tag:blogger.com,1999:blog-46956854038027037162024-03-13T21:45:14.195-07:00WPatrickEdwardsA traditional furniture conservator, restorer and maker discusses his life experiences and his philosophy of work. If you love marquetry this is the place to discuss it. All work is done with hand tools and organic traditional materials and methods.W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.comBlogger302125tag:blogger.com,1999:blog-4695685403802703716.post-40789033026748353342022-11-21T11:04:00.000-08:002022-11-21T11:04:10.019-08:00SAPFM Journal <p> </p>
<iframe src="https://drive.google.com/file/d/1CpNnggnc9AmYn5XS2lfyDttcQMLOStsd/preview" width="640" height="480" allow="autoplay"></iframe>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-23034445002185312782022-01-29T09:26:00.000-08:002022-01-29T09:26:21.958-08:00With Age Comes Wisdom<p> I have not posted on my blog for nearly a year. Not because I have nothing to post but because the activities of my life have kept me busy with work. It has not been a couple of "normal" years and I do not need to explain why. The most obvious result of the global pandemic is that people are spending most of their time indoors and not spending money on entertainment, restaurants, parties, and other diversions.</p><p>For me the result is that more and more pieces of furniture are being restored and I have plenty to do.</p><p>Another reason for my absence from this blog is that I reached a point where I thought I had said everything about my life that was needed to be said. I am content with my success. I have a wonderful personal life and cherish my few friends and I love my life partner, who has stood by me for half a century. </p><p>I even have returned to music, which I have always enjoyed. When I was in college at UCSD in the 1960's I was the violist in the university quartet, and played in several community orchestras. Because I went into this business after I graduated, I neglected to play the instrument for the next 40 years. However, a few years ago I decided to pick it up again and started taking lessons and playing in a local amateur orchestra. Tonight we are giving a performance and I am excited to be a part of the viola section again. Playing music is one of the most important arts that humans can create.</p><p>It is another start of a new year and with that the mind turns to reflection of the past and anticipation of the things to come.</p><p>Last night I was getting ready for bed and for some reason looked into one of the small drawers of the dressing mirror by the bed. I found some hand written notes from a long time ago and they made me want to share them with you. </p><p>The first line was a quote from Kahil Gibran, "The Playground of Life" (1949)</p><p>"This is life.</p><p>Portrayed on the stage for ages;</p><p>Recorded earthly for centuries:</p><p>Lived in strangeness for years:</p><p>Sung as a hymn for days;</p><p>Exalted for but an hour, but the </p><p>Hour is treasured by Eternity as a jewell."</p><p>I was born in 1948 and read Kahil Gibran's works during the 1960's when it was popular. I am not sure when I created my response to this quote and wrote this response, but at some point I put down my thoughts on note paper and placed it in the drawer of the dressing mirror. Finding it last night was a special reminder of my journey and I wanted to share it here.</p><p>Our Place In The Universe</p><p>1. Each year we celebrate the full cycle of the Earth around the Sun constantly returning us to a new place in time and space.</p><p>2. Every month we feel the full cycle of the Moon which illuminates our nights with subconscious dreams.</p><p>3. Each week we experience the daily activities that weave the colors and texture of the fabric of life.</p><p>4. Every day we circle the globe in pursuit of happiness.</p><p>5. Each hour is a new commitment and a fresh reward.</p><p>6. Every second we stare at reality.</p><p>All of the history of Human consciousness is less than a second in the life of the Universe.</p><p>At the end of the notes I had written a quote from the Shakers:</p><p>"Live your life as though you had a thousand years to live and yet were to die tomorrow." </p>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-31301695070108742402021-03-15T10:14:00.000-07:002021-03-15T10:14:15.915-07:00More Than One Way To Cane Chairs<p> I guess you could say that at my age I am an "old dog." People always say that "you can't teach an old new tricks." Well, I am happy to say that this idea is not always true.</p><p>I have been hand caning seat furniture for my entire career. I can't remember the first time or even how I figured it out, but for over 50 years I have done it the same way every time.</p><p>If you search online for videos that show how to cane you will find the exact method I have taught myself. That is to start weaving front to back, then side to side, then front to back. The fourth step is always the most difficult, since the next side to side weave has to go over and under each of the two front to back strands. This always pulls them out of place and makes it difficult to get an even pattern. You need to use your finger nails to push them back in line, and that is difficult and takes time.</p><p>The fifth step is weaving diagonal one direction and the sixth step is weaving the opposite diagonal. </p><p>The seventh step is to attach the binder cane around the perimeter, or in some cases to use round spline to plug the holes. Depends on the style of the chair.</p><p>During my career I have relied on Cane and Basket Supply in Los Angeles for supplies. They were established in 1934 and are still in business. They are friendly, efficient and helpful. Susan usually answers the phone and takes my order which I receive the next day or so. I appreciate the established relationship I have with them and like to support them as much as I can. Here is the link:</p><p><a href="https://www.caneandbasket.com">Cane and Basket Supply</a><br /></p><p>Lately I have been getting a lot of cane jobs, both pressed and hand woven. It seems that I might be the only business left in San Diego which offers this service. In any event, when I ordered cane a few weeks ago, the topic of the process of weaving somehow came up. I mentioned to Susan how I did it and she immediately said that she was taught a different method. I couldn't believe that there was any other way to do it (thoughts of an old dog!) and she patiently explained what she meant.</p><p>"The third step is to weave the first diagonal."</p><p>As I write this statement, I am stopped in my tracks thinking about what she meant. It was like someone telling you how to tie your shoes differently. After all, you think you know the correct way to tie your shoes!</p><p>So the next day, after I received the cane, I was determined to try her method.</p><p>First I wove front to back.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-bF_5QtrL6Ss/YE-P0QY1eyI/AAAAAAAAFQ8/1iZYf1lsRm86L56QY5sjgMbJJPH7gAEnACLcBGAsYHQ/IMG_8003.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-bF_5QtrL6Ss/YE-P0QY1eyI/AAAAAAAAFQ8/1iZYf1lsRm86L56QY5sjgMbJJPH7gAEnACLcBGAsYHQ/w640-h480/IMG_8003.jpg" width="640" /></a></div><br />Then I wove side to side.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/--aUeXvBDp-0/YE-P5UXzM4I/AAAAAAAAFRA/yhecd3i_7W8SXSroi3NHOChMZsy9PZ8zACLcBGAsYHQ/IMG_8004.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/--aUeXvBDp-0/YE-P5UXzM4I/AAAAAAAAFRA/yhecd3i_7W8SXSroi3NHOChMZsy9PZ8zACLcBGAsYHQ/w640-h480/IMG_8004.jpg" width="640" /></a></div><br />Then I wove the first diagonal, like Susan suggested.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/--oBPCWjfJNU/YE-P9ZU_cuI/AAAAAAAAFRE/LWIYnvC62owFRwyzXLFiQtNsn3VOVA-vwCLcBGAsYHQ/IMG_8005.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/--oBPCWjfJNU/YE-P9ZU_cuI/AAAAAAAAFRE/LWIYnvC62owFRwyzXLFiQtNsn3VOVA-vwCLcBGAsYHQ/w640-h480/IMG_8005.jpg" width="640" /></a></div><br />At this step I was stopped in my tracks. I did not understand what to do next. I just stood there and looked at what I had done and my impulse was that it was so wrong that I needed to just tear it out and start over. Fortunately, I did not. I just decided to quit work and go home.<p></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-gpMzZUgvYEs/YE-QggRB4RI/AAAAAAAAFRU/jsUJHxdAGSUOVN51pfQnQifP7tus1vaFwCLcBGAsYHQ/IMG_8001.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-gpMzZUgvYEs/YE-QggRB4RI/AAAAAAAAFRU/jsUJHxdAGSUOVN51pfQnQifP7tus1vaFwCLcBGAsYHQ/w640-h480/IMG_8001.jpg" width="640" /></a></div><br />During the night, as I slept, I thought of the cane process. At some point before I woke up I had resolved the struggle and realized how smart this method was, compared to what I had always done. By weaving the first diagonal, the relative position of both the horizontal and vertical strands remained in place. It was also much easier to weave the second horizontal when the time came, as you will see from the next photos.<p></p><p>The next morning at work I confidently approached the chair and applied the forth step, adding cane front to back.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-nXbuEQu-wrY/YE-RdJ77B7I/AAAAAAAAFRc/Y6DYZ54W6owE9EVw2E98X46WFZTgafg7wCLcBGAsYHQ/IMG_8008.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-nXbuEQu-wrY/YE-RdJ77B7I/AAAAAAAAFRc/Y6DYZ54W6owE9EVw2E98X46WFZTgafg7wCLcBGAsYHQ/w640-h480/IMG_8008.jpg" width="640" /></a></div><br />This is a close up.<p></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-xhXjXVAnpEw/YE-RhJxK7WI/AAAAAAAAFRg/4-09hAS-i2AXmzT6VATp7zx_HCGtuUwmQCLcBGAsYHQ/IMG_8009.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-xhXjXVAnpEw/YE-RhJxK7WI/AAAAAAAAFRg/4-09hAS-i2AXmzT6VATp7zx_HCGtuUwmQCLcBGAsYHQ/w640-h480/IMG_8009.jpg" width="640" /></a></div><br />Now it was surprisingly east and fast to weave the second horizontal.<p></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-9TRtXmDYN68/YE-RxjaxxSI/AAAAAAAAFRo/P1BeKvwLVXoUUdf5hEuSpFrD3jx4rYEgQCLcBGAsYHQ/IMG_8011.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-9TRtXmDYN68/YE-RxjaxxSI/AAAAAAAAFRo/P1BeKvwLVXoUUdf5hEuSpFrD3jx4rYEgQCLcBGAsYHQ/w640-h480/IMG_8011.jpg" width="640" /></a></div><br />Just be sure that the diagonals fit nicely between the horizontal and vertical corners like the arrows show.<p></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-YgXrQg_WhDk/YE-R99P2NaI/AAAAAAAAFRs/00TXne3aNmUjyMtUNsFo30ttgM9RQYQ7wCLcBGAsYHQ/IMG_8010.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-YgXrQg_WhDk/YE-R99P2NaI/AAAAAAAAFRs/00TXne3aNmUjyMtUNsFo30ttgM9RQYQ7wCLcBGAsYHQ/w640-h480/IMG_8010.jpg" width="640" /></a></div><p>Now it was time to weave the second diagonal.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-kxmXK2me-UA/YE-SzjKrKsI/AAAAAAAAFR4/g4lM3UikjvYwtWU9BDImwMgnkfHTldI3wCLcBGAsYHQ/IMG_8011.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-kxmXK2me-UA/YE-SzjKrKsI/AAAAAAAAFR4/g4lM3UikjvYwtWU9BDImwMgnkfHTldI3wCLcBGAsYHQ/w640-h480/IMG_8011.jpg" width="640" /></a></div><br />You can see from this closeup how both diagonals fit nicely between the horizontal and vertical strands.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-pUEWU3rGzfk/YE-S_tiRbFI/AAAAAAAAFR8/_CqYpKlqNZ8nSIfwI4bu8nYEnti8cyzIQCLcBGAsYHQ/IMG_8015.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-pUEWU3rGzfk/YE-S_tiRbFI/AAAAAAAAFR8/_CqYpKlqNZ8nSIfwI4bu8nYEnti8cyzIQCLcBGAsYHQ/w640-h480/IMG_8015.jpg" width="640" /></a></div><br />Adding the binder is always the last step.<p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/--0ottizWwOE/YE-TG1Nag6I/AAAAAAAAFSE/un9VZPgJz1sac3DbJBd14LnhOUCbKzTdACLcBGAsYHQ/IMG_8014.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/--0ottizWwOE/YE-TG1Nag6I/AAAAAAAAFSE/un9VZPgJz1sac3DbJBd14LnhOUCbKzTdACLcBGAsYHQ/w640-h480/IMG_8014.jpg" width="640" /></a></div><br />I was pleased with the results and happy to learn a new more efficient method of caning. I still do not expect to ever make a profit or earn a living just with cane work, but I do find it relaxing. <p></p><p>Perhaps if I ever actually do retire, I can take up basket weaving...</p><p><br /></p><br /><br /><p></p>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-79715872080841114242021-02-15T15:37:00.002-08:002021-02-16T09:09:40.229-08:00Not A Leg To Stand On!<div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-Tsy-0czOQu4/YCmBJJb5bFI/AAAAAAAAFNE/-KHsf0SUY1MjG0gtCs6ZM9XAljzh7Q-kQCLcBGAsYHQ/IMG_7965.jpg" style="margin-left: 1em; margin-right: 1em;"><br /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-Tsy-0czOQu4/YCmBJJb5bFI/AAAAAAAAFNE/-KHsf0SUY1MjG0gtCs6ZM9XAljzh7Q-kQCLcBGAsYHQ/IMG_7965.jpg" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://lh3.googleusercontent.com/-vz_0fP9S1ME/YCr-05_ySXI/AAAAAAAAFN4/ETIVdEr-twoCX-LRvlT4JhkEBdvKgO_egCLcBGAsYHQ/IMG_7965.