One piece of furniture that you often see in my pictures, but that never gets mentioned, is my work bench. This one is the first bench I ever made. It was meant to be a show piece for my store, and to serve as a counter when helping customers with their purchases. It’s completely functional and I use it for demonstrations on weekends.
The vise is based on an 18th Century French design I saw in a book. It’s unusual to have the vise projecting above the top, but it works well for shaping legs or other parts where you need to be able to get around without stopping to turn the piece. The plank with the peg and holes in it next to the vise is called the “dead man” [maybe because of the holes]. It is a support for doors or boards that are held in the vise, and it slides on a track in the rail. It is shaped like a chair splat from a set of New York Queen Anne chairs I made.
The bench is a fitted with a frame and panel in the back. It’s painted with Lexington green milk paint.
The work bench at the shop is a more conventional set up with the same design elements. The legs are cut from 16/4 maple stock and painted with bayberry green milk paint. The bench is weighted down with boxes of Antiques magazines that a kind, retired carpenter gave to me. If your bench is moving around though, you should sharpen your tools.
There are no bench dogs here, I just nail strips of wood down as stops for planing.
The first sign I made for the store was made of maple and basswood. It has a typical trade sign construction consisting of a frame with a board let into a slot cut into the top and bottom rail. The board is shaped at the top and bottom like a Chippendale looking glass frame. The sides have two different Queen Anne chair splat patterns cut out. The posts on either side are turned with different forms taken from William & Mary table legs as well as the drops at the bottoms. They are topped with flames in the styles of Philadelphia and Boston. I painted it with milk paint, a bad choice for something that lives outside.
I re-painted it a few years later with a phoenix bird in red. Taken from a finial on a famous Philadelphia chest-on-chest.
I was looking at some finial carvings from a Boston carver and was inspired to make a new sign. This one had a more eagle like beak but a wonderful long neck and tail feathers.
I carved the moulding around the frame with a water leaf pattern and gilded the Phoenix bird with gold leaf.
If a table is to be used for eating, drinking or talking with friends, I believe it should be round. I realize that some rooms are too small, and some gatherings are too large to use a round table, but they are still the best shape for conversation.
My favorite round tables are gate-leg drop-leaf tables, meaning the top can hang down if the gate-leg is folded in. These tables can be any where from 3 feet wide to 8 feet. The large tables are usually ovoid. They commonly have turned legs like this table, but also could have straight ,tapered or cabriole legs. One of my favorites is a New York table with eight ball & claw feet.
Some folks don’t like the gate-leg because they feel like they will hit their knees, so this table was made without the folding top and legs. It is made of maple that was painted with milk paint on the base and stained on the top. It is 60 inches wide, a good size for 6 people.
This is a twin size, low post, ball & claw foot bed, based on a bed from Philadelphia circa 1750-1760. It is made of maple with ash slats. The legs are cut from boards four inches thick. The legs are then turned on the lathe to make the ball on top of the post. It’s something to see. The ankle of the leg seems to disappear as it spins.
These are legs for a tall post bed showing the mortise and tenon joints and the holes for bed bolts. This makes for an incredibly strong joint, so strong they are sometimes used on work benches. This makes it possible to dis-assemble the bed easily for moving.
The bolt holes are covered with…. bolt hole covers. I like to use futons from White Lotus with my beds. You can fluff them up and you will never feel a metal spring in your back. The ash slats can be planed down to make them more springy if desired.
I wanted to make my Dad a chair for his 70th birthday, and was inspired by a few things to make what you see here. The general form is from a group of Queen Anne chairs made in New york City circa 1740. And from a chair made by Henry Hardcastle in Charleston, South Carolina. Henry Hardcastle had moved there from New York around 1755.
So this chair is a “what if”, that is , what if Hardcastle made one of these earlier chairs with the more Rococo carving. That seemed like a fun idea to me so I made it. The chair is made of Black Walnut and has bird head armrests, carved knees with c scrolls, vines and hairy paw feet. My Dad, a retired Teamster, was not the kind of guy to go looking for a Rococo chair but I think he liked it. He never got to sit in the finished chair though, because I was too fussy about the upholstery.
He wanted the fabric to be red, so I picked this one. The seat looks a bit overstuffed, so it just goes to show sometimes it doesn’t make sense to be so focused on the way it’ll look. Just get it done and have a seat.