Walnut Extension Dining Table with Bobbin Turned Legs (ca. 1870)

This past week I completed the restoration of a Walnut extension dining table. The table is American being made of Black Walnut with American Chestnut slides. It was made some time in the latter half of the 19th century. The legs were turned on a lathe featuring a bobbin themed turning. This style of turning is closely related to spool turned legs and both get there name from the spinning wheel. Both were quite fashionable in the late Victorian era. While a spool leg looks like many empty spools stacked the bobbin turned leg looks like a bobbin with the wool being wound around it. The following photo demonstrated the look very well:

The table was made by hand and originally was made to accommodate six 12 inch leaves. Three of the leaves had disappeared over the years and the table slides had warped and gotten stuck so that the table could not be properly opened and closed. Besides these problems, the finish had deteriorated and there were many cracks and damage that are associated with the use of the table. One other problem was that the table surface on one end had warped badly. The photos below document the entire restoration of this table including the repairs.

Here is a photo of the table as it came to me. I could not close the table any further than it is closed in this photo due to the table slides being warped.
This photo shows the condition of the finish. The finish had bleached due to being in direct sunlight for many years and it had also started to crack and flake off, especially on the legs.
The first thing I addressed once I had the table dismantled was the table slides. They were made of American Chestnut and had warped and gotten stuck so that they no longer worked properly. I was on the edge of swapping them with a new set, but with a little planing and a lot of paraffin wax I was able to get them working reasonably well.

The next step was to remove the finish. This was followed by all of the repairs. The first repair I worked on was to remove the warp from the top surface of the table. The photo below shows the table surface with a straight board placed on it on edge to show how far from being flat the top was. The difference in the center was about 1/4".
To remedy this, I cut several kerfs on the underside of the table about two thirds of the way through the top. This allowed the top to become flexible and I could clamp it flat. Once it was clamped flat, I inserted long tapered wedges in the kerfs with glue and tapped them into place.Once the glue dried the kerfs were planed flush with the surface. The following photo shows all of the tapered wedges. I cut them on the table saw with the blade set at a 5 degree angle.

This photo shows the top with the kerfs cut. Once all of this material was removed, the board warped a little more since there was nothing holding it back.
The board was then clamped to the table saw using two by four's as Cauls to hold the top flat. After the board was flat, the wedges were trimmed and tapped into place. This photo was taken after the wedges were inserted and the glue was drying.
The next photo shows the board after the wedges were hand planed flush.
The base of one end of the table was loose and needed to be glued. I did this as usual. One thing I found that I thought was nice and also a sign of craftsmanship was a double mortise/ tenon system. This is done because in certain cases,like a table leg, There is a lot of material removed from the leg to insert the tenon. If the leg is kicked hard or caught on the floor, there is a potential for the end of the leg to crack because it is only held together by about a a half inch of wood. The idea with the double tenon is to leave a little material in the middle of the mortise so that there is more material holding the end of the leg together. A bit of material is cut from the tenon making it two smaller tenons. Likewise two mortices are cut rather than one long one. This is an extra step,but it is worth it and shows a lot of forethought and skill coming from the cabinetmaker. One other point is that this joint increases the surface area for gluing which also makes for a stronger joint. Below is a photo of the double tenon.
The base is dismantled in the photo below. In the ends of the legs you can see the two mortises.

This photo shows the base being glued back together.
The pin holes on the leaves were severely damaged from the pins being lifted straight up. The result was that the pins could be seen with the table closed. Below is a photo of one of the damaged pin holes.
In trying to figure out a way to patch this, I came up with a new idea. Traditionally, I would have cut a trapezoid shaped patch and removed the damaged area. One thing I do not like about this is that it offers no support when the leaves are pulled straight up. My remedy for this was to make a jig that allowed me to drill out the damaged area from the side of the board with a Forstner bit. Once this was done the hole could be plugged with a patch turned on the lathe to the same size. The reason I did not just use a dowel to patch the hole is that the grain of the dowel would be running perpendicular to the table leaf. By turning the plugs, I could orient the grain so it went in the direction of the leaf.

The advantage of making this kind of a patch was that the sides of the circles tapered towards each other, locking the patch in place and offering some protection from the pins being pulled straight up as the leaves are removed.

The following photo show the jig I made for this procedure. The jig was made from a scrap two by four. a pilot hole was drilled in the edge side of the board for the bit and the board was mortised to fit over the edge of the leaf. the whole board was held in place by a clamp.
The next step was to insert the bit into the hole and to drill out the damaged area. This can be seen in the photo below.
This next photo shows the result. You may notice that the hole is a little off center. this was done intentionally so that the bit would remove the damaged area from the top surface of the leaf. When viewed from the top of the leaf, the final patch looks square.

This next photo shows the patch inserted and being glued in place. I was able to turn several patches at once on the lathe so that the work went along a little quicker. The pacthes were easily cut from the turned stock to the amount that was necessary for each hole. I forgot to take a photo of the finished product, but after the glue had dried, the patched were trimmed flush with a chisel.
There were two cracks in the table. One in a leaf and the other in the table surface that I had put all of the wedges in. I cut and inserted a butterfly patch into each so that they were secure. Below are some photos of this process.

Here is the butterfly patch on the underside if the table laid next to it's mortise. You can see how deep the wedges went into the table top in this photo.
This photo shows the patch being glued in place. It is followed by a photo of the butterfly patch being glued in place on the leaf. Both were trimmed flush with a chisel after the glue had dried.


As I wrote earlier, the table was missing three leaves.The customer wanted new ones made and the photos below show that process. This first photo shows the over sized leaves milled and set in the table
With each leaf, I pinned it into place before I cut them down to size. Here is one leaf being pinned.
After all three were pinned, the leaves were cut down. Here they are in the table.
This photo shows the edge of the table leaves rough cut. The following photo shows the leaves after the edges were molded.

The last step was to stain the leaves to match the top. here is a photo of the stained leaves waiting for finish.
The next two photos show the table as the finish was being built up.

These last photos show the table after it was completed. The first few photos are of the table closed up followed by several of the table with the leaves in place. It was quite a big table and will hopefully accommodate all of the Thanksgiving guests!

Arts and Crafts Oak "Mission" Rocking Chair (ca.1910)

I recently completed the restoration of a rocking chair made in the Mission style that was part of the larger Arts and Crafts Movement of the late 19th century and into the 20th. All attempts to find a maker for this chair proved to be unfruitful, but by examining the make up of the chair, I am confident that this is an original Mission Rocker from the early part of the 20th century. The chair is made entirely of quartersawn White Oak and came with its original seat which is tarred canvas. For a brief history of the Mission Style, follow this link to an article written by Pete Maloney on the subject:

http://www.gustavstickley.com/missionstylefurniture.html

Structurally the chair was in great shape, but at some point someone had decided to paint the entire chair white. This covered over all of the beautiful ray flake from the quartersawn oak that gives Mission furniture that characteristic look. The current owner of the chair had tried to remove the paint, but seeing what a daunting task this was, turned the chair over to me.

Below are three photos of the chair as it came to me.


the hardest part about this job was removing the paint from the chair which was done meticulously by my associate Jesse. I must give the man credit for this because he worked very hard to make sure the chair was free of the paint. Here is the result!

The following photo shows the chair being glued up. Overall the joinery was tight, but it needed a little gluing.

Originally, the color of mission furniture was achieved by fuming the oak boards with ammonia. A chemical reaction would darken the boards. I believe this chair was originally stained and the stain was removed during the removal of the paint. If the chair had been fumed, I believe the fuming would be evident deeper than just on the surface of the wood. At any rate, I was able to stain the chair to give it that characteristic "Mission" color. Here is a photo of the chair after it was stained.
The slats that held the seat in place were largely replaced and of differing types of wood. As a result I decided to replace them with Yellow Pine and stain it to give it an oxidized look. here are the new slats prior to staining.
These last three photos show the chair after the new finish was applied. I left the cushion off in the photos to show the new slats in the seat. Overall, it turned out very nice!

Walnut Colonial Revival Side Chair (Ca.1900)

I call this chair a Colonial Revival chair, but it's overall style is really Neoclassical. The chair is made of Walnut and has some very nice carving. A quick look at the glue blocks indicated that this chair was of more modern manufacture, and not that old. I put a date of 1900 on it but that is flexible in either direction. The chair had some cosmetic issues and also needed to be re-glued. It also had a pressed in cane seat that needed to be replaced. The use of pressed in cane to me signals a later date of Manufacture, but I need to do more research to find out when this style of caning first came into use.

Here is a photo of the chair as it came to me. The finish was dirty, but was otherwise in good shape. At first, the color of the chair made me think it was made of Mahogany, but once I really looked at it I realized it was Walnut. Sometimes these two woods can be difficult to distinguish.

This photo shows the old cane seat which is loose and torn.
after removing the seat and the spline. I disassembled the chair to glue the loose joinery. The seat frame was held to the back with screws that were covered over with wood plugs, so I left it intact and glued the leg assembly after cleaning all of the old glue. Here is a photo of the chair dismantled. The blue tape is labeling so I know how to put the chair back together!
This photo shows the chair clamped while the glue is drying.

After the glue had dried, I removed the clamps, cleaned the finish, and added several coats of French Polish to the chair to build the finish back up. Once all of the finish work was done and the chair was waxed, I installed the new seat on the chair. This photo shows the seat being put in place.
The last three photos show the chair completed and with the new cane seat.

Renaissance Revival Walnut Library Table (ca. 1870) Part 1

Recently I have been working on the restoration of a Renaissance Revival Library Table made around 1870. The table is made primarily of American Black Walnut and uses Poplar as a secondary wood. The secondary surfaces are veneered with Poplar and White Oak and the secondary wood on the drawer is made from Mahogany. This is a very nice example and was made with some attention to detail. The carving throughout appears to have been executed by hand and great pains were taken to give this table a finished appearance throughout. One particular example of this that I found interesting was that the underside of the table was made up of a mix of Poplar and Quartersawn Oak. Where the Poplar boards were used they were veneered with Quartersawn Oak so that if one were to look at the underside of the table you would see all Quartersawn Oak surfaces. This certainly is a lot of extra work but again, the cabinet maker was going for the look of a refined piece where no part was left untouched. Likewise, the use of finished Mahogany as a secondary wood on the drawer is a nice touch where a lesser piece might have unfinished Poplar or Oak.

The table was in pretty bad shape when I received it. All of the joinery was loose and in addition, the stretcher assembly below was badly damaged. There were also several pieces of missing trim that needed to be made. The top surface was covered with a piece of Naugahyde that was badly damaged and not original to the piece. The customer decided to have new leather installed which I will cover in Part 2 of this post. The condition of the finish was pretty good, but it was buried beneath a lot of dirt and old wax. I decided that this finish could be restored once it was thoroughly cleaned.

Here is a photo of the table as it came to my shop.

This photo details the condition of the Naugahyde top.

As you can see in the photo below, the table had some very nice carving on it.the detailed finial below is seated at the midpoint of the stretcher. this photo also shows the condition of the finish.

As stated above, the stretcher assembly was badly damaged. A large section of this stretcher was missing and needed to be patched. Below is a photo of the damaged area.

After cutting a patch to cover the damaged area, the patch was clamped in place and a scribe was used to mark its location on the board below.

The next step was to carve away the wood so that it could receive the patch. Once this was done the patch was glued in place. The photo below shows the entire stretcher assembly being glued and the following photo shows the patch being glued in place.

This photo shows the patch glued in place after the glue had dried and the clamps were removed.

The last step was to carve the patch to fit the profile of the stretcher. after this was done the patch was sanded. Below is a photo of the completed patch.

As I stated earlier, the joinery of the entire table was loose. To glue the loose joinery, I had to first dismantle the table and clean all of the old glue from the joinery. Here is a photo of the parts disassembled and marked for reassembly.

After the old glue was cleaned off, the table was reassembled with fresh glue. Below you can see the table reassembled.

One last repair was to replace missing trim around the front legs. Below is a photo of the molding stock I made that I used to make the trim pieces.

This detail photo shows the replacement trim being glued in place.

Meanwhile the top had several areas with loose veneer. The photo below shows the veneer on the top being glued in place.

Likewise, the underside of the top had several loose areas as well. The pieces of wood seen in the photo below were tacked in place to hold the veneer while the glue dried. Wax paper was put in place to separate the blocks and prevent them from getting glued to the table.

The last two photos show the table with the cleaned finish and new finish added to the old. The next step will be to apply the new leather to the top surface which will be detailed in the second part of this post.

Eastlake Bedroom Set (ca.1880) Part 2

I have finished the Eastlake bedroom set I have been working on and have posted several photos of the chest with mirror, The Washstand, and the Bed below. The removal of the old finish and application of a new shellac finish really brought out the natural beauty of the walnut, especially the burled veneer. The chest and mirror frame have tops made from Tennessee marble which is actually a stone (not a true marble) found and quarried in east Tennessee. The pinkish hue of the stone really complements the walnut as you can see below.

I have also included some photos of the Victorian side chair I was working on with a new cane seat. This chair went to the same customer as the Eastlake bedroom set, so I have included it here.

Before showing photos of the pieces I wanted to include a close up shot of one of the locks. The lock has a very small stamp on it showing a patent date of 1870. I believe these pieces to be made around 1880, but this is definitive proof that they were made post 1870. The image is upside down unfortunately but the date can still be seen.


And now, the photos!

The Chair



The Bed


The Washstand



The three drawer chest with mirror