Methods In The Workshop

No automatic copying lathe or other copying device is used in the construction of these chairs.

I don't know anyone else making the difficult joints where comb meets side member and arm meets side member. These give a matching, finer finish which does not spoil the flow, as well as being stronger. I make carved centre panels as well as the traditional flat ones and will customise a chair with a family crest or initial carved into the centre panel.

Traditional Drying Methods: The timber has always been bought ‘fresh sawn’ and usually from the sawmills two miles from my workshop. The moisture laden planks are then separated by laths of wood and stacked outdoors to dry slowly and naturally - it is usually calculated that 1" of thickness of timber = 1 year’s drying time, but this depends very much on the wind conditions. When air dry (19%) the timber is moved indoors to a conditioning room until the required moisture content is achieved. It may be a personal quirk but I do not even like to handle timber which has been kiln dried. It feels like it has had the ‘life’ removed from it.

Tools: The hand tools used would be entirely familiar to a chairmaker of the last century. The first and foremost of these would be the adze - of ancient origin and used in many countries and different disciplines/crafts; shipwright, carpenter etc. A chairmaker’s adze differs from others in its pronounced curvature and I am fortunate to own a perfectly accurate example, for seat shaping. A variety of drawknives and spokeshaves shape other parts of the chairs.

Finishes: Shellac sanding sealer is applied with a good quality fine brush. This provides the correct base for a final coat of wax polish.