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-vz_0fP9S1ME/YCr-05_ySXI/AAAAAAAAFN4/ETIVdEr-twoCX-LRvlT4JhkEBdvKgO_egCLcBGAsYHQ/w480-h640/IMG_7965.jpg" width="480" /></a></div></div><p></p><p>There are several components of antique furniture which take a beating over the years. Often it is the drawers that show their age first. The constant opening and closing of the drawers during use causes the wood to wear down quickly on the sides of the drawers and creates uneven grooves in the runners. At the same time that the sides wear down, the bottom of the drawer starts to drag on the blades of the case, and if the drawer stops are nailed in place on top of the blades, the nails will eventually saw completely through the bottoms of the drawers.</p><p>I am not even mentioning the shrinkage of the drawer bottom which pulls out of the dado in the front, which then allows the bottom to fall out when the drawer is over loaded with junk.</p><p>Just a note: Traditional drawers were intended to hold clothing...not books, or dishes, or a large coin collection or fishing weights. Just clothing. I have seen it all. Nothing would surprise me.</p><p>However, there is another part of furniture which is often more damaged than the drawers and that is the feet. People push furniture around without lifting it, they bang the feet with vacuum cleaners, they put things in storage for years and let the feet sit in standing water, they tilt heavy cabinets up on their side putting pressure on the legs, they sit in chairs and lean back or twist the chair around without getting up...</p><p>Again, I thought I had seen it all, until this latest project appeared.</p><p>A collector in Colorado saw a good French Regence Commode in an auction in San Francisco and placed the winning bid. He then hired a mover to deliver the commode to his residence on the top of a mountain. This mover put the commode in his truck and placed the heavy marble on top, wrapped it in blankets and drove to the client's house. I doubt that the mover even checked the feet to see if there was any previous damage or bug infestation. He also did not consider putting the valuable marble in a wood crate and packing it separately. It is fortunate that the marble did not break as well.</p><p>When he arrived and opened the door there was a surprise. All the feet had broken off and the commode was sitting on its bottom. This was no real surprise. The surprise (and mystery) was that 3 of the 4 feet had somehow completely disappeared! Since the two front feet had original mercury gilt bronze mounts, of course they had also somehow fallen out of the truck and probably are laying on the road between San Francisco and Denver. The only surviving foot was a single back leg, which we used as a pattern.</p><p>The client delivered the commode to us for restoration at the end of 2019. But before we began the process of making new feet we thought it was appropriate to photograph it while it rested in a handicap zone...</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-UPM-r92dqXE/YCmBUpWmylI/AAAAAAAAFNI/f-vVYEK5FNwRcAJqEzbF0a0YmYDOd1pcACLcBGAsYHQ/IMG_7490.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-UPM-r92dqXE/YCmBUpWmylI/AAAAAAAAFNI/f-vVYEK5FNwRcAJqEzbF0a0YmYDOd1pcACLcBGAsYHQ/w542-h640/IMG_7490.jpg" width="542" /></a></div><br />When we returned to work Patrice indicated he wanted this job, and I went to work on the legs of a wonderful French Louis XVI commode. So Patrice put the commode upside down and took much of it apart. Since the legs were badly damaged by years of bugs, we immediately had it fumigated with methyl bromide. Patrice also had to lift up much of the veneer to get to good solid wood and attach the new leg elements.<div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-GGYDG6X-gXk/YCr-eGH5jhI/AAAAAAAAFNo/PWN75DOlvCEY2PT8DXRoqtII6e8BvHhHgCLcBGAsYHQ/IMG_7514.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-GGYDG6X-gXk/YCr-eGH5jhI/AAAAAAAAFNo/PWN75DOlvCEY2PT8DXRoqtII6e8BvHhHgCLcBGAsYHQ/w640-h480/IMG_7514.jpg" width="640" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-ZjEmPk29aXw/YCr-93vnXFI/AAAAAAAAFOA/_8wn2G71bcIafEOxwSCEq7Lwj2F3Jd6GgCLcBGAsYHQ/IMG_7523.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-ZjEmPk29aXw/YCr-93vnXFI/AAAAAAAAFOA/_8wn2G71bcIafEOxwSCEq7Lwj2F3Jd6GgCLcBGAsYHQ/w640-h480/IMG_7523.jpg" width="640" /></a></div><br /><br /><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-JsL4Wie_rWI/YCr_EiWB24I/AAAAAAAAFOM/Q033W_KtM-4ejuyuMc6ONJ99K1PnRwqSQCLcBGAsYHQ/IMG_7524.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-JsL4Wie_rWI/YCr_EiWB24I/AAAAAAAAFOM/Q033W_KtM-4ejuyuMc6ONJ99K1PnRwqSQCLcBGAsYHQ/w480-h640/IMG_7524.jpg" width="480" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;">At this point it was necessary for Patrice to make a duplicate leg blank, which was sent to Paris for the new replacement mounts to be properly fitted and shaped. It was about that time that everything shut</div><div class="separator" style="clear: both; text-align: center;">down due to the global pandemic. All we could do was wait and see what would happen. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>The surface veneer was sawn period kingwood, which is a controlled species due to C.I.T.I.E.S. However, I have a good supply of this and other similar exotic species in stock which I purchased in Europe years before they were listed as endangered, and legally imported them to my workshop. The original veneers which were carefully lifted were put aside, and when the replacement leg blank was ready they were glued back in their proper position. It was necessary to "age" the new kingwood with acid to match the color and patina of the rest of the surface.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/--PEn2vfWXpc/YCsAYE9wn3I/AAAAAAAAFOc/JLRnQ4cR7vsoHw3dGfwP_Zi6xn0foeaBQCLcBGAsYHQ/IMG_7536.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/--PEn2vfWXpc/YCsAYE9wn3I/AAAAAAAAFOc/JLRnQ4cR7vsoHw3dGfwP_Zi6xn0foeaBQCLcBGAsYHQ/w480-h640/IMG_7536.jpg" width="480" /></a></div><br /></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-hIF1sYQpIFw/YCsAfEBnlYI/AAAAAAAAFOg/i7pwS1e-gbMf3DMEAYJ5PnNTsygrMbw9gCLcBGAsYHQ/IMG_7912.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-hIF1sYQpIFw/YCsAfEBnlYI/AAAAAAAAFOg/i7pwS1e-gbMf3DMEAYJ5PnNTsygrMbw9gCLcBGAsYHQ/w480-h640/IMG_7912.jpg" width="480" /></a></div><br />Finally we were able to receive the replacement bronzes from Paris and spent some time to "age" them to match the original surfaces of the rest of the piece. All the bronzes (except our two feet of course) were completely authentic and original to this commode, so it was important to complete the set. </div><div><br /></div><div>This photo shows the new bronze during the process, but before it was a complete match.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-0ZUww808avk/YCsBJNu9IVI/AAAAAAAAFOs/tEmxTZpm36QxPRfgymdMrSg5pzq6tkujQCLcBGAsYHQ/IMG_7895.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-0ZUww808avk/YCsBJNu9IVI/AAAAAAAAFOs/tEmxTZpm36QxPRfgymdMrSg5pzq6tkujQCLcBGAsYHQ/w480-h640/IMG_7895.jpg" width="480" /></a></div><br />Here is the end result. Now the piece can stand proudly on its own feet. </div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-7PsL3LO16sw/YCsB45PecGI/AAAAAAAAFO4/eEuH_WaP7_k0ptWoadp3AbZyLx7G5Xe3gCLcBGAsYHQ/IMG_7911.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-7PsL3LO16sw/YCsB45PecGI/AAAAAAAAFO4/eEuH_WaP7_k0ptWoadp3AbZyLx7G5Xe3gCLcBGAsYHQ/w640-h480/IMG_7911.jpg" width="640" /></a></div><br />Meanwhile, I was occupied with the legs of my Louis XVI marquetry commode. They were originally veneered in purple heart, but the veneer was so badly damaged it was necessary to replace it. I have posted videos on my YouTube channel (3815Utah) about my method for veneering columns using Old Brown Glue. In this case, the legs were solid oak and tapered. The same process worked perfectly.</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-duJ-sKuJkmI/YCsCg68LENI/AAAAAAAAFPA/xONc9wS8UG0nuN37meXku0_ha-f5zDm9gCLcBGAsYHQ/IMG_7518.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-duJ-sKuJkmI/YCsCg68LENI/AAAAAAAAFPA/xONc9wS8UG0nuN37meXku0_ha-f5zDm9gCLcBGAsYHQ/w480-h640/IMG_7518.jpg" width="480" /></a></div><br /></div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-4BNgEo9vs5c/YCsClk6wNRI/AAAAAAAAFPE/__9KLFmRkEE0kiNvvgV98NgOJ1DXVIcHgCLcBGAsYHQ/IMG_7517.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="2048" data-original-width="1536" height="640" src="https://lh3.googleusercontent.com/-4BNgEo9vs5c/YCsClk6wNRI/AAAAAAAAFPE/__9KLFmRkEE0kiNvvgV98NgOJ1DXVIcHgCLcBGAsYHQ/w480-h640/IMG_7517.jpg" width="480" /></a></div><div><br /></div>I also had to match the faded color of the old surface, so I used a two part bleach to get much of the color out of the new purple heart veneer. Then I added finish and color to get a good match. This is what it looks like now. My job was much easier than that of Patrice...</div><div><br /></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-T9l8vffHCyA/YCsDEKos_TI/AAAAAAAAFPQ/3mMpQY7k7NMBpISyDf1uS1qmM-T8qYPTgCLcBGAsYHQ/IMG_7960.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1536" data-original-width="2048" height="480" src="https://lh3.googleusercontent.com/-T9l8vffHCyA/YCsDEKos_TI/AAAAAAAAFPQ/3mMpQY7k7NMBpISyDf1uS1qmM-T8qYPTgCLcBGAsYHQ/w640-h480/IMG_7960.jpg" width="640" /></a></div><br />It was fun work and Patrice and I ended up completing our respective projects at about the same time.</div><div><br /></div><div>PS: The photo at the top of this post is one of my original art sculptures. It is a piece of a tree that I cut down for firewood many decades ago. I just didn't have the heart to throw that particular piece in the fire...<br /><br /></div>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com2tag:blogger.com,1999:blog-4695685403802703716.post-4634843003624582252020-09-13T09:22:00.003-07:002020-09-14T07:59:14.082-07:00Technomania Cult<p> When I was an impressionable young man, I wanted to be a nuclear scientist. I have written here many times about that period of my life. The worlds of science fiction and the reality of my existence were so mixed up that I did not even try to keep them apart. The future was exciting. Man had entered space, landed on the moon and was able to control the atoms themselves. Nuclear power promised us that soon we would have access to all the free electricity that we wanted. Movies like "Back to the Future" showed us that not only was time travel a real thing but you could power your flying car with garbage! How cool is that?</p><p>I was a willing participant in a cult, if such a belief system can be called a cult. Technomania means that you have a passionate enthusiasm for technology. We were told that, no matter the problems we faced, science and technology would soon provide a solution. And, of course, since applications of scientific discovery were market driven, it would be affordable to everyone.</p><p>I was working as a research physicist in my 20's when I had an epiphany and a dramatic revelation about my personal cosmology and quit my job. I went from the cult of Technomania to the cult of the Luddites. Just to be clear, if you are not aware of the history of this group, the Luddites were a secret, oath driven group of radicals in England who decided to destroy the weaving looms. It was clear to this group that the new invention of the loom for weaving would eliminate thousands of manual jobs, mostly employing women in the lower or middle class. It was argued that technology and the emerging Industrial Revolution was dangerous to traditional jobs, which drove the economy.</p><p>Of course, the argument made by the makers of these looms was that it would make fabric better, quicker and much cheaper. This was the argument that won the day and it was impossible to stop progress by attacking the machine itself.</p><p>The essential force behind the Industrial Revolution was the introduction and widespread use of low cost fuel, starting with coal and ending up with the illusion of my youth: nuclear power. Natural power sources, like water and solar, have remained in the background during this entire time. This is an interesting observation. Water power has been used since the dawn of man. Building dams in recent times has proven to be a reliable source of electricity, even at a certain cost to the environment. Sunlight has been essential for all growth, plant and animal, and recent developments in solar panels has begun to be accepted. I have solar panels on my house. If every house in Southern California had solar panels, we would be exporting electricity to the rest of the country. However, for that to work, we would need a Federal electrical grid distribution system that doesn't exist. </p><p>The universal decision to use coal for heating and steam power started the introduction of carbon dioxide into the atmosphere in increasing quantities, leading to the global greenhouse effect we see today. The similar introduction of nuclear power and widespread distribution of nuclear waste elements has created biological diseases that were previously unknown. This has been the cost of progress.