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In Issue #6 of Festool Heaven, Our Sticks In The Mud (SITM) tipster Jim Randolph and our Down To Earth Woodworker (DTEW) Steve Johnson got into a discussion over which is the best Festool Track Saw, the TS-55 or the TS-75. We’re not sure who won the argument, but they both scored some pretty good shots. We just hope they’re still friends after this!
In the recent Don Weber “Build a Welsh Stick Chair” class/video shoot, Don brought some pre-bent arms for us to use, simply to make things move along more quickly (filming a woodworking video is sometimes like filming a cooking show – some parts are prepped ahead of time). But he did bend a couple on camera, using a simple and inexpensive steam box setup, made with items you can easily […]
|0330 this morning|
|the other side|
|what I saw tonight|
|ready to finish cleaning|
|#8 chipbreaker is the first batter|
|best I could do|
|this side was completely rusted at one time|
|final clean up|
|this was badly rusted at one point|
|smooth as a baby's butt|
|#4 iron before shot|
|other side before shot|
|the after shot|
|the 2nd after blurry shot|
|this bevel edge is chewed up a bit|
|the other #4 iron|
|will it work on the screw?|
|it is making shavings|
|someone before me did this|
|it fits now|
|computer desk stock|
We are supposed to get a snow storm tomorrow. 1-3 inches falling from about midnight until dawn. Then a break and 2-4 more inches ending around noontime. Sounds like lots of fun.
What player restriction is in effect in both polo and jai alai?
answer - no left handed players allowed
Today, I was having a conversation with one of my customers about spraying a conversion varnish (Krystal, from M.L. Campbell) and the problems he was having with getting it to lay down nicely after it was sprayed. He said that he applied is wet enough to blend together and not be rough, but that he had a lot of orange peel in the finish. After discussing the possible causes of the orange peel it became obvious that he needed to add lacquer thinner to the mix, which he did not do.
This customer is new to spraying conversion varnish, which is a two-part mix that sets up and hardens chemically like epoxy, forming a super durable finish. The information on the can talked about the 10:1 ratio of finish to catalyst, but apparently didn’t mention a thing about thinning with lacquer thinner, so he used none. Even if it was mentioned, I assume that he was worried enough about getting the ratio correct (click here to learn how to easily get the proper mixing ratios) and not messing up the mix that he never imagined he could, or even that he should add lacquer thinner.
In this case, my customer was getting orange peel because the finish was too thick for his two-stage turbine. The kids at the finish distributor led him to believe that he shouldn’t need to add thinner, but they did not ask about the power of his spray equipment, assuming that he probably had a turbine strong enough to finely atomize the finish without thinning.
I continued to discuss the need to add thinner with my customer, and pointed out that a non-thinned finish requires more turbine power than he currently has. If he owned a 4-stage or 5-stage turbine, he could probably use the finish without thinner, but not with just a 2-stage. I speak from experience on this one, because my everyday gun is an older 2-stage model, and it requires at least a bit of thinning on almost everything I spray. I am okay with this apparent shortcoming because I am a proponent of applying multiple thin coats, as compared to fewer thick coats, which I believe are just inviting trouble.
As our conversation continued, he asked the million dollar question, “How much lacquer thinner do you add?” For me, the simple answer is, “Until it sprays good,” which is very ambiguous I know, but true. I have an advantage because I have sprayed more than him and I have an idea where I am headed, but I don’t truly know until I shoot a sample board with it and see how things are flowing (which I do every time before I spray the real thing). I spray a sample piece of wood standing up vertically to make sure that I can get a fully wet and flat surface with no runs or sags and to get a feel for how fast I need to move the gun to make all of that happen. If the sample surface looks good, I move on and spray the real thing. If I have issues, it is usually because the finish is a bit thick, so I add lacquer thinner until the finish sprays smoothly without orange peel and without runs.
Another, more technical way to determine the correct amount of thinner is to use a viscosity cup. A viscosity cup is shaped like a funnel and determines how thick a fluid is by the time it takes to empty the cup. A thin fluid will empty in just a couple of seconds, while a thick fluid might take 30 seconds or more. When I started spraying and used a viscosity cup, about 15 seconds was the right amount for my gun, but it will vary from gun to gun. When learning to spray, I recommend using a viscosity cup and to follow the manufacturers recommendations. If nothing else, this will give you a good starting point from which you can make later changes and have a way to achieve consistent results. After you spray for a while, there will be less mystery, and you will know from one test shot what needs to be adjusted, even without the viscosity cup.
When my customer asked about adding lacquer thinner, I know he was worried about possibly adding too much, and after thinking about it, I don’t know that you can add too much. I can follow the logic that adding too much thinner may change the chemistry, but I mix the 10:1 ratio of conversion varnish to catalyst first and then add the thinner, so there should still be the same amount of resin and catalyst, just with more space between them, in the form of lacquer thinner which will quickly evaporate and let the two parts do their thing. Even with other lacquer products, which includes sealers, nitrocellulose lacquers and modified lacquers, I can’t think of any time that I have ever had a problem because I added too much thinner.
I’m sure finish manufacturers would disagree and warn you to not be so cavalier about it, but I sure wouldn’t worry about adding too much thinner. Simply add enough thinner until your spray gun is able to apply a nice, even and wet film that flows out flat and dries without sagging. Even if you do mix it a bit thin, feel confident knowing that you can always compensate by moving more quickly or reducing the amount of fluid coming out of the tip of the gun.
I only have a few photos for this post – I was too busy to shoot much…
I just got back from teaching two classes at North House Folk School in Grand Marais, Minnesota. http://www.northhouse.org/index.htm Being thrown into an immersion experience like that at North House reminds me of my beginnings at Country Workshops in the 1980s.
One focus at North House is community, and it is quite palpable. The legendary pizza night, centered around the large wood-fired oven, and finely honed through years of practice is a memorable experience. The classes I was there to teach were part of “Wood Week” which as you can imagine means all the classes offered that week (8 in all) were woodworking. Other disciplines at North House include fiber arts, blacksmithing, food, boatbuilding and more.
All the students in my first class were named Tom. I think. Made it easier…
With three classes at the first session, and five the next, there was no shortage of inspiration, nor of comrades. The evenings were spent in large and small groups exploring spoon and bowl carving, looking at and trying out new tools, techniques, benches and materials. It seems that almost everyone (except me) also plays a musical instrument, so the spoon carving circles were on the periphery of the old-timey music circles. There was much overlap. The best nights ran much later than I could handle.
All the while, Lake Superior was right there, outside the shop windows, and lapping at the courtyard between the buildings. It’s a pretty big lake, I hear. Looked it.
I’m liking these large-group gatherings. Last year I went to three of them, Greenwood Fest in Plymouth, Massachusetts, Spoonfest in Edale, UK and Täljfest at Sätergläntan in Sweden. This one had a smaller crowd, but that lent it an intimacy that was nice. I still missed stuff – I got no photographs of the other classes, and few of my own.
Tom Dengler kept distracting me with his woodenware:
one of the oak carvings the students did…
I caught up with some old friends, and made some new. Like the other events, this one is run by many hands, including a group of young interns. Nice to see these young people exploring some type of creative outlet involving natural materials. There were a smattering of young people in the classes too, but no group gets higher marks than Spoonfest for adding youth and women to the woodworking community.
These creatures were more common than squirrels.
I had a day off early on, and took a long walk in a state park about half-an-hour away. If this tree were closer to the school, someone would have nabbed it by now…
North House is celebrating their twentieth year – get on their mailing list so you can be a part of their 2nd-double-decade.
Some of the many people there, apologies for not including everyone – there was a lot happening:
Jarrod Dahl, https://www.instagram.com/jarrod__dahl/
Roger Abrahamson, https://www.instagram.com/rogerabrahamson/
Fred Livesay, https://www.instagram.com/hand2mouthcrafts/
Phil Odden & Else Bigton http://www.norskwoodworks.com/
Dawson Moore https://www.instagram.com/michigansloyd/
Tom & Kitty Latane https://www.facebook.com/thomas.latane
Tom Dengler https://www.instagram.com/twodengler/
Although I have attended the Colonial Williamsburg Working Wood in the 18th Century conference many times, this year was my first as a speaker. I was asked to present the topic “Wax Finishes” which I did. Alas, my time slot was only 45 minutes, which in retrospect pretty much everyone agreed was too short by some logarithmic value. Still I did my best to rip through the basics at breakneck speed.
As with virtually every finishing talk I give I began by covering my “Six Rules for Perfect Finishing.”
I then blew through the topics of surface prep with a scraper and then a polissoir. Truly this step has revolutionized my understanding and practice for finishing.
Then came the application of block beeswax as a grain filler and final finish, worked into the surface via vigorous rubbing with the polissoir, followed by scraping to remove any excess, and finally by buffing with a flannel.
I showed, all too quickly, the incorporation of both resin flour and powdered colorants to the beeswax grain fillers to impart either hardness or coloration.
Finally I approached the problem of voluptuous and carved surfaces, employing the boxwood burnishing stick and the polissoir, with impressive results given the few seconds I had in hand.
I got excellent and encouraging feedback, and the CW folks must have liked what they saw because I have been invited to return in the fall for three days of in-house hands-on training for the cabinetmakers, gunsmiths, and housewrights on the topic of historic finishing.
In Part One, I introduced the Laguna IQ 24″ x 36″ CNC. Below is Part Two of the video review. Conclusions I’ve had a Laguna IQ in the shop for a few weeks and put it to use on a variety of projects from part cutting to 3D carving. Like all the machines in this the class, I expected that the design, choice of components and solid construction would give […]
The first woodworking hand tools that I ever purchased new (intended for furniture making..) were from Traditionalwoodworker.com. I ordered a marking gauge, and if I remember correctly, a 1/2 inch chisel and a mallet. I still have those tools and they work as well as the day I first received them. As time passed, I ordered more tools from Traditional Woodworker on occasion and they always seemed to me to be a good company to deal with.
So yesterday evening I went online to order a large auger bit (oddly, not for a woodworking project in the furniture making sense) and one of the places I checked was Traditional Woodworker. Let me correct that, TW was one of the places I attempted to check, because I could not find the web page. I did some more checking and I could not seem to find any indication of the site being changed, or revamped, or simply shut down. Furthermore, I checked some forums and for the time being nobody else seems to have heard anything one way or the other, either.
So I’m writing this brief post just to see if any body has heard any information regarding the whereabouts of the Traditional Woodworker online tool store. My searches have turned up absolutely nothing. I’m hoping that somebody out there who happens to see this post may have heard something and if so, could please let me know what you turned up.
Last week I was in the shop and a friend had to reach a skosh farther into a cabinet than he anticipated. The screw he was after was just beyond the reach of his drill/driver and its magnetic, bit-tip holder. I had a longer holder, but it was clear across the shop in the cabinet – that was at least 20 feet away. (Sad, huh?)
What I had within reach, however, was a second short, bit-tip holder.
This post disappeared from my site while it went into hiding. Here it is again for those of you who missed it.
Welcome back to JNSQ woodworking. Here is hoping that we will continue to share woodworking banter and ideas in 2017. This past weekend was my first back in the shop and it was a real joy. Much like 2016, my two main projects to focus on will be this so called “second commission” and the table for the shebeen.
I will now report on the work done since our previous update in October of 2016. As usual just a quick reminder of what we are aiming for. A few shots of the model I built while developing the design.
Something that I omitted to illustrate in the previous post is the techniques that were employed to ensure that the spindles end up with zero splay. The first method makes use of a device that we shall call the Tambotie gauge (as I used a small Tambotie off-cut to create this fantastic piece of equipment).The Tamboti gauge consists of an appropriately sized off-cut clamped to a square.
While reaming the mortises for the spindles you might remember how I made use of a stick with an appropriately sized tenon to check the rake angle.
The Tambotie gauge is used to check that there is zero splay by comparing the gap between the Tambotie off-cut and the spindle on both sides, as referenced off the side of the beam with the square. In this case the spindle is leaning ever so slightly towards the right.
Second of the two strategies again involves a highly complex jig that takes hours to build and set up. I clamped a winding stick to the side of the beam to check wether the spindle (positioned in it’s mortise) runs parallel to it, i.e. zero splay.
Once all eight mortises received this treatment it was time to test how the assembly would fit together. As you can see it came together nicely.
It is probably important to report on the stuff-up I made while drilling the pilot holes for the mentioned mortises. You might remember that I drilled one of these holes in the wrong direction and suffered from a Panic Attack subsequently. The solution I came up with was to turn a dowel of the same wood that fitted the hole perfectly and glued it into place. The hole was then drilled in the correct direction and the picture below show the result. There was only a small strip of the plug visible after drilling the new hole.
After reaming out the mortise there was no evidence left of the blunder on the surface that would be exposed to critical eyes once the tenon gets glued into position. In the pictures below you can however see the edge of the plug inside the hole. Eish, that was a close call. Woodwork has a way of keeping you grounded, isn’t it.
As these tenons run all the way through the beams, I decided to also wedge them. Here I am widening the mortise on the exit side to accommodate the wedges. I recommend reading Peter Galbert’s seminal work “Chairmaker’s Notebook” on how to orientate these spindles and wedges.
Next up I had to camouflage the laminations with a few carefully placed beads before glueing up the leg.
I used my pre-1900 no. 66 Stanley beadingtool, which I restored quite some time ago. It takes elbow grease beading such incredibly hard wood, but it is very satisfying nonetheless.
I think it accomplished what I intended as the beam now looks like a solid piece of timber.
The tenons were then prepared to receive the wedges.
Made some wedges …
… and prepared for glue-up.
I used a combination of mallet blows and clamps to coax the spindles into position.
Once they were seated to my liking the wedges locked them down for ever (I hope).
This is how the Windsor leg spent it’s December holidays, resting on the assembly table.
This past weekend I continued my assault on the so called Windsor leg. I clamped it to the trapezoid leg and used the latter to mark out the final shape of the former. This way they are exact copies of each other in terms of measurements.
My daughter Aoife helped me to make the necessary cuts using my Miller’s Falls Langdon Mitre Box no. 75. It was quite a tricky operation given the awkward shape and size of the leg , but the Langdon made cutting the 9º angles straight forward.
One day the student will become the master.
The next big drama will be the third layer of wood that needs to be added to the trapezoid leg. I selected a good Witpeer (Apodytes dimidiata) board that ran pretty much through the centre of the tree and made a cut lengthwise along the pith. This gave me two quarter-sawn pieces. From these boards I then selected appropriate 800 mm chunks for re-sawing. The idea with re-sawing is to created a book-matched pattern to the inside of this leg. This layer only needs to be about 8 mm thick to get the total thickness of the leg up to 44 mm, which fits perfectly into my ratio of 22:44:66:88 mm (thickness) for the various parts of the table.
You will notice the two strips of Kershout (Pterocelastrus tricuspidatus) on top of one of the piles of re-sawn and planed stock. We will use those to create a type of depth confusion for an observer viewing the table from the Windsor leg’s end. This will hopefully enhance the effect of an construction that defies gravity, but you (and unfortunately I) will have to wait until the next post to see how this works or possibly not?? Here’s hoping (that it works, that is)!
|what I ordered|
|mating irons waiting for the chipbreakers to be cleaned up|
|bevel on the other side|
|two #4 irons|
|40 minutes later|
They are all sanded down removing all visible rust. The only one I didn't have to do was the #4 chipbreaker on the far right. This one looks like it has been blued. They are all going into the citrus bath, blued or not.
|hot water and 1/4 cup of citrus acid|
I forgot one thing and that was the chipbreaker screws. I checked my stash and I only have one and I need two more. I'll have to order them from nh plane.
|a for me at work project|
This is as far as I got on this tonight. Cleaning up the plane parts took a long time to do. I would like to get something done so I can take it in on saturday and road test it. I'm sure I'll have to adjust the measurements on some of this.
|rearranged the parts|
Who was the first woman to serve as the Grand Marshall of the Tournament of Roses Parade?
answer - Erma Bombeck
This will not be a typical review of each tool but rather a listing of the pros and cons to help you make an informed decision when purchasing one, or both, of the calipers.
The topics of United States clamp manufacturing and hardware hoarding might seem unrelated, and many of you will certainly think that they deserve two separate entries. In this story, however, I will try to show you how they can be “clamped” together quite successfully. Recently I decided we needed to add a few more clamps to the woodworking program at school. I wish we could have bought some domestically made […]
The post Demise of U.S. Clamp Makers & A Defense of Hardware Hoarding appeared first on Popular Woodworking Magazine.
Mitre Planes and the Finest of Mouths: Why? What Evidence? What to Look for When Shopping for Mitre and Shoulder Planes
One of the crappy things about using old planes is that a tremendous percentage are worn out. A steel mitre plane (or "infill" to use the modern phrase) unless made by a modern maker will probably be at least 150 years old. Norris, Spiers, and a few other makers continued making mitre planes up until the mid twentieth century but those are rare beasts. The average mitre plane you come across will be pre 1850.
Rotten wood can be replaced, but the most important feature of a mitre or a shoulder plane is a fine mouth. And not just a kind of fine mouth, the finest of mouths, especially if you are using the plane on end grain. The planes in the picture have mouths (with the irons withdrawn) ranging from a fat 1/64" to a fat 1/32". That's very fine.
Let's talk about fine mouths for a second. First of all it is pretty well understood that a super fine mouth on a smoothing plane breaks the shaving and reduces tearout. All well and good. But what about mitre, shoulder, and block planes? All of them are bevel up and used primarily for planing endgrain. Certainly there is no need for a fine mouth if the shaving is endgrain and will disintegrate on its own.
So why do unaltered historical examples of mitre and should planes have such extremely fine mouths?
There are two dimensions that concern us: the open space from the front of the blade to the lip of the throat - the effective mouth. And the absolute mouth opening when the blade is removed. As you can see from the photographs the mouths of these planes - a late 18th century mitre plane and a C. 1920's Norris shoulder plane are ridiculously fine and I would say this is typical of any infill in good condition that I know of. You do get planes that are worn out, planes where someone has widened the mouth, but for any infill plane in basic decent condition a very fine mouth is to be expected.
As we've stated before, planing endgrain doesn't require a plane with a fine mouth, but there are two very important reasons for having a fine mouth, especially when planing with a bevel-up plane.
Extending the iron sole of a plane as far as possible under a bevel up blade gives the blade more support and makes it less likely to chatter. Steel-soled planes can do this easily, but cast planes can't - unless they have a steel sole (like the shoulder plane in the picture). With a bevel down iron, there is a lot of support in the blade to prevent the very tip from bending and chattering. On a bevel up plane, on the other hand, the iron wants to bend and chatter around the edge of the sole. The more support the sole gives the iron, the more strength the iron has at the cutting edge -- and the better the plane will work. Cast mitre planes, by the very nature of a casting, cannot get as close to total support as a steel-soled dovetailed plane, where the steel sole can taper to a knife edge.
Controlling the cut:
If you are planing endgrain, especially if you are holding the plane in one hand and wood in the other, and you hold the plane perfectly against the wood when you start your stroke, you can determine the exact thickness of your cut by setting your plane iron. But if you are even slightly off and the plane is tilted on the wood, your shaving thickness will increase depending on the size of the plane mouth. The second drawing shows an exaggerated example of this. The practical effect of this is that you try to take a fine shaving and your plane jams, skids off the end, and takes an uneven chunk off the edge. Worse, you can damage that nice low angle cutting edge on your iron. A very fine mouth mitigates this and makes the plane easier to use, even if you aren't perfectly sitting on the wood. There is simply less space for the wood to jam into.
Left to right: Christopher Gabriel - late 18th century, Norris 20E shoulder plane in nearly unused condition, I Smith - Mid 19th Century
These points are small and minor. I understand that. But I get frustrated when someone compares the performance of a worn out 200 year old plane to an new modern plane, possibly of a lesser design. If you are in the market for a mitre plane, or a shoulder plane, make sure the overall mouth is minuscule. Also make sure that the iron and wedge match the plane. It's not at all uncommon for an old infill to have a replaced blade and/or wedge. Just normal use can cause this. Mitre planes had tapered irons and the original iron and wedge would have been fitted together so that you get continuous contact on the bridge. When properly fitted, the iron will set properly, hold its setting, and be easily adjusted. An ill fitting wedge just won't work right. If a parallel iron had been used to replace what was supposed to be a tapered iron, you will never get proper action without adjusting the wedge. Depending on circumstances, you will probably have a replacement iron with the original wedge. If you do and they don't fit, just put the original wedge in a safe place for when you resell the plane, and make a new wedge. Most shoulder planes used parallel irons so any replacement should fit it properly. Check before buying.
Many bevel up planes have cosmetic issues that don't matter, including damaged wooden parts (easily replaced) and misaligned wedges (easily adjusted). But - unlike a bevel down plane - bevel up planes with wide mouths can't be fixed with a thicker iron. You might like the feel of the plane but it won't get the action you would have gotten two centuries ago. Flattening a sole of a bevel up plane can easily, accidentally, widen the mouth. The steel sole behind the blade forms a knife edge and can be damaged. Unlike cast planes which can easily warp over time, steel planes stay pretty flat. A few pits and dings aren't worth worrying about. I would stone down any raised dings, but otherwise leave the sole alone. Before you try to flatten anything see how the plane works.
You might already know that Je Ne Sais Quoi Woodworking almost disappeared into thin air, but alas it was revived albeit still in rehab. One day in mid January my site just vanished and it took days of work by the IT guy who set it up for me and my wife to work out what happened. I really do not want to go into the details of the traumatic event, suffice to say that it was an unsavoury experience.
I would also like to apologise to those who were looking for JNSQW and not being able to find it. A special thanks goes out to my two special blogger friends in Jonathan White (The Bench Blog) and Bob Demers (The Valley Woodworker) who tried to keep my spirits up. They both gave me lots of advice on how to solve the problem and prevent it in future. Thanks gentlemen.
What I have learnt though is that I do not know enough about the technical aspects of websites, wordpress, backups etc etc. I have now made it a mission to first get a better understanding of these vital bits and pieces. At present I am working through a series of videos on how to use wordpress in the best possible way and trying to work out how to optimize my photos before uploading it.
Another thing I realised is how much the blogging has become part of my life and therefore how much I missed it when the site went into hiding. I want to try and hang onto that thought to ensure that I appreciate being able to do it more and hopefully try to improve the quality of my posts and site. One of the tricks I have discovered so far is how to make time-lapse videos and post it on the site. Here is one to wet your appetite.
At least you can now look forward to quite a bit of material that heaped up in the meantime, which I now have to publish to get back on schedule. The two tables I am working on have both evolved significantly since my disappearance. It is wonderful to be back and I look forward to engaging with all of you on woodwork topics yet again.
Viva Je Ne Sais Quoi Woodworking!!!
|how I left them last night|
|LN flattening of the backs|
|99 making wispy shavings|
|98 making not so wispy shavings|
|10 strokes on the 8K|
|followed by 20 strokes on the strop|
|what a difference|
|the depth was a bit tricky|
|left hand dado|
|did the same on the right dado|
|box is too big for them|
|I'll keep them in original cardboard box for now|
|sawing off my test moldings|
|I'll save these|
|one down and one to go|
|too thin for the box|
|one board is wonky|
|I can get another board out of this|
|more than long enough for the front piece.|
|a tale of two mechanical pencils|
I switched over to the papermate pencil and I have been pleasantly surprised by it. It is a thinner lead pencil and it seems to be more robust than the crappy Bic. I haven't had any problems with the lead breaking at all. I can advance or retract the lead by turning the bottom of it. So far a much better pencil for not much more money than the Bic.
|sawn to rough length|
|had to remove some twist from this one first|
|scrubbed it close to the gauge lines|
|sawed the knot off first|
What was the first sport in which women were invited to compete in at the Olympics?
answer - tennis at the 1900 games in Paris
A Morris chair is an early type of reclining chair. The design was adapted by William Morris’s firm, Morris & Company, from a prototype owned by Ephraim Colman in rural Sussex, England. It was first marketed around 1866.
Morris chairs feature a seat with a reclining back and moderately high armrests, which give the chair an old-style appearance. The characteristic feature of a Morris chair is a hinged back, set between two un-upholstered arms.
Morris chair is a fairly flexible term. If you add the word Style, it becomes positively elastic.
Below are two from a recent auction. The first is considered a traditional Morris chair:
Morris Style Reclining Arm Chair
Description: Circa 1900, mahogany and pine, transitional mission style frame, later paisley upholstered cushions.
For some reason the auctioneer listed this under Furniture – English and Continental.
It has a robust back adjust mechanism:
The other is more of the “Mission” or the “Craftsman” Morris chair. This one is listed under Furniture – American:
Morris Style Reclining Arm Chair
Description: Circa 1900, later blue upholstery, oak frame, adjustable back with iron support bar, raised on shaped feet.
This back adjustment seems a bit less robust:
The content of this blog feels a bit light. I am obligated to add a few more chairs from the same auction. Third up is this chair just ready for you and your designer to make your own:
Queen Anne Wing Back Chair Frame
This lot has sold for $310.
Description: 18th century frame, oak and other hardwoods, with later front cabriole legs.
One way to get rid of all the vermin in your horsehair stuffing.
And one last chair to round things out. Or, in this case, a pair of chairs:
Pair of Transitional Carved Arm Chairs
This lot has sold for $400.
Description: Early 20th century, mahogany, floral needlepoint over upholstery, bowed arms terminating in eagle head, legs with acanthus carved knee and ball and claw foot.
One of a pair, the other looks just like it.
What really amused me about these chairs are the carved arms:
In Part One and Part Two of this series on small shop CNCs, I introduced machines in this group that are designed to perform well in home and small professional shops. What they have in common is the size range and their engineering, design, components, specifications and build. Now, it’s time for a closer look at one of the machines and a review of the Laguna IQ. There’s a lot […]