts August 10-22. an d Norman Petersen on WoodFair 1997 Deer Isle designing and building ben ches Augus\ 24­ JII~1' II-I]. College ofthe Redu .oods, Eurelea Jere Osgood teaches a co urse on chair 30. Call (704) 765-2359. Artisans will exhibit furniture and other wood design Aug ust 17-29 wh ere you ca n go from crafts at the ninth annual show sponsored by an idea to a finished prototyp e in two OREGON the parent co llege of the influential furnit ure­ weeks. Call (207) 348-2306 for information The Good Wo od Sh ow making school. Call (707) 445-6915. on this an d seve ral other summer Thron g}! May 3 1. Contemporary Crafts woodworking courses. Gallen : Portia nd COLORADO You 'll'have to hurry to catch this show Anderson Ranch Arts Center MASSACHUSETTS spo nsored by the Good Wood Alliance; it's a Sno tomass Village Inspiring Reform: Boston's Arts and juried exhibition of furniture and other objects Brian Kelly teach es tab le design and Crafts Movement that aim to provoke a rethinking of the role of co nstruction June 30-July 11 ; Throughjul y 14. Dau is Museunt, Wellesley wood in design. Call (503) 223-2654. leads a weeke nd workshop Jul y 26-27; and You can see the infl uence of Arts and Crafts Gail Fred ell w ill lead a intensive three-week on the Boston area through 150 objects made WASHINGTON workshop o n furnitur e design September 1­ from 1890 to 1930, in a varietv of decorative No rth west Fin e Woodworking Gallery 19. Call (970) 923-3181. arts including furniture . Call (617) 283-2051. Seatt le Through June 15. a show of recent furn iture CONNECTICUT Woodworking Through the Ages in the Arts and Crafts srvle bv Thomas The Crafts m an's Chair JUI/e 14-15 Hancock Shatzer Village. Stan geland; from June is to)uly 31.Bob ,lIay 1 8:fu ~ ) 1 6 Brookfield Crafts Cente r; Ha l/cock Span gler exhibits furnitu re made in bubinga. Brookfield A weekend of demon stration s of Shaker. Call (206) 625-0 542. An exhibit of chairs from so me o f todav's traditional and co nte mporary cabinetmaking best furniture makers. Call (203) 775-4526. techniques. and exhibits of handmade WISCONSIN furnitur e from the 18th ccnturv to todav, Call Cra ft in the Machine Age, 1920-1945 (413) 443-0 188. .. [uue 13-AIIglist 17. Milu-auleee Art ,lIl1selim. MihraIIkee NEW JERSEY A look at how American craftsme n Peters Vall ey Craft Ce n te r responde d to the rise of mod ernistic style La vtou and industrial desi gn ; the sho w includes M;ln in Simpson co nducts a workshopJune furniture bv Charles Eames. \'i'han on 14-15 on mirror desi gn and co nstruct ion. and Esherick a,;d Frank Lloyd \'i'right. Call Gary Rogowski teaches August 4-12 on (414) 224-3200. designing boxes. Call (201) 948-5200.

NEW YORK CALLS FOR ENTRIES Furniture of Distinction, 179 0-1890 The stuseinn ofthe City ofNet» rorl: The Ch a ir Sh ow II An ongoing display from the heyda y of New Entries dill' / 11111' 4. Exhibitton will he DELAWARE York furniture, with related do cuments, such Octoher 4. i99 7 throughjanuary 4. 1998 "Co stly as well as Ornamental": The as a bill to one of Duncan Phvfc's customers, {It the Folk Art Center; Asheuille, N C Case Furniture of Newport that depict the furniture trade' in the city over The Southern Highland Craft Guild sponsors Wil/terthIII' Museum, Wil/tert hllr the course of a century. this co mpe tition for chairs designed in the This ongoing exhibit (above photo) shows last three yea rs; the sho w is juricd by Sam the distinctive techniques used by Newport Shaker: the Art o f Crafts mansh ip Maloof. Wendy Maruy ama and Michael furniture makers in the 18th cc nturv. Call Throughjulv 13. Munson -williams Proctor Monroe. The entry fee is S15. Call (704) 298­ (302) 888-4600. . Institute Art Musenm. Utica 7928 for informadon . A traveling exhibit of 86 ob jects of furn iture ILLINOIS and decorative arts from the Shaker The 1998 Nich e Magazine Awards Ch arles Rennie Mackintosh community at New Leb an on . New York. Call Entries dill' Aug ust I. 199 7 Through june 22. The Art Institute of (315) 797-0000 . This cra fts co mpetition includ es categories Chicago, Chicago for o ne-of-a-kind or limited-ed ition as well An exhibit of furnitu re. an and interi ors Conference '97 o f The Furniture Soci ety for production wood furniture. The winning (including an entire tea room) from the turn ­ [uly 10-13. Purcha se College. Purchase artists will receive awards at the Philadelphia of-the-century architec t, o rga nized by the This group's first annual co nference will Market of Ame rican Craft next February. Call museums of his native Glasg ow. feature lectures from furniture makers and (410) 889-3093 for an application . . others in the studio furniture field: also. an MAINE exhibit of work from Furniture Societv Cen ter for Furniture Craftsmanship members.Call (804) 973- 1488. . Rockport Listings in this calendar are free. Send complete Amon g their co urses this summe r: Chris NORTH CAROLINA materials, including a phone number to call for Becksvoort on Shaker design (lune 16-27); Penland Sch oo l of Crafts more information, to Calendar, Home Furniture, John Dunnigan o n advanced furniture Penland 63 S. Main St., P. O. Box 5506, N ewtown, CT making (lu ly 14-25); and Robert DeFu ccio on Courses this summer include Mitch Rverson 0 64 7 0-5506. The deadline for th e October/ on chairmaking and design (Aug ust 11-22). on using found objects in furniture .Iu·ly 6-18. N ovemb er issue isJuly 7O. Call (207) 594-5611. MichaclIoerling on the design process

14 HOME FURNITURE Photo: Courtcsv u f Wintert hur Museum • craftsman's corner

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)UNE / J U L Y 1 99 7 15 • craftsman's corner

']{pt Just a 1(sproauetion, 5tn 'Evolution

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J U NE /J ULY 1 9 97 17 .the BY DAVID KENEALY drawing board

Refining Your Thumbnail Sketches with Transparencies

Imagine this: in an inspired moment, a wonde rful design for a piece of furniture pops into yo ur head. Right now is the best time to get yo ur idea / on pap er, but yo u're late for yo ur »: ..>' kid's soccer ga me. You scurry for a \;\ pen cil and a piece of paper and begin / / to produ ce rapid thum bnail sketches . They are sponta neous. The lines + docume nt the rush of ideas. Any .I~ "'~ attempt at refine me nt now w ill qui ckly kill the creative outp ut. Even worse, yo u might miss that fantastic .tIl full-volley scissors kick to the upper ;-. left co rner of the goal that yo ur child L is about to make. " An inspi red thumbn ail sketch is fine, but you'll proba bly wa nt to refine the drawing before yo u go into the sho p and start building the piece. Maybe yo u [ust ne ed to wor k out so me details. Maybe yo u need a presentation drawing to sho w to yo ur A transparent exercise . By tracing and redrawing yo ur original sketch on a succession of pieces client. A technique that works for me, of tracing paper, yo u can develop a design in an efficient and controlled way. and that I teach to my stude nts, is to refine a thumbnail ske tch with transparen cies. By tracin g the original drawing on pieces of tracin g pa per, multi-vi ew drawings that show the or cluttered up the drawings with you can make changes as yo u go and top, front and side views of a piece. development lines. progressively develop a design in an When yo u're happy with the scale I find this backtracking works efficient and contro lled fashion. of yo ur foundation drawing, tap e a particularly well for furniture design. Before you start with the tracin g piece of tracing pap er on top. Trace I'm often trying to work ou t specific pap er, you may need to redraw yo ur the parts of the drawing that you think co mponents or details, like the curve thu mbnail in the scale and are good. You may like a particular of a leg or the placement of the pe rspec tive you want for the final curve or the way a space is divided . hardware. Using ove rlays, I can drawing. I call the sca led, redrawn It's easy to change the parts of the redraw just the leg or the hardware version a foundation drawing drawing that aren' t working so we ll. until I get it right. because it's what yo u use for furthe r There are many benefits to wor king The repetitiveness of this procedure tracing-pap er modifi cations. with transparen cies. I think yo u'll find has ben efits beyond those already I like to work in two-point that as you co ntinue the se que nce, menti oned. By tracing the basis of a persp ective. It has a nice way of yo ur drawings will improve. The design a number of times you showing a piece of furn iture as it's beginni ng drawing, or anyone along become very familiar with it. You'll most often seen in rea lity. This the way, is always availabl e to go find that yo ur later drawings are done techn ique works just as well with back to. You haven 't erased any lines rathe r intuiti vely. By then , the poi nts

18 HOME FURNITURE Phot os; Sco tt Phillips; dra wings bv Stewart Young • craftsman's corner

tlnlque ClCitom flIl'I1tturE: l}zmdc.rzalti:d by b~VIL QutIbDIJ

6oulhwesl. Arls 0Crafu\. fL Worlh Deco... 81 7-551-5940 A better Place 1517 Clarendon Photo: Dean Powell forl Worlh. TX. 76134 Featured in Hom e Furniture no.b, p. 58 Unique custom wood furniture and interiors

O Ri GiNAl ROBERT DALRYMPLE dESiGNS MASTERWOODWORKER bAsEdON THE ARTS ANd CRAhs FURNITURE Philosophy FOR FiN' CUSfOM HOME FURNi w R£ AND BUSINESS P UR E ART

ColologSJ DESiG N Designer and Fin e Furn iture M aker Exqu isite Handcraft ed Furniture Made to Order

17478 SIlI","'N lId, DElhi, CA 95} 15 (2 0 9) 656-9016 Callor write for brochu re (541) 687-7015 e-mail:[email protected] Web site:http://home.ooI.com/ PureArtOsn 85488 Ap pl et ree Court, Euge ne, OR 97405 Sfudio/W orkshop in th e beautiful Willamett e Valley READER SERVICENO. 705

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Attention Accessory Makers: ALCYON WOODWORKS D D

Beginning with Home Furniture P.O . Box 11165 • Portland, Maine 04104 D D Aug/Sept 1997, we will have a section phone / fax 207.657.3 900 D D just for you. Please call 800-926-8776, P= Ofnq l

JUNE /JULY 199 7 19 the drawing board (contin ued ]

FROM THUMBNAIL TO PRESENTATION DRAWING Wh en the author's student, Stewart Young, work ed on the design of a chair, transparencies allowed him to move quickly from the thumbnail sketch (upper (eft) to the presentation dra wing (bott om right). He made his changes quickly and then evaluated ea ch transparency on its own.

;(' 11 I i " I, , .\ )/ , , ' I I

/ / / lCr )}f

of persp ective, the proporti on , the the de sign encourages co nfide nce in prepared for by enduring practice. design eleme nts and the shapes are all your drawing, and this co nfide nce Rea lly, very similar to refining you r very familiar. The drawings are loose. leads to an art istic line quality. thumbnail ske tches. The lines are bold. The tentativeness Back to the soccer game. What a David Kenealy teaches in the Fine and Cre­ of drawing particu lar parts o f the goal it was-a thing of real beauty, ative Woodworking Program at Rockingham design disappears. Familiarity with accomplished spontaneously but Commun ity College in Wentworth, N.C.

20 H OM E FUR NIT UR E • craftsman's corner

DEBEY ZITO Thorn Duprex Traditional, tasteful, beautiful, fur you••• FINE FURNITUREMAKING Furniture Maker

Fine Handcrafted Designs

Shaker J.. 18th Century :.. Custom Furniture For Generation s Ben ch Made Furn iture from a small Maine shop. In spir ed by As ia n & Arts & C rafts Trad itions Tel: 603-787-6359 Charles Du rfee, Cabinetmaker 55 Bronte St., San Franci sco, CA 94 110 P.O. Box 279. N. Haverhill, NH 03774-02 79 Inform ation Upon Request RD!, Box 1132, Woolwich, ME 04579 415-648-6861 Cata log $ 7 See article and photos HF#8. pgs. 44·45. 207-442-7049 Brocurre $1

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Let Reader Service work for you. Attention Gallet}' Owners: Furniture Buyers: Receive information direct from your Beginning with Home Furniture When you call craft man's corner choice of advertisers by using the Aug/Sept 1997, we will have a section advertisers, please tell them you Reader Service form located next just for you. Please call 800-926-8776, saw their ad in Home Furn iture. to the inside back cover. ext. 829 for more details.

J UNE / J U L Y 1 99 7 2 1 22 HOME FURNI TURE Letting the Room Determine the Design Dining furniture from the Asian end ofArts and Crafts adds spice to a bungalow

BY DARR ELL PEAR T

• I t can be exciting to design furniture that makes a strong personal stateme nt. But the reality is that making a piece of furniture that works in a room and not just in isolation usually calls for more dipl omacy than self-declaration. In architect ure it's called contextualism: takin g cues from the surrounding buildings and land­ scape to design a new structure that fits in rather than stands out. To me, design­ ing furniture this way is a pleasure as well as a challenge . Instead of being focused at the drawing board , much of my effort goes into assess ing all the millwork and furniture in the room wh ere the piece will stand, then finding a style that is com­ patible, and finally adapting that style to the particular circumstances. A dining table and chairs I made recently serve as an example of this approach.

SIZING UP A BUNGALOW Seattle is full of bungalows. Many of them, like the one in these p ho tos , show the impact of Gustav Stick ley 's work. My clients' bungalow went up in 1908 and might have bee n bu ilt directly from plans published in Stickley's magazine, The Craftsma n. When I first walked in, I was immediately impressed w ith the har­ mony of the place, the wa y the hou se and the furniture all seemed of a piece . However, it was not a period piece, so me thing rigidly co nforming to what might once have been, but a sensitive blend of styles and details that respected the past

Photos.Jonathan Bln zen: drawing: Vince Bubak J UNE / JULY 1997 23 The table base is bulked up from the Greene and Greene original to ho ld its own with the heavy furniture and millwork around it. The author widened the legs, shortened the stretchers and thickened the tabletop.

24 HO MEF UR N IT U R E and made room for the present. To this A FURNITURE MAKER'S S ITE MAP impressive co mposition I was asked to add a dini ng table and chairs. That feeling o f har mo ny, I learn ed , was hard won. Th e ow ne rs o f the house had just fini sh ed an exte nsive oRIC.'t-tAL­ ren ovation. When th ey had first e n­ C.fe"-F"TSHAN- S"T'(L.E. tered the bunga low, it had looked e.u'L.T-I~ BUFFET quite different. The woodwork was painted black , the floo rs were covered o L.D·4~O¥JTH t70V4L~"S> F1~ P~T~, (I --" \ with o range shag carpet, and the brick e>ep.",,~, .A.~t) F~oR fire pla ce was pa inted gold. The y re­ I I versed all that w ith re novation s in TABL.E t-JEEDS I I keeping w ith the Stickley lineage , "0 WO~K lto.l I I restoring many o f the o riginal archi­ -rwO ~PoTS ) tectu ral detail s and adding freestand­ ..;.,-,GK L£'(-~"1YLe: \. / ing and built-in furniture in the sa me F'VtC~'TVF-E. --ALGO"fE vei n. And then they adde d an Asian SENt:H sp in of their own. SeA"~ Jim Graz zini, the co nt racto r for the renovation, built a pa ir of Stick ley­ ( ---'\ style couc hes an d a coffee tab le for ~ I the living area, with wa ll-hu ng book­ '- '""'----"""J she lves ab ove . He added cus hioned window seats to the alc oves at the front of the dining and living area s and also restored a built-in buffet that was original to the ho use (see the floor plan at right). The work was For informal settings, the table was to do ne in Douglas to match the fit within the bench-lined alcove at the original millwork. Keying o n the own­ front of the dining room. For more for­ e rs' interest in the Far East, Grazz ini mal occasions the tab le was to be ex­ spiced the o riginal Arts and Crafts pandable to 95 inch es and wou ld theme with so me O rie nta l cleme nts, occupy the ope n space in front of the incl uding sho ji sc reens , whi ch he fit­ bu ilt-in buffet. ted to most of th e w indows. All of They knew they wa nted so mething these things helped guide my sea rch that would fit in with the Stickley style, for a tab le design . but they didn't want to be ove r­ wh elmed with a lot more straight lines LISTENING TO THE CLIENTS and heavy eleme nts. The renovatio n was an expression o f They also menti oned that they liked what my clie nts liked , b ut I wanted the design of the wind ows in the al­ more input. I talked with the m at cove, whic h were faceted at the top. length and obse rved their taste in oth­ The y wondered if the tabl e could e r things to help rea ch a desig n that be tied in to those windows by incor­ satisfied us all. They had a firm idea of porating some facets o r ang les. Still, what they wanted for their table and they did not want the tabl e top to cha irs. but no preconceived not ions be rectan gular o r polygonal, sensing Faceted fra mes link the table and th e as to how to accomplish it.They asked that a round-ended form would better house. After his clients mentioned they liked that in additio n to blending with the suit the room. And being ve ry con­ the angled frames of their alcove windows, original and newly introduced the mes scio us of co lor they wanted the wood Peart chose a tab le design with a faceted in the hou se , the dining furn iture to blend well with the woods frame around the top; it pleased them and sho uld meet a number of criteria. already in place. gave the tab le a sense of belonging.

J UNE / J U L Y 1 9 9 7 25 Eastern accent in an Arts and Crafts alcove. With evide nce of Japanese influence in their back-splat butterflies and crest -rail cloud lifts, the chairs and tabl e fit snugly in the shoji-screened alcove.

WE FIND THE ANSWER too, that we take cues on designing in found just the thing. It was a design IN A STACK OF BOOKS co ntext from the Greenes, arc hitec ts that could fit co mfortably with both I often approach design problems with who would design not simply a struc­ the Stickley an d Asian flavors in the a stack of books. As my clients and I tur e but an integrate d environme nt room. And it answered nearly all the began sifting through my pile of Arts from rain gutte rs to footstools. Almost othe r criteria we had discussed. Its top and Crafts furniture books, nothing every piece the Greenes made was was compr ised of a ve neered panel was even remotely close until we specifically designed to suit its site, so I frame d by so lid edging. When closed, reached the work of Charles and Hen­ felt good about tweaking one of their the frame-and-panel top was ro und; ry Gree ne. The beautiful blend of Arts designs to fit a new environme nt. yet the solid frame, curved on its out­ and Crafts and Far Easte rn influences \Vhen we came up on the extending side edge, was co mprised of a series of in the ir designs was pa rticularly appro­ dining tabl e from their hou se for an gled sections wh ich formed a priate for the bu ngalow. It was fitting, William R. Thorsen , we knew we had faceted line on the inside edge whe re

26 HOM E FUR NIT URE they met the ve neere d pa nel. The table's base was faceted as well, echo ­ ing the to p. Overall, the tabl e was far lighter and more sculptural than much Mission furniture. And the 1909 date of the origina l tabl e closely matched the 1908 date of my clients' hou se.

ADAPTING AN OLD DESIGN Now it wa s a matte r of sca ling the Greenes' table from the ph oto and custo mizing the desig n. I started with the top. In the Gree nes' table the frame of the top sat proud of the panel it sur­ rounded, bringing atte ntion to the faceted shape. I liked the effect, but my clients felt it would make things too tippy for the dinnerware. So I made the frame flush with the pan el, but re­ duced the number of frame segme nts, making the ang les more pronou nced. I also inlaid dark stringing between the fram e and the pan el to furth er high ­ Less graceful Greene and Greene. Peart deliberately made the chairs less sculptu ral tha n the light the faceting . originals, designed for Greene and Greene's Gamble House, thickening the side po sts and crest The Greenes had mad e the to p of railto avoid seeming too delicate in contrast with the surround ing furniture. their tab le quite thin-perhap s thr ee­ qua rters of an inch .I thou ght it wou ld need more heft to stand in the room WHICH CHAIRS that the Greenes favored , I used round with my clients' other furniture. I dou­ FOR THIS TABLE? ones of Ebo n-X, an substitu te bled its thick ness. Then I rounded ove r With Greene and Greene a fixed part of made from dyed wa lnut. Ro und pegs the lower edge to so ften it visually and the equation, my clients and I chose the and holes were easier to mak e, and I to play off the curvature of the top. living room cha irs from the Greenes' liked the way they ad van ced the theme I mad e se veral changes to the base, 1908 Gamble Hou se to accompa ny the of curves that the tab le introdu ced. as well. My clients thought the base of tabl e. We deliberately chose one of I'm quite happy with the way things the original table came too close to the their simpler cha ir design s. Th ey did turned out. But the co mpatibility of the perimeter of the table and migh t re­ many more complex chairs in that era, Greene and Gre ene designs with a strict legroom, so I ga ve my base a beautiful things rich with low-relief Stickley-style bungalow and its built-ins smaller footprint. I did so by sho rten­ carving and inlaid ebony accents, but is no co incide nce. The Greenes may ing the stretche rs. I left all othe r di­ the room we were furn ishing wouldn't have practiced exclusively on the West mensions alone , however, which support too much sculpture and deli­ Coast, but they were well aware of mad e the ba se loo k beefier. I also cacy. a t to menti on that a lot of inlay Stickley, and even filled some o f their changed the sha pe of the legs at eithe r wou ld put us way over budget. first houses-designed before they had end of the tabl e. In the Greenes' table I altered the design of the Ga mble begun designing their own furniture­ they are sq ua re in section. I mad e House chairs in seve ral wa ys. First, I with pieces orde red from Stickley's cat­ those legs with a V-sha ped cross sec­ made them narrower.That enabled me alogue. So you co uld say that with this tion. I hoped it would both emphas ize to fit more of them around the table. co mmission, almost 90 years later, I've the facet ed sha pe of the base and And in combination with a thickening simply turned the tables. • ma ke the table look a little heavier. of the legs, this gave the chairs a stouter Here and elsew he re, I was adding vi­ appearance that I thou gh t would make Witll allfourleaoes in. tile 29-in. lligll table is sual weight to reach a point of mod er­ them work better in that room. I also 95 ill. long and53 ill. wide. Witllout lea ves atio n between the Greenes' lighter, made the crest rail a bit less sculptural it 'sa 53-ill. diametercircie. Both table a nd more co mplex wo rk and the heavy and a little thicker than on the original. chairs are cherry unth Ebon-Xaccents. 77,e starkness of Stick ley. And in place of the square ebo ny pegs finish is Daly 'sProfin, a urethane varn ish.