</p><p>So, I am not an actual Luddite. I have solar power. I drive a car. I use the internet. I am not a caveman.</p><p>But I still believe in the initial concepts promoted by those early 19th century radicals. Human jobs are essential for human happiness. Jobs that are rewarding and well paid. Jobs that provide a certain intellectual challenge for workers to achieve a sense of pride of accomplishment at the end of the day.</p><p>This is why I have been content to do the same job every day of my life with pleasure. As a furniture conservator in private practice I am constantly faced with new challenges. I am always looking for solutions to problems, while following the simple rules of my trade: Conserve all original material, respect the original intent of the maker, use reversible materials at all times, follow the "six foot six inch" rule. (That means that the restoration should not be visible at a distance of six feet, but a knowledgeable person who examines the object from a distance of 6 inches should be able to see the difference.)</p><p>There is a considerable amount of forensic analysis required for each project to determine how it was made, what historic repairs have been done, and what should be done to restore it to its original function, since furniture is essentially functional art.</p><p>When I sat down to write this post, my initial point was to illustrate that antique furniture was designed to be repaired. Those woodworkers in the past knew that the business of furniture making was supported by the job of furniture repairing. They could sell a piece of furniture from time to time, but there was always work and money to be made repairing damaged furniture that was in constant use. That is why they designed their furniture so that it could be taken apart and repaired by another furniture maker when necessary. Protein glues, shellac and wax finishes, and general construction methods were all used to support this secondary business of repairing damage.</p><p>The Industrial Revolution changed all that. Can you imagine a business today which relied on repairing IKEA furniture? Modern furniture is designed to become obsolete and also to be so cheap that it makes more sense to just throw it away instead of paying a worker to fix it.</p><p>The same can be said about cars, phones and televisions, clothes, and all modern consumables. They have an enormous carbon footprint, are designed to become obsolete in a fixed amount of time, and are also economically impossible to repair at some point. Just more waste for the planet.</p><p>As I write these words, I am aware that this post has ended on a sombre mood. People are out of work and the climate has dramatically changed due to our desire for faster, quicker and cheaper goods. </p><p>I am old enough to remember the television advertisement slogan: "It's Not Nice To Fool Mother Nature!"</p><p>It is time for me to get back to work. I must put down the computer keyboard and return to my work bench where an English marquetry tall case clock is waiting for my attention. It has stood the test of time since 1690 and will continue to do so for the foreseeable future after I am finished with the restoration.</p><p>I am a fortunate survivor of a lost trade.</p>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-60783674333485088102020-09-05T09:46:00.001-07:002020-09-05T09:46:43.949-07:00Motivation<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0a62hF9pPcE/X1O_8FkF4wI/AAAAAAAAE9s/TernTPmkGHUJsgiGEA5OC1fcHDd0KKKWACLcBGAsYHQ/s2048/IMG_6883.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="469" src="https://1.bp.blogspot.com/-0a62hF9pPcE/X1O_8FkF4wI/AAAAAAAAE9s/TernTPmkGHUJsgiGEA5OC1fcHDd0KKKWACLcBGAsYHQ/w625-h469/IMG_6883.jpg" width="625" /></a></div><div><br /></div><div><br /></div> "ICI NOUS SAVONS LE PASSE POUR LE FUTUR"<p> Yesterday I participated in another Zoom group presentation sponsored by the Ruskin Society of Los Angeles. It was 90 minutes and generally focused on my workspace and projects. At the end I sat down for a short time to try to discuss my philosophy of work and naturally, when it was over, I immediately thought of concepts that I failed to introduce. </p><p>It seems that every time l end a conversation or lecture and am alone with my thoughts, my brain starts to bring up ideas that were important. There is always more to add to any discussion no matter how long it may last.</p><p>The minute I pressed "end" and the meeting went dark, I thought of the wisdom of Toshio Odate, a nationally recognized woodworker who lives on the East Coast. I have mentioned this anecdote before in this blog and many times in lectures, but I failed to bring it up during the Ruskin talk, when it would have made an impression on the viewers.</p><p>It happened during the American Woodworker shows that were popular many years ago. These shows brought together noted woodworkers to present their skills. I was invited to demonstrate French marquetry, Roy Underhill was the keynote speaker and always brought the crowds, and Toshio would set himself in a booth to silently work his skills.</p><p>I was in a nearby booth and set up my chevalet, cutting a marquetry project out during the three days of the show. This would involve many small pieces of wood and lots of discussion with the spectators. In general, most middle age woodworkers who attended these shows were retired engineers, and they would often look at my wooden tool for a few minutes before offering their opinions about how they could improve it.</p><p>"Why don't you hook it up to a motor?" they would suggest, more often than not. I would patiently reply that it was designed before the Industrial Revolution when human power was normal, and that I had a lot of respect for the traditional methods and tools. </p><p>I could see in their eyes that they were not satisfied with my answer, as if I was some old hippy who was reluctant to join the modern age. At some point, when they determined that I was not going to see it their way, they would wander off to look at some new power tool demonstration, searching for that elusive tool that would make them a better woodworker.</p><p>However, there was another common statement that I would hear several times a day. As I would carefully saw out tiny pieces of wood and place them in my tray, over and over for hours, I waited for the inevitable response: "That must take a lot of patience!"</p><p>My reply at the time was this: "No. Playing golf takes a lot of patience. I don't see the point of hitting a ball and then chasing it, only to hit it again. That takes a lot of patience."</p><p>I now realize this was a poor answer. Many of the men who were standing around watching me work were amateur golfers. This reply only served to alienate them. I failed to see what they liked about playing golf and they failed to see what I liked about creating marquetry.</p><p>During one of my breaks I walked over to watch Toshio demonstrating. He had an enormous Japanese hand saw in his hands and was re sawing a piece of wood that was about 24" wide, 2" thick and 6' long. He was slowly and carefully sawing this piece of lumber into veneers. Without saying a word, he would work for long stretches of time, paying no attention to the audience.</p><p>At one point, as I was watching, one of the woodworkers spoke out: "That must take a lot of patience."</p><p>Toshio would stop for only long enough to reply: "No, it takes passion." Then he would continue, silently.</p><p>At that moment I realized the problem with my response to the same question. These woodworkers loved to play golf because it was a passionate hobby of theirs. I loved to make marquetry because I was passionately involved with the process of the trade.</p><p>When I was working as a physicist, so many years ago, I patiently waited for the end of the week so I could do something that I really loved to do. As soon as I made the decision to quit working in physics and was able to spend all my time working as a furniture conservator in private practice, I started hearing from my clients the same comment: "You are so lucky to be able to make a living doing what you want to do!" </p><p>Isn't that the point of life? Do what you love. Follow your passion. Be happy.</p>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com3tag:blogger.com,1999:blog-4695685403802703716.post-35128039288735244342020-07-15T12:02:00.003-07:002020-09-03T17:42:03.992-07:00"To Die With a Secret is a Sin"<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-85hmAVtwzg4/XxBtZVM89GI/AAAAAAAAE5w/Y7IOO2oWu24I0vHAZmDnT1FBeRANn74EQCLcBGAsYHQ/s1600/IMG_0074.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="432" data-original-width="289" height="640" src="https://1.bp.blogspot.com/-85hmAVtwzg4/XxBtZVM89GI/AAAAAAAAE5w/Y7IOO2oWu24I0vHAZmDnT1FBeRANn74EQCLcBGAsYHQ/s640/IMG_0074.jpg" width="428" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reading Roubo</td></tr>
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I am slowly being dragged with great reluctance into this modern virtual age of teaching. In a way, the act of creating a blog and posting over the past decade has set the stage for this. However, when I post something it is more of a personal reflection of my current activity. When I use an online app to meet with actual students, it is a completely different situation.<br />
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Yesterday I had my first Zoom lecture. Tony Fortner, who is an old friend and instructor at Cerritos College in the Los Angeles area, invited me to present a talk about my career. I was initially trepidatius about the technical aspects, but we had a trial run and it worked ok.<br />
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Tony had sent me a couple of pages of specific questions that the students had raised before the talk and I was able to answer them in one way or another during the presentation. However, after it was over and I had a chance to reflect on my response, I realized that these were very insightful questions and that they deserved to be addressed in a more thoughtful way.<br />
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Therefore I am posting here the questions and my full answers.<br />
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PROCESS: ORIGINAL OR RECREATION<br />
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Q1. What makes up your R & D process for your creations? What goes into the development and experimentation (if any) to arrive at the finished product?<br />
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A: I do not make original designs or contemporary pieces. I make rather exact copies of existing antiques. During the process of conserving and restoring existing pieces I take the time to closely examine all the visible tool marks as well as the traditional construction methods, which vary from period to period. In addition to this, I collect and read as many books as I can about antiques, and visit my friends in the various conservation labs in museums around the world to share observations. There is no real "experimentation" as it is instead more of a "discovery" of how they did it in the past.<br />
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Q2. How do you choose/decide on a piece to create? Do you ever recreate a piece verbatim? Or is more the style and process that you are creating?<br />
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A. There is a term in the historic trades that has been popular during my career. It is "adaptive reuse." This means that you are free to take elements of any period and "reuse" them in a new and contemporary way. I do not do this. I have a great amount of respect for something that was made centuries ago by a talented craftsman and has survived the test of time. When I make a "copy" of that piece it is an exact copy in every way. I like to call this a "re creation" and not a "reproduction." In my mind a "reproduction" is what you call furniture made in a factory with modern methods. I have always stressed the original process of workmanship is the most important aspect of my trade.<br />
