Happy Birthday tool chest happy birthday to you. I just realized it’s 14 years old! I made it at The North Bennet Street School in Boston as the first requirement of the Cabinet and Furniture Making program. It is the first case piece I ever made.
All North Bennet Street tool chests have some common features among them. They have a maximum size, maximum number of drawers (6) and a way to lock it up. It is remarkable how many combinations of drawers, doors, woods, locks, and hardware there are. Each one is as individual as its maker.
It holds my marking and measuring tools and card scrapers in the top row of drawers, next level is chisels/gouges and files/rasps followed by odd tools, thread cutters & etc. and draw knives, scorps, hammers, bit braces at the bottom. The frame that my chest is attached to (the feet that is) I made for its first birthday.
The bottom drawer of the tool chest was carefully designed to hold my hand planes, they now reside in a cabinet on the wall.
The year started off with the completion of this carved oak vanity. The hardest part might have been photographing it! It just doesn’t fit in a frame.
From oaken vanity Welsh Dresser, here in curly maple. Probably my favorite for the year.
An architectural model.
Two copies of an early Queen Anne chair, with rush seats.
And a compass seat frame. The chair was made by someone else.
The key to Stockton!
Take your kids to work day!
A child’s size rocker in walnut.
Two Hadley trunks made of sassafras.
Wainscoting in my house.
My son found a child size windsor rocker, so we fixed it up, it fits him perfectly.
A walnut vitrine that I never got to photograph properly.
A set of Red cedar Campeche chairs.
And finally a New York Chippendale serpentine gaming table! I hereby resolve to post more this year!
This is a keepsake box for a new born named Ellie. It is a copy of a box made in the Connecticut River Valley in Massachusetts between 1695-1725. Wallace Nutting calls it a trunk in his book Furniture Treasury.
I painted it green to emphasize the symbolism of the the growing vine, and a new life.
The pattern of the carving is an expanded version of the pattern on Hadley chests. In fact, I used the same pattern that I used for Ellie’s parents wedding chest, and it fit the boxes measurements perfectly. I just “grew” the vine to fit the height of the box.
I made the box out of a wide board of sassafras that was re-sawn into half inch thick sides. Sassafras has a wonderful smell and carves well, the original was made from riven oak with a pine lid and bottom. Ellie’s box is joined by half blind and through dovetails. I made another box joined with nails and a rabbet like the original.
The carving on this box is more “developed” than most Hadley chests because it is carved partially in the round, it is still charmingly naive and child like. The ground of the carving has been dressed with punch-work.
Here is a bible box I made in comparison. Ellie’s trunk is 25 1/2″ long, 16 1/4″ wide, and 9 1/2″ high
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.
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.
That’s what the customer said. It was a present for his wife. Something with color and well, make it funky. So I painted it mustard yellow milk paint and then barn red. I wiped off the red in imitation of flame grained birch.
Then I added a little pitch black.
The whole thing is about five feet wide and five feet tall.
When I get the time and inclination something like this happens. Here is Moby Dick and Ahab, carved from a 16/4 chunk of poplar and painted with milk paint. What is it exactly? A toy, a weathervane, I don’t know, but it was inspired by both.
Here’s another piece, carved out of basswood and Spanish cedar. It is carved on both sides each with different faces.