) UNE / J U L Y 1 9 9 7 27 -- Blue acts like a~u~n~i~~r~m~,~d~r~a~W~In~g~~~--:~;:==;::~";";::~~_=::;::::;. the eye to the table'siffiusualgeometry.The - .-­ striki ng ash grain peeks through the color, --- adding texture to the crisp, angular surfaces. --

his is the co lor I wa nt it to be ," the client said as she chose the bold, blue Bold Color piece from the array of lacqu ered ash sa m ples we had prepared for her. \'(!ith this stat ement and little else , we set out to design a breakfast table for a and Geometry sunny alcove with a pa norami c view of the Atlantic. Our task in the shop was to figure out w hat that blu e might Expand a Table's look like. Despite its simp le appearance, there is more to this table than its bold co lor. Th e legs taper on the outside faces Horizons rather than on the more common inside face s. Th e top is wedge-shaped, not uniform in thickness, and the unusual B Y HEN RY F OX leg placement makes it look as though the top is being cradled by the legs. These features were not the result of

28 HO M E F URN IT U R E Stability in a wide stance.The tapered legs on this breakfast table notch arou nd the wedge-shaped top (left). This maximizes the space between them, which increases stab ility as well as seating room .

legs pull out like a drawer.The two back legs smoothly pull out on full-extension slides (right), making room for an expansion leaf with apro ns. Mortises in the top accept tenons in the leaf.

LEG PLACEMENT MAXIMIZES SEATING ROOM Notching the legs around the top at each corner, as shown in this top view of the table, increases the space between the legs, with or without the extension leaf.

~ 3 0 i n ' 4 --E---50 in.----=;;.""" 1 ~ ----.. T Back legs 50 in. pull out ~ l

whimsy; we just wa nted the table to be trern e outside edge o f each corne r, smoothly aw ay from the main tab le stable, practiced and related to its sur­ maximizing the se ating room. It also without co mpromising the wide roundings. The wedge-shap ed top has improves stability, an import ant con­ stance. This construction also sidesteps two sources : One is the hom e itself, a side ration for a narrow table. the probl em of having a seam in the mod ern structure perch ed on a roc ky Because the not ch ed legs stick out top when there is no exte nsion leaf. prom on tor y, with an gul ar lines, a non­ from the sides of the tabletop, they are The deep blu e co lor tran sforms the rectilinear layout and crisp, co ntempo ­ a stro ng visual element. Instead of situ­ shades and variations of the wood into rar y detailin g. The othe r is the view. atin g the legs the sa me way in each a uniforml y bright surface, drawing at­ We thou ght the tapering top would be co rner, we made a front and a ba ck tenti on to the unusual geome try. We a subtle gesture to the hori zon line of side. The front legs are opposite each didn't want to lose the texture ofwood, the ocean. By tapering the tabl e in a other on the sho rt sides of the table, thou gh. We chose ash because it has a dram atic wa y, it might appear to re­ leaving a wid e spac e in between. The pronounced and striking grain pattern cede to the sa me vanishing point. back pair of legs are both on the lon g that sho ws through the lacquer, making The leg design was d rive n as mu ch side and are closer togethe r. These it clear that wood is underneath . by function and e ngineering as it was legs, including the apron in between , by aes the tics. Rather than overhanging slide out like a drawer to make room The table is50in. Iong,3 0 ill. wideand3 0 the base , the tabl etop sits in notch es for an ex te nsion leaf (pho to above ill. high. \Vith the extension Ieaf, it is 50 ill. cut into the tops of the legs. This al­ right). Dovetailed ex tension slid es al­ square. The ash is coated with a spraying lowed us to place the legs to the ex - low the leg assembly to be pu lled lacquer tinted with bluepigment.

Photos : 7"::lC hary Gau lkm: d rawing: Vince Bahak J UNE / JULY 1 9 97 29 Furniture for two. A good crad le is comfortable for infant and pa rent alike. Raising the cradle off the floor also helps keep a baby away from cold drafts and playful siblings.

A Cradle that Swings High and Low

B Y TIMO THYC LARK

a cradle has to fit tw o completely ments of the ir own. My custo mers transp orted from room to room. different people, one large and one wa nted their cradle to be high eno ug h I already had made a swinging trestle small. For an infant, a cradle is a ge ntly so tha t they could tend to th e baby cradle for a relative, so I had some­ rocking haven o f comfo rt and safety, co mfo rtably either sta nd ing or sitting where to sta rt. In the research I did ideally built to quietl y and smoothly in a cha ir. But they also wa nted a cra­ for that first cradle, I learned that most coax a newborn to sleep. Parents, dle that could rock on the floor, as we ll trad itiona l cra dles are the floor-rock­ on the other hand, have requi re - as so me thing that could be easily ing variety; I found few examples

30 H OM E FUR N ITURE CARVED LEVER KEEPS THE CRADLE IN CHECK Headboard ~

The cradle is locked in I place by raising the Trestle post ~ lever and pivoting it into a notch in the headboard. The lever recess is made by a series of router cuts in the trestle post. You can 't inadvertently lock or unlock this cradle because you need to slide the lever up, over the tenon, be fore you can pivot it in either direction.

carveJ The cradle swings smoothly because the lever Tenon peg rollsfrom side to side in the notch at the top of the trestle post. The moon­ shaped lever locks the cradle to the stand.

The customers wanted a crad le that could be used on the floor as wellas in the trestle base, making it easierto move around the house. of early American swing ing cradles. I tore out some pages fro m cata logs and I talked to people with young children to find out how they liked the ones that they o wned. I used the catalogs to begin figuring out climen­ sions, suc h as the height of the sides, and to determine standard mattress dimen sion s-genera lly 18 inch es wide and 36 inch es long. As with this cradle, the first one I made hung in a trestle base, or "stan­ dard," but it had a flat bottom and the cradle was not detach abl e fro m the base. Also , because this ea rly version was permanentl y attac he d to the base, it was aw kw ard to move from room to roo m. In my current ada ptatio n of the de­ sign, I added curves to the bottom of the cradle so it ca n roc k on the floor. I also changed the way the cradle attaches to the trestle base, which led to an improveme nt in the swinging mechanism . Instead of inserting pegs into a hole in the cradle stand, I let

Photos: Zachary Gaulkin: drawing: Bob LaPointe JU NE /JUL Y 1997 31 Another Way to Lock the Cradle To lock the cradle to both ends of BY WI LLI AM WHITE the stand, White designed a When I design ed a cradle for my first grandchild, Iwanted mechanism to be able to eas ily lock the cradle basket to the stand. This activated by a discreet lever. is a useful feature not only for keeping the basket still when in use, but it also makes the cradle easier to carry. Most cradles I've seen have a locking mechanism at only one end. In my design, Iwanted a convenient lock that would pin the cradle at both ends to prevent racking forces from needlessly stressing the joints when the cradle is moved. The mechanism Isettled on inserts two brass rods thro ugh the ends of the cradle and into holes drilled in the trestle stanchions. The brass rods are moved by a pivoting lever that protrudes through a slot in the side of the cradle. With just a flick of the wrist the bas ket is locked and the The lever is attached to two brass rod s which are inserted into cradle can be moved. the trestle stanchions. Brass ma kes the pivot mechan ism smooth to operate despite c ha n ge~ i n humidity.

~

the maple pegs rest in a flat-bottomed have a rad ius of 12 inches or more. incoming (or outgo ing) infant. To notch at the to p to the trestle. When While cradles are meant to swing keep this cradle from rocking, I mad e a the cradle swing s, the pegs simply freely, I felt it would be a go od idea to simple lever on one end that protrudes roll from one side of the not ch to prevent the cradle from swinging too throu gh the trestle and locks the cradle the other, offering almost no resis­ high in case an overeage r sibling de­ in the center of its swing (see drawing tance. The cradle sw ings for several cided to turn it into an amusement and top ph oto on previous page). The min utes befor e requiring an other park ride. Th e sides are high enou gh furniture I make usually has clean lines ge ntle push. (about 9 inches) to keep an infant and surfaces and I se ldo m ge t the op­ The character of a cradle's swing ­ tucked safely inside during normal portunity to carve. In this case, howev­ short and cho ppy or long and ge ntle­ use, but ex tra insu ran ce never hurts. er, I felt I could play a little, so I carved depends on the pla cement of the To limit the cradle from swinging too a moon into the lever handle and I left pivot point-in this case, the maple high , I simply positioned the cross­ that as the on ly decoration. • pegs . The shorte r the distan ce be­ piece of the trestle base so that the bot­ tween the pivot point and the bottom tom of the cradle would hit the ba se The overalldimensions ofTimothy ClarkS of the cradle bask et , the tighter th e before it swung too far. cherry cradleare 42 in. long,23 in. wide and swing will be. In this design, the dis­ Finally, parents so me times like to 4I \12in. high. The mattress rest is 24 in. offthe tan ce is only BY, inch es, which is on keep cradles locked, I learned, in or­ groundwhen the cradle is in thestand.It's the short side. Some sw ing ing cradles der to have a stable landing pad for the finished withlinseedoilandpaste tcax.

32 HOM E FU R N IT U R E Lightening the Lookofan Entertainment Center

B Y R IC HARD JUDD

e ntertainment centers are a bear. Not posts that tap ered fro m thick at the only are they big and heavy, but usually floor to thin at the top, making it look they're also heavy looking, imp osing massive and grounde d. All the panels and awkward. I find an inherent prob ­ we re co nstruc ted using medium-den ­ lem in trying to hide a large television , a sity fiberboard (MDF) and were ve­ VCR, stereo equipme nt, tap es and CDs neered o n both sides. And the pocket behind closed :The cab inet often doors required a ca bine t within the ends up looking like a refrigerator box. cabine t to mount the heavy mechani­ Prior to the commission for the en­ cal slides and hinges. The cabinet was tertainment ce nte r in these ph otos, I painfully heavy for two peopl e to lift. had built a different one. The cabinet When I was co mmissione d to build wa s a success; it did what my clients this ente rtainme nt ce nte r, the o nly wanted it to do , but I learned a few thing the clients told me was the size lessons from its design and construc­ and approx imate we ight of their tele­ Doors fold flat aga inst the sides. In lieu of tion. That first ente rtainme nt ce nter sat vision. My recent ex perience had a pocket doo rs with their heavy hardware, the on an enclosed plinth, and had co rne r strong influen ce on my desire to keep author used hinges with a 270 0 swing.

VISUALLY UP LIFTI NG

Legs that tap er fro m thick at the top to thinner at the bottom (for left ) make a cabinet seem lighter. A taper in th e other direction (center) or a solid base (right) ground a cabinet, giving it a heavier look .

~ - ... - ~ -- 1'1 ' I /;Ii . -

Photos:Jefferson Ko lle. except w he re not ed. drawi ng: 'linn: lktlutk JUNE /JULY 1997 33 Behind closed doors hides an array of aud io/visual equipment. The dark wood and tapered legs of the base give a visual lift to the large rectilinear cabinet.

34 H OM E FUR NI TU R E this piece scaled down to the nuru­ mum size for the required fun ctions. My background is in architecture; I studied du ring the Modernist era when the Bauhaus architects were revered. "Less is more," they said. For this new ente rtainme nt ce nte r, rath er tha n de­ cide on a shap e and size of the exterior and then work out the details of the in­ terior, I started by laying out the interior. Below the space for the television, I placed a ce nter divider to support the weight. On either side of the divider I provided adju stabl e sh elves for VCR and stereo equipment. The size of the cabinet was kept to a minimum by de­ Just right malachite. Inlaid squa res of Functional beauty. The author chose th ese signing it around what it would be re­ malachi te in each doo r are focal points at the brass hinges with their subtl e, jewelry-like quired to hold. Form followed function . inte rsection of the diag on al line inlay on the appearance to complement th e ca binet's front of th e cabinet. ot her small details. REDUCING THE WEIGHT To light en the cabine t's weight I used Y.-inch that is co nsider­ ably light er than the MDF I used on the beautiful as to become a design fea­ AN UPLIFTING BASE last cabine t. And in lieu of the po cket ture of the cabinet. I also eliminated The base for the cabinet is also de ­ door system, I used some beautiful the weight of the heavy mechanical signed to create a lighter visua l impact. bra ss hinges that allowed the doors to slides an d the ex tra space needed for First, the choice of dark African wenge

0 swing 270 , enabling them to fold flat the pocket doors. contrasts with the bird 's-eye , w hich aga inst the side s of the cabinet. seems to the cabine t in space off Unlike the European hinges that I REDUCING THE VISUAL IMPACT the floor. A 6-inch o pen space below normally us e , these brass hinges I used bird's-eye maple veneer to cov­ the rail gives the ca binet an ac tua l as are n' t co nceale d, but they are so er the whole cabinet. The cho ice of well as a visual airy quality. bird's-eye maple makes this large By making the legs tape r from thick piece seem light and bright co mpared at the top to thinner at the botto m, the to a dark wood that would have a whole piece seems rea dy to take off. heavier effect. Contrast this with a leg that starts out A cabinet of this size and rectangu­ wider at the fl oor and narrowly tap ers lar form still has a monumental fee l to as it goes up (see the d rawing o n it. I inlaid some black diagonal lines p . 33). This leg would be like a tree on the doors to break up the surface trunk with a stro ng connectio n to the area into smaller sections. A wonder­ ground. If the base of the ca bine t was ful thing happens with these co ntrast­ com plete ly enclosed it would look ing inlays. The lines seem to float off even more grounded. the surface of the bird's eye maple , I thin k I was ab le to tame the bear for adding depth to the flat plan e . The this ente rtainme nt ce nter. Th e design shadow line where two doors meet of this piece clearly be ne fited from my mimi cs the door inlays and becomes being the bott om guy going up the part of the pattern. stairs delivering that last one. • At the ce nte r o f eac h door, where the diagonal inlays cross, I inlaid a The entertainment center is 58Y,in. high , o ne -inc h square of mala chite. Th e 40'/4in. wide and25 %in. deep. T7wbrass A center divider supports the weight of the semiprecious stone inlay is a nice hinges usedin thepiece are a ua ilablef rom television and parti tions the lower cabinet for counterpoint to the jewelry-quality Hafele America (3 9 01 Cheyenne D/:, stereo components and a VCR. co nstruction of the brass hinges . Archdale, NC 27263; 800-334-1873).

Photo top cente r: Courtesy of Richard Judd JUNE /JULY 1997 35 B Y JERE OSGOOD

n earl y 40 years ag o when [ was witnessed a lot of sweating students. as it does o n aesthetic se nsi bility. To learning how to make furniture, my Another Scandinavian furniture mak­ build a dining chair that is both beaut i­ fellow students and [ spent a lot of e r, the Swedish designer Carl Malm ­ ful and stro ng requires careful atte n­ time designing chairs. Wh enever we sren, o nce said that chairs are "the tion to the forces working against it. finished one, our instructor, , most difficult member of the furniture What are those forces? First and fore­ would sit in the chair. "Sit" isn 't the family to mast er." [ think this is true. A most , a chair supports a person man y right word. He would land on it hard, chair, especially a dining chair, bears tim es its ow n weight. This weight tip it onto its back legs and wiggle burde ns unlike any other piece of fur­ come s and goes, moves and shifts. around to see if it was going to fall niture in a home. Its successful design Diffe rent parts of a cha ir ex perience apart. I never saw a chai r break, but I depen ds as much on solid engineering stress and strain at different times. Sec-

36 HOM EF UR NI TURE THE FORCES WOR KI NG AGAINST A C H AIR People land hard in a cha ir, so the joints must be strong eno ugh to withstand this st ress. In th is ba sic chair des ign, the strength of the joints between th e seat rails and legs is critica l. Imp roperly des igned, the joints work loose and the chair wiggles.

Directions of force when a person sits down

It looks good, but will it hold up? Behind the lissome lines of this chair is a carefully engineered skeleton designed to withsta nd the substantial force of a 200-pound dinner guest.

Tension and compression on leg joint s Force crea ted by person landing on seat

ondly, as Tage Frid illustrated to us, the Every chair design accommodates SEAT RAILS CARRY THE LOAD weight is depos ited o n a chair with these forces in different ways, making When Tage Frid dropped him self onto force, not gently and gradually, so it it difficult to es tablish ground rules a chair, he would pu sh his weight into mu st be able to withstand these mo­ tha t can be applied to all. Most wood­ the ba ck , so metimes tiltin g o nto th e me nts of impact. Cha irs also get en chairs, however, share a few criti­ rear legs. You ma y be doing this right dragged around the house for all sorts ca l connections holding the seat and now as you read this article. If yo u are, of purposes , from eating and lounging legs together. Th e success of these notice how the ba ck becomes a leve r to working and some times eve n joints will , in large part, determine wh en yo u lean into it. This weight ex­ chang ing a light bulb. Few pieces of whether a chair design will stand or erts trem endous force o n the intersec­ furniture work this hard. fall after yea rs of use. tion between th e back and th e seat,

Pho tos this page and being page: Dean Powell; d rawings: Bob LaPoin te lUN E / l U LY 1997 37 SEAT RAIL WORKS T HE HARDEST Direction of The joints between the side seat rails and th e ba ck legs bear force from th e brunt of th e weig ht. The top of th e joint, under tens ion, is someo ne being pried apa rt by the force of someone leaning back. The leaning ba ck bottom is in compression and will he lp resist this force. Back leg \ \ Sho rt or end grain \, Seat rail

Rear seat rail 1 ' ~~

I I I i I T 3'/z in. I I I I Side seat rail / I I j b ), I I J \ ,..- ...... L/I /t::s-.... / .... /' -, 1 '.... " f ...." 9 I ! I BO'k/1 I I To maximize th e glue bond without weakening the leg, th e author uses The width of th e rail is haunched or "webbed " l more imp ortant than its te nons on the seat rails. thi ckness. The author ~ recommends a minimum .. ~ of 3'/zinches.

Bigger doesn't always mean stronger, as the author illustrates with this chair he mad e in the 1950s (left). The seat rails are plen ty thick, but strength comes from width, not thickness. These rails were too narrow and wiggled loose over the years.

Trim back the tenons to minimize the amo unt of material cut out of the leg for the mortises. Both the side and rear rails shown here (right) have ample long -grain gluing surface.

38 H OM EF UR NIT URE pus hing these pieces apart. Not sur­ ly on adhes ives to hold a cha ir togeth­ prisi ng ly, this is o ne of the most im­ er. This makes it possibl e to buil d A NATO MY OF A portant joints in a cha ir (see dra wing stro ng cha irs with less material, but it D INING CHAIR facing page). If this joint is poorly de­ also mean s maximi zing the stre ngth of signed-and I know this from expe ri­ the bond. One way to co mpa re differ­ Crest rat'1 ence-the seat rail w ill work loose ent joinery options is to measure the ( - from the back leg. It may no t co llapse, total area of the lon g-grain gluing sur­ ~ but the cha ir will soon wiggle. face. I measu re the long-grain faces 5pla t In most wooden chairs (othe r tha n of the tenon and the corresponding ft

Windsor-style cha irs) the seat rails sides of the mortise and compare dif­ Sack have tenon s that fit into mo rtises in the ferent joints to see which has the most leg 51 back legs. The tenon has to withstand gluing surface. ~ ip seat the weight of the sitte r as we ll as side­ Chair joinery is a ba lancing ac t, to-side racking forces. The refo re it thou gh. A large tenon with lots of glu­ L '<, must be thick-at least % inch but I pre­ ing surface will be stronger than a - . - Seat II fer to make them closer to y, inch . I sma lle r o ne, but it also mean s that rat'1 I Fron t have seen tenons that were too small more mater ial mu st be rem oved from <, P1' I I simply snap off. To get the most me ­ the back leg to ma ke the mortise. A I ~ ~ ~ chemical advantage, the depth of the gaping morti se in the back leg may fa­ , tenon should be mo re than half the tally weaken its strengt h, defeating the width of the back leg. purpose of the strong te non . If the ~' '' h ,) lJ Another important cons ideration is cha ir has a rear seat rail mortised into I the glue . Today more than ever we re- the back legs at the same spot, this will L.J

M ORE THAN ONE WAY TO CONNECT THE BAC K L EGS In many chairs, th e ba ck legs are connected by a seat rail, which is often mortised in to the leg at th e same spot as th e side ra ils. M oving th e rear seat rai l so it spans between the two side rails mean s fewer mortises in th e back leg. Corn er bl ocks reinforce th e joints and provide a secure place to anchor a slip seat.

Leave roo m for root of side ra il tenon, at Corner least th e length of blo ck th e tenon it self. Sid e rail ~ /, Angle of n into rail

/

Rear rail \ at tached to side rai l / Rear rail

~ Stub tenons

Photos; Zachary Gaulktn, excep t wh ere noted JU NE /JUL Y 1 9 97 39 weaken the leg even furth er. sits down in a chair, the weight pushes DOVETAIL LOCKS O ne so lutio n is to make haunch ed the fro nt leg out, making the joint be­ THE FRONT LEG or "webbed" ten ons that are either T­ tween th e front leg and the se at rail shaped or U-shaped (see drawing o n work hard to stay tigh t (see dr awing The aut hor uses a sliding dovetail to fasten th e side rail to th e fron t leg . p. 38). Thi s reduces th e size o f the on p. 37). A strong joint in front fights The dovetail is locked in place by th e morti se without sacrificing the length thi s te ndency. If this joint is weak, tenon fro m th e front ra il. of the tenon. Although ther e is less everything relies on the stre ngth of gluing area, it still makes a stro ng joint. that back joint. Sliding dovetail Ano the r way around this dilemma is For man y yea rs I have used a sliding to attach the rear seat rail to th e side dovetail to co unte rbalance the weight seat rails just inside the back legs us­ that pu sh es the fron t leg out (see draw­ ing stub ten ons, bu t not so close as to ing and phot o at left). The dovetail is inter fere wit h the roots of the side rail locked in place by the tenon on the Side rail ten on (see botto m right drawing on p. front seat rail, creating a me chanical 39).I can then run the bac k slats past joint th at has proven indestructible. the seat an d eithe r attach them into a With stronger glues , this may see m ex ­ lower stretc her o r directly into the treme, bu t I like insurance . It's not al­ ba ck legs. ways possible to use a dovetail, but The dimensions of the rails are as w hen yo u get the chance, tak e it. A critical as the joints. No amo unt of join­ locked dovetail is stronger than a mor­ ery w ill hel p a cha ir survive years o f tise-an d-tenon, and it will work even if use if the rails are too sma ll. Wid th is the glue fails. more critical than thickness, because Corner blocks complete the seat Front the rails must withsta nd tension and frame. These small blocks , fastened to leg compression forces. A chair I mad e 40 the inside of th e seat rails, reinforce years ago has rails that are plenty the joinery and provide a co nve nient thic k- nearly tw o inch es-but the spot to drive a into an uphol­ w idth is far too nar row and the joint ste red se at frame . On e word ofadvice: has failed (see left pho to o n p. 38).I Don't rely on the seat itself to keep a have found that the sea t rail sho uld be chai r rigid . A woven or upholstered at least 3Y, inch es fro m to p to bo tto m seat may help tie things together at whe re it meets the back leg, especially first, but seats invariably loosen with if the chair has no stretche rs. wear. If the cha ir is designed properly Fina lly, the rear seat joints are it should hol d together with or with­ stressed the most whe n so meone tilts out the seat. a chair onto its back legs. As an insur­ ance poli cy, I try to position the bot­ STRENGTH IN STRETCHERS tom of th e back legs further behind The easiest way to strengthen a chair is the se at th an the top. The more th e by increasing the bulk of the parts, legs ang le ba ck, the harder it is to tip both th e rails and the legs. Whi le this the chair o nto the rear legs. There is a meth od can so metimes overcome e n­ side be ne fit to doing this: The legs gineering deficien cies, it usually re­ keep the top of the cha ir from scrap­ sults in a heavy, clu nky chair that may ing aga ins t a wa ll. If the legs are an­ not break, but isn 't very inviting. One gled too far back , though , they become way to gain strength without sacrific­ a tripping hazard. ing delica cy is by spreading the load among a grea ter number of parts. FRONT LEGS ABSORB A stretche r syste m be low the seat , for SOME OF THE STRAIN instan ce, will help resist tw isting and Sliding dovetails keep on working even if The bac k leg-to-seat rail co nnectio n racking forces on the legs, reinforcing the g lue fails. Corner blocks reinforce the joint may bear the brunt o f a 200- pound the seat joints (see drawings on facing and serve as a go od place to fasten an dinner guest, but I have seen a lot of page). Shaker chairs often have sever­ uph olstered seat. brok en front legs, too. When so meone al se ts o f turned stre tchers e ncircling

40 HOM E FUR NIT URE the legs. These cha irs are quite strong, ye t each individua l turning is ligh t and STRETCHERS KEEP THE LEGS IN CHECK delicate. To ac hieve the sa me strength Some chairs ha ve no structu re below the seat, but man y have some sor t of without stretchers wo uld mean bulk­ stretcher system whi ch helps resist racking and twisting forces on the legs. ing up the seat frame, w hic h would Stretchers can be positioned an y number of ways, as these examples show. change the design. Adding arms to a chair does the sa me thing as adding stretchers, althoug h the strength is up higher w he re it can hel p stabilize th e back as well as the legs. The crest rail also holds the chair together and helps keep the back legs in alignme nt. Streng th comes at a price , thou gh , and you ma y not want to pa y it. I like to tuck my feet underneath the seat, fo r examp le, so stre tc hers do wn to the floo r would not suit me. Instead, I migh t mak e the stre tchers a little big­ ge r but use fewer ofthem, keepi ng the chair stro ng w hile leaving more legroom un derneath. A so lution that I like to use is a split side rail and stre tc her combina tio n. BOX STRETCHER H-STRETCHER The lower part of the rail becomes a Shaker cha irs often ha ve delicate The stretcher between the fro nt legs is stretcher and meets the front leg about turnings, which means more parts are repla ced by one connecting th e two side 5 inc hes below the seat rail, co unter­ required to carry th e load. stretchers, adding more room below. acting some of the tensio n on the front leg . In this case the joi nery at the back leg has proven to be q uite stro ng, w hich is why I have the lower stretch­ er curve into the seat rail at the back of the cha ir. It also makes the design more fluid an d less rectilin ear. There are countless wa ys to co unte r­ act the forces working aga inst a chair. The classic Thonet ca fe cha ir is com­ pletely different from a Sha ke r ladd er­ back. Ho wever you choose to address these struct ural prob lems, I stro ng ly recomme nd full-size shop d rawings and a full-size mockup. These are good places to analyze the joine ry and enginecring. Structure and joinery are only two el­ em ents of any design. For me, making a chair is more about design tha n e ngi­ necring. Comfort and sty le arc far OSGOOD'S SPLIT-RAIL STRETCHER ARMS ACT LIKE UPPERSTRETC HERS more important to most people. So The rail splits to reinforce the front leg Arms ti e th e legs togeth er and down low, where the extra support reinforce th e jo int between th e ba ck durability has to be weighe d aga inst is needed. and th e seat . delicacy. Strength agains t comfo rt. Weig ht against beauty. Eng incering is just o ne of the pieces to the pu zzle. •

JUNE /J UL Y 1997 4 1 Uniting Two Cases in One Hutch Design

BY WILLIAM SKIDMORE W hen my daughter Becky go t en­ GETTING THE gaged to No rt, I offered to make a PROPORTIONS RIGHT piece of furniture for their wedding The proportions for the base were not present. After thinking about it, they difficult to work out. We looked at decided that w ha t they'd like was a so me of the furniture around our hutch, co mfo rtably proportion ed, like hou se for inspiration. The width of the the best Sha ke r design s. Well, the hutch 's lowe r case and the arrange­ Shakers seem not to have made dining ment of two draw ers over two doors room hut ches, so the design was up to came front the side board in our dining Becky and me. room. And the cock beading on the We visited antique sto res and pored drawers came from a burea u we own. over catalog ues and furniture book s, The top section was anothe r matter. looking at various hutches for inspi ra­ How do yo u make the top se ction of a tion . The pieces that we saw were tall piece of furniture, w ith more than eithe r tall and unga inly or shor t and half of its height in the top cabine t, so squat. The fo rmer didn't have much it ap pears neither to p-heavy nor an sto rage space; the latter were too afte rthoug ht? bulky looking. There we re also more utilitarian con­ The more we talk ed about the de­ side rations that had to work with the sign, it became clearer that the reason way the hut ch look ed. The she lves in most hutch es fail was that whe n yo u the top section needed to be deep The shelves line up w ith the m untins, take away the embellishme nts of eno ugh to stack 12-inch dinner plates; making for a clean, uncluttered look doors, drawers and mo ldin g, they are this, in part, dictated the depth of the behind the glass do ors. nothing mo re than tall, simple, four­ upper case. Becky also wa nted to dis­ sided boxes . I reali zed that a two-pi ece play so me of her china and silver. And hutc h, one that was a box on a box, she wanted to keep the large counter would be better looking. A break at a ope n, both to make it usable for serv­ co unter height of three feet would ing and to show the beauti ful cherry he lp a great deal with the proportion s that she had chosen for the wood . of the long, thin sides that make so me These require me nts led to se ve ral hutch es look so tall and skinny. If I decisions ab out the design. For one set the uppe r box ba ck from the lower thing, we thought that glass doors in on bot h the fro nt and the sides, I the upper case would add to the light would br eak the monot o ny of four an d ope n feeling tha t we wanted to long sides. make the entire hut ch seem less mas­ It turned out that ma kin g the hutch sive. The glass doors wou ld also serve in two pieces was ve ry practical, too. to showcase the china. A drawb ack to In my small shop, I could buil d the glass doors is that the she lves would two-piece hutch without help, and I be visible , adding to a profusion of co uld move it easily in a pickup truck horizo nta l lines in the othe rwise sim­ from my sho p in Clea rville, Pennsylva­ ple upper cabinet. I effectively hid the nia. to Becky's ho me in Ann Arbo r, she lves by mount ing them at the same Michiga n. If I had made the hutch in height as the muntins in the doors. one piece, it might have been like the boat that, o nce built, was too large to ARCHES TOP AND BOTTOM exit through the shop doors. To keep the co unter o pe n, we opted for a gracefu l arch under the top cabi­ net which we designed to ntimic, but Pleasing pro po rt io ns, lots of storage space. not duplicate , the arch at the base of A narrower upper case, fitted with glass the lower section. The arch in the up­ Set back in width and depth. The smaller doors, lends lightness to a large piece of per case is talle r, making the counter dimensions of the upper case redu ce th e furniture. Aligning the cornice with the lower space more usable for se rving food . overall bulkof the hutch as well as providing case unifies the two -piece hutch. Both arches start as a simple cur ve a counter surface for serving food .

Photos:Jefferson Kolle: drawing: Vince Babak J UNE /JULY 1997 43 that flattens o ut into a long, prominent cove would be a fittin g of the lo wer case would make the up­ straight line. Th e long straight lines crow n to the top of the piece, creating per case seem top-hea vy. Conversely, create the illusion of width w hich the impression that the upper case is a smaller, narrower cornice that under­ helps to balan ce off th e hutch's 83­ larger than it is. Thi s e ffec t was sh ot the side s of the lower case would inch heigh t. achi eved by getting th e curve right seem puny and undernourish ed. an d by exte nding th e cove o ut over Beck y and Nort's hut ch is beginning UNIFYING THE DESIGN the counte rto p bel ow. to tak e o n the deep patina of aging WITH A CORNICE On the sides, the co rnice ex tends to che rry. With che rry, and , I hope, with a A lot of the commercially availabl e a width equal to that of the lower case. gooel piece of furniture, one ca n be­ hut ch es that we sa w in sto res and cat­ And in the front , the cornice exte nds to lieve the poet, Robert Brow ning, w ho alogs had some sort o f corn ice at the a distance even with the face of the w rot e:"Gro w olel along with me! The top. To my eye, most of these cornices ba se-a little less than the co unte rto p best is ye t to be ..." • just weren't right; th ey appeared to overhang. Havin g the cornice even be nothing more th an a tacked- on with the sides of the lo wer case mar­ The hutch, constructed of solid cherry;is 83 aftertho ught. ries the two se pa rate pieces into a uni ­ in. high. The {ower case is35 in. high , 48 /j, I did so me ske tches anel decid ed that fied whole. My drawings sho wed that ill. wide and 18 /j, ill. deep. The uppercase is a big, simple, g racefully sweeping a co ve that extende d beyond the sides 48 ill. high, 44/j, ill. wideand 15/j, ill. deep.

A Movable Beast

You never know when a child's toy or covered by the bracket feet. Although a telephone message will wind up the hutch appears to rest firmly on its between your furniture and the wall. A four feet, the feet are actually Y,6 inch lifetime of struggle with large, heavy off the floor. The weight of the hutch furniture, scratched floors, and rests on the casters. strained backs convinced me to put The casters are mounted on a the hutch on casters. frame made of 2x4s that are hidden Iwanted the casters to be invisible, behind the hutch's bracket feet. I used not sticking out under the hutch as on large screws to attach 2x4s to the Wheeled, yet concealed. Casters hidden a piece of office furniture. Iset the hutch base. The 2x4s provide both a behind the bracket base hold the hutch a casters high inside the case so they are solid surface to mount the casters, mere Yo. inch offthe floor. and a firm contact with the base to support the full we ight of the hutch .' without relying on the bracket feet. I -r , Enlarged screw holes in the 2x4s and a single line of glue at the cen ter of its , I , length ensure that seasonal wood '! / <, ~ ___1 movement would not stress th e sides of the base. , ~ ,- .--.-J 6= - ~ - .~ -- ' - ~- - - - II - I. I'M' " . I I used heavy-duty, twin-wheel ~~ ~g casters to ensure the floor would not I - - show dents over time. Each caster has A frame of 2x4s, screwed to the hutch base, supports the twin-wheel casters. a 90-pound load rating. - William Skidmore

44 HOM E FUR N ITURE EtchedLegs Elevate a Display Shelf

BY GREGORY HAY

W he n my best clients to ld me they wanted a display case made o f so lid ebony, I wasn't about to turn down the commission. But it did pose a dilemma. How do yo u give an open­ sided structure-one that is completely black , stands so me thing over six fee t tall and two feet squa re, and supports 200 pounds of glass-the subtlety and presence it needs to hold its own in a living room full of art, musical instru­ ments and high- style furniture? That is wh at I tried to figure out as I designed this se t ofshe lves. To stan with, I decided that instead of disguising the basically skeletal natu re of the piece with curves and sculptur­ al elements, I would make a virtue of it, giving all the parts straight lines, hard edges and geometric overall shapes. To so fte n the piece a bit I mad e the side frames of ziricote, whose black-and-tan co loring provid­ ed a quiet contrast to the pure bla ck ebo ny legs and rails. I thought it would he a sha me to use all that ebon y without embe llishing it in som e way.And yet I want ed the she lf's impact to be restrained and not over­ shadow the pieces displayed upon it. My solution was to etch a low-relief pat­ tern of ge ometri c sha pes o n the front legs. I hoped it would be some thing that you notice from a distance hut on­ Black beauty. Hay chose black woods for his ly really appreciate from up close. • display shelf to give its open structure visual weight. The sandblasting technique used for 711 esllelfis 29 ill. squareand 74'12ill.lI(f(1J. 'DIe the on the front legs left a whitish pattern ill tile ebonylegs was etc/ledrather residue that gives th e carving definition. than earned; Itaycutou t a resist templa te a lidfwdtile legssandblasted by a glass a rtist.

Ph ()«)S:.J0I1:IIh;l1l Bin zcn JUNE /JULY 19 97 45 • I'vefound that seemingly attractive commissio ns so metimes br ing with them limitation s that prove too restr ict­ ing. But this project was an example of the ideal co mmission. The clients, who wanted a kitch en table for dai ly use, had seen two tables of mine that they liked-a decorative table with a marble mosaic top and a tea tabl e with a slatte d top. They liked the size and circular format of the ce nter tab le, but were afraid that the marble top might be too co ld or hard for a kitche n table. And the tabl e 's base didn't provide the necessary legroom for dining . They also liked the idea of activating the top surface by building it up of crisscrossing slats as I had done with the tea tabl e, but they we re co ncerned Slats without slots.Crisscrossing strips of wa lnut and veneer answer the customer's tha t it was less practical than a so lid top would be. request for something tha t recalled Hurwitz's slat-topped tables but was fit for dining. I settled fairly quickly on a veneered pattern that woul d make a refe rence to the slatted so lutions of previou s pieces b ut would make a solid surface. As I designed the ve neer pa ttern , I had in mind the way a woven tablecloth Fresh Curves looks. I made a pattern that was sim­ pler where it would be a backd rop for the place settings and sligh tly more co mplex in the cente r. I thou ght of it as fora a piece of fabri c whose borders were unraveled , leaving only the woven center still intact. Kitchen Table In the base of the table I was taking cues from natural forms but tried to stylize them to the point where they're BY MICHAEL HUR WITZ not really recognizable as sprouts or limbs, but still retain the fee ling of something orga nic. The stretc he rs are plainly practical and struc tural- the ir ho oped design provides room while keeping the table's legs from wigglin g. But they also do visual work; they reinforce the sense of upward movement within the piece. •

This elm table with elm andwalnutveneer is 42 in. in diameterand3 0 in. high. Theash chairsare 17 in. wide, 18in. deep and3 0'/2 in. high. The table isfinished with oil and ;the chairs are lacquered, with milk painton the seats.

46 HO M E FUR NI TU R E Bending botanical forms to human use. The high -hooping stretchers, inspired by plant forms, rise and cross creating footroom und erneath (above). When the cha irs are pushed in, their front legs, which are tu rned out 45°, nestle agai nst the stretchers (see bottom photo facing page). Each leg of th e tab le has a mating truss, which forks at the top like a tree branc h. The trusses support th e tab letop's rim and make a visual con nection between the top and base (photos at right).

Photo s:Jon athan Hinzcn JUNE /JULY 1997 47 Federal Furniture Was An interest in all things classical gave rise

BY JENNIFER A . PERRY

48 HOM E FUR NIT URE a t the Smithsonian Institution, in o ne people who will strive to do Wash ington, D.C, yo u ca n see the things righteou sly, but we will do portabl e desk o n which Thomas j ef­ things our wa y. ferson wrot e the Declaration of Ind e­ pendence. The desk is simple. Its only CUTTING -EDGE CLASSICAL decoration is a light string inlay mad e Two hundred years can add a lot of of satinwood. jefferson said the desk patina to a piece of furniture, and it can "is plain, neat, conve nient , and ... yet also add to our se nse of its formality, its displays itself sufficiently." Symbolic se riousness. But late in the 18th centu­ of the co untry 's birth, the desk also ry, when the Federal style came into its represents a new furniture style ow n, it was, primarily, the latest thin g Icon s fro m Greece and Rome. The eagle, a which, like j efferson's principl es, be­ in home decorating. We like to think of Roman symbol of power, became emblematic came known for its elegant simplicity the men who founded this co untry as for America, and adorned Federal furniture in and efficiency. being beyond reproach, but the y were inlays, carvings, even drawer pulls (above). The The desk is thought to be one of the not beyond the whims of fashion. After 13 stars shown represent the original colon ies. first pieces of Ameri can Federal furni­ the discovery of the ruins of Pompeii Below, a goddess in a chariot adorns a mirror ture-the style that became fashi on­ in the middle of the 18th ce ntury, all panel. Adecorative column is inlaid on a desk abl e during the latter years of the things classical were in vogue. The front (bottom left). Achair splat is carved with American Revolution and remained new nation of Ameri ca grabbe d o nto an urn (bottom right). popular throu gh the first qu arter of the classicism like a teenager go ing after a 19th century. latest fad. Paintings from the time of Th e sleek lin es , carefully chosen the Revoluti on often depi cted George woods, and smooth sur faces o f Washington in a toga, and he was fre­ American Federal fu rniture link it aes­ qu entl y de scribed as a mythical figure. the tica lly with much of today's studio Before the days of hom e decorating furni ture . And like man y of today's magazines, American cabine tmake rs furn iture mak ers, Fede ral cabinet­ looked to England for inspiration. Late mak ers prided th emsel ves o n their in the 18th century, two English design craftsma ns hip. But th e rea sons be­ books that promoted neoclassical style hind the creatio n a nd popularit y o f were published. George Hepplewhite's Federal furniture were complex and Cabinet-Maker and Upholsterer'sGuide unique. Its designs and motifs p ro­ and Thomas Sherat on 's The Cabinet­ claime d loudly and clearly that Amer­ Maleer and Upholsterer'sDrawing Book ica wa s a new and independent co nce ntrated on the use of classical na tion with aspirations no less loft y form and ornament in furniture design. than those of the ancient Greeks and Classical figures-gods and goddess­ Romans. Cabinetmake rs made a dis­ es-and classical accouterments like tinctively Ameri can state me nt: we are swags, urns, medallion s and columns Revolutionary to a delicate furniture style

Phot os.jefferson Kolle . except where noted ; photo t~ lC i ll g page taken at Strawhcr y Ban ke Museu m, Port smou th , N.l I.; phOIOSth is page taken at David DUfl{OIl Antiques, w oodbury. Co nn. were all part of the neoclassical design are thin and straight, and many chai rs vocabulary, and Ame ricans made them have no stretchers between their legs. their own. Bellflowers were inlaid on­ The furniture often seems to be stand­ to drawers, swags were tacked onto ing on tiptoes. Upholstery is taut and flat, chair rails; and urns were carve d onto and chair seats are usuall y rectilinear. chair bac ks. Cabriole legs, a stylistic given during Americans e nhanced their borrowed the Queen Anne and Chippenda le repertoire of classical designs w ith a eras, gave way to round or square ta­ sig nificant add ition of their own: the pered legs. Th e Queen Anne slipper eagle. Perhap s the most po pular image foot and the Chippe nda le ba ll-and­ during the Fede ral era, the eagle was a claw foot were left behind in favor of symbol of Rom an power and had been simpl er square or turne d feet. mad e Ame rica 's official mas cot in This is not to say that Federal furni­ 1782. It becam e the ide ntifying Ameri­ ture is all straight lines and rect ilinear can image, and it was seen eve ry­ shap es. Curves abound on Federal fur­ where-i-fro m finials to drawer pulls. niture, but they are, for the most part, linear rath er than compound: Imagine LINE, INLAY AND COLOR a linear curve as a cylinder, curving in There was more to the Federal style o nly one direction , and a co mpound than ad ding an inlaid eagle or a carved curve as a sphe re, wh ich curves in sev­ urn here and there. In so me se nses, the eral directions. Federal style was a rea ction to the Th e Federal emphasis on line was styles that ca me before it. If it ca n be not limited to form and mass; it was al­ sa id that the Q ueen Anne and Chip­ so manifested in decoratio n, specifi­ pendale styles were based on curves, cally inlay. Federal case pieces look as Spade feet, stretcherless legs. Federal chai rs Federal was based on line. if they are composed of geome tric often did without leg stretchers for the sake of Almost witho ut exception, Fede ral puzzle pieces , with ovals, rectang les a de licate appearance. The spade feet and furnitu re has a delicate, linear, almost and circle s fit together. simple square back lend lightness to the chair. wispy appea rance. Chair and table legs Whereas the Queen Anne and Chip-

Beyond basic brown wood furniture. Geometric shapes in light-colored wood s, line inlays, and formal, painted furniture, likethis New York chair with a decorative eag le (botto m center), are hallmarks of Federal furniture.