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Q3. How much are you depending on historical design, and how much historical context.<br />
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A. When I started my career in this field I realized that growing up in Southern California did not fully provide any historic context of what life was like on the East coast of America or in Europe during the 17th and 18th centuries. I decided early on that it was essential to travel to visit museums and historic settlements and see for myself how people lived and in what context the particular example of any antique would be used. These pieces often had a specific use which may no longer be understood today. They drank tea, played card games, and even used chamber pots in the bedroom and all of these activities required unique pieces of furniture. In my mind it is impossible to separate the historical design from the historical context.<br />
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Q4. How much of providing yourself new challenges factors into what you make? Does that enter into your thought process when it comes to your designs?<br />
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A. I am a problem solver. I love a challenge. One of the first problems I faced when making and restoring early 19th century furniture was how to veneer a turned column with protein glue. I observed that veneered columns were found on numerous Empire sideboards, bureaus, tables and other pieces, and I reasoned that it must be a simple trick if it was so common. In fact, it took me 20 years of research and experimentation to solve the problem. It was the primary reason I developed Old Brown Glue, which is a liquid form of the traditional protein glue. I immediately began making furniture using turned columns with veneer using OBG with great success.<br />
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Q5.Why did you decide on a leather writing tablet for Box II- what influenced that decision?<br />
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A. We had made the box much shallower than the first series, so there was not a lot of room in the bottom for a secret compartment. We decided to have a gilt leather tray instead, and that "secret" tray pops out just in time for the client to use it to write the check!<br />
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Q6. How many hours does it take to complete one of the three original boxes? How much did your charge for the boxes you created?<br />
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A. It normally takes about 2 years to complete a series of Treasure Boxes. I am pleased to work with a partner, Patrice Lejeune, a graduate of ecole Boulle. He is half my age and twice as talented. We make 4 exact copies at a time for each series. We are very fortunate that they have all sold before the completion of the work. Treasure Box I series sold for $20k each. Treasure Box II series sold for $25k each and Treasure Box III series (which includes a matching stand) sells for $50k. We are in the design stage for Treasure Box IV which will be more affordible in the $15k price range.<br />
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Q7. What do you use to stain bone and where does the bone come from? What animal?<br />
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A. Unless you have a strong constitution, you do not want to Google "green bone." If you do, be prepared to enter a strange world of medical conditions...Instead I decided to ask my friend Don Williams, and he provided the answer which worked. Previously I had had limited success with TransTint colors, but bone is difficult to color as the pores are very small. Don suggested we contact BASF and ask about the "micro lith" colors they produce for ink jet printers. These colors are made with extremely small molecules. We used Oral Yellow 167 mixed with Oral Blue 855 to create a green color which was beautiful. The bone is from a supplier in France and comes from the leg bones of cows, processed in a way to make it uniformly white. Always use protection when working with organic animal materials.<br />
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PROCESS: RESTORATION<br />
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Q8. How often do you have to recreate the materials in a restoration and what happens when you can't acquire the original material? Have you ever not been able to source the raw materials?<br />
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A. I have saved every antique nail, screw, lock, key, piece of blown glass, scrap of Cuban wood and veneer, ebony, tortoise shell fragment, ivory scraps and other materials over my years in business. Nothing is thrown away. In addition, I had the foresight to invest a lot of money purchasing materials in France before they became scarce or controlled under the CITIES act. I am in a position where everything I could possibly need to restore a valuable antique is already in stock in my business.<br />
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Q9. What makes a piece worth restoration vs. replacement? What could make a piece not worth restoration?<br />
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A. You can spend the same amount of money restoring a vintage VW as you can restoring a vintage Rolls Royce. I guess it depends on how you want to spend your money. It is not my place to tell some client that it is not worth it to restore something that may have a great sentimental value. However, I tend to be realistic and provide gentle advice in cases where it is obvious that they should not do it. In general, if they intend to keep it, then go ahead. If they are spending money so that they can resell it, then my advice is not to do it. In most cases, investing money to restore something for resale takes away all the profit. Better to sell it "as is" to an end user who will then invest in the kind of restoration that works for them.<br />
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Q10.If you find an inconsistency or an error in a piece that you are restoring, do you maintain it as is or correct it? Why, what affects your decision?<br />
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A. Is it structural or cosmetic? If it is a structural problem then it needs to be fixed. If it is cosmetic then you can choose to leave it as it is. For example, all wood shrinks, and cracks are common in antique furniture. If the crack is the result of a structural failure or creates structural instability, then something needs to be done to remedy the problem. If the crack is simply cosmetic, then it is best to leave it alone. Generally my experience has been that any effort to fill a crack with wood or putty will fails eventually and make it worse. Sophisticated collectors understand cracks are a sign of age.<br />
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Q11. Are there designs that you find unattractive, but appreciate and enjoy working on nevertheless (sic)?<br />
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A. I do not like 20th century furniture and refuse to work on it. It is not designed to be easily repaired. I tend to appreciate the designs of the end of the 17th century as much as the designs of the early 19th century. I don't work on furniture I do not like.<br />
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RESTORATION VS. ORIGINAL DESIGN<br />
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Q12. Do you find restoration more or less challenging than original design? Why?<br />
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A. I am functionally incapable of creating any original design. My talent is that of a master counterfeiter. I find something that is amazing or beautiful and I copy it. The act of restoring existing antiques is how I learn what to do to create a duplicate. From the start of my career I believed that if something was made by a human in the past then I should be able to figure out how to do it again with the same results.<br />
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Q13. Which do you prefer--being commissioned and working with a client to design a piece or designing it and selling your work with your design and intention already in place?<br />
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A. I do not like to work for Designers or clients who tell me what to do. I already know how to do it, and I am sure they do not have that knowledge at the level that I expect. The problem with commissions is that most clients do not know what I am capable of doing and therefore limit my abilities or do not understand what to expect when I am done. It is best for me to make spec pieces using the finest materials available and then when a prospective client sees the final result they can either buy it or not. When a contractor decides to build a spec home, and choses the perfect location for his design, using the finest materials available, the house sells itself.<br />
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Q14. As a professional and someone who is paid for your work, do you put the same amount of effort into every piece you work on, or are there some pieces that you give "extra" or "special" effort to restore? Do personal pieces you make for a loved one surpass your "day job" pieces?<br />
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A. Every project I work on gets the same attention to detail in every way. The reason is that once the piece is left in my care I become the "client". I restore it as if it were my personal piece. I always do extra work in areas where I can see problems, even though the client will never know. It is not done unless I am satisfied with the result. Always give the client more than they expect and they will say nice things about your work. Word of mouth is my only advertisement.<br />
<br />
CAREER CHOICES<br />
<br />
Q14. It was really interesting learning about your path from being a physicist and antique dealer to becoming a maker, conservator and restorer. What was the learning curve like to go into such a specialized field and could you talk about what that transition was like?<br />
<br />
A. If you read the previous post on this blog you will understand the 5 year transition period I went through from 1969 to 1973. During that period I worked equally in both fields (physics and antiques). When I quit physics and walked away from that career choice I never looked back. As to the "learning curve" I guess if you can understand High Energy Physics, then it is not really a challenge to understand how furniture is made.<br />
<br />
Q15. You mention on your blog that you ran an antique business in college. How did you get into antiques? Was it a dealership or were you already doing restoration at that time?<br />
<br />
A. I got married in 1969 and bought a house. I needed furnishings and used furniture was the solution. As I bought more pieces I realized that I could restore and sell the extras. I opened a small antique shop and sold at yard sales and swap meets. You quickly learn the value of things when you sell person to person.<br />
<br />
Q16. Did you at one time use modern materials (such as glues) for your woodworking, and then switch to the more historic methods. If so, what was the eye-opening experience that caused this?<br />
<br />
A. One of my first projects was to make a backgammon board to use. I got some masonite and white glue and tried to veneer the surface. It was a spectacular failure. I immediately began to investigate traditional protein glues and have used them with great success ever since. As a furniture conservator in private practice I have always stressed reversibility and authenticity in all the materials I use.<br />
<br />
Q17. Are you anti-power tools, or do you simply prefer hand tools? Are hand tools preferable because you get better results or because they're more efficient? Or is it a spiritual type of preference, i.e. less noisy, more peaceful in the shop, some type of internal reward from the physical action as opposed to pushing a button or moving a lever, etc...<br />
<br />
A. Now we are talking about the "meaning of life." I have written articles about "Form Follows Process" to explain why I do things the way I do. I was deeply inspired by the philosophy of David Pye after I read his 1968 treatise, "The Nature and Art of Workmanship." Essentially, the question is who is the "master"? Following the "workmanship of risk" that Pye discusses, the worker manipulates the tool against the material taking a risk. When the "workmanship of certainty" is followed the worker feeds the material into the tool, and the tool becomes the "master." To compare the two, when you want to be a better worker using risk, you learn how to better manipulate the tool. When you want to be a better worker using certainty, you buy a better tool.<br />
<br />
PERSONAL QUESTIONS<br />
<br />
Q18. Who are your top makers/restorers (living or dead) that you admire and we should know about?<br />
<br />
A. All of the SAPFM Cartouche Award winners. I am honored to be included in this distinguished group of talented craftspeople.<br />
<br />
Q19. If you had to pick one book that influences your craft, what book would that be?<br />
<br />
A. David Pye<br />
<br />
Q20. What is your favorite piece of furniture?<br />
<br />
A. Every woodworker should make a tall case clock before he dies.<br />
<br />
Q21. Is there an item that you would pay any price to get your hands on?<br />
<br />
A. A really good viola.<br />
<br />
FINAL THOUGHTS<br />
<br />
I really enjoyed my time with this lecture. At the end of the talk I left them with a simply thought: "To die with a secret is a sin." What I meant is that during my career I have enjoyed meeting many of the finest people in this trade in the world. They have each contributed to my education and shared many secrets with me. Now I am at the last stages of my career, and it would be a crime to not share this valuable information with the next generation of seekers. In this business, much of the knowledge and skill is transmitted from one generation to the next. We can only advance civilization by passing on the secrets that we know. If you die without passing that secret on it is wrong. We are all educators whether we realize it or not.<br />
<br />
Everyone is an inspiration to some one. You are an inspiration to me.<br />
<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com5tag:blogger.com,1999:blog-4695685403802703716.post-63502828273996539292020-06-14T08:54:00.001-07:002020-06-15T07:58:21.307-07:00The Romance of Craftsmanship <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-_VrUbCFi5vY/XuJbqQIdRtI/AAAAAAAAE24/DvrPmBrlSUgL_xhaneQzMor70cW9EuTRwCLcBGAsYHQ/s1600/IMG_7586.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-_VrUbCFi5vY/XuJbqQIdRtI/AAAAAAAAE24/DvrPmBrlSUgL_xhaneQzMor70cW9EuTRwCLcBGAsYHQ/s640/IMG_7586.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Constant Reminder of Purpose</td></tr>
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I had the good fortune to be born in 1948. I grew up in the decade of the 1950's and came of age during the 1960's. I was a product of the Baby Boom generation, which had its ups and downs.<br />
<br />
During the first decade of my life I sought out and read every science fiction book I could find. My bedroom was filled with such authors as Isaac Asimov, Arthur C. Clark, Ray Bradbury, Robert A. Heinlein, Philip K. Dick and, most importantly, Kurt Vonnegut. ( I know he was writing later but I lingered on the genre...)<br />
<br />
Every chance I had I went to see the movies and was inspired by the Day the Earth Stood Still, Invasion of the Body Snatchers, War of the Worlds, The Incredible Shrinking Man, and scared to death by the Blob and amused by the Crawling Eye. I still believe that Forbidden Planet is one of the best movies of that time. After all, the monster was the Id! How do you deal with that?<br />
<br />
Naturally, my hobbies reflected my fascination with science. I built sophisticated rockets. I repaired electronic devices, I even built my own Heathkit tube tester so I would not have to keep running to the drug store to test suspect television and radio tubes. The invention of the transistor changed everything.<br />
<br />
During the early 1960's, when I was in Honors Physics in High School, we were required to submit a Science Fair project. I decided to build a linear electron particle accelerator. I have mentioned this before, but when I took top honors at the Science Fair and was selected to represent San Diego at the National Science Fair, I decided to go to Europe and ride a bike for the summer instead. It is fair to say that my Dad was not pleased with my life choices.<br />
<br />
During my entire youth the only things I built with wood were forts, made from salvaged materials. <br />
<br />
However, the three months I spent riding my bike around Europe exposed me to museums and castles and the world of Decorative Arts that I did not even know existed before. For the first time in my life I was thinking of the past rather than the future. Living in Southern California all my life I thought the oldest thing around was the first location of the McDonalds. Honestly there were a few Victorian houses in the older neighborhoods but nobody took them seriously.<br />
<br />
So it was only natural when I returned to California and started my college education at UCSD, that I would be interested in classes in History, Philosophy, Literature, Music and Humanities, in addition to the standard Math, Chemistry and Physics. In the words of Paul Saltman, the UCSD Provost: "We will educate you to become Renaissance Men!"<br />
<br />
Like many before me, I got married while in college and managed to buy a small house. To fill that house I needed furniture and at the end of the street was a used furniture resale shop. I have already talked about buying and fixing these old pieces of history to help pay for my lifestyle. However, I never considered any career but that of High Energy Physics research. During the entire 4 years while I was at college, I worked 20 hours a week in the Physics Department earning minimum wage. In addition, during my Sophomore year (1968) I took classes by mail while I worked 80 hours a week for the entire year at Brookhaven Labs in New York, assisting the team from the Physics Department on a large research project.<br />
<br />
I still remember clearly the stark contrast between the "Summer of Love" and the "Year of Revolution". In 1967 I enjoyed 3 months riding a bicycle around the historic countryside of Europe and in 1968 I suffered in the heat and humidity working around the clock in a large impersonal laboratory adjusting research equipment while the news reported widespread revolts across the globe.<br />
<br />
In my mind, I decided it was more peaceful living in the past rather than the present. The rational part of my mind keeps reminding me that not all of the past was pleasant, but I allowed the romance of the past to transport my sanity into another world. I fell in love with antiques.<br />
<br />
It was during this time that I read David Pye's incredible treatise, "The Nature and Art of Workmanship." Since I had opened a small antique business buying, restoring and selling antique furniture, I wanted to more seriously research the field of Decorative Arts. Although the text of Pye's book was esoteric and seriously intellectual in its treatment of Design, Craft, and Workmanship, I focused on the rather basic concept of "Workmanship of Risk" and "Workmanship of Certainty." <br />
<br />
I was living two different careers at that time: Antique Dealer and Research Physicist. It was obvious to me by working on antique furniture that the pre industrial craftsmen took great risks with their materials and design to create masterpieces. At the same time, the work of a research physicist was to eliminate risk as much as possible in collecting data that was reliable. Many of the experiments we were performing produced millions of data points and if even a small percentage of that data was questionable, then the results could be considered worthless.<br />
<br />
In fact, as it turned out, all the data we collected during the year at Brookhaven proved to be worthless, as an error in our preliminary calculations made the experiment itself faulty. It was an eye opening experience. To see how much time and materials had been exhausted in the search for the missing particle, and then to just throw out the IBM punch cards, like so much trash, made me look seriously at my life choices.<br />
<br />
There were compounding problems with the career of a research physicist which began to make me think about my future. I was exposed to radiation and dangerous chemicals. I realized that nuclear waste was not being treated properly. I knew that the development of nuclear power was the wrong solution, both for military and civilian uses. I felt that I was part of a cult of scientists who believed that they could "control" the atom and that, unless you were also a physicist, you could not be trusted with the secrets.<br />
<br />
It took about 5 years for me to decide which direction I wanted my life to go. In the years between 1969 and 1973 I worked both jobs at the same time. During the week from 9-5, I was a research physicist, and in the evenings and weekends I was a furniture conservator in private practice with a brick and mortar location, as well as a part time teacher of Decorative Arts in the Adult Education system. I even managed to produce a 10 part television series for CBS during that time.<br />
<br />
In April, 1973, I abruptly resigned my position from Maxwell Labs and walked out the door, leaving behind a guaranteed paycheck, paid health benefits and a retirement package. In a real analysis, I was leaving a career of certainty and choosing instead a career of risk. I have never regretted that decision. Many clients over the years have said the same thing: "You are so lucky to be able to make a living doing what you want." To me, it was the only logical decision I could make.<br />
<br />
<br />
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-32607411636072324462020-05-19T10:52:00.000-07:002020-05-20T08:55:42.576-07:00Brave New World TeachingI am what you would call an "old fashioned" teacher. I spent the early part of my career teaching four nights a week in the Adult Education classes which were popular in California during the 1970's and 80's. That meant I taught Decorative Arts classes for each semester, which required 18 different 3 hour classes.<br />
<br />
After 15 years of that type of teaching, I moved on to giving specialized classes in the Decorative Arts at various universities and colleges, generally on the quarter system. Those classes were very popular at first, but the fashion of collecting antiques gradually went away and after the end of the last century, my teaching was reduced to occasional lectures for various groups.<br />
<br />
My teaching methods focused on providing as much information as possible in the time given. During a typical 3 hour talk I would spend the first hour with a chalk board giving necessary background data on the subject, as well as introducing all the relevant research material such as books and museum sources. The second hour would be spent on showing and discussing as many as a dozen examples of antiques for that topic as I was able to bring to class. It is essential in teaching conneisseurship about quality, style and construction that the student is able to directly examine the object. The third hour was showing slides of the different objects which represent the topic in question.<br />
<br />
When I say slides, I mean that I used two carousel projectors with 80 slides in each. By showing two images simultaneously you can begin to make subtle comparisons. Also, with so many slides and so little time there was no falling asleep. You had to pay attention, as you only had about 30 seconds for each image to see what was important. I found that by throwing this much visual information at the student in such a short time that they subconsciously were able to absorb quite a bit.<br />
<br />
Those days of teaching in person and with "hands on" methods seem like ancient history now.<br />
<br />
I am reminded of the time some 40 years ago that I ended up buying a fake console table from Benjamin Ginsburg in New York. I bought it from photos and when I had a chance to examine it in person I quickly determined it was put together. However, Mr. Ginsburg (one of the most respected antique dealers in NY) was very old, and mostly blind. I guided his hands over different surfaces of the table to convince him it was not right. Eventually he agreed and I was refunded my money.<br />
<br />
That was really a "hands on" experience!<br />
<br />
These days the new format is YouTube videos, blog posts and more recently Zoom, GoToMeeting and many other apps for internet groups to meet.<br />
<br />
Just last week I was able to participate in my very first virtual lecture. I was asked by George Adams, representing the New Hampshire Woodworker's Guild, if I could give a group talk about using protein glues. Of course I was excited to try this new format, so we worked out the technical issues and Patrice helped make it work.<br />
<br />
They asked me for a two hour lecture, and I said fine. It turned out pretty well considering we did not know what we were doing.<br />
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You may enjoy the video by clicking on this link: <a href="https://www.gnhw.org/videolibrary/htc-protein-glue" target="_blank">Protein Glue Talk</a>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-42669056934917120952020-04-25T08:41:00.004-07:002020-04-25T08:41:57.292-07:00Once a Fake, Always a Fake<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-gdgG6wnlH4w/XqRRKqoeG5I/AAAAAAAAExs/Q4PaIBTQupMQJj_Qtjhpt9P2vHewNxN5QCEwYBhgL/s1600/IMG_3509.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-gdgG6wnlH4w/XqRRKqoeG5I/AAAAAAAAExs/Q4PaIBTQupMQJj_Qtjhpt9P2vHewNxN5QCEwYBhgL/s640/IMG_3509.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Anger Management Issues Much?</td></tr>
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Years ago, when I was a popular speaker on the "Antiques/Decorative Arts" circuit, I often presented a talk which was very well received. The topic of the talk was "When Does A Fake Become Antique?"<br />
<br />
My main point was that fakes can live long enough to be considered antique, simply by age. For example, at the Getty Museum there is a French piece of furniture, made around 1790. At that time it was a fad to deconstruct old Boulle furniture (which was probably in poor condition) and use the elements to remanufacture new pieces. Therefore, what might be considered a fake in some intellectual circles now is proudly displayed in a major museum as an artifact of that period.<br />
<br />
The other point of my talk is this: If you counterfeit money and take it to the bank it is recognized and destroyed. By keeping fake money out of the market, the true value of real currency is protected. However, there are thousands of examples of actual fake antiques which are bought and sold every day. When these are recognized, they are then considered to have "decorative" value instead of "antique" value. Often the price is the same.<br />
<br />
I think I have told the story of a rather large "Louis XV Television Cabinet" that has been living in Los Angeles for several decades. I was first confronted with this object when I was hired to provide my expert opinion as to its age. It was fairly easy to determine that it was put together with the parts from two different 18th century French armoires. However, the price that the client paid was $240,000. When our report was submitted to the client with our findings, the decision was made to return it to the dealer. <br />
<br />
About 5 years later I was again on a job in Los Angeles, in a wonderful large mansion. I was asked to look at a sideboard in the dining room. As it was my first meeting with that particular client, I wanted to impress him with some of my background experience, and I told him about the "Louis XV Television Cabinet." His expression was of utter shock and he said that I had better look at the antique armoire in his master bedroom.<br />
<br />
Of course, as I entered the room I was immediately aware that it was the same piece. And that it had been purchased at the same ridiculous price. Fortunately, he was able to return it to the dealer.<br />
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A year later, as I drove down Robinson in Los Angeles, past the antique dealer's shop, there it was, sitting in the window, ready to be sold again.<br />
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Last year I gave a lecture at my old school, UCSD, to a group of collectors. You can watch the talk which I posted on an earlier page of this blog. After this talk, two of the audience members brought an antique to my shop for restoration. It was carefully wrapped and had been kept in storage for several years. They mentioned that it had been in the family for generations and was valuable.<br />
<br />
As soon as I saw it my heart sank. I do not like being the bearer of bad news, but I am compelled to speak the truth, and my many years of experience provides me with the background to know what I am talking about.<br />
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"Unfortunately, this is an English fake which was made around 1900."<br />
<br />
They were crestfallen. They just asked what it would cost to restore it, and then decided to just walk away. It was free to me and a terrible loss to them.<br />
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It was supposed to be a William and Mary dressing table from around 1700.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-NO4yHbOOuFs/XqRROzebdZI/AAAAAAAAEy0/URK4aIT3q78WVFkhV3AOXGF6OYBDkriaACEwYBhgL/s1600/IMG_6783.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-NO4yHbOOuFs/XqRROzebdZI/AAAAAAAAEy0/URK4aIT3q78WVFkhV3AOXGF6OYBDkriaACEwYBhgL/s640/IMG_6783.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Got to Love the Legs!</td></tr>
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This was what it looked like:<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-FTqWcY0NYWs/XqRRKdlXsUI/AAAAAAAAEys/JpCoAogf4moHdpr6VWv9PcRW8jvmGerFACEwYBhgL/s1600/IMG_6376.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-FTqWcY0NYWs/XqRRKdlXsUI/AAAAAAAAEys/JpCoAogf4moHdpr6VWv9PcRW8jvmGerFACEwYBhgL/s640/IMG_6376.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Veneer Attached With Contact Cement</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-qKmOyZTu52s/XqRRJ39rjQI/AAAAAAAAEyg/87XapdpnnLQNWHnic5HWD11h5zopF2RVQCEwYBhgL/s1600/IMG_6377.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-qKmOyZTu52s/XqRRJ39rjQI/AAAAAAAAEyg/87XapdpnnLQNWHnic5HWD11h5zopF2RVQCEwYBhgL/s640/IMG_6377.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Old Finish Covers Sins</td></tr>
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To make it worse, someone had removed the legs and added cheap modern alder cabriole legs:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-wmtFH-_BYXs/XqRRTp5Ed4I/AAAAAAAAEy0/UK--iBFaIjQFJwlJ86djpZF69hWtOPsOgCEwYBhgL/s1600/IMG_7294.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-wmtFH-_BYXs/XqRRTp5Ed4I/AAAAAAAAEy0/UK--iBFaIjQFJwlJ86djpZF69hWtOPsOgCEwYBhgL/s640/IMG_7294.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Proper Turned Leg or Modern Cabriole Leg</td></tr>
</tbody></table>
I went ahead and started turning proper William and Mary legs, as it was a form I had never done before.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tAirMdf5eqM/XqRRYm9AV-I/AAAAAAAAEy4/PWVVkBLC2nw_7lWNNODmxuBTT7T1x34YwCEwYBhgL/s1600/IMG_7463.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-tAirMdf5eqM/XqRRYm9AV-I/AAAAAAAAEy4/PWVVkBLC2nw_7lWNNODmxuBTT7T1x34YwCEwYBhgL/s640/IMG_7463.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rough Turning in Walnut</td></tr>
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<br />
Since the fake had rather nice brass hardware and lock, and the casework and drawers were rather well made, I decided to skin it and add the proper burl walnut veneer with herringbone banding and hand made molding. I also designed and veneered a proper stretcher.<br />
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-2-Y83PraENM/XqRRSgeP4YI/AAAAAAAAEy4/WYvfsNkXSyAidLbCjJm735sp-yvo9By8ACEwYBhgL/s1600/IMG_7292.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-2-Y83PraENM/XqRRSgeP4YI/AAAAAAAAEy4/WYvfsNkXSyAidLbCjJm735sp-yvo9By8ACEwYBhgL/s640/IMG_7292.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Still a Fake</td></tr>
</tbody></table>
I used an interesting flitch of French walnut to make the top attractive:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-DvFpDnSczKA/XqRRYPfpwfI/AAAAAAAAEy0/GlN1VyrrSrIXSegnOPvZpvZDquQwFj_qgCEwYBhgL/s1600/IMG_7313.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-DvFpDnSczKA/XqRRYPfpwfI/AAAAAAAAEy0/GlN1VyrrSrIXSegnOPvZpvZDquQwFj_qgCEwYBhgL/s640/IMG_7313.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I Like the Pattern</td></tr>
</tbody></table>
I also used some fine burl veneer for the cabinet:<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-E1noXbj4wYc/XqRRV0t9DyI/AAAAAAAAEys/1bPpJtJ9PFYsaVt3IUbwAQ89QG4QFhCNACEwYBhgL/s1600/IMG_7312.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-E1noXbj4wYc/XqRRV0t9DyI/AAAAAAAAEys/1bPpJtJ9PFYsaVt3IUbwAQ89QG4QFhCNACEwYBhgL/s640/IMG_7312.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Big Improvement</td></tr>
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All the veneer was laid using Old Brown Glue, which made the work very efficient. A few coats of shellac and some paste wax and the poor old fake was ready for its new life as a modern fake. <br />
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I wonder if at some distant time it will be considered important and stand in a major museum as an example of this time?<br />
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Just sayin...<br />
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<tr><td class="tr-caption" style="text-align: center;">Now What Do I Do With It???</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fake Antique</td></tr>
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-87676678071148055712020-04-23T08:11:00.002-07:002020-04-25T08:43:45.133-07:00Five SAPFM Cartouche Woodworkers<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GyADPcCJO28/XqGv0M04HUI/AAAAAAAAElo/hglZUaBkEus2-aIVH0E34DDgUbr7dvZfgCLcBGAsYHQ/s1600/Cartouche.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-GyADPcCJO28/XqGv0M04HUI/AAAAAAAAElo/hglZUaBkEus2-aIVH0E34DDgUbr7dvZfgCLcBGAsYHQ/s640/Cartouche.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Some of My Peers</td></tr>
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This post is a test. As you noted the last few blog posts have had their photos removed. I do not know what caused this, but I will work to fix it soon.<br />
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In the mean time, please read older posts. It seems that they are still in place. This started with April posts. Before April, 2020, all remains. That's 10 years of material.<br />
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If you know what I can do to fix it, send me a comment, please!<br />
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NOTE: I have solved the problem. I deleted the images and reposted them. Back to work.)W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-51078287546631157422020-04-13T11:21:00.001-07:002020-04-23T15:30:29.007-07:00Three Centuries After A.C.Boulle<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Boulle Work</td></tr>
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Imagine creating a form of furniture decoration that is inherently unstable and extremely expensive that somehow has lasted over three centuries. Not only creating the decoration but having your name associated with the design, the process, the material and the end result. Also having the most important trade school in Europe named after you.<br />
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That is the legacy of Mr. A.C. Boulle, cabinetmaker to King Louis XIV. His work was so significant that the King gave him a large room in the Louvre to set up his workshop.<br />
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Only the very rich could afford to have Boulle furniture. Only the very skilled and highly specialized furniture makers and restorers can create and maintain these objects. Even if boulle furniture is kept in a controlled environment and protected from extremes of temperature and humidity the complicated surface will begin to lift within a decade or so. Such is the problem of gluing brass, pewter, tortoise shell, ivory, mother of pearl, horn and other non wood materials to a wood substrate.<br />
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The reason is that all these diverse non wood materials expand and contract in different ways than the wood they are attached to. In the hot dry climate the metal expands and the wood shrinks. In the cold damp climate the metal shrinks and the wood expands. Only one type of protein glue seems to work: fish glue. In addition to using this specific glue the metal needs to be toothed on the glue side and rubbed with a fresh clove of garlic just prior to application.<br />
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This method was perfected in the last decades of the 17th century by Boulle and others, and in the subsequent centuries no modern adhesive works better.<br />
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<tr><td class="tr-caption" style="text-align: center;">Beyond Repair?</td></tr>
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Perhaps the most serious threat to this type of furniture is the ignorance of furniture repair shops, who think they can repair loose elements with epoxy or even nails. They do not realize that the unique quality of fish glue is that it allows the surface to actually creep during environmental cycles and remain stuck. Using nails or epoxy fixes those repairs to the wood substrate and when the environment changes it causes other elements to lift, creating new damage.<br />
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<tr><td class="tr-caption" style="text-align: center;">Epoxy Failure</td></tr>
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Another more recent problem is that the material itself (tortoise shell) is a controlled substance, listed on the C.I.T.I.E.S convention. This means that it is not possible to purchase or transport across country borders. I have been in business for over 50 years and have a good stock of shell which I purchased years before it became a problem. There is also the possibility to recycle used pieces of damaged shell from furniture that is beyond repair.<br />
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<tr><td class="tr-caption" style="text-align: center;">Nails Damage the Surface</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Animal Horn, Hawksbill and Green Turtle Shell</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Recycled Scraps of Antique Tortoiseshell</td></tr>
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In our shop we use thermal fax paper to capture the shape of the missing element and then find a suitable scrap of matching shell. With the French chevalet we are able to cut the proper piece to fill the hole in the surface.<br />
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<tr><td class="tr-caption" style="text-align: center;">Thermal Fax Paper with Tortoise shell Elements</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Match The Repair Element Above with These Losses</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Patrice Lejeune at Work</td></tr>
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Once the surface is stabilized and properly glued down the cleaning can begin. There is a unique French product which is designed to clean oxidized brass and polish shell. It is called "Eau Japonaise" and is slightly acidic. You use cheese cloth and this product to clean the surface. The results are dramatic.<br />
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<tr><td class="tr-caption" style="text-align: center;">Before and After Cleaning</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Always Dramatic Results!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Final Cleaning</td></tr>
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Several months ago Patrice and I received a call from a client who wanted us to restore their boulle table. We travelled some 50 miles up into the mountains and down a long dirt road where they met us and took us to a large open barn. Inside the barn, along with other household goods, was an amazing boulle center table from the Napoleon III period. It had sat there for decades, exposed to the dirt and heat, without protection. It also had a finish which was very damaged and not original. <br />
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The biggest problem with it was that all the shell elements were dry and blistered and falling off.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-9eFjXErgKpI/XqIQ9MPNGkI/AAAAAAAAEsA/LwpFjdtI55YZs_kXaBK2S-ZEqRat828_wCEwYBhgL/s1600/betore%2Btop2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="515" data-original-width="1024" height="320" src="https://1.bp.blogspot.com/-9eFjXErgKpI/XqIQ9MPNGkI/AAAAAAAAEsA/LwpFjdtI55YZs_kXaBK2S-ZEqRat828_wCEwYBhgL/s640/betore%2Btop2.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Before Restoration</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Apron Before Conservation</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xG7E8mZdFdY/XqIQ78XUaJI/AAAAAAAAErw/o8RD62a1sj8dOt2cZoeN6B45Q_Nk_9iGQCEwYBhgL/s1600/before%2Bdrawer.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="818" height="640" src="https://1.bp.blogspot.com/-xG7E8mZdFdY/XqIQ78XUaJI/AAAAAAAAErw/o8RD62a1sj8dOt2cZoeN6B45Q_Nk_9iGQCEwYBhgL/s640/before%2Bdrawer.jpg" width="510" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wrong Key and Keyplate</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Sitting in Open Barn</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gilt Bronze Mounts with Horrible Modern Finish</td></tr>
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We were asked how much it would cost to restore this table. Before I could provide a proper response, I wanted to know if they were going to keep it or try to sell it. They indicated they wanted to sell it. Therefore, I advised them to offer it at a low price and sell it without any further investment. The only way it makes sense economically is that the person who wants to own this poor thing to be the person to invest in its restoration. Further the restoration must be done professionally or not at all.<br />
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We left them standing in the barn to decide their next step. It turns out that they took my advice and posted it online at a very modest price.<br />
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The next month a client came into my workshop with this very same table for restoration. They wanted it done right and could afford the price, which was not cheap. However, our workshop is one of the few actually qualified to do this kind of work, so we took the project. In my career, this was the most difficult boulle restoration I have every attempted.<br />
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Initially, Patrice and Luke Addington began the process of rehydration of the shell surface. Luke is a serious furniture conservator in Tucson and was invited to help us in this project, as I had other jobs to do at the time.<br />
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<tr><td class="tr-caption" style="text-align: center;">Missing and Lifting Shell Elements</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Vacuum Bag Rehydration of Glue</td></tr>
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It took several months of very precise and tedious work to stabilize the surface. In addition it involved cutting and fitting elements of missing brass and shell. When the boulle surface was ready it was time to scrub off the modern finish and polish the brass. This took a month of work to clean using acetone and Scotch scrubbing pads.<br />
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We had help from the client himself who hired a person to clean the gilt bronzes. He did a wonderful job and saved the client a lot of money. Usually we send these mounts to Paris, but with the current Pandemic this was not an option.<br />
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When the table was finally put together this week I just stood back and appreciated the result.<br />
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I love my job!<br />
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<tr><td class="tr-caption" style="text-align: center;">Happy Days</td></tr>
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com5tag:blogger.com,1999:blog-4695685403802703716.post-82138743562809004182020-04-06T10:27:00.000-07:002020-04-24T08:55:38.286-07:00Waiting for Negentropy<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">No Further Words Needed..</td></tr>
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This post is intended for everyone today who is staying inside their homes and working to do nothing so that we can "flatten the curve." I do not need to explain since we all are in this together. When the Beetles sang "Come Together" they should have added "with a respectable social distance, of course."<br />
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From time to time I play Judy Collins' album "Colors of the Day" and it always gives me the emotional support I need to get through the day. I also like to look up and appreciate the wonderful variety of clouds that change from day to day.<br />
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For those of you who are not outside, I would like to post some of my favorite cloud images, along with the lyrics from Judy Collins:<br />
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I've looked at clouds from both sides now<br />
From up and down and still somehow<br />
It's cloud's illusions I recall<br />
I really don't know clouds at all<br />
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My head is always in the clouds!<br />
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<span style="color: #222222; font-family: "arial" , sans-serif;"><span style="background-color: white; font-size: 14px;">I REALLY DON'T KNOW CLOUDS AT ALL...</span></span>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com3tag:blogger.com,1999:blog-4695685403802703716.post-49876894704999969992020-04-05T12:26:00.000-07:002020-05-08T11:06:05.276-07:00You Should Not Be Afraid of Your Glue<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">Have You Tried This?</td></tr>
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My first experience with super glue was when I was working in physics nearly 50 years ago. I didn't know what this glue was capable of and accidentally got some on my thumb. When my thumb came in contact with my first finger it instantly got stuck. I was somewhat amused and tried to pull them apart, with no success. As I thought about living with my thumb glued to my finger I became concerned and asked one of the technicians in the lab for his advise. His response and attitude toward my situation indicated that I was about as stupid as a rock.<br />
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He handed me a razor blade and said, "You need to decide which side to cut. Do you want your thumb or do you want your finger?" Then he called over the other tech to watch me make the decision. All I can say is that it was a painful learning experience and I have kept my distance from super glue ever since.<br />
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With that in mind, I remember seeing the introduction of Gorilla glue many years ago. I was interested in this new product and read the label carefully. I noticed there was a 1-800 phone number on the label so I called to ask a question.<br />
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"Hello, I need to ask you about getting this glue on my skin. How do I get it off?"<br />
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The cheerful response was as follows: "It will wear off eventually."<br />
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I had some strange dreams that night.<br />
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In fact I was told that if my dog or child accidentally ingested Gorilla glue then immediate surgery was necessary, as it would form a blockage in the digestive system.<br />
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To contrast with this, I have had many shop dogs over the years and they all kept the floor clean of any spilled hide glue, which is a protein.<br />
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On one occasion I had a black lab who was always at my feet during work. When I opened a new can of tung oil for a finishing project and set it down on the floor for a moment to do something else, Bruiser drank the entire can. I expected him to get sick but his fur just got shiny...<br />
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I do not like toxic materials. I use protein glue, shellac, wax and other traditional materials for this reason. They also are reversible and work just fine.<br />
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Here is an article I cut out of the New York Times paper in May 2015. It was a result of the federal discussion over the use of formaldehyde, an important additive to commercial wood glues and wood glue products. The argument is between worker's health or profit. It seems that industry is willing to risk toxic chemical exposure in workers if it means more profit on the bottom line. Among other reasons, this was an important factor in my decision so many years ago to retire from high energy particle physics and devote my career to furniture conservation using organic materials.<br />
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Now it is time for the final video in the Fine Woodworking series. This is about hammer veneering.<br />
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Enjoy:<a href="https://www.finewoodworking.com/2020/03/20/hammer-veneering-with-hide-glue" target="_blank">It's Hammer Time!</a><br />
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com3tag:blogger.com,1999:blog-4695685403802703716.post-87034756458873411752020-04-04T11:47:00.002-07:002020-05-08T11:05:45.537-07:00Synthetic Glues Rub Me The Wrong Way<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">One Ton of Milligan and Higgins Glue</td></tr>
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In my somewhat distinguished and long career as a woodworker, I can say with confidence that I have never been concerned about running out of wood glue. In fact, I cannot remember the last time I actually went out of the shop to a store to buy glue. Of course I do go from time to time to places like Home Depot to get something and then I usually walk by the isle of glue and wonder what all that stuff is good for? Gorilla glue, Titebond, Elmers, epoxy, contact cement, "super" glue...how confusing. Don't even take the time to ask a salesman which glue should I use. The answer you will get depends on what glue they sell the most or which glue they need to sell more of. I can guarantee that the salesman who is advising you has never used any glue for any reason.<br />
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As a furniture conservator in private practice I have seen the results of amateur woodworkers trying to repair broken furniture by following the advice of these young salesmen.<br />
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WARNING!! THE FOLLOWING IMAGES MAY BE DISTURBING TO WOODWORKERS.<br />
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Here are a few examples:<br />
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<tr><td class="tr-caption" style="text-align: center;">Hot Melt Craft Glue Gun</td></tr>
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In the hobby field of home crafts, there are many people who use a hot melt glue gun. This devise appeals to those who want to hold a gun in their hand and quickly stick two things together by melting semi liquid plastic. The photo above shows how you can attach a loose molding to an 18th century tall case clock easily and permanently by simply using a hot melt glue gun.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Kma1Lj3e6pA/XqMAluMNsHI/AAAAAAAAEvM/NuUaThXBqRk6FFH7A8jy2WuiPrnkjbjxQCEwYBhgL/s1600/IMG_7459.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-Kma1Lj3e6pA/XqMAluMNsHI/AAAAAAAAEvM/NuUaThXBqRk6FFH7A8jy2WuiPrnkjbjxQCEwYBhgL/s640/IMG_7459.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gorilla Glue Failure </td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-4iM1VKv4S7c/XqMAlcGcJcI/AAAAAAAAEvQ/rEUC0aq0nigKBmiJOvnkHe7LFxA-rehbQCEwYBhgL/s1600/IMG_6478.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-4iM1VKv4S7c/XqMAlcGcJcI/AAAAAAAAEvQ/rEUC0aq0nigKBmiJOvnkHe7LFxA-rehbQCEwYBhgL/s640/IMG_6478.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">For Some Reason This Repair Failed Also</td></tr>
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One of the most commercially successful brands in the past decade has been the dominance of Gorilla Glue on the market. This stuff is made in China and imported in large quantities. The success of this product is in the advertising and product placement. Even the smallest hardware store in the most isolated town has a special stand with this glue front and center. The slogan "Strongest glue on planet Earth" is catchy, but I shudder when I see the result. Frankly it should not be used.<br />
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<tr><td class="tr-caption" style="text-align: center;">Yellow Glue Failure</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Even Nails Do Not Help</td></tr>
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Various forms of "yellow" glue are essentially a type of plastic. It doesn't flow well and has a weak resistance to creep. If the joint is not properly clamped quick enough the glue creates a thick layer which really doesn't stick to any surface completely, but must be removed using invasive methods before a proper repair can be done.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-K4Dv4rqbTHo/XqMAhhqMYAI/AAAAAAAAEvE/9z3aa1NFMawIg0INAM_YVRptHGdJaQX-wCEwYBhgL/s1600/IMG_3367.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-K4Dv4rqbTHo/XqMAhhqMYAI/AAAAAAAAEvE/9z3aa1NFMawIg0INAM_YVRptHGdJaQX-wCEwYBhgL/s640/IMG_3367.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yellow Glue on top of Protein Glue</td></tr>
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Restoring damage like this is how I make a living.<br />
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IF YOU HAVE GOTTEN THIS FAR PERHAPS YOU CAN APPRECIATE THE FOLLOWING:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-hVVCku6U0OQ/XqMAbgVINNI/AAAAAAAAEvA/K-UDDbX0rYw8GlaXkZTDKJMyNCOSKxdKQCEwYBhgL/s1600/IMG_2548.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-hVVCku6U0OQ/XqMAbgVINNI/AAAAAAAAEvA/K-UDDbX0rYw8GlaXkZTDKJMyNCOSKxdKQCEwYBhgL/s640/IMG_2548.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">WTF??</td></tr>
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Or this:<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-2v0RfQS9Jho/XqMAe1lmXvI/AAAAAAAAEu8/iiC-sFInqTomgvTYaq4WJVLcXBUFIoRUACEwYBhgL/s1600/IMG_2550.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-2v0RfQS9Jho/XqMAe1lmXvI/AAAAAAAAEu8/iiC-sFInqTomgvTYaq4WJVLcXBUFIoRUACEwYBhgL/s640/IMG_2550.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I Repeat: WTF???</td></tr>
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This photo shows the application of these remarkable repairs:<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-vCRNbEeuG9c/XqMAdzLQIII/AAAAAAAAEvM/YQpjJKW1UM41m0RudpkrhW2mBU7NmDFPACEwYBhgL/s1600/IMG_2549.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-vCRNbEeuG9c/XqMAdzLQIII/AAAAAAAAEvM/YQpjJKW1UM41m0RudpkrhW2mBU7NmDFPACEwYBhgL/s640/IMG_2549.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is NO Way to Treat a Lady!</td></tr>
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I am an old hippy, but when I see work like this I just want to do bodily harm to the perp.<br />
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This was the repair made to a French Napoleon III card table as an effort to attach the leg. Perhaps the best feature was the inclusion of the twisted steel staple, perhaps as a last resort. You should know that removing these staples causes more damage than you can imagine.<br />
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Here is my repair using protein glue, of course! (Matching veneer added later)<br />
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<a href="https://1.bp.blogspot.com/-scFQldfN1N8/XqNuZUABhJI/AAAAAAAAEwE/zY6XO0Sgd98aHgIAV-c43hI7MSTyp0XBgCLcBGAsYHQ/s1600/IMG_2625.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-scFQldfN1N8/XqNuZUABhJI/AAAAAAAAEwE/zY6XO0Sgd98aHgIAV-c43hI7MSTyp0XBgCLcBGAsYHQ/s640/IMG_2625.jpg" width="478" /></a></div>
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<a href="https://1.bp.blogspot.com/-I_khxtuON44/XqNuZF7cL3I/AAAAAAAAEwA/KSC01ALf2Hw6bBLpNsQ-aGc_UguQBUSKQCLcBGAsYHQ/s1600/IMG_2627.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-I_khxtuON44/XqNuZF7cL3I/AAAAAAAAEwA/KSC01ALf2Hw6bBLpNsQ-aGc_UguQBUSKQCLcBGAsYHQ/s640/IMG_2627.jpg" width="478" /></a></div>
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And now, something completely different!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-0D8zLyBK70w/XqMAi2icdSI/AAAAAAAAEvM/p3gqazETi2oi3sLCcc7Oa4w-7q7BsOyjgCEwYBhgL/s1600/IMG_5779.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-0D8zLyBK70w/XqMAi2icdSI/AAAAAAAAEvM/p3gqazETi2oi3sLCcc7Oa4w-7q7BsOyjgCEwYBhgL/s640/IMG_5779.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Glue Block Rubbed in with Hot Glue</td></tr>
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The video I am posting today discusses rub joints. Here is a simple glue block rubbed in with hot glue on a piece of furniture made just after the Civil War. Notice that it remains in place after a century. No nails or screws or staples. Just simple protein glue properly used.<br />
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Time for another installment of the Fine Woodworking series: <a href="https://www.finewoodworking.com/2020/03/20/glue-blocks-and-rub-joints-with-hide-glue" target="_blank">Hide Glue and Rub Joints</a><br />
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-20236961873514495892020-04-03T13:02:00.001-07:002020-05-08T11:05:22.636-07:00Hoe To Save Your Hide (Glue)<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-AWttfBPxKEo/XoeUutOEW_I/AAAAAAAAEcI/7NT0jIFFl3k3dbLexduXIM275jnbAXryQCLcBGAsYHQ/s1600/IMG_7361.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-AWttfBPxKEo/XoeUutOEW_I/AAAAAAAAEcI/7NT0jIFFl3k3dbLexduXIM275jnbAXryQCLcBGAsYHQ/s640/IMG_7361.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">9-17-08</td></tr>
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When you work in a shop for a while, things just seem to find a place and never go away. I am always finding photos, stickers, cartoons and other stuff that I think is interesting or important at that time and I just tape them to any open space on the wall.<br />
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In September of 2008 I cut out this cartoon and taped it to the wall. I thought it was funny and that the people in it were just plain stupid. Turns out they were following government orders to stay indoors and prevent further infection. I think of this cartoon every day I show up at work and turn the "open" sign around in the front window. I am trapped in here; the street is closed.<br />
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In any event, I am working on several projects so I am not exactly bored.<br />
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Here is the video for today. Again it was done by Fine Woodworking last year. This one explains how to save your hot glue when you are not using it every day. Of course, with the liquid Old Brown Glue this is not a problem. It is guaranteed for at least 18 months.<br />
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FW Glue Video:<a href="https://www.finewoodworking.com/2020/03/20/how-to-store-hide-glue" target="_blank">Save Your Glue</a><br />
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<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-88481480939885326372020-04-02T10:32:00.000-07:002020-05-08T11:05:09.644-07:00Cooking Oatmeal or Cooking Glue<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-3nCmT6VX-Ws/XqNvCv5dlNI/AAAAAAAAEwQ/pcAF_XIatOoV1MYI29qhxR6ZzCpC7MFDQCEwYBhgL/s1600/IMG_5587.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-3nCmT6VX-Ws/XqNvCv5dlNI/AAAAAAAAEwQ/pcAF_XIatOoV1MYI29qhxR6ZzCpC7MFDQCEwYBhgL/s640/IMG_5587.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You Cannot Make Marquetry Without Hot Glue</td></tr>
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At this age, I get up ever day at 5:00 am and hit the ground running. I believe the first 4 hours of the day are the most important. There are no distractions, it is so quiet you can hear the birds sing, and you get to see the dawn break. <br />
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After my shower the first thing I do is make coffee and oatmeal. Then I watch the darkness change into light, as my kitchen window faces east and I can see the earliest light appear as I wash the dishes.<br />
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Making oatmeal has become a ritual over the past few years. Organic oatmeal with flax, berries, bananas, and just a touch of brown sugar is all I need to fuel the body for the important things I need to do. The coffee helps. Did you know that caffeine has a high that lasts 24 hours? No wonder I seem to need it to start the day.<br />
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When I arrive at work the first job is to check the glue pot. Making the hot hide glue is exactly the same as making oatmeal, but without the berries.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fLzh3ONiMNQ/XqNvW1bZIVