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Wednesday, April 1, 2015

Plastic Injection Molded Chair (2014)

The Completed Chair
The Plastic Chair. It is everywhere. Gracing the lawns of America. Trainspotters in Sandy Hook, Maryland keep their soot covered chairs close to the tracks. Every Metro stop in Potomac, Maryland has a plastic courtesy chair probably placed by a good Samaritan. New, old, clean, dirty, broken, whole, they are everywhere.

Tracing the history of this ubiquitous piece of furniture in the minds of some goes back to the mid 20th century. Going back further two distinct ideas were formed that later coalesced. The first was the formed chair.

This innovation can be seen as far back as the mid 19th century, in the furniture of John Henry Belter of New York, NY. Belter created the backs for his chairs by laminating veneers of Rosewood over a shaped form. after the glue had set, the laminations retained the form. Belter would also turn the orientation of the laminations to give the backs strength, In essence creating the first plywood (although out of much fancier woods than used today.)

Below is an example of the formed back of a Belter chair:

Here is a link to a Belter chair I worked on a few years ago:

http://johnmarkpower.blogspot.com/2012/10/john-henry-belter-rosalie-pattern.html

The other idea that ultimately lead to the plastic chair is the chair that can easily be mass produced. One of the first prominent attempts at this was the chair made by Michael Thonet. His bentwood chair relied on steam bending components over a form to create the lines and structure of the chair. Every part of this chair was shaped over a form to create the shape that has become Iconic. Below is an example of Thonet's Design.





On to the 20th Century, Charles Eames worked with laminations of Rosewood and Walnut to create what is now known as the Eames chair, taking a page from the earlier work of Belter. Also, Eames and other designers were working with plastics to create a chair that could be comfortable and mass produced. An example of Eames plastic chair is seen below.
 This Example, by Eero Saarinen, shows a plastic chair throughout. This was probably reinforced with metal in the wine stem base.
 The Danish designer, Verner Panton created this chair using only plastic and the process of injection molded chair.
 In July of 2004,



The chair was very loose and needed to be tightened. Because of its shape, several different clamps needed to be used.

After the clamps were removed, The chair was cleaned with a little water, and was ready for delivery. Below are a few photos of the restored chair in all of its glory.


In researching this article, I found the following photo on Facebook. This one goes out to all the Bostonian readers of the blog:
I hope you have enjoyed this post about the plastic chair and all of its various influences and the next time you sit in yours, think upon the many hands and minds that worked towards that fine piece of furniture.

Happy April Fools Day from all of us at John Mark Power Antiques Restoration!


Tuesday, March 24, 2015

A Great Bow lathe Video

A friend sent me a video today I thought I would share. It is of a Moroccan wood turner using a very old style of lathe called a bow lathe. Essentially, The lathe is powered by a bow that has a string wrapped around the blank to be turned. One arm serves as the power source while the other holds the turning tool. The foot is used to control the cuts. This is all done in a seated position on the ground. This is a much different approach to turning than most of us are accustomed to and one that has always fascinated me. Watch how quickly and efficiently he turns this captive ring piece of jewelry in the video:


The video was originally uploaded here:

http://www.saddlebackleather.com/latest-news/March-Newsletter-2015?utm_source=Master+List&utm_campaign=228be7b05b-March_Newsletter_20153_24_2015&utm_medium=email&utm_term=0_066599646b-228be7b05b-142404397&mc_cid=228be7b05b&mc_eid=110f27faa7

Here are a few other photos and drawings of the bow lathe in action.



This is truly fascinating to watch and I felt like I had to share this!

Wednesday, March 4, 2015

Pennsylvania Chippendale Tall Chest ( ca.1790)

 
The Completed Chest

I recently got an interesting piece into the shop. I really did not do that much to it, but I thought it had a lot of different points of interest that were worth sharing. The piece is what is referred to as a tall chest and was probably made in Pennsylvania in the last quarter of the 18th century. Chests like these were made in that region at this time and several characteristics led me to recognize it as a Pennsylvania piece. 

The chest consisted of three short drawers at the top. Below was a set of two short drawers. Below these were four long drawers. All of the drawer fronts graduated nicely and consistently from top to bottom. I make note of the drawer configuration because it is seen in other contemporary tall chests from Pennsylvania. Walnut was used as the primary wood and Oak and pine were used as secondary woods. There was the presence of Poplar in one drawer and in the back, but I feel that in both instances the wood was used in a repair setting and was not original to the piece. Poplar is not unheard of in Pennsylvania furniture, but the other two woods are often seen as secondary wood choices.

This piece has seen several alterations in its day. The feet would have originally been ogee bracket feet and evidence of the original feet was found on the piece. At some point these feet were replaced with taller cabriole legs that are more consistent with a high boy. These feet are not original, but were hand made and at some point attached to the chest. I suspect that the crown and base molding were also replaced at some point as well.

The other alteration to the piece was that at one point it was cut in half and reassembled. The cut must have been made poorly because there was a patch on either side of the case running front to back which was about 2 inches wide. I thought the case had been altered at some point or assembled from two pieces, but in the end, I think it was cut in half to get it in a room and reassembled in place. This was not uncommon as these pieces came down through generations and moved from house to house. Here is a link to an appraisal of a Pennsylvania tall chest on Antiques Roadshow that had a similar procedure done to it:


Below is a photo of the chest that I took when it entered my shop.

One of the things I was hired to do was to clean  the existing finish. To do this I needed to remove the hardware. I knew by looking at the piece that the hardware was not original. this was confirmed when it was removed.

Below is a photo of an escutcheon hole. The original escutcheon is seen inset in the drawer front. Around it is the shadow of a Chippendale style escutcheon plate that was on the piece.

When I removes the pulls I saw this ring around the post holes. This would have been made by the back plate for a rosette pull, which may have been the original pull on the piece.
One of the most interesting features of this chest was the presence of intact "Quaker" or "Spring" locks. Quaker locks were used in lieu of mechanical locks on the upper short drawers. The way that a Quaker lock works is that there is an access hole in the dust cover below the drawer that has the lock, large enough to put your finger in. One of  these holes in shown in the photo below.
Directly above the hole is a board nailed into a inclined recess on the drawer bottom. The board is flexible and can be pushed up. When it is in place, the end grain of the board pushes against the back side of the drawer divider, preventing the drawer from opening. when a finger pushes the board up towards the underside of the drawer bottom, the end grain of the board clears the drawer stretcher and the drawer opens. Basically, to open the drawer above, you need to access it by opening the drawer below. In theory, one could put one mechanical half mortice lock on the bottom drawer of a chest and lock the rest of the piece with Quaker locks. In this instance, the short drawers were locked with Quaker locks, while the four long drawers had mechanical locks.

Back in the day, The ability to lock your furniture was important, and often the only way of securing the contents. Mechanical locks were expensive and also a commodity that needed to be bought in a city center. These Quaker locks were and affordable and easy to manufacture lock that in this case saved the expense of five locks. Below are a few photos of the Quaker lock on the underside of one of the drawer bottoms.

The chest had sustained water damage on one side. The finish was not original to the piece so I removed it and replaced it with a new finish. Below are some photos of the water damage. It is seen as the light streak going down the case side. This was where the finish had peeled off of the case entirely.

As stated above, the case had been cut in two at some point. It was later patched as seen in the photos below.

To remove the finish from the side I taped off the molding as seen below.
I then removed the finish and sanded the surface lightly to remove any finish residue.
This next photo shows the case side with a few coats of shellac on it. It took several coats to match the sheen of the rest of the case.

Three of the four replaced feet were loose and needed to be tightened. The feet were attached to a board running front to back on either side of the case bottom. They were attached with beautiful dovetails that I cleaned and reglued in place. because the joinery was tight, I put the piece on its feet and let the weight of the case work as a clamp as the new glue set. Below are a few photos of the legs removed from the case.



One of the nicest discoveries about this piece was the presence of a signature. It was boldly (and largely) written on the back of one of the long drawers in chalk. after looking at it for some time I believe it said "Tho. V Downing", although I believe the V was not meant to be part of the signature. The last name of Downing was the clearest part of the signature. The first name was a lot less clear. here are a few photos of the signature followed by a cropped photo that I manipulated and reversed to try to get the signature clearer.




In addition to the signature, there was a lot of math written out on the interior face of a back board. Pencil and Paper was a precious commodity in the 18th century. It was far cheaper to write on what was at hand.I find myself writing notes on scrap pieces of wood all of the time. While none of the math was legible, there was quite a bit of it. either it was the equations that worked out the dimensions of the chest, or maybe it was some accounting work! Whatever the reason was, it is always nice to see these kinds of things on a piece, as they give a small glimpse into the mind of the maker.

After the piece was cleaned and the one side brought up to speed with the rest of the case I polished and waxed the case and drawer fronts. I also waxed the interior runners so that the drawers would work smoothly. After that, the hardware was put back on but left unpolished and the chest was ready to take back to the customer.

Even with all of the alterations that took place over the years, this is a stunning piece of American craftsmanship and I was happy to be able to restore Mr. Downing's fine tall chest.

Sunday, March 1, 2015

Arts and Crafts Oak China Cabinet (ca. 1920)


The Completed  China Cabinet
Once and a while we get a restoration job where the piece we are working on really sees a major transformation. Pieces that are painted usually fall into this category. 

A customer asked me to restore an heirloom china cabinet that was a piece made in the Arts and Crafts style in America sometime in the early part of the 20th century. The piece was made from white oak and had some nice quarter sawn boards throughout the piece. While I would not label this piece "Arts and Crafts" in the strictest sense, the use of oak, and the over all lines (minus the bandsawn feet and applied corbels) reflect the American Arts and Craft aesthetic. Of particular note is how the mating surfaces are never flush. for example where the side front glass frame meets the side glass frame, the frame overlaps about 1/16 of an inch. The designers of this did this intentionally to create a very simplistic sense of depth to the surfaces. For more on this take a look at the music cabinet I made in 2014:

http://johnmarkpower.blogspot.com/2014/08/stickley-music-cabinet-2014.html

At any rate, this piece loosely falls into the Arts and Crafts category, so that is where I am placing it!

The condition of the piece when it came into the shop was that the entire piece had been painted, every joint in the piece was loose, It was missing its lock, escutcheon, and key, and the back had been pieced together at some point with newer material. Here is a "before" photo of the cabinet:

 
Obviously, the first thing to do was to remove the glass and then the paint and the finish below the paint, leaving the bare wood. After this was accomplished the cabinet looked like this:
The back and the quarter round were discarded and new material was installed in its place, but first the loose joinery needed to addressed. Below are the components that make up the cabinet during the dismantling period, everything was labeled so I knew how to put it back together.

While the cabinet was apart, several panels (like the bottom and the shelves) had separated along the joined boards. they were repaired and glued, as seen below.
These next two photos show the fixed frames that make up the sides and the door being glued together.

After the glue had dried on the side frames, the customer and I decided to introduce an adjustable shelf system to the piece. The brackets which had held the shelves originally had been fixed. To accomplish this, I used a shelf drilling jig to drill the holes on the stiles of the side frames as seen in the next three photos.


Once all of the frames were assembled, the rest of the piece was assembled with new glue. Before I assembled all of the individual parts, I sanded everything which was easier than sanding the piece when it was together. Below is are photos of the rebuilt cabinet and the shelves before staining.

I used a blend of a light walnut and extra dark walnut stain to simulate the look of oak fumed with ammonia. This fuming was the way in which Arts and Crafts pieces obtained there color, although I have run into plenty of pieces that were stained instead of fuming.


These next few photos show the completed piece with the glass installed.


Here is a detail of the key and new escutcheon I installed (the lock is on the inside of the door).

This photo shows one of the two corbels. They were made of a few boards stacked side by side, which were  face glued and band sawn to the curved profile. The band sawn edge was then sanded and veneered with quartersawn oak. The feet were also made this way.

Here are a few more photos taken outside (with a bit of snow in the foreground).