HOME FURNITURE Top left and bottom len ph ot os this page and top right and bot tom left 50 photo s EKing page: Co urtesy o f Da vid Dunton Antiques, 'X'oodbury. Conn. pendale styles were known for carved homes. Lifestyle cha nges broug ht ornamentatio n, Federal furniture fo­ about new furniture forms. Similarly, cused o n smooth sur face de coration. in the Federal pe riod, new furnitu re Carving certainly appeared on Federal forms ca me about in response to pieces , especially o n chair splats and cha nges in America ns' pocketbooks, legs, but it wa s carving as decorati on ex pectations and lifestyles. rather than the deep, sc ulptural carv­ The most significant new form in the ing typi cal of Chippendale furniture. Fede ral period was the side board (see Federa l cabinetmake rs favored ma­ photo on p. 48). At the end of the 18th hogany as a primary wood, but they century, rooms in Federal ho mes be­ also began using a vari ety o f br ight, came more specialize d, so furniture light-colored woods for highlights was crea ted to fit rooms' new func­ and veneers, woods like maple, satin­ tions. As Ame ricans began to differen­ wood, boxwood, holl y, rosewood tiate between a sitting room and a and birch . dining room, sideboards were de­ Inlaid pieces often had subtle shad­ signed so that meals co uld be se rve d ing, achieved by putting the pieces into in the new room set aside for that spe­ hot sand which burned or charred the cific purpose. wood . The variety of light and dark co l­ The introductio n of tam bour and or co mbinations became a hallmark of cylinder desks reflected the cha nging Federal furniture. Even after 200 years, roles of men and wome n in the Fede r­ the bright-colored woods, varnish ed or al period. Sometimes known as ladies' shellacked, almost shimmer as light re­ desks, they are thought to have been fl ects off their polished surfaces. used mo re by women than men and may have been created to meet an in­ NEW FURNITURE FORMS creased interest in wome n's learning. Years ago, before VCRs, before the These desks we re smaller than the term couc h potato was invented, no large desks and sec retaries of the past, one had entertainment ce nte rs in their indicati ng they were most likely used

A quantum leap from cabriole legs with ball-and-c1aw-feet. At left, a lady's desk was a new form during the Federal per iod. At top right , an arm curves into a turned leg on a sofa. In the midd le right photo, simp le, straight, bracket feet support a Federal chest. At righ t, a card table and a candlestand look as if they stand on tiptoes.

Middle righl and bott om right photos this page taken at Sirawhery Banke Mu seum. Port sm o uth , NJ I. JUNE /JUL Y 1 9 97 51 less for business and more for pleasure. Worktables with a clo th or wooden drawer to hold a wom an 's needlewor k we re a sign o f social status and disp os­ ab le income. Som e workt ables includ­ ed a writing surface inside a top drawer, another sign of women's edu­ cational accomplishments. Banjo wall clocks, patented by Simo n Willard of Massachusetts in 1802, so ld for ab out two-thirds the price of an av­ erage tall case clock and permitted many Americans the luxury ofow ning a high ly desirable decorative object. They featured geometric shapes , eag les, and other patriotic emblems, gold leaf and painting on glass. and are conside red a pinnacle of neoclassical design. Card tables were mad e before the Federal peri od , but it was duri ng this time that their manufactu re proliferat­ ed. Card pla ying was a popular Fede r­ al-era pa stime, but more tha n that, George Washington didn't sit here. Lolling Classic lines, classical motifs. The supporting lightweight, portable and often highl y chairs, also known as Martha Washington colum ns and the carved eag le finial on this e mbe llishe d ca rd tables were use d as chairs, had unupholstered arm s, a unique looking glassare among the defining elements decorative eleme nts in Fede ral hou se­ design that arose in th e Fed eral pe riod. of Federal furniture. holds. Ofte n mad e in pa irs, Fede ral card tables were placed under wi n­ dows or mir rors to give a room the de­ sired symmetrical appearance . A va riety of new chair sty les with classi cal and patriotic motifs appeared in the Federal per iod. Most notable is the loll ing chair, now usually called a Martha \X1ashington chair. It is a uniqu e American Federal for m with a high up­ holste red ba ck and upholste red seat. Unlike Chippe nda le wing chairs, their arms are ope n and unupholstered. The o pe n arms give the chairs a ligh t look , and they suggest a casual posture, per­ haps an allusion to a lifestyle that made time for rela xation and leisure. No furn iture is created in a vac uum. Fed eral furniture drew on mot ifs from an cient Greece an d Rom e and used the m in a lighte r, delicate style that fit the fashionable impulses of a new Card tables were made in pairs, and though country. Man y o f the furn iture for ms used for gaming, two tables were often used developed during the Fede ral period in a room as a symmetrical design element. are still bein g made tod ay, and it is hard to deny Federal's stylistic influe nce on much of today's studio furniture. •

HO ME FURNI TURE Top lcf and hott om ph oto s thi s pa ge: Courtesy of David Dunt on Anttqucs. Woo dhury. Co nn.: 52 top right photo and phOIO facing page taken at Strawbcry Banke t\IUS(;'UIll , Portsmout h. :\ .11.

Photographic image of a fictional lamp. This compute r rendering was done before Fay had even built the lamp . The computer fileswere made into a 35mm slide by a com puter service burea u.

d:»; is not my favor ite activity. The who le process tak es about three slide by a se rvice bureau. But in custom fu rniture making, pre­ hours of co mpute r time. The first step was to construct CAD sentation is critical. Luckily, I've fou nd Recently, events led me to pu sh the three-view an d isometric renderings an alternative to showing my rough process one ste p furth er. I wa nte d to of the lamp from my preliminary sketches to potential custo mers. In­ ente r the Califo rnia Des ign '97 show, ske tches (see the drawings on facin g stead of laboring over my drawi ngs, I which required the submission of a page). We then scanned in samples of take my concept sketches and a list of ph otograph. Unfo rtunately, the lamp the ebony for the lamp'S posts and dim en sions to a co mputer graphics that I wa nte d to sub mit was not yet rails, co p per banding for the hoops, firm. While I watc h, they plug in the in­ made-and there was only one week and the paper for the shade, hand­ formation and generate a three-view until the competition deadline! I called made by my sister, Leslie Fay. The drawing and then an isometric view. the CADtechni cian at Inertia Studios in scan ne d mater ials became the palette As the piece co mes to life o n the San Francisco, wh ere I have my co m­ to fill in the isometric image. screen, I can add or change detai ls and puter re nderings done. He said that The next ste p wa s to use ArchiCAD the piece can be turne d so I can exam­ we co uld scan the actual materials for softwa re to put the lamp 'S image in a ine it from various perspectives. I end the lamp into the co mp uter to create roomlike setting. We decided to place up with impressive drawings that are 'virtual furn iture." This rendering could the lamp on a textured marble surface, easily understood by potential clients. the n be mad e into a photographi c with a white wa ll beh ind it. Then, the

HOME FU RNITU RE Computer-simulated phot o this page and 54 co m puter rend eri ngs facin g page: Dan H rub y DRAWING ON THE RIGHT SIDE O F T HE CO MPUTER After starting with idea sketches (left) the author takes rough thr ee-view dra wings to a graphic designer, who renders them on a computer (m iddle). From this springs an isom etric presentation drawing (right) . The au thor tints th e computer renderings with colored pencil.

DA VID c. A. fAY 4'" wunu STIUT OAKLAND. U. 9«09 010160"'"'' • LIGHT AND SHAPOW LAM ' •• •• • <__- -10'--- , •• •• lJ !lJ .i» •• "I , '" •• •• ] !JJ J

Welcome back to the real world. As goo d as the counte rfeit looks, it doesn't have the warm personality of the real thing (right). With a low­ watta ge bulb and a handmade paper shade, the lamp gives off a g low, not a beaco n.

co mputer was able to simulate a light source inside the lamp to visualize the light and shadows cast on its sur­ roundings (see the co mputer ph oto on facing page). This process too k an ad­ ditional four hours. The resulting image was remarkably realistic-convin cing enoug h to per­ sua de the jury of the sho w to accept the piece before it had been built. [ just hope the real thing delivers on the promise that the co mputer made. •

This lamp is 15 in. h igh , 10 in. wideand 4 in. deep; its shadehas thin chips ofmica sandwichedbetween lay ers ofpapermade from abaca-rootpulp.

Photo this pag e:Jonathan Binze n; top left drawing: David Fay JUNE /JULY 1997 55 William Walker's Furniture-Balancing Act A custom designer makes a mark in architectural and production furniture

BY JONA TH AN BINZE N

bill Walker is like the old-fashione d man of lette rs wh o, not co nte nt with writ ing fine novels, tries his hand at es­ says, poems, plays, light verse and let­ ters to the editor. In Walker's case, thou gh, the literature is furniture. His novels are custo m-designed and hand­ built tables , chairs and cabine ts of a very high order. But Walker's enthusi­ asm spi lls over as well into arch itectur­ al woodworking , ca bine t jobs and de signing p roto types for production furniture, and he has ab und ant ene rgy, fascination and flair for all these un ­ de rtakings. He's drawn to the different challe nges the y pose-the tigh t, per­ so na l focus of the one-of-a-kind piece with its insatiable appe tite for ma n­ hours; the broad strokes and co l­ laborative design process of an archi­ tectura l commission; and the hard com pro mises required to make craft and comme rce meet in a production piece designed to be built in half a day. His interests in tools and mat erials are eq ually catholic. In his shop o n Bainbridge Islan d , Washington, yo u A pr ivate man goes public. William Walker's see handmade planes an d sho p-sawn design aest hetic, de veloped th rough his ve neer but also steel tabletops he's custom pieces like this cherry end tab le, had sa ndblasted and cut out by laser. has broadened along with his business to Walker likes exploring, and his field of embrace architectural and produ ction work . ex plo ratio n kee ps ex panding . He treats all these ende avo rs as pans of a

56 HO ME FU RN ITUR E Photos.jonathan Bin zen Kitchen collaboration . Walker designed the rolling table with input from the architect and client, and built the cab inets and built-ins to the architect's design, consulting on the details. w ho le, so disco veries he makes and me some thing in which beauty and tion al aprons, which would be tucked ski lls he develops in one realm natu ­ usefulness are smoothly blended and under the top, Walker makes these in­ rally blow across and pollinate pro­ neither one is compromised? He can. tegral with the top, glue d up around it jects in the othe rs. His pieces meet the challenge of func­ like a frame. But he sto ps short of tion hea d-on, but with clear, curving blending the top and apron complete­ IN PURSUIT OF PURE FORM lines and distin ct, integral details that ly. By veneering the top and lett ing the Custom work is the heart of \'V'alker's make the straightfor ward look se nsual. so lid aprons show, he makes a subtle b usiness.It keeps the blood pumping Walker's e nd tabl e in che rry (photo but certain distinction between the two. to all the extremities. And in this age of facing page), like the best of his work, Walker is fond of playing with "fami­ IKEA and art furn iture, Walker's cus­ has both a clea rly defin ed form an d a lies of curves" as he calls them, and this tom work eloquently answers the smooth visua l now. He wa nts the piece demon strates the concept. The tho rniest qu estion you can put to a se­ tab le 's parts to blend, bu t still be ex­ curves in the length and height of the rious furn iture mak er: Can yo u make pressed se parately. In place of tradi - aprons, the curves in the legs and the

)UNE / J U L Y 1 9 9 7 57 curve of the stretchers are all differe nt, but related; the trick is to find curves that are all notes in a cho rd. All his furniture, Walker says, is "real­ ly about the relation ship between the pans," and ge tting them right can be frustrating. He'll be close to the harm o­ Meals on wheels . He has a background in ny he's seeking and then "I'll change making fine craft furniture, but Walker excels one thin g and it'll have a ripple effect." aswell in doing work with a utilitarian spin. As so meone with strong hand skills wh o loves the details and the craft of furnitu re making, Walker has to fight to Weaving a dining ta ble into the fabric of keep his eye on the overall form of a the house. The mantel he built for this piece and to keep from getting lost in house provided Walker with the spark for those pleasing details. the design of this table: "a big curving slab On the path to findin g the right bal­ held up mysteriously." ance, he says,"drawing is only a first ste p." For him,"Mocking up is whe re the meat is." But it isn 't mock-ups alone that give pieces like this tabl e their se rene feeling of resolution. Walker works in loose se ries. Related ideas surface again and again over the years and you can see them becoming mo re nearly resolved. Legs and stretchers similar to the ones on this end table ap­ pear on many other pieces Walker has made ove r the yea rs- dining tab les, desks, coffee tab les, breakfast tables­ ea ch time restated to suit the specific piece. His approach is one of refine­ ment rather than constant innovation.

COURTING COMPROMISE AND COLLABORATION Bolts and casters aren't on the curricu­ lum at the . They may not be explicitly ba nne d from the premises of the cloiste r-like sc hool o n the California coast where Walker spent two yea rs in the early 1980s so aking up the furniture- making method of , but it's un­ likely you'll find many rattling aro und in the hard ware drawers there. You can, however, find them on som e of Walker 's work. A recent piece like his rolling kitchen table (photos previ­ ous page and top left) was made to fit the demands of its site, the requests of a client and the architect's overall vision. Its bolts and casters represent \XTalker's o pen ap proach to furniture making,

58 HOM E FUR NIT URE and his acceptan ce of two othe r com­ modities looked upon skeptically at his old school: co mpromise and collabora­ tion. In this table and elsewhe re, Walk­ er demonstrates that fine work can be do ne within tight restrictions. Walker's wife, Julie Krieg h, is an ar­ chitect with the Seattle firm Weinstein Copeland Architects, and he's long done millwork and architec tural cabi­ ne twork for her firm and othe rs. Early on, the primary attraction of such job s may have been the cas h flow, but Walker discovered they were valua ble for ot he r reasons . "I like physically hard work," he says, and they provid­ ed plenty of that. He also found the work afforde d a psycholog ical release. "A rea l se rio us o ne -of-a-kind piece takes a lot of emotio na l ene rgy," he says ."It's nice to do so me thing quick­ er afterward to get the co bwebs out." The rolling table is a good ex ample of the so rt of project Walker means whe n he talks about the pleasures of co llabo ration and compromise. It was design ed fo r a new house on which Julie se rved as project architect and for which Bill mad e all the bui lt-ins and cabine try. Working w ithin a very tight se t of param eters, Walker prod uced a jaunty, stro ng , who lly pleasing tabl e that answers all the demands that were imposed on it. Walker simply took all the requests and directives and gave them a little spin. "That table was total­ ly fun," he says , and it shows. The requirements he was handed in­ cluded the overall idea: an informal eating table to look like an island ex­ tensio n of the kitchen ca bine ts; the material: eastern maple , to match the res t of the kitchen; th e sha pe of the top:sq uare at one end to meet the cab-

It looked simple on the blueprints. Walker built this de corative wall pan el from plans by Weinstein Copeland Architects. The curved unit, veneered in Honduras mahogany, was made in sectio ns and mounted on curving French cleats. Installation alone took two weeks.

J UNE / J U L Y 1 9 9 7 59 and Bebe Jo hnson from their Pritam & Eames Gallery in East Ham pton , New York (the sa me gallery that se lls Walk­ e r's custo m furn iture). brou ght togeth­ er work designed by Hank Gilpin and Jere Osgood as well as by Walker. It re­ mains to be seen wh ether the project will nourish , but it has spawned some superb pieces of furn iture. One of the most interes ting is Walke r's steel­ topped side table (see bottom ph oto facin g page). Designing for production brings Walker up aga inst problems quite dif­ fe re nt fro m those he's encounte red in do ing custo m furnitu re and architec­ tural work. \'(Iorkillg backward fr ont the retail price. It's a co ncept that most manu­ facturers are familiar with. but it doesn't ring a bell for many craft furni­ ture makers, at least not one they're ea­ ge r to an swer. Yet it is the essence of designing for production , an d Walke r has relished the challenge it poses to his handcra ft mentality. What ca n yOll make ill fottI' hour s of production tim e that is wo rth leeeping a Iifettmer'Yne: was the question Walk­ e r tried to answer in the design for his steel -to pped tabl e. "It's much eas ier to make a nice piece if you take awa y the pressure of time ," he says. The crux of the challenge is to design No sugar on this coffee tabl e. Walker aims a piece of furn iture that has the same for clarity of form instead of eye-catching integrity that custo m work has . And adornm ent: "If I get the form right, it yet one that is made, as he says, from shouldn't need a lot of sugar-coating." "a kit o f pans. You stack the m up , grab pieces and assemble them. Discrete eleme nts that have to go together inets, rounded at the othe r to let traffic sleep over that table: "1meant it to be a easily." Walker points to the Finnis h flow more easily around it; and the friendly piece of furniture that relates designer Alvar Aalto and the Dan ish casters: so it co uld be ro lled out onto to peopl e and the house with out need­ design er Hans Wegn er as masters o f the lake-view dec k for meals in good ing to be anything more." That 's plenty. this typ e of furniture design. "With weather. Qu ite a list. But \\falke r took \\fegne r and Aalto. the design of the even more input. He not iced that the FURNITURE BY THE BATCH production process is equally beautiful client had already purchased cha irs for The third dim en sion in Walker 's furni­ to the design of the pieces." the table from Donghia, with be nt ply­ ture universe is designing for produc­ The key to the beauty of their pieces, wood for seats and bent steel rod for tion. Five yea rs ago, he was asked to he says, is ..the cla rity of their work. legs. He liked them, and followed their design a group of pieces to be mad e in They both boiled things down to their lead, incorporating bla ck steel rod in large numbers by a skilled production essential pans." He co mme nds the his table's stretcher sys tem. shop in Rhode Island. The enterprise , austerity of their furniture and sa ys Walker says he didn't lose a lot o f P&E Editions, organi zed by Warren he strives for the same qu ality. "I tend

60 HOM E F UR NI T U RE to be austere," he says, "but not entire­ ly ascetic. 1 accept that furniture is for tou ching."

FRIENDSHIP IS THE RESIDUE OF DESIGN When as ke d w hic h way he'd like to take his business in the next 10 yea rs, Walker says his stro ngest interest is still in one-of-a -kind furniture, but he's not ready to lock himself into just that one approach to the craft. "The re's such a high to one-of-a-kind, but it also can be lo nely," he says. "I need the mix." "Whe n I left the Krenov school 1 thought I was full eno ugh to go to some Slee py Hollow and just mak e things­ but 1now know I wouldn't make it if I was cut off from the relationships that are such a part of what I do. For me, an integral part o f my whole ene rgy for making furniture is people- sp ecific people. Ge tting to know peopl e and seeing what they want and trying to make the m happy-I don't think there's anything wron g with that." •

Jonathan Binzen isan associate editor at Hom e Furniture.

Broad-minded maker. Walker's interests range from on e-of-a-kind furn iture and handmade planes to production wo rk like the tab le he's assembling above, its stee l top cut out by compute r-co ntrolled lasers.

Finesse from a factory. Walker's steel and mapl e table, whose parts are made entirely by ma chin e, go es from raw materials to UPSbox in a day.

J UNE / J U L Y 1 99 7 61 Triangle Cutouts Enhance Vast, Flat Surfaces

B Y J O SE REGUEIRO

Massive delicacy.The visual impact of an otherwise austere sideb oard is lessened and comp lem ented by simple details in the doors, a thin, ta pered to p, and contrasting woods .

C oncrete, stone, glass, polyester, like. Most people expect delicacy and stee l- I've designed furniture made of refinement in wood furniture, not un­ all these materials, but I started out, ad orned hard edges and vast, flat sur­ twen ty years ago, by making furniture faces. But, in this sideboard , I wanted out of solid wood. The words used to to combine a bold, stark form with describe wood aren't usu ally sha red so me simple and elegant details. with these othe r materials. How often In the back of my mind, I imagine d have you heard someone talk about that the sideboard's case should be the warm beauty of polyeste r? For me, mad e of wide, unembellished boards, the attraction of so me of the nontradi­ mitered at the co rners to give the piece tional furniture materials is in their a massive presence. The details to en­ Stark, massive, and textural. These qualities mass and texture. hance the sideboard would come from also appear in the author's furniture made from When I designed this sideboard , I the doors, and they would evolve later nontraditional materials likeconcrete and stone. wa nted to combine a stark, planar in the process. form, rem iniscent of so me of my work I design ed and built the carcase of in concrete and stone, with- I hate to that, I want ed to pu sh the traditi ons of the sideboard before I kn ew what I say it for fear of so unding trite-the wood furniture and play with pe ople's was going to do with the top and with beauty of so lid wood. But more than precon ceptions of what it sho uld look the doors. Although building part of a

62 HOME F URN ITU RE Photos, Dirk Bakker piece of furniture before the rest is eve n design ed might seem like an ar­ bitrary and possibly naive way to go, it often works well for me to first build the basic shape and then finish the embellishments after I get a feel for the full-size form. I call the process freesty le design ing. I'd made a sketc h of the sideboard Duplicating an angle. The angle of the using my favori te draw ing too ls: a Bic triangular cutouts in the frame-and-panel doors ba llpoint and some co lored mark ers is the same as the at each end of the top . (see drawing below right). I drew the basic sha pe of the case, ge tting the A bank of doors, hinged top and bottom to proport ions right for the stiles, rails the rails, requires no stiles between the doors, and sides. In this first sketch, I drew and adds to the clean look of the piece . lou vered doors becau se I knew I want­ ed air to be able to flow freely in and out ofthe case to take advantage of the wo nderful aroma of the cedar of Leb anon . Altho ugh the effect might be minimal, I thought that a ventilated case wo uld help balance the tempera­ ture and hu midi ty on both sides of the wide planks that made up the sides and bottom of the piece (see the side ­ bar on the following page for more on wood movement). The louvered do o rs in my original sketch weren' t q uite right; they de­ tracted from the large surfaces of the other sides. The small pieces of wood that wo uld have made up the louvers

DESIGN, BUILD, THEN DESIGN SOME MORE The author designed and built th e carcase of his sideboard before he had decided on th e design for the doors. Louvers weren 't right, but he kn ew he wanted doors that would ventilate th e case. After numerous sketches he decided on doors wi th triangular cutouts in the pa nels.

Drawings th is p ~l g l' : J o ~ e Regue!ro J UNE / JULY 1 9 9 7 63 looked out of sca le and o ut of place on a sideboard tha t was othe rw ise Keep the Top Flat and made of large pieces of flat wood. After several sketches of differe nt Allow for Wood Movement door patte rns (see drawings on previ­ ous page), I came up with a design for The top on my sideboard is made Notches in each end of the frame-and-pa ne l doors with triangu lar from one large 17-inch wide plank. are held captive in cleats attached slots cut from each pan el. I drew the trian gle-cutout doors full-size on a When you work with wood this to the front and back rails of the piece of plywood, remarkably similar wide, there's always the risk of it case. A single screw holds the in co lor to the ceda r. cut them out and cupping, and it can check if it is not to the top and helps prevent allowed to move as temperature the top from cupping. Unlike and humidity change throughout gluing the top to the battens, or the seasons. attaching it in more than one The edges of my sideboard's top location, a single screw will allow are attached to the case with biscuits. the top to expand and contract The biscuits hold the perimeter of the across its width. top in place and keep it flush with the There is a Y.-inch gap between front and back of the case. The top each end of the notched batten and Flat panels keep it simple. Rather than a raised field for the panels on the back of the and sides will move equally because its corresponding cleat. The gap sideboard, the author used flat panels to the runs in the same allows for expansion and contraction complement the other flat surfaces. direction. The case can move in and across the width of the top. As an out as the wood wants with only added benefit, the battens and held them in place on the case. I co uld slight, unnoticeable movement. cleats will give extra support to the see that the cutouts not o nly allowed for air flow, but they also p rovided a I attached three floating battens top should something heavy be set striking visual counte rpo int to the case. to the underside of the top, spaced on the piece. After the door desi gn was worked evenly along the top's length. -jose Regueiro out. the shape of the top followed nat­ urally. Like the doors, the edges of the top are flush with the front and the back of the case . Th e be vels at eac h e nd of the top follow the sa me angle as the cut-out trian gles and add a buoyancy to the piece. The triangle-cut out door panels and the simple be ve l of the top add a ligh tness to the sideboard that ot her­ wise might appear as o nly a lon g. low box. inte resting in for m. bu t lacking in elega nce. •

e-: 77wcarcase of thesideboard is Englisll Y. -in. gaps for r brown , andthe do ors are madeof contrac.tion and~I~ cedarofLebanon. 77wblue, cast-stoneware expans ion knobs arefrom a line of'trardu-are designedandmanufactured bytheauthor:

64 H OMEF U RN ITU RE Dr aw ings thi s page: Boh LaPoi nte Starting from the Simplest Chair

BY WILLIA M Mc A R THU R

t; fairly simple side cha ir started out life as an even simpler o ne. As I be­ gan designing it, I had little idea what I wanted it to look like, so as a starting point I made a full-scale drawing of a gene ric side chair devo id of detail. I used basic data about chair co mfort to es tablish the principal dimensions of my generic chair-seat height, width, depth and the angl e of the back to the seat. Then I set ab out adding details to come up with a design that pleased me. One ofthe key areas to wo rk out was the back. At first I thou ght I'd have four spindles between the back posts. That look ed OK in my first draw ings. But then I made a plywood mock-up of the chair. The mock-up was stro ng The strength of this chair seems to stem from e no ugh to sit in and revealed se veral straight lines. Anoth er look reveals a deeper problems in co mfort that I adjusted for. strength: every surface ismod estly curved. It also revealed tha t with fou r spindles the back loo ked like the door to a prison cel l. I did some new sketches and mocked up a number of SMALL CURVE ELEVATES them, eventually settling on this ve r­ A STANDARD LEG JOINT sio n. With its wide, pierced ce nter splat it is a comfortable cross be tween The mitered curve flowing from seat three spindles and four. rail to front leg is I knew from the start I wanted back borrowed fro m the posts that splayed outward at the top. Eng lish furnitu re This was partly for aesthetic reasons, desig ner Edward but it also just loo ks more co mfortable Barnsley. The 45 ° miter at th e bottom to me. Maybe that is becau se it seems of th e leg joint more in line with what the human bod y reduces sho rt -grain docs : it wid en s at the sho ulde rs. • problems and ma kes a stronger visual ma rr iage of 771is chair is / 7ill. wide, / 7 ill. deep and36 \I, the two parts. ill. high. It is m ade ofEnglish etm totth a seal ofuiooen colto n, a nd tsftnishedwith shellac'

PIHlh ): Seth J lJ1oL'i ky; draw in g...; B()h Lal' o iut c IU NE / J UL Y 1 9 97 65 Fine Furniture 300 Years in the Making Ever since colonial k evin Arnold 's eases a sliver and the decidedl y conte mporary wor k cabinetmakers of mahogany from the crown of an of Hurwitz represent the diversity and 18th-century sec retary he is reproduc­ vibrancy of tod ay's Philadelphia furni­ planted the seed, ing. The sho p, Kinloch Woodworking, ture makers, working 300 yea rs afte r is so qui et at this mom ent and the un­ the co lonial cabinetmakers planted the furniture making finished piece standing next to Arno ld seeds o f their craft. From the finest ex­ so state ly that yo u alm ost forget yo u amples o f 18th-century rococo to the are still in the 20th ce ntury. Philad el­ ind ividualistic, studio-built furniture of has flourished phia. the fifth largest city in Ame rica the 1990s there has been an unbroken and less than an hour by ca r, seems tradition o f design and craftsmanship in Philadelphia much farthe r away. and the market to support it. Meanwhile, in the city, Michae l Hur­ BY M ARK GA LL IN I witz is ma king adjustments on a differ­ WITH WEALTH CAME SKILL ent kind of desk, this one very much of It was the growing economic power of the p resent. The curly as h piece with Philad elphia in the 1700s that attracted marble inla y gliste ns in its Jap an ese a concentration of skill ed European cas hew finish. Its man y histor ic influ­ furniture mak ers. Th e city grew con­ e nces are subtle ye t sy nthesized so spicuo usly wealthy during the 18th that the effect is as fres h as the finish . ce ntury and the visual restraint of the Kinloch 's impeccabl e reproductions Quakers yielde d to an almost decad ent

66 HOME F U RNITU RE Photo this page ami top photo facing page:j onalhan BinzL'11 on today in the accumulation of build­ Philadelphia highboy; a Massach usetts ings and antiques that survive and , sig­ secretary; a half-dozen clocks; som e nificantly, in the appreciat ion for fine beds and chairs. furnit ure among the buying public. Half of Irion 's customers come from Long ago the hunger for antiques in the region and many are bu ying their this tradition-bound place ou tstripped first piece of custo m-made furniture the supply of hei rlooms, creating a (usually a bed). Deal ers refer others brisk trade in reproductions. The old­ w ho cannot find the antique that world craft that helped settle the region they want. Occasionally, Monn says, a th ree centuries ago is still very much custo mer has othe r needs. "A guy will alive in the shops of young cabinet­ say, 'I inh erited this cha ir. It's worth makers feeding the demand for high­ a fortune. I want to sell it, but my fam i­ style, one-of-a-kind reproduction s. ly will be furious with me if I "William Penn , he wasn't buying an­ do. Please make me a copy so they tiques. He was having the stuff made won 't know." and made right," says Kendi Monn of Down the road from Irion, closer to Young hands keep a Philadelphia tradition Irio n Company in Christiana, a small the city, Kinloch Woodworking sits alive . Furniture makers such as Kendi Monn town in Lancaster County about an amid ston e houses and gentleme n'S (left) and Gerald Mart in (above) at Irion hour from Philadelphia ."Fortunately farms in the quiet Chester County town Company feed a hungerfor handmade, one-of­ our clients look at it the same way." of Unionville. Kinloch cate rs to the a-kind reproductions of 18th-cen tury classics. Irion is the largest custo m sho p in same clientele and operates mu ch as the nation building prec ise replicas of an 18th-century sho p would have-by 18th-century gems, o ne commission building one-of-a-kind pieces for indi­ at a time.The company has IS cabi­ vidual clients on a commissio n basis. rococo style. Thi s orna te, refin ed netmakers-almost all of them are un­ "\XTe're the descendants of the cabine t­ "Philade lphia style" se t the standard for der 40- and a backl og that str etch es makers who are building for the de­ famili es of means eager to broadcast more than a year. Inside Irion's bri ck scendants of the people who ordered their status in a what was a colonial­ shop that used to house a hardware this furnitur e 250 yea rs ago," says Doug and briefly a national-capital. store, a visito r mu st weave through a Mooberry, the propriet or o f Kinloch . Those 18th-century glory days linger maze o f in-progress work: a walnut "Our clients don't have to have new,

"Cheap real estate is an important part of the equation," says Michael Hurwitz, who moved to Philadelph ia in the 197 0s to set up his home and shop in the center of the city.

Lo w er len pho to : Suzanne Roman; low er right pho to: Mark Gallini JUNE /JU LY 1 9 9 7 67 they don't have to have antiques , they dio in New Hope after Worl d War II, just have to have great stuff." brou ght an other singular approach to his work. Nakas hima's contributio n RESEEDING THE CRAFT was his almost religious insisten ce on IN THE 20TH CENTURY reverence for the material. "A lot of Reproduction furniture is only a part of w hat he did was presentat ion of the the Philadelphia story. Leaving Chester glory ofnature ," says Hurwi tz,"and that County and heading back to the city, a was co ming from a different place tha n detour through Paoli would take you to other furn iture makers of the time." a different sort of stone hou se-the If Eshe rick and Nakashima, who died Wharton Eshe rick studio , a fantasy of in 1990, awoke people to the craft, it stone, wood an d tinted stucco. Keep was Dan Jackson wh o helped bring heading north east, through Philadelphia them to Philad elphia and put their and up the Delaware River to the former han ds to it. Jackson trained as a furni­ artist co lony of lew Hope, and you' ll ture maker in the United States and find yet anoth er unusual sto ne hou se Scandinav ia and helped start the furni­ bac k in the woods-the workshop of ture design program at the Philadelphia Geo rge Nakashima. These are the llOUS­ College of Art, o ne of the many crafts es of the forefathers of the craft furniture inspired a gene ration of programs that sprouted in the 1960s. movement of the 1950s and 60s. artisans with his sculptu ral, imagin ative Jackso n's reputation drew othe rs. "He Wharton Eshe rick, born in 1887, was a furn iture forms. His hom e and studio in Paoli, charged up a lot of people with the painter and sculptor by training but it is Pennsy lvania, is now a mu seum. possibilities of the mediu m ," says Ned as a furniture maker-and for the hand­ Cooke, professor of art history at Yale. made home he built-that he is best re­ membered. By the time he died in 1970, reveals a completely different ap proach A CITY IS CHANGED, Esherick's organic, sculptural forms had to the work. ' Hurwitz reca lls seeing BUT A CRAFT CONTINU ES attracted many to the craft, people who "one piece in particular, a dining room What yo ung furniture makers found in saw an ex press ive side to furniture set and the chairs were stre tched with a thel960s and 1970s was a city in de­ making. "For me it wasn't so much the rawhide seat. The proportions are so el­ cline, losing population and ind ustry­ pieces themselves," says Michael Hur­ ega nt and the mate rials are caveman the opposite environment tha t had witz. "It was a case wh ere o nce in a materials. I liked that sensibility." greeted co lonial cabinetmakers. Bleak great while som eon e co mes along and , who built a stu- as this may have seemed, it was promising terrain for someone looking to set up sho p. Philad elphia e ncom­ passed a large and appreciat ive market, and it was affordable."Cheap rea l es­ tate is an important part of the equa­ tion," says Hu rwitz, whose shop and home are in a 19th-century row o f wa re ho uses, factories and, lately, resi­ dences. "It may have helped a critical mass of furniture makers to develop." Helping to sha pe that critica l mass was the Rich ard Kagan Gallery, the na­ tio n's first ga llery dedicated to studio­ built furniture. Kagan's ga llery, though

Georg e Nakashima was one of t he forefathe rs of craft furniture. His organic furniture is stillmanufactured under the direction of his daughter, Mira. The shop and studio (left) are in New Hope, Pennsylvania .

Top photo: Charles ~1iI1L'r : lo w er len p hoto: \ 'inn'lll Laurence no longer o pe n, introduced the publi c to Wendell Cas tle, Sam Maloo f an d othe rs, now the giants of the field. The cur re nt magn et for co nte mpo­ rary wood worke rs is an old brick fac­ tor y bu ild ing in Fishtown, In this sc rappy, blue-coll ar neigh bo rhood , there is a cooperative sho p in which as man y as 16 people toil away o n any given da y. Alongside them are Bob In­ gram and Ja ck Larimore, wh o own the sho p and have becom e fixtures in the Philad elphia furniture co mmunity. Ingram's playful , limited -edition pieces are far different from Larim ore's o ne-of-a-kind , sculpt ural objects , but the two men sha re a mission . "Both Jack and I come from the Midwest," In­ gram says. "\'(fe' ve got that son of pio­ neering attitude o f helping everyo ne as opposed to just working for individ­ A cooperative shop in downtown ual gain." Doz ens o f as piring furniture Philadelphia is a nerve center for the region's makers have co me through the ir sho p artisans. Jack Larimore, one of the owners, ove r the past 15 years. "We shared (above) and Jane Swanson are among several fro m the beginning an interest in de­ veloping the community and the real­ furn iture makers in the shop. ization that critical mass is importa nt to individual growth," Larim ore says. The fruit of that effort, in many ways, owner Richard Kagan. has been the Philadelphia Furniture Abo ut a third o f the show's 200 ex­ Show. Organize d by Ingram and an­ hibitors co me from the Philadelphia othe r furniture maker,Josh Markel, the region, a testam ent to what Ned Coo ke annual sho w attracts 10,000 people ca lls "the accumulated skill level " of over thre e days. "If 10 or 20 years ago more than 300 years of furniture mak­ someone said such a thing co uld ex ist, ing. The o riginal seeds planted by I wou ld have sa id they were out o f co lonial cabine tmake rs not o nly took their minds," says the fanner galle ry hold in the soil, they thrived in it. •

The Philadelphia style, circa 1997. Bob Ingram (above) is one of the founders of the Philadelphia Furniture Show. His settee (left) is one example of the contemporary furniture being made in the city today.

To p and middle photos:Suza nne Roman: bot tom photo.j.u-k Ram-da le J UNE/JULY 1997 69 .fine BY JAMES H. FLYNN furniture timbers

Luscious Pink Pear

The place is on a hill in so uthe rn Rhode Island and we always ca lled it Tomcats. I remember it well because it was a great place to roa m am ong paths that twisted aro und old and oa ks and over aba ndone d sto ne wa lls. In autumn, we knew where the wild pears grew and lost no time in enjoying their deliciousn ess. I didn't know the scientific nam e for the tree, or that the species was not nat ive to the New World. Sitting under a pear tree in the warmth of a late fall sun, it didn't reall y matter. It was years later before I learned that tne descendants o f the common pear tree provide not only delectabl e fruit but also a remarkable wood. I can't reca ll anothe r species whe re the reports of the wood's cha racte ristics are so overwhelmingly gene ro us: one furniture mak er ca lled pear "a dream wood." A pa ramo unt feature of pearwood is its luxuri ous pinkish co lor. Creators of ma rque try have long used pearwood to depict human Pear blossom time. The pure-white flowers of the pea r tree usually appear in early May, just flesh. A friend recently acquired a ahead of the pinkish-white blossoms produced by its nea r relative, the apple .

billet of pearwood from Alaba ma in texture. It carves and shapes an extreme ly brilliant shade of red. As beautifully,and can be planed in either he was turning it on his lathe, the direction with little tearout. The wood o nly way he co uld describe it was accepts a fine finish and polis h. "Iusciou sly sensual." The pear is so important a stap le in Pearwood 's tiny pores and faint rays our fruit diet that thousands of give it an extremely fine and eve n varieties have been developed over the ages. The lineage of the species, known as Pyrus communis, can be traced to Europe, western Asia, the Domestic or import. Cut a local pear tree and Himalayas and China. Generally, the you'll probab ly get narrow boards with wide leaves are alternate and deciduou s; variations in co lor (lower board). For cleare r rath er long with a sha rp pai nted tip wood with a deeper, more even tone, buy and a rounde d base. steamed European pearwood (top board). The cultivated pear tree is usually

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severely pruned to keep the fruit at a so ld in the u.s. is from Europe, and is rea chable height. These shorter, sometimes called Swiss pearwoocl, squatter trees, with their many eve n though more of it co mes from bran ches for bearing fruit, will rarely Fran ce or Germany. This wood is yield boards that are long, wide and often steamed, in a pro cess that clear. Larger trees, up to 60 feet or introduces moisture into the seasoning more, may be found along roadsides vats to homogenize and enhance the and in abandoned farmlands. These depth of the pinkish color. are more likely so urces of pearwood Besides furn iture making, pearwood for furniture making. is used for measuring instruments like Centuries ago, craftsmen often used T squares and rulers , turn ery, only material from their immediate sculpture and musi cal instruments vicinity, so it is not difficult to find such as lutes. Somewhere out in a examples of old pearwood furniture great musi c hall or in a lonesome made in Europe, where pears still cafe, someone may be playing a thrive to perfe ction. Today, pearwood Russian ba lalaika I once made with can be found at dealers at pearwood. I hope that it is still ringing prices from $10 to S16 per board foot, Back to nature.In areaswh ere pear orchards out "Lara's Theme." though it's difficu lt to find large have been tended for centuries, some trees James H. Flynn is an Associate Editor of quantities of pear with uniform color escapecultivation and become naturalized, Wo rld of Wood, the journ al of the Interna­ and grain patterns. Most of the wood reaching heights of 60 feet or more. tio na l Wood Coll ectors Society.

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INDEX TO ADVERTISERS

Ben Ad rian ce Cab inetma ke r 13 Dimestore Cowboy 77 Lavinia Int eri ors 77 Qu a lity Va kuu m Products 76 Afte rmath Furni ture 15 Thorn Duprex 21 Le igh Industries 2 Mason Rap ap ort Fine Furni ture 19 George Ainley 17 Charles Durfee Cab ine tmake r 21 Lie-Nielse n To olworks 87 Frank Rhod es 17 Airware Amer ica 79 Chris Elke r Craftsman Hardware 9 Lind Woodworking 17 William Robbins Fur ni tur em aker 13 Alva Hardwoods 8 1 Firelight Woodworks 16 Russ Loomis 16 Safrane k Enterprises, Inc. 71 AmBel Co rp. 79 Furniture Designs 12 MEG Products 79 Sandy Po nd Hard woods 79 Am erican Fu rnitu re Designs 9 Th e Furn iture Soc iety 2 MacBeath Hardwood Co mpany 77 Seabury Distributors 77 Th e Amish Wo rksh ops 13 Dave Gadd is 19 Man hatta n Cab ine try 17 Steven Siegel Wood working 19 Greg Arceneaux Cabinetma ker 13 Gilmer Wood Co mpany 79 Manny's Wo od worke r's Place 73 G].W. Spy kma n Cab ine tmake r 19 Afte rmath Furn iture 13 Mich ael Gloor 15 M.T. Maxw ell Furniture Co mpa ny 13 SI.j a mes Bay To o l Co m pany 12 Bar-Maid 73 Goby's Walnut Wo od Products 77 John McAlevey 21 Ste rling Po nd Hard wo o ds 77 Barr Specialty To ols 2 Th omas Gold ing Carving Schoo l 77 Mc Feel y Square Dr ive 72 Haro ld W. Stev e nson 16 Big Tree Tools, Inc. 81 Go ugeo n Brothers Inc. 77 Mer cury Vacuu m Presses II TRG Products 11 Blue Ox Hardwoods 79 Groff & Hearn e Lumb er , Inc. 79 Mykl Messe r Design s 21 Target Enterp ri ses 81 Brand New 79 She rwood Hamill 21 Mar io Messin a Design e r Craftsma n IS Taun to n Press 11. 71.87 J- Brubaker Wo odworking 13 Howard Hatch Furniture 16 Mission Sp irit 17 The To ol Chest 77 Larry & Faye Brus so Co., Inc. 2 Hearn e Hardwoods, Inc 3 Misugi Design s 71 The Trebuche t works hop 15 Burak Furniture 77 Heu er Woods 81 Mitch ell Graphics 87 Treebeard Designs, Inc. 13 Byer Woodworking & Co m pany 21 Highl and Hard ware 2 Mod ern Postcard 12 Tro pical Exotic Hard wo ods 77 Bernie Cam pbe l l Furniture 13 Homestead Finish ing Products 77 M on tap crt o Uti. t5 Tuckawa y Timber Co m pa ny HI Carving Work sh op of Jim G ray 15 Homestea d Hard woo d 81 W. Moore Profiles, lTD 79 Pet er S. Tu rne r 19 Certainly Wood 77 Hort on Brasses 7 George Nakas hima Woodworker s 19 Uncomin Woodw orks 19 Ches tnut Woodworking 81 Hut products 79 No rman' s Reproductions Hi Vacuum Pressing Syste m 3 G. K Clide nce 16 Import ed European Hard ware 76 No rth Star Lumber 77 Van Dyke's Restore rs 79 Mau rice L. Co ndon Co., Inc. 9 Inca Co rpo ratio n 75 No rt hwest Timber 79 R. Dam ia n Velasq uez 21 Co nover Lathe 9 Incra Rules 3, 7, 9 Oa kwood Ve neer Co. 79 WG BGlass 9 Co nover \'(lorkshops 81 Th e Jap an Woodworke r 9 O ld Village Paint 87 Ga rrett Wad e Co m pany 72 Cot.swold Furn iture .\ fa ke rs 17 And ers Jensen Design 75 O ne ida Air Syste ms, Inc. 3 Wallacc & Hinz 73 The Craftsman 3 Jonah 's Cabine t Sho p IS Paxton Hardware Co mpa ny 81 David War ren Direct 77 Crea tive Designs 17 Anthony Kahn 13 H. H. Perkins Co mpany 81 Gary Weeks Woodworking 17 Crown City Hard w are Co. 81 Karda e Supp ly Co. 81 Phant om Eng ineeri ng 71 Whitec hapel Ltd . 9 Robert Dalrym p le 19, 79 Ke lle r Syste ms 7 Robe rt Phipps Cabine tmaker 16 R.S.Wilkinson 15 J-B. Dawn Produ cts, Inc. 79 Kwi ck Klee n 81 Poot atu ck Co rp o ratio n 81 Wood Classics 3 Delphi Stained Glass 75 Lag una To o ls 7,87 jim Probst 21 Wood Fashio ns. Inc. 16 Diefe nb ach Benches 77 Peter Lang Lum ber 76 Professional Di scount Hardw are 81 Woo d-Mize r 7

JUNE /JUL Y 1 997 73 .materials BY )ENN\FER MATLACK

Cracking Glass

"Glass is a ne ce ssary evi l." At least that's w hat Jeff Greef, a se asoned woodworker, says. "If it wasn 't for the fact that glass is clear, we wouldn't use it at all." Yes, when yo u want to show off a well-c rafted tabl e base, or let light th rough a cabinet door, glass is necessary. But it doesn 't have to be ev il. Granted, glass is a fragile material. But knowing a little about it-types and thicknesses, how to ge t a good cut, how to minimize breakage-can mak e your dealings with the stuff go, well, as smooth as glass. light and eerie. Glass ca binet The two most common types of doors and "levitati ng" V,-inch glass use d for furniture are plate and plate she lves help to co nvey a tempered. Plate glass is regular sheet feeling of airy lightness in this glass. Altho ug h its three co mmo n con temporary china ca binet by thicknesses are sing le-stre ng th ( Y16­ Michael Gloor. inc h), do ub le-strength (Y8-inch) and quarter-inch, it is ava ilab le in grea te r thicknesses. Tempered glass is glass that has been stre ngthened th rough a process of reheating and quick cooling . This process builds extre me co nstruc ted his share of glass-top larger the piece ofglass, the more stress into the glass so that w he n hit, it tabl es (see "Curved Legs for a Coffee stre ngth needed." He adds that he sha tters into small and re lative ly Tabl e," HF #6, Spring 1996), tempered "wo uld not use single-strength larger harmless pieces. Once glass has been glass is not the best buy. Priced at than two feet sq uare." Keep in mind tempered, it cannot be recut without aro und $6.25 a squa re foo t, tempered that the thicker the glass, the higher breaking. Its special nature requires glass costs approximately $2 a squa re the pr ice . Expect to pay ab out $2 a that it is made to order. Your local glass foo t more than qu arter-inch plate. squa re foo t for single-strength plate shop can assist yo u with both kinds . Rap ap ort finds YJ -inch plate to be a and $2.50 fo r dou ble-strength. And The answer to w hich kin d of glass suitable alte rna tive . If you have small remember that thicker glass means to use can be found in your children around the house, however, heavier glass . The weight of a glass application. For obvious reaso ns, the ex tra ex pense of tempered glass pan el on a door's frame and hinges is tabletop glass needs to have may seem like a ba rgain in exchange cruc ial. If the glass is too heavy, doors considerable strength. Althoug h both for its added security. will suffer and eventua lly sag. quarter-inch plate (or thicker) and If yo ur design calls for cabine t Becau se shelves have to hold tempered glass can to p off a tabl e, doors, turn exclusively to plate glass. weight , they require th icker glass. For tempered p rovides the most safety. Jeff Greef, author of Display Cabinets about $4.25 a square foot , quarter­ But safety doesn't come cheap. You Ca n Custom ize (Betterway, 1995), inch plate will provide the strength According to Mason Rapaport, a recommends "do uble-strength plate needed and peace of mind. woodworker who has designed and w he re grea te r strength is needed. The Afte r you decide on which kind of

74 HOME FURNITURE Phot os thi s page: Ken Ambrose; p hOIOon p. 76:Jennifer xia tlack Help put Home Furniture STAINED GLASS VIDEO &CATALOG in its place... Improve the looks and value of your We want to put Home Furniture home with: magazines where they'll do the most -Entry Doors good. If you've got the name of a and Sidelights wood suppl y store, home center or - Inserts oth er outlet where furniture -T iff any Style enthusiasts look for the latest in Lampshades furniture design, let us know. Just call 1-800-926-8776, ext. 265. Tha nks. The perfect way togetstarted in stained glass. Our 30 minute videocovers all the basics. Filled with clear, simple instructions, hints, close-ups, and examples to helpyoucraft yourown stained glass windows, lamps, and more. Package includes video, written instructions, plus a 100 page color supplycatalog. Money back guarantee. #6149AM ...510.95+ 53.00shipping/handling Supply CatalogOnly...55 ppd. : II

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glass and thickness to use, a good cut cost. Prices vary depending on the comes next. If yo ur glass is a simple typ e and thickness of glass used as geometric shape, call yo ur local glass well as the kind of edge. shop with its measurements."Always When yo u work with glass, orde r the glass just smaller tha n the rem embering the obvious means a hole it will fit in," adv ises Greef, lot: "Glass," says Gree f, "differs from "because yo u can' t trim the edges of wood in how forgiving it is. It isn 't. glass with a block plan e ." If yo ur glass Strike it hard e no ug h and it breaks." is oddly shaped, make a template out If yo u need to transp ort a pie ce of of a sturdy material such as thin furn iture with glass, take the glass plywood , Masonite or particleboard out before you move it. Construct a and take it to the glass sho p. box out of plywood and place the If you don 't sp ecify what kind of glass inside padded with blankets on edge you want , yo u'll most likely get each of its sides. If you need to ship a flat polished edge. While there's glass, Greef recommends writing usually no extra cha rge for the flat "CAREFUL- GLASS INSIDE" on edge . a different edge treatm ent such the outside in hopes that handlers as prism, beveled, pencil or bullnose will take care. It's also wise to insure Taking the edge off. An uprigh t in a beveled will cost more (see /-IF #6, p. the shipme nt. glass shop can round the edges of glass or 109). And any kind of edge work on Jennifer Matlack is th e editorial assistant shave away a sixteenth of an inch. tem pered glass will inc rease yo ur at Home Furniture.

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READER SERVICENO . 70 READER SERVICE NO. 23

JUN E /JU LY 1 997 77 t '

Home Furniture prints the address­ HENRY FOX es and telephone numbers of the builds co nte mporary furni­ authors featuredin each issue, un­ ture inspired by the archi­ less the author requests that they tecture and land scape of be omitted. coastal New England. Fox discovered furn iture after JERE OSGOOD coaching crew teams and (right) has been a furniture building rowing she lls, design er and craftsman which he calls "floating fur­ since 1957, and altho ug h he niture 60 feet lon g." For the has acquired a great deal of last 12 years he has been tec hnical skill, it is as a de­ making furniture in New­ signer that he is best buryport on the North known. His work has been Shore of Boston (Fox purchased by public co l­ Furniture Studio, 39 Libert y lections including the Mu­ St., Newburypo rt, MA se um of Fine Arts in Boston 01950; 508-462-7726). and he was recently named "Bold Color and Geometry a Fellow by the American Expand a Table'sHoriz ons" Craft Council. Osgood on p. 28. grew up on Staten Island, New York, and studied ar­ TIMOTHY CLARK DAVID FAY MARK GALLINI chitecture at the University splits his time makin g furni­ began his education in is a freelance writer and of Illinois. He studied furni­ ture, building boats and handmade thin gs on a trip graphic design er wh o lives ture making at the teaching woodworking to through Asia, wh ere he be­ and works in Philadelphia. Rochester Institute of Tech ­ adults and children. came fascinated with A co ntributor to WHYY, nology and in Denmark, Stude nts wh o take classes wooden architecture. He Philad elphia's public radio and he directed the Pro­ in his o ne-man sho p learn noticed that in most Ameri­ station , Gallini also has gram in Artisanry at Boston to build everything from can buildings, "all the craft ex pe rience in the building University. He now tea ch es Windsor chairs and ultra­ was covered up, but in trades. He has worked as a sho rt co urses aro und the light canoes to simple pin e Asian architec ture the way cabinetmaker and carpe n­ co untry, in add ition to bench es. Clark has de­ a bui lding looks is often a ter, building furn iture and making furniture in his stu­ signed several co ntempo ­ clea r description of the way doing new construction dio (626 Abbo t Hill Rd., rary Windsor chairs and it was built." He came back and restoration , including Wilton, NH 03086). "\Vhat rockers, as well as the Cod hom e and built co nven­ the reconstruction of his Makes a Seat Sta nd Up to Rib 12, a 22-po und, one­ tion al hou ses and then tim­ home and studio in Center Abuse?"on p. 36. person canoe, available in ber-frame structures before City. Originally from Massa­ kits (The Wood Sch ool, 53 go ing into business as a chuse tts, Gallini loves Sears Lane, Burlington, VT custo m furniture maker Philadelphia "as only peo­ 05401; 802-864 -4454). '/1 (4115 Webster St., Oakland, ple who adopted it do." Cradle that SWings High CA 94609; 510-601-5456). "Fi n e Furniture 3 00 Yea rs and Low "on p. 30. "Comp uter Photograph in the Making "on p. 66. Brings Lamp to Life" on p. 54.

78 HOM EF UR N IT URE • marketplace

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GREGORY HAY RICHARD JUDD DARRELL PEART WILLIAM SKIDMORE began his woodworking always thought that his remembers watching his designs by instinct and ex­ career in 1982 as an ap ­ co llege degree in architec­ great-grandfather, a car­ perience. Self-taught, he prentice to a carpe nter ture was a co mpromise penter, build an addition to has learned his woodwork­ whose motto was "perfec­ be tween wanting to be an his cabin and thinking "I'd ing skills by read ing Fin e tion is not eno ugh!" He art ist and wanting to make like to do that-build Woodworking and books spe nt thr ee years building a living . Eventually the things." He 's been building on cabinetmaking and by hou ses, restaurant interiors, desire to work with his and designing custom fur­ trial and error. His specialty cabinets, doors and fixtures hands took him from the niture since the early 70s, is musi c stands, but he en­ before he had had enoug h, drawing board to furniture working in a suc cession of joys building larger pieces. and then he traded making. In 1984, he started shops in Seattle. He now He works as an atto rney in apprent iceships, begging Richard Judd Furniture, Ltd. works full-time building Washington , D.C., doing his way into the sho p of (6896 Paoli Rd., Paoli, WI co nference tabl es for a most of his woodwor king Dennis Young, a custo m 53508; 608-845-9722) . large co mme rcial firm, as on the weeken ds in Penn ­ furniture maker who had "Lighten ing the Look 0/ well as part-time in his ow n sylvania (7217 Spru ce Ave., studied in Japan. After 20 an Ent ertainment Center" sho p (625 Western Ave., Takoma Park, MD 20912). months of rigorous skill­ on p. 33. Seattle, WA98104; 206-935­ "Un iting Two Cases in One building while producin g 2874; Web site: http://www. Hutch Design "on p. 42. furniture under Young, he WILLIAM McARTHUR webcorn.com/peart/). ope ned his own shop, studied geology at the "Letting the Room Deter­ WILLIAM WHITE whe re he makes pe riod Unive rsity of Arizona and mine the Design"on p. 22. has been worki ng wood and contemporary custo m worked for seven years for nearly 30 yea rs. An furniture (1814 Skillma n with the U.S. Geological JENNIFER A. PERRY eng ineer who recently re­ Lan e, Petaluma, CA 94952; Survey in Palo Alto, Califor­ is a graduate of the Win­ tired from IBMafter a 30­ 707-763-4666). "Etched Legs nia. A job in a furniture terthur Museum Master of year caree r, he now Elevate a Display Shelf' factory during co llege was Arts program in Early devotes most of his ene rgy on p. 45. his first taste of woodwork­ American Culture. She is to building furniture and ing, which has since be­ the curato r of education at other woodwor king pro­ MICHAEL HURWITZ co me his profession. He the Florence Griswold Mu­ jects, including designing has been making furniture recentl y spe nt two yea rs seum in Old Lyme, Con­ and building his own tools since the mid-1970s, when studying underJames necticut and an avid fan of and fixtures. White learn ed he attended the Program in Krenov (Four Sisters the New York Yankees so me of his skills as a ma­ Artisanry at Boston Univer­ Woodworking, 400 N. Har­ (P.O.Box 1051, Old Lyme, chinist in the U.S. Navy, and sity. He has taught furniture rison St., Fort Bragg, CA CT 06371; 860-434-5542). he still employs a great deal design but currently co n­ 95437; 707-964-4141). "Federal Furniture Was of metalworking in his fur­ centrates on makin g cus­ "Starting/ rom the Simplest Reuolutionary" on p. 22. niture. He says, however, tom furniture himself. This Cha ir"on p. 65. that he now gains more year he is living in Jap an JOSE REGUEIRO satisfaction from traditional study ing lacqu er work and ope ned Jose Regueiro Stu­ hand tools and recentl y traveling throughout Asia. dios in 1981, and has exhib­ sold a 6-inch to bu y "Fresh Curves /or a Kitchen ited his work in museums so me handplanes (35 Par­ Table"on p. 46. and galleries in this co untry tridg e Hill, Williston , VT and ab road. He recently be­ 05495; 802-878-2655) . gan making and marketin g "A nother Way to Lock the a line of decorative drawer Cradle"on p. 32. pulls (1470 Ashton Dr., Rochester Hills, MI 48309­ 2249; 810-650-2976). "Trian­ gle Cutouts Enha nce Vast, Hat Surfaces" on p. 62.

80 HOM E FU R NIT URE • marketplace

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Binzcn. Jonathan: co rner, quartersawn-oak, 9:44-4 5 hickor y-hark , 8 :31 A on James Krenov . 7:32-39 disp lay. upholstered plyw ood, 6:102 Aalbcrs . Ben: chair by, 7:41 on William Walker, 11:56-6 1 coved walnut, 6:4 6-47 Shaker-style, 10:21-23 Abra sives: synthetic. fo r finishes, 6 :21 Bishoff , Bonni e: e bo ny and glass. 11:45 Sheraton arm-, 6:44-45 Adams, Stephe n A.: abo ut. 10:88 file , 8:22-23 side , abo ut, 10:88 on upholstery, 10:58-59 fronts for , bo okmatch tng . 10:25 rush-bott om ed , 6:94 on banister-hack armchair, 10:;4-55 Blachly. Ted : sideboard hy, 10:49 Ge rm an schrank , 8:7 5·77 simple, 11:65 Albe n i,Jac k: Uoggs , Brian : b)' Kren ov , 7:33-39 slat-h acked simp le. 6 :27 abo ut . 8 :108 about, 8:108 library, Ch ip pe ndale, 8 :81 slatt ed . c he rry, 7:48-49 on sideboard, 8;54·; ; on chairs . 8 :26-31 w ith rounded from, fluted doors, so lid-backed upholster ed . 10 :56-57 Aluminum: and cherry, combining, 9:74-75 o n hickor y hark , R:97-99 10:68-69, 78 str esses on , 11:36-39 Amm oni a fuming: process of, 8:22 Bolts : sleeves for, wood e n, 7:101 afte r Ruhlmann, 8:86, 87, 89 st ret ch ers for , 11:40-41 Ande rson Ran ch Arts Ce nte r: instructi on at , Book mat ch ing : triple. 10:24-25 Shaker-style , 10:21, 22 c rino line . 9:56 . 57 8:15 Bookcases: showcase, split, 11:4 1 Anti quing: of met als, solution for . 9:15 Arts-and -Crafts style. 7:26 . 27, 31 Ge or gian, 6:38 and tables, matching. loosely, 10:56-57 Arches: inte rsecti ng, meth od for , 8:97 corner post s of. raised . 7:3 1 wall-hung, with , 9:50- three-legged circular. 6 :26 . 78-79 Arno ld, Kevin : formal. 51 tri angle, 8 :73, 74 abo ut, 7: 113 above cabinets. 6:6 1-63 sid e, from o ne plank 's w idth , 10:24-25 tulip ped est al, 6 :28 , 29 ca rving b)', 8 :37, 38 , 39 finish for, 6 :20 stereo . lacewood-rosewood . 7:66-67 \Vindsor , mentioned, 11:66 Holmes , tansu, mod ern, 9 :40-41 high. 7:5·4-56 secr et ary by, 7:44-46 histo ry of, 8 :40 w riting , Mack intosh , 9:3 1 birdcag e , 6:52-53 An Deco: reproducing. 8:36-W See atso Crede nza s. Ente rtainment co urses in . 8: 15 Finnish, 6 :24-29 Mackintosh . 9 :32 . 34 ce nt e rs. Sec ret aries.Sta nds : wash. English. 9:56-;7 room in , R:86-R7 rounded e nd for. at w indow. 6 :62-63 CAD: See Co m pute rs. making . 8:28-29 Art Nouveau : with V-shaped shelves , 7:50-51 Californ ia Co llege of Arts and Crafts: See als o legs. Seats. book on, cited , 6:71 Boxes: instruction at, 8 :15 Cherry (Pr u n ns spp .): color of, dye ing and cha irs after, 7:70-7 1 handled. co mpa rtme ntalized. 6 :56-; 7 Carcases: preserving. 10:82 Arts-and -Crafts style: jewelry backs of, finished, 7:80 Ch ests: bed in, 9:48-49 ml;lti-companment, wit h d rawer, for two drawers. 7:8 1 apothecar y, 8 :44-45 book on, cited , 10:75 10:46-47 Carpente r, An Espenet: de sk after, 8 :64-65 -over-drawcI'S,foll,l' finis hed. 10:37 ca b ine t in , rolling, 10:8 \X'illiam-and -7\-larv style, 10:22 Carving : faux finish ed . lO:36. 37 "clo ud lift" motif in , 6 :14 Brace , Bill: . . for chair sp lat , 6:44-4 5 paneled simp le, 6 :94 designing . for bungalow , 11:22-27 abo ut, 6 :114 Federal \'S, Chip pe ndale, 11:5 1 silver . 8:68-69 des k in, lady's , 7:79-8 1 on display cabinet, 6:46-47 of Holmes cartouche. 8 :39 -on-srand , Finnish, 6 :24-29 Brass: Iinenfold , Simplified, 7:74-75 campaign , with fall-from de sk, furniture in, 7:26-31, 10:70-75 aging, 9:15 after Russian construc tivism , 8 :60 -62 7:76-78,97-99 and Japanese touch , 10:74 finish for , 10:25 See also Bas-relief. ru e. pa inted , 8:48-49 table , pedestal, 6 :24 black patina for . 9:15 Caste rs: for heavy furniture. hiding. 11:44 silve r, in buhinga. 8:68-69 Ash , w hite tF raxin us a me r ica na): Breton. Pran cots : Ce nte r for Furniture Craftsmanship: See also Bureaus . Cabinets: tansu. qu alities of, 6:108-109 abo ut, 8 :108 instruction at. 8 :15 Chests of dra we rs: See Bureaus. Highboys. on armc hair, 8:63 Chairs: Ches ts-on-chests: See High boys. B Bridle joints: double, making. 6 :101-102 "Agura," 8 :72 , 74 Ch iffo nie rs: Back gammon : table fo r, 9:62-63, 96 Brinley, Edward: desk afte r, 9 :60-61 Appalachian , development of , 8 :26-3 1 Ruhlmann-rcprodu ctions, 8:84 , 87 Bamb oo : as nails, 10:4 Bron ze : as table supports. 10:38 . 39 arm , See als o Bur eaus. Cabinets. Barrett, Peter: Brooks,Jon : Chippe ndale, 8 :83 Ch inese furn iture: Min g. ta ble afte r, 10:52­ abo ut , 7:112 auc tio n prices o f furnit ure by, 10:50 c urved . upholstered, 8:63 53 o n stereo cabinet, 7:66 -67 Brown. Edward C.; producti on -run , 6 :93 Chinese: Bas-relief: sandblasted, 11:45 abo ut, 7:112 strutted. 6:68-69 book on , cited , 8 :47 Beading: on chair and de sk . 7:48-49 upholstery for . c ho osing . 10:58-59 Chippendale, defined , 8:8D-1l 1 cock, co ntrasting, 6:54, 55 Buch an an . Curtis: arms on , strengthening effec t of , 11:4 1 cloud-rise motif fro m , 8:41-43 co ntra sting inlaid, for c urves, 9 :85 ab out, 6 :114 arr ow-hack , 8 :28 , 29 motifs, in bed . H:414 3 ebo ny, curved , 9:36 , 37 on birdcage Windsor . 6 :52-53 Arts-and-Crafts style , 7:26 . 30 Chippendale, Thomas: Hccks voort , Chris: Budl ong,Jim : Britis h , updated, 10:72 abo ut, 8:79-8 1, 112 abo ut , 8: 108, 10:88 abo ut, 9:92 loungt', 6:28 Gentlema n a nd Cabinet-Ma ker's on dining-ta ble design. 10:26-33 on c hina cab inet, 9:64-65 ,\ Iorris co nte mpo rary, 10:70 . 7 1 Director; 171l', book case fro m , 8 :36­ light fixtu re by, 10:65 Buffets: See Sideboards. hack c urve for. finding, 8: 29 40 , 79-83 on mus ic stand . 8:52-53 Bulger, Bruce: backs of, bending to lumbar c urve , mot ifs in. 8:80-81 Bedroom suite : mat ch ing . loosely , 10:6 2-63 abo ut. 6:114 8 :29 style, discussed , 8:78-83 Beds: on book case, 6:6 1-63 banister-hack , 10:54..55 Ch ip pe nda le: Arts -and-Crafts style, 9:48-49 on finish . 6:20 ch erry-handwrought steel, 9 :76 , 78 cha ract e rized . 11:50..51 co ntemporary, 10:75 Bun galows: fu rn itu re for . 11:22-27 Chine se, 8:46-47 chest. six-draw er , 10:22 bed bolts for , 9 :29 Bunn, Steve n Th omas: Chip pendale, variations in , 8:83 Circle s: bed-rail joint for , stro ng hidde n . 7: 58. abo ut, 7:112 co rne r blocks for , 11:39 , 40 dividin g, 9:10 59, 7:100 on wtndsor high c hair. 7:54-56 crest-rail joinery for , 9:84 See also Curves . hoards of. designing. 9 :2&29 Bure au-cabinets: Ch ippe ndale, 8:79 designing, 7:40-43 Cizek . Les: ca tta il inlaid , 7:57-59 Bure aus: for small people, 6:40-4 1 ah out. 7:112 w ith Chinese motifs, 8:4 143 with book-mat ch ed drawers. 6 :72-73 dining, 7:40-43 o n ca mpaig n c hes t. 7:76-78 , 97~99 with curve d pan eled headboard. 8 :70­ Chippendale , 8:81 arche d-bac k slatted, 7:90-9 1, 92 Clark, Tirn othv: 71 Ch ippe ndale-style. six-drawer, 10:22 pe

82 H OM E FURNI TURE "drawing on ," for repeat pa ttern s, 8 :34 entry, hand w rou ght steel , 9 :77 linseed-beeswax , commercial , 8 :22 Greene and Greene Brot hers: laptop , desk for, 9 :72-75 fluted , 10 :68-69, 78 nickel powd e r co at ing , 6:49 backgam mo n ta ble after, 9 :62-63 programs for, 3-0 , 8 :9().93 frame-and-pa nel. wi th c uto uts , 11:62­ non -yello wing , 9 :14 bed afte r, 7:74-75 virt ua l furniture on , creating, 11:54-'; 5 64 oil, "cloud lift " motif from, 6 :14 Con lan, Mary: grain for , selecting , 6 :33 linseed mix ture, 6 :20 -21 dining suit e after, 11:22-27 about. 7:112 stiles for , integral wi th door , 10:25 low-toxic, 7:2'; rep roduc tio ns of, 10 :74 on stretcher tabl e, 7:47, 99 -100 Dovetails: marine, 6 :21 See a lso Arts -and-Crafts sty le. Consoles : See Crede nza s. for cha ir rails, 11:40 pe netrating . rem ovin g, 9: 14 Grooves: as design ele ment, 8:55 Co ntainers: See Boxes. ex posed, 6:47 rags from, danger of, 10:82 Cooke , Ned : me ntione d , 11:68, 69 lap , 7:8 1 for q uart e rsaw n oa k, 9:45 H sliding , making, 6 :100 Co rd , Danish: UV bloc king , 9 :14 flack, Garrett : : bam boo as , 10:4 buying. 9:89 varni sh , catalyzed , disc ussed , 10:HO-82 about, 9:92 Draft ing : See Drawing. viny l, sp ray, 7:22 seats of , 9:42 -43 on c hairs , 9:42 -43 Cornices: as un ifying dements , 11:43 , 44 Drawers: See also Paint . Hand icapped: tables and, access for , 10 :29 Cotswold Furniture Make rs: tabl e b y, 10:72 , bottom co nstruction for, 7:49 Fireplaces: Arts-an d-Crafts style, 7:26-27 Handles: 7H4 ' case for , sta ble , 7:8 1 Flem ing, Peter: brass, Country workshops: inst ru ct io n at, 8 :15 des igning, wi th model s, 6:43 aho llt.9:92 antiqued, 8 :49 Cra dles: do vetailed , 7:73 on desk , 9:72-7 5 antiq uing , 8 :105 loc ks for , 11:3 1, 32 wi th exposed dovetails, 6 :47 Flynn, Jam es II.: source for, 8 :105 swi nging, co nverti ble, 11:30... 32 as fall-fron t wri ting surface, 7:52-53 , on ash , 6 :108-109 jewelry-box, e bo ny, 10 :47 Cranbroo k Acade my of Art : history of , 6 :27­ 7 : 9(~97 o n el m, 9:88-89 Hardware : See Cas ters. Hand les . Hinges . finish for, sweet-sme lling , 8:23 on lace wood . 8 :104- 10; 28 ,29 Plllls. Crede nzas: fronts of , curved , 6: .;z,9 on pea r, 11:70-72 Hare , Rob : inlaid , 6:80 , 8 1 ash bowfroru . 6:42-43 on , 7: 106-107 about, 9:92 o n wenge , 10 :84-86 cherry-curly maple, 9 :54-55 lining for. p igskin , 7:73 wood-forged iron furnitur e of , 9 :76-79 Ge orgian style , 6 :39 lope rs for, ma king , 7:77, 78 , 7:97-99 Forms: Har rell, Paul: Mi chae l: to Cu llen , one side , 9 :72-75 for coop ered doo rs, 6 :98 about, 8: lOR for vac uum ben din g, fro m fo am , 6 :103 aboUl ,9:92 un derslu ng, 9:63 on c hes ts , 8:68-69 on dining table, chairs, 9 :52-53 wood selection for , 6 :35 Fox Hcnrv: 'ahOlu: '11:78 on design wi th grain, 6 :30·35 Cu rves : freehand. drawing. 7 :15 wit h wooden pins, 9 :84 on drawers, 8 :23 Devlercado. Randolp h: See a lso Pull s. o n color and geometry, 11:28-29 Hay, Gregory: about. 8:108 Drawing: Fox ,John Reed: about, I I :80 of curves, freeha nd, 7:15 on Chinese c ha ir, 8:4647 abo ut , 7:112 on display shelf, 11:4 5 fu ll-sca le, fro m patterns, 10:18 on w riting ca h ine t, 7:52-53 , 96-97 Haystac k Mou nt ain Scho ol ofCrafts : in pe rspective , how to, 6 :86-89 Fran k, Christophe r: D instruction at , 8 : 15 Des ign : re finin g , wi th tracing paper, 11:18-20 abo ut. 6 :114 Hei nold, Norbert : See also Co mp uters: virtua l furn iture on mapl e and metal bed , 6 :4H-49 in Arts-and-Crafts style , 7: 2(~ 3 1 about, 9:92 on . Lines. Frost , Rich ard : aro und ava ilable wood, 10 :24-2'; on hac kgammon tab le, 9 :62-63 abo ut , 6 :114 of c hairs, 7:41-43 Dressers: See Bureaus . Helgeson, Rich ard : of "c lassical" furnitu re , 6 :36-41 Dudley, Peter : on sket ching , 6:86- 89 on demilune tabl es , 6:54- 55 abo ut , 7:112 Duprex, Thorn: Furniture: classical or ders in , 7:85-85 on designing c hairs. 7:40-43 abo ut , 8: 108 wi th clay, 10:43 "country," producti on run s of, 6 :9Q..95 Hellm an, David : work by, 10:74 on apo thecary c hest , 8 :44.-45 knock-down, 9 :66-7 1 w ith "cloud lift " moti f, 6 :14 Hepp lewhite . George: Cab tne t-stateer a nd Dutc h: furniture , modern, e xhi hits of, lib rary on , 10:10 aro und co lor , II :28-29 Upho lste rer 's Guide, infl ue nce of , 11:49 comp uter-aided, 3-D, 8:90-93 10:10 mod em, muse um of , 10:8-10 Hepplc white : by drawing. 11:18-20 Dyes: inlaid server after, 7 :64-65 evo lutio n of , 10:23 an iline , even res ults with . 7:22-23 G side boa rd after, 6 :66-67 po tass ium dich romat e as , 10:45 Fibo nacci series for , 7:14-I 5 Gallini, Mar k: He rsey, Susan : light fixtu re by, 10 :65 wa ter-ba se vs. o il, 7:23 with grain , 6:30-35 ab ou t, 11:78 (Carya sp p .): modular, 7:86-87 on Philadelphia, 11:66-69 hark of , process of, 7:4 1 E Gaulk!n , Zac hary: sea ts fro m , 8 :3 1 for production, 11:60-61 Ebony (ntospyros sp p .): su bstitute for , on furn itu re auc tion, 10:48-51 harvesting , 8 :97-99 of rocking chai r, 10:40-43 11:27 on ligh t fixt ures, 10:64-65 Highboys: of ta bles , dining , 10:26-33 Elm (Ul m us a mericana): on Polla n ), 8 :84-89 Chi ppe nda le ,8:H2 th e matic, of fu rnit ure fam ily, 7:90..93 buying , 9:89 on Shac kleto n shop, 6 :90,,95 Q ueen Anne,fi1ux finished, 10:35 fo r ventilation , 11:63 disea se-resis ta nt , 9:89 on wood-forge d iron furnitu re , 9:76-79 I tinges: See a lso Drawing, Go lde n section . qualities o f, 9 :88-89 Geer, David : for fall fronts , 7:98 Moc kups. Models. O rna mentation. Ente rtainm ent ce nters: des igning , 11:33-35 abo ut , 8: 108 hand-forged , cario us styles. Escutc heons: on glass-toppe d e nd tabl e, 8:50-5 1 for chest, 8 :49 Desks: material fur, 6 :67 Georgian: so urce for, 8: 10 5 Arts-and-Crafts style, 7:28 , 30 tagua nu t, 10:23 ca binet , sh o wcase , 6 :38 , 40 kn ife, 7:66 , 67 backs of , finished, 7:80 wal nut, 7:80 chai rs, pear, 6:36 , 37, 4l1-41 2700 brass, //:35 bombe, after Brinley, 9 :60-6 1 Esheric k, Wharton: work by, me ntio ne d , credenza , 6 :39 Holze r, Hank: Cabanel, after Ruhlman n , 8:88, 89 11:68 Gesso: fo r grai ning , 6 :20 abo ut , 6 :115 cherry-alum inum , 9 :72-75 Exhibitions: Gilpin, Hank : on dining se t, 6 :78-79 cherry-ha ndwroug ht steel , 9 :79 "Designing Mod ernity," 10:10 abo ut . 9:92 Hooper ,James: compute r surface for, 9:72-75 See also Museums. on ben ch es , 9 :22-2 5 abo ut , 7:112 cylinder, beginnings o f, 11:51-52 Glass : on sideboard, 7 :64-6 5 designing, aro und needs, 9 :72-75 F attac hment metho d for, 8 :5 1 Horns: in furnit ure , cu rio sity of, 11:86 doors for, glass , 7:79 , 80 Farr , Tom : for doors, 11:74 Huck er , Th omas: fall-from , aha lit, 7:112 edg es for, 6:109 , 11:76 abo ut, 10:88 Ja panese-influe nced, 7:52-53, 96 ­ on roc king chair, 7:82-83 hand-blown, for bookcase, 8:39-40 on becfw ood-br onze ta ble, 10:38-39 97 Faux finish es: See Paint . for shelves, 11:74 Burn e, James: lepers for , auto mat ic, 7:97 -99 Fay, David : source for , 6 :109 abo ut . 8:109 inlaid, with squares , 10:66-6 7 abo ut , 11:78 for tabletop s, 11:74 on roc king cha ir, 8 :66-67 kneehole, Townsend , 9 :46-47 on lamp, 11:54 type s of , 11:74 Hurwitz, Mich ael : ladv's. Federal style: Gloo r, Mich ael : ca binet by, 11:44 abo ut, 11:80 , federal, \ 1:5 \ c haracte rize d , 11:49 Golde n section : mention ed , 11:66, 68 Arts-and -Crafts style, 7:79-8 1 forms in , 11:51 disc uss ed , 7:84-8 5, 86 on round ta b le, 11:46 light-box surface for, 9 :72-75 tab les in, 11:52 vs. Fibo nacci se ries, 7:14-15 Hut c hes: See Cabi nets. Queen Anne-style c urly map le, Fiberboa rd (medium-density) : findi ng , 8:8 Hvit trask: me ntio ned, 6 :29 conte mpo rary, 10:49 , 50 forma ldehy de -free , 7: 107 Got hic style: define d , 8:8 1 rolltop. with pull -ou t writing surface, Fibo nacci se rie s: Goul de n, Nicho las: I H:64·6; disc usse d ,7:14-15 abo ut, 6:115, 9 :92 , 10:88 Ing er soll , Ian : -on-stand , with fall fro nt , 7:76-78 , 97 -99 vs. go lde n sect ion , 7:14-15 o n ash c rede nza, 6 :42-43 abo ut, 10:88 stand-up , 9:7 2-75 Finck, David : light by, 10:6 5 on bridle joints, 6 :10 1-102 furniture making of, JO:20-23 ..table, bublnga. 7:48-49 Finishes: on Cha rles Rennie Mackintosh , 9 :3Q..35 Ingram , Bob : work by, me ntio ned, 11:69 tambour. beginnings of , 11:51-52 for , 6 :21 on jewelry box, 1O:4(K 7 Inlay: tilti ng surface for , 9 :72-75 book o n, cite d, 10 :82 Gra in: See Lumber. bellflowe r, 6 :50 , 6 :66 , 67 Dividers: p ro portion al, discussed , 9:10 co lor da rkening , 9 :14 Graining: See Paint. brass, 6:70-7 1 Doors: fo r drawe rs, 8 :23 Gravell . Rob ert: for curved tab leto p , 7:90, 92 , 93 bridle-joints for , do ub le, 6 :101-102 [aux (See Paint. ) about, 6 :115 Federal, c haracterized , 11:50 carved, after Russ ian constructivism. for fumed pieces , 8 :22 on was hsta nd , 6 :80-82 afte r He pp!c w hite , 7 :64-65 H:60-62 grai ned . gessoed . 6:20 Gree n , Don: of init ials, for jewelry box, 10:46-47 coo pe red , 1O:6H-69,78 lacqu e r, abou t, 6 :115 intersecting-line , 11:35 process of, 6 :98 ca talyzed, discussed , 10:80-82 on ben ch , 6:74-7 5 Italian ptetra dure, 7 :59 caved, 10:68-69,78 tinted blu e, 11:28-29 Gre en De sign Furn iture Co .: c ha ir by, 10:71 of mala c hite , 11:35 designing. wi th models, 6 :43 Green wood: instruction in , 8:15

JUNE /JULY 1997 83 of me tal, 6:109 grain for , sel ecting, 6 : :~2 - 33 about. 10:88 about, 6 :115 oak and aco rn , 6:50-; 1 grain o rie ntat ion for, 7:49 , 99 -100 o n Hied ermei er table, 10:60-61 o n bed, 6 :76-77 and painted wood , 6 :74·75 Hepplewhite, 6 :66-6 7 .\k'tal : Patterns: for rep rodu ct ions, making . 10: t6.. sh aded , 6:67 of joined parabolas, 6 :5H-60 nickel powde r coating for , 6 :49 18 See also Ruhlmann. o uts ide -ta pe red . 11:28 See also Aluminum. Brass. Bron ze. Patt erson. Lance: Instructi on : to rail s, joinery for , II :65 Steel. abo Ul, 6: 115 at community co lleges , 9:8 reed ed , 8:32, 35 Metcalf, Josh: on coo pe red doors, 6:98 from Kre nov , 7:39 w ith sandblaste d relief, 11:45 aho ut, 10:88 o n side board . 6:66-67 sch ools of, 8 :14-15, 9 :6-8 scalin g down, pro blems with, 7:55-56 on mite red tabl et o p , 10:52-53 Pea r (Pyrus spp.): about, 11:70-72 Iri on Company: furniture from, 11:67 scul pt ed , 9 :36'37 xttrror s: Peart , Dar re ll: Ishibashi , j un : wi th spade feet . 11:50 c heval. Mac kint osh. 9:3 1 abo ut, 11:80 abo ut, 8 :109 square int o oc tago na l, 6 :55 Federal, II :49, II :52 on "Asian" Arts-and-Craft s style , I I :22­ on chairs. 8 :72 -74 tap ered , 8 :41, 42, 4 3 simple, with c urve d elem ents, dis ks , 27 Italian : furn iture , modem, exhibits of, sh ort , 11:_'-'-34 10:62-63 Pen land : instru cti on at, 8:15 10:10 torpe do , 8 :84 Missi on style: Per ry,Jennifer A.: Ivory: source for , 6 :67 as trusses , 11:46 table in, 7:60-6 1 about, II :80 turn ed , off-ce nter. 6:102-103 updated , 10:71-72 on Federal furniture, I I : i8-53 l.ethaby, W. R.: wor k by, lOB See also Arts -and -Crafts style . Pet er se n, Steve: J by, ab out, Jackson , Dan: discussed , 11:68 Le w is, Matthew : light fixtu re 10:65 Miters: 9:93 Jacobson , Andrew: Lib rari es: .\Iackintosh, 9 :32 , 34 false. for chai r ha ck , 6:53 o n ca b ine t, 9:50-51 abo ut , 7:112 Light fixtures: rhre e-wav, 10:52-53 Pfen inge r, Martin: book case attributed to . Arts-and -Crafts stvl e, 7:27, :10 xtockups: of chairs, 7:4243 8 :36-40 on game table , 7:72-73 Japanese furnit ure: book on, cit ed , 10:4 floo r, 10:64 , 65 . Models : Philadelphia: furn it ure fro m, 11:66..69 Jenk ins , Emyl: o n Chippe ndale, 8 :78-8 3 gallery of, 10:64 -65 for chairs. 6:15, 6:69 Philbrick , Tlmorh v S.: abo ut , 7:113.'10:88-89 Jenkins, Scott: bureau by, 10:49 hangin g, with ven eer strips. 10:65 design by, 6 :43 scon ce , 10:65 for tabl es , 6 :15 o n design , 7:84-90 Jewelry c hests: See Boxes: jewelry. Joinery: sha de s for , m ica and pap er, 11:54-55 value of, 10:43 on lib rary fu rniture, 10:44-45 Moldings: co mple x , for headboard , 6 :76..77 Ph ot ographs: virtual, co mp ute r-crea ted , edge, hamboo pegs for , 10:4 table, kn ock-down, 9 :66-71 Arts-and-Crafts sty le, 10:71 .\lonn, Kendi : mention ed , 11:67 11:54-55 with linen -cord lashing, 10:38 , 39 elliptica l, 11:54-55 .\Ioob er ry, Doug: Picture frame s:f allx finish ed , 10:35 See also specific joint. Lind , Carl: light fixt ure hy. 10:64 abo ut, 7:113,8:109 Pilast er s: for bookcases, 6 :6 1.63 Linc nfolds: co nstruc ted, not ca rved , 7:74­ Judd, Rich ard : o n Holm es bookcas e . 8 :36..40 Pins: proud , 7:70-71 abo ut , 11:80 7 5, 96 mentio ned , 11:67 Plan ewood : See Lacewood . . secretary by, 7 :4 · i ~i 6 on enterta inment center, 11:33-35 Lines : d ividing , 9:10 Plyw ood: Lock e, William E.: Morris style:'See Arts-and -Crafts style . edging for, 7:73 abo ut , 9 :93 Chairs. finish for. gcssoed. 6 :20 K on kn eehole desk , 9:46...47 .\Iorris , William : exhib itions of work bv, 7:6 Pollaro , Frank: work of, 8:84-89 Kar p tlo w, Miles: Lom as,Joh n: table by, 10:7 2. 74 M ortise and tenon : . Ponti, Gio : chair by. 10:10 abo ut. 8 :109 Lowe , Phil : bolted , for bed , 7:58 , 59 , 100 Ponvert. Philip: . on armoire , 8:60-62 J/easuring Fu rn iture f or for c hair seats , 8:3 1 abo ut. 10:90 Keil, Darr yl: Rep rodu ction vide o , cited , 10:18 faux proud , for tableto p , 7:60 , 6 1 on bed room suite , 10:6 2-63 abo ut, 7:113 o n patt erns, 10:16-18 with loose tenon , 11:65 Portsmouth (NH): furn iture, in village on design, 7:90-93 Lumbe r: mite red , 11:65 sett ing, 11:10-12 Keneal y, David: un dra wi ng , 11:1&.20 hook -match ing. 6 :7:\, IO:24·2S pi nn ed , 7 :81 Pot assi um dichromate: as dye , 10:45 Kevin Kop il Furniture Desi gns: tabl e hy, grai n mat ching of . aro und co rn e rs , for seat rails. 11:38, 3940 Prei ss, Rich : 10:75 6 :34 See also Bridle join ts . Te no ns . abo ut, 9 :95 Kinl och Woodworking: fu rn itu re from, gra in o f, des ign with. 6:50-35 M ortises: in glass. 8:51 o n bed, 9:4849 11:67 M ose s, Dan iel and Patrici a: Presses : ve nee r, foam forms for, 6 :103 Kitch en s: to ca hinetmaking sta nda rds, M ab out, H:109 Price s: 11:57-58 on tile c he st , 8:48-49 re vealing , 8:6-8 Kolle ,Jeffe rson : Mack int osh, Charles Rennie: c hairs after , 7:70... 71 o n milk paint, 8:22· 23 See also Selling. on Sha ker -style furniture maker. 10:20­ Mu seum s: Pritam & Elm es Gallery: handles Krenov . 23 sidehoard afte r. 7:29 work bv. 9:30-35 livin g t r th-Cen t. village, 11:10-12 7 :39 on Strawbe rj ' Banke , 11:10-12 of mod ern fu rn iture , 10:&-10 Probst,James: Krenov,James : Mah ogany 6wietenill sp p .),' (S m lllUlgon i) Cuban , ove r Honduras mah ogany about , 9:93 Ca binetm ak er's Noteboo k, A, impact on c redenza, 9:54-55 of, 7:36-37 substra te, 10:45 N Mahogany (Suiteten ta sp p .)! (S Nails: Pulls : Fine Art of Cabtnetnut leing . cited . 7 :39 carved, 6:72-73 , 8:64-65 Impractical Ca btne t m ate er; TI,e, cited, m a crojJhyl/a ) Honduras : bamboo , 10:4 da rke ning , to mat ch Cuban , 10:4:; wood en , 9:84 , 10:4 wi th sleeved bolts, 7:6 2. 65 , 101 7:37,39 cast-bronze. 10:52·5 5 instructi on from , 7:39 , 8 :14 , 15 as ven eer subst rate , 10:45 Nakash ima sho p: furn itur e from. 11:6H Malachite : inlav of, II :3S Nesser. John: c ro sspiece over rece ss. 7:60 , 6 1 profile d , 7:32-39 d ro p , 9:58 , :;9 Work er in Wood, cited , 7 :39 Malmsten . Cari: as teacher, 7::\4-35 ab ou t , 9:93 Mant els: simple, 11:58 o n kn ock -down tabl e, 9:66..71 brass-ironwood . 7:77 Map le (Acer spp.): Nightstands : See Tables: nigh t. Federal, 11:49 L hird's-cyc , simulating , 10::\6 No rth Bennet Street Sch ool : instru ct io n at. of inlaid p ieces, 7:93 Lacewood (Greuillt« rob us ta) : tige r. finish fo r. 9:14-15 R I4 integral, carving, 8:96 look -alfkes, 8:105 Markel , Josh: mentioned, 11:69 silve r drop-pen dant . 10:23 qu alities of, 8 :104-105 Marqu etry: so ur ces for , 11:80 Lamb , David: work by, 10:49 ,50,51 o ston eware, 11:64 from Holm es bo ok case , 8 :36 , 38 Oa k (Q llerms spp.) : Lamo nt. Stephe n: in showca se ca bine t. 9:50-5 1 ta ns u, 9:58, 59 abo ut, 7:113 fume d , finish for , 8:2 2 walnu t Arts-and-Crafts style, 7:80 urn, san d-shade d. 7:64-65 fuming, 8: 22 on lady's des k, 7:79-81 Martin, Lo y Davis: on design for sets, 6 ::\6­ Lamps: See Ligh t fixtures. ,il qu artersawn, ca binet fro m , 8:56·57 O rn ame ntation: Q Lang,J ohn: light fixture by, 10:65 Masaschi , Tcri : Q ueen Ann e: cha racterize d . 1l:5 ()..51 Langsner, Drew: repeat-p att ern. wave , 8:32-35 abo ut, 10:88 source s for, 8:33 abolll, 9:93 snvf a ns: finishes , 10:34-.; 7 on English \X'in ds ors, 9 :56-57 Osgood . Je re : R Matlack ,Jennifer: on glass, 11:74-76 abo ut. II :78 Radtke , Charles : Langsncr. Drew and Lou ise: sc hool of , 8 : 15 Maxwell (.\1. T. ) Furniture Co .: Arts -and ­ Lap joints: gtuefess. 9:68 , 69 auc tion pr ices of furn iture by, 10:50 about . 8 :109 Cra fts sryte by, 10:70 on c hairs , 11:364 1 o n co mpute r-aided design, 3-D, 8:90 ...93 Larimore , Jack : work by, mentioned, 11:69 Mayer, Barbara : Larso n, Norm: wo rk by, 10:50 ,51 Rap ap ort , Mason : o n updat ed Arts-a nd-Crafts styl e , 10:70­ abo ut, 6:115 abo ut, 9:93 75 on armo ire , 9:58-59 p on coffee tabl e, 6 :58-60 Maynard , Pete r: table by, 10:48 , 50 on glass , 6 :109 Lasso , Rob e rt : McArthur, \Villiam : Padauk (Pterocarp us spp.): 0 11 mod el s. 6 :15 abo ut, 9:9:3 abo ut, II :80 co lor of, o n c hina cabin e t. 9:64-65 e p he me ral na ture of , 10:82 Raynes, Walter: on cha irs , 11:6 5 abo lit , 6 :115 Latta, Steve: bookcase by, 8 :36-40 Mcl nnes, Andrew : protecting , 9 :14 Le Blanc , Richard: . sim ulating , 10:8 2 on card ta ble, 6 :50..51 about, 9 :93 Reguclro . Jose: abo ut, 7:113 0 11 tavern tab le , 9:38-39 Paint : finish me th od s of, 7:22-23 f a ux finish es with , 10:34·37 abo ut, 11:80 Mclnnrc. Sam uel : armc ha ir afte r. 6:4 44 5 o n sideboard , 11:62 ..64 on ta ble, 7:60-6 1 xtcl .enn.Jon athan: birds-eye , 10:36 Legs: books on , 10:37 Reproduct ion s: abo ut , 9 :93 evo lution of , 10:23 Art No u vea u, 6 :70-7 1 o n bo mbe de sk, 9:60-6 1 methods for , 10:36 cabriole, sim plified, 10:25 milk, 6 :52 , 53, 8:22-23 patt e rns for, making , 10:16..18 McPhee, John: O il horn ed furniture, 11:86 sto ry stic ks for. 10:16 co mpoun d-angle, 9 :38-39 Measurem ents: Palmer , Bill: diam ond-shaped, tap ered, 8:5 0 , 5 1 abo ut, 8:109 Rhod e Island School of Design : instruction book on , ci ted , 10:18 at , 8 :15 with dovetailed tops, 11:28-29 takin g, 10:16-18 o n bed , 8 :70-71 Richard Kagan Galler y: disc ussed, 11:68-69 feet fo r, e bo nized , 7:7 2·73 Melle r, Niko laus: Pate, Andre w : Rich ardson , B . B. : desk afte r, 7:30-3 1

84 HOM EF UR NI T UR E Rob inson, Monro e: Shepard, Pet er: Arts -and -Crafts style, 6:28 , 7 :26-27. 28. Tahlesaws: bridle joints on , double, 6:101­ abo lit , 7:113 aho ut .9:9j 31, 10:70 , 71 102 on hutch, 7:62-63 , 101 on b ureaus , 9:.16-57 updated , 10:72 , 75 Tabletops: Robso n, Joe: \"'.: finish by, 8:22 Sheraton, Tho mas : Cab inet ...J[a k er a nd backg ammon . 9:62-63 , 96 attachment methods for , Rococo : defined , 8 :80 Upholsterer's Drawi ng Book, in fluence bas es for , ped estal, design of, 10:32-33 bridle-joint, 9 :70 Redel . Kevin P.: 01',11 :49 bedsid e , with c urved bac k. 10:6 2-63 wi th floati ng battens , 11:64 about, 7:113 She raton: Bled ermele r se wi ng , 10:60 -61, 76 screwed-plate , 9:69 on Arts-and-Crafts style, 7:26"'31 sideboard afte r, 6 :66-67 br eakfast . wi th thr ee -way co rner joint , floating , 11:58 Rodriguez, Mario : table after, 8:32-35 10:56-57 frame for, faceted, I I :24, 25 , 26-27 about, 6 :115 She ridan Co llege o f Art an d Design: ca nt ilevered bu bingn-ash , 10:51 glass for , I I :74 on librarv stool, 6 :64-65 instructi on at, 8: 15 card, half-dovetailed . into legs , 11:28-29 o n o ff-center turning, 6 :102· 103 Side boards: demilune . 6 :50-51 mitt-red three-way, flush , 10:52-53 Rogo ws ki, Ga ry: Art Deco , 7:89 Fed e ral , II :51. 52 Tansu : " about, 8 : 109 Arts-and -Crafts style, 7:29 and c ha irs, ma tc hing , loosel y, 10:56'5 7 Arts-and -Crafts style, 10:74 00 bed. 8 :41-43 beginnings o f, 11:51 c he rry -ha ndwroug ht steel , 9:79 book on , cited , lO:4 Rot h-Suszynski, Alice: cherry, ash and rosewood , 10:49 ci rc ular, aprons for, b rick laid , 10:76 pins for , maple. 9 :84 about. 7: 113 co ncrete-sto ne, 11:62 coffee , beefwood-bron ze, 10:38 , 39 Shaker-style, 9:58-59 on be d , 7:74-75, 96 curved and slatted, 7:90-93 coffee , Templates : Ruhlmann , Jacques-Emile : Federa l, 6:66-67, 11:48 glass-to pped, wit h arc hed wit h computers, 8:3 4 book on , cite d , 8 :88 inlaid, after Hepp le w hi te , 7 :64-6 5 stretc hers, 11:60 pauern s for , 10: I(~ 18 craftsman emulating, 8 :84-89 mes qui te-Englis h plan e, 8:54-55 kn ock-dow n , 9 :66-71 Tenons: double-stub , 7 :8 1 sideboard after, 7:89 proportions for, 7 :89 Norwegian, 9:66-71 Thomas. William : Russell , Bill:/allx-finished c hest hy. 10:$7 rectilinear, wi th ve nt ing c utouts . I I:62­ on parabolic legs, 6: ;8-60 auction prices hy, 10:51 Russel l. Jamie: 64 wancy-cdgc d tre stle, 7:68-69 bureau by, 10:50 about, 8: 109 after Ruhl mann, 8:88 corbels fo r, 7:60 , 6 1 Throop, Thomas: o n d rawer p ulls . 8:96 See also Credenzas. co rnices for,"Moo rish ." 7:3 1 about , 6 :115 on roJltop des k, 8:64-65 Silverware : Mac kint osh. 9:3 1 de milune , 6:54-55 o n armchair, 6 :68-69 Skidmore , William : design o f. 7:88 on ch air sea t. 6 :)0 2 S abo ut , 11:80 -desk. hublnga. 7:4R-49 on models, 6 :14· 15 Saarinen, Eero : furniture by, 6 :28-29 on hutch. 11:42-44 dining, Tilman, Raymo nd : lam p by, 7:26 Saarinen. Eliel: " Skirts : c urved . w ith inlaid beading, 9:8 5 aprons for. 10 :j 3 Tischler, Pet e r: Finnish ho use of , 6:29 Smit h , Greg B.: bases for. pedestal, 10:32 abo ut , 6 :115 furnit ure by, 6 :24-29 abo ut, 10:90 designing. 10:26-33 on bureau, 0:72 ·73 Sapele (Eutandrophragnut cyttnartcm nv: on side ca binet, 10:24... 25 elliptica l, 10:30-31 Trays: integral to tab les , 9 :67, 7 1 pommel, 7:82-83 Sofas : exte nsion , drop-leaf, 10:30 , 3 1 Turner, Peter: qualities of . 7:106-107 Federa l, 11:51 ex ten sio n , wit h leaves , 10:3 1 about, 7:113 so ur ces for, 7: lO7 Grecian-style, 7:86 extension , with mul tiples, 10:32 on bookcases. 7:50-5 1 Savage. J. Thomas: o n Holmes boo kcase , Spyk ma n , Gar}·J . \V.: gate-le g . ro und , 10:48, 50 finish methods of , 7 :23 8:40 abou t . 8 :109 rec tangular, spaces at, 10:28, 29 Turn ing : Saw ing: for ro ugh surface, 6:83 , 84 on fumed-oak fin ish , 8:22 room space and , 10:29-30 , 30 off-center, 6 :102... 10'::'­ Scarf joints: nibbcd vs. hooked , 6 :6 on wa ll ca binet, 8:56·57 ro und, sp aces at, 10:29, 30 scribing, 10:18 Schmidt, SCOlt : Stains : ro und , w ith veneer "slats," 11:46 story sticks for , 10: 18 fro m anil ine dye and o il-based sta in , about, 6: liS Sha ke r-style, 10:22 on finish . 6 :21 7:22 sq uare. 10:30 u table joinery by, 10 :86 See also Ammonia fumi ng . swivel-to p , 10:31 Univcrsitv of the Ans: on table, 6:83-8 5, 6:99-100 Stan ds : tr estle, designing. 1O:52-3 j c a n d l e , /a ll~'\"- fi n i s h ed , in Philade lp hia, Inst ructio n at , 8 :15 School for American Craftsmen: instruction 10:35 tr estle , pear-sycam ore, 9:52-53 Upho lstery: width of , 10:30 at, 8: 15 Federal, 11:5 1 fo r armc hairs, choosing, 10:58-59 music , w ith x-strctchers, 10:56 Schiirch, Paul: haircloth, 6:44-45 about, 7: 113 che rry, fre twork, 8 :52-53 dr essin g , afte r Huhlmann , 8 :86 source for, 10:59 sha fts"for. ad justab le. 8:97 l St h-Ce nt . stretche r, 7:47-49, 99 ·100 on bed. 7:57-59 , 100 Utsugi (Deutziu crenatav : pcgs for tansu Schriber, James: was h, Victo rian . w ith musical mot ifs, e nd , from , 10:4 abo ut. 10 :90 6:80-82 cherry, II :56, 57 8 : 5(~ 5 1 on pencil-post bed , 10:26-27 See also Cabi nets: -on-stand, Chests-o n­ glass-top ped . Screens: stand . Desks-o n-stand . Shaker-style, 10:22 v Stangela nd , Thoma s Ilugh : ex te nsion , J1:29 Van Beck um Pel cr: snojt. in alcove, 11:26 aho ut, 6:114 . wood-glass mosaic, 10:51 about. 10:90 game , pear and wa lnut , 7:72-73 on Sheraton armchair, 6 :44 -45 Scrihe rs: shop-made, 10 :16-18 bed by, 10:75 Geo rgian mot if, 6:36 , 37, 40 van Erp , Dirk: lamp by. 10 :71 Scribing : for reprod uct ions, 10 :I ()..J8 o n "cloud lift" motif, 6: 14 glass-to ppe d , 6:58-60 o n desk, 10:66-67 after Gree ne and Greene Brothers , Varnishes: See Finishes. Seats : Veneer: Danish cord, 9:42-43 Steel : 11:22-27 cabine t of, with c he rry, 9 :78 hall, bending. 6:103 wi th Shak er tape, 10:21,22,23, 10:43 of brass , 6:7D-71 Sec res t, Lorna : table of . w ith ma p le, 11:60-61 lacc\vood . 8:58-59 Stick ley, Gustav : mis sion. 7:60-61 c hamfe rs with, 7:67 abo ut . 7:113 he rringboned , in pa nels, 6 :76-77 on up holstered c ha irs , 7:70-7 1 cab ine t from , 8:56-57 heigh ts for, 7:86 , 10:34 hou se after, 11:22-27 library, with X-stre tc hers, 10:44-45 pic , on small box. 10 :47, 76-77 Secret compartments: over plywood. 11:35 behind cubbyholes, 7:78 See also Arts-and-C rafts style. night , Hiede rm eie r-vc nccred, 6 :76-77 Stools: pe des tal, rcsawing. for drawer fro nts , 6:35 Secretaries: of screws, in sleeves, 7:101 elli ptical shell-shaped, 10:50 ltbrarv, 6:64-65 Arts-and-Crafts style, 6:24 See aisn Benches. hooped , 6 :24 , 6 :78-79 substrates for , Federal, 11:52 Story stic ks: as pat terns, 10:16... 18 round, 6 :94 qu arter-sawn, 10:45 Salem reproduc tio n , mah ogan y, 7:44 ... forma lde hyde-free, 7: 107 46 Strawberv Ban ke: visited . 11:10-12 Shake r-style , 10:21 Streflcr , ~li c h a c l: w ith poor vs. good gra in matching, woven-slat effect in , 11:46 Selling: Videos: on measuring furniture , lO:18 bvauct ion . 10 :48-51 aho ut , 8 :109 6:30-31 pricing altitude for, II :60 on schrank , 8:75-77 proportions for, 7:87, 88 Servers: See Sideboards . String ing : rolling, II :57-58, 59-60 w de ntil . 6 :50-51 Sheraton. glove. design of, 8 :32-35 Sl"UCCS: Ph iladelp h ia conternporary, I I :6 Y \Vaals, Pet e r : chair b v, 7:4 1 Settles: See Settees. ho lly, 6 :72 , 73 sid e, wagan. Robert: Shak"er furn itur e maker. Seymour, Liz: on Saari nen, 6:24·29 Style : evolution of , 1O:2j hrass-inlaid , 6 :7Q..71 10:20-22 Shackleton. Charles: furniture sho p of, Styrofoam: Chi ne se , 8 :46 \Vales, Hod: chair by, 7:4 1 profiled,6:90-95 cu nt ng . with hot wi re , 6:103 Ch ip pend ale gothic. 8:8 1 Walke r. Mark: Shaffer, Gunter: glue for, 6:103 Chip pe nda le, 8 :79 about . 9:93 about. 7:11:\ Surface pr e paratio n: for figured wood s. sm all otaepocne. des ign of, 7:87 on tansu c hest, 9:40-4 1 on table , 7:68-69 9:14-15 ste el-and-ma p le, 11:60 -61 \Valke r, William : Shak er : Swanson, Jane: st retc he rs for , abo ut. 10:90 apothecary chest after, 8 :44-45 abo ut, 6:115 arc he d , 11:46, 47 on hreakfast se t, 10:;6-;7 furniture, maker of, 1O:2Q.2j on in laid table, 6 :70-71 wood selecti on for , 6 :34-35 caree r of, 11:56-61 Shaw,Jo hn: inlay after, 7:64-6 5 on me tal inlay, 6: 109 tave rn , 9 :38-.19 \Vall p;II1e1S: curved, venee red , 11:58 Shellac: for drawers, 8 :23 work by, mentioned, 11:69 trays fo r, integ ral, 9 :66-71 White. William : Shells : with re peat-pattern wave motif, Swe nsson. Carl: trestle , about. II :80 8 :32 ,35 abo ut . 10:88 ex te ns ion, 6:8.1-85 on crad le locks, I I:32 Shelves: on rocker , 10:404j extension , slide s for , 6:99-100 Wood mov ement: allowing fo r, II :64 glass , Szymkowicz. Co nrad : slatted and curved , 7:9 0 , 9 1, 9 2 Wolfsonian , '11e : type for, I I :74 auc tion prices of work by, 10:50 , 5J with tri angular motifs , 6 :86 traveling ex hibit from, 10:10 wood-framed. 7:62 , 63 tw o-d rawe r work . Sha ke r-style, 10:21 visited, IO:H-IO grids as, 9 :64-65 T work-, Fed er al, 11:52 See als o Desks: w rit ing. Legs. Stands: raised. to door-rai l heigh t, 7:62 , 6j Tables : y night. Tabletops. table, brass-veneered . 6 :70 ...7 1 aprons of , wood se lec tio n for, 6:34-j 5 Young , Ste wart: drawings hy, II :20

JUNE /JULY 1997 85 • furniture BY JOHN McPHEE stories Horns

If so meone like Daniel Boone had Palm er made pointy tenons to come into my grandpa re nts' house reinforce the horns from inside. The and hun g up his powder horn, he horns were from Texas, lon g and would have had a ve ry hard time short. He evidently had them shipped finding it when he was read y to leave. to him , and may have obtained othe rs Their house was a Philadelphia locally. He was working in a tradition Victorian at the edge o f the city, with that reached into the Middle Ages, a vestibule that led into a kind of had some mod est popularity in atrium-a squarish hall, in part a Europe in the mid-19th century, was sitting roo m, through which other shared by othe rs in America in his roo ms opened. You migh t not have time, and attracted no followers. noticed the ruby-glass window, the In the mill, j oseph Palmer also made coal-bu rning fireplace, the bookboards-the hard pans ofw hat grandfathe r clock, the stairway are now called hardcover books. He be nding aro und the clock, because so ld them to Charles Ziegler, my great­ the furniture in that most trafficked uncl e, who owned Fran klin Bindery, pa rt of the house-the American box and whose best custome r was the se ttle, the library table, the so fa, the j ohn C. Winst on Book and Bible clo thespole, and miscellan eou s Company, where my grandfather Will stools-had been lovingly made with Ziegler was second in co mmand. such a liberal use of cattle horns that Winston was said to publish more the vestibule, atrium, and front parlor horns. A clothespole that had horns bibl es than anyone else in the co untry, had the combine d effect of a co ming out of it like spines from a and at the other end of their list was co nde nse d stampede. cactus was just inside the atrium door. my grandfather's specialty, the In a chair beside the arch to the All these pieces were made by hardcover equivalent of the newspaper dining roo m, my grandfather sat in j oseph Palmer, a farmer at Doe Run, extra, now known as the qu ickie. In the evening, reading the Evening 35 miles west of the center of 1912, he published a book on the Bulletin . The legs of the cha ir were Philad elphia, wh ose daughter Laura Titanic while the bubbles were still cattle horns, tips down, touching the was my moth er 's mother. His farm numerous and the ice had yet to melt. floor. There were no armrests, but was all-purpose, self-sufficient, with He would have been sitting in his behind his head and shoulders was an horses and co ws and cannable crops, chair, supported below and behind intricacy of multiple ho rns. Text to a smo keho use, chicke ns. Doe Run by two doz en cattle horns, whe n he him was the library tabl e, its two was dammed to reserve the water that read that the great ship went down. levels separated and supported by turn ed the wh eel of the mill. j oseph Being a publisher, he naturally kept a horns, its four legs concatenating so Palmer was, amo ng many things, an pair of pearl-h andl ed .44-calibre Colt many horns that they looked like energetic woodworker in various Peacemakers in a velvet-lined box growing ba nanas. Across the back of ge nres. Who knows how he became upstairs, but eve n they, in the the sofa in the front parlor were tier interested in horn furniture, but it was persistence of memory, are no match on tier of horns. In the vestibule was at least by 1892. wh en he made that for the horns-the fun ctional horns, the Ame rican box se ttle with a mirror Evening Bulletin chair as a wedding the decorative horns, the functional­ above the bench and protruding present for his daughter Laura and her decorative festoons of horns. horns running up the tw o sides and husband, j ohn Williamson Ziegler, John McPhee is the author of24 books of across the top. You hung yo ur hat, wh o gave me the j ohn and was called nonfiction; his latest is the collection of essays your sca rf, yo ur powder horn on the Will. mahogany,joseph Irons in the Fire (Farrar, Straus and Girou x).

86 HOME FURNITURE Drawing : Rob ert Andrew Parker FROM THE P UBLISH ER S OF HOME FUR NITUR E

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READERSERVICENO. 74 READER SERVICENO . 119 hGme· lIillrlliture

Some of the pieces featured in this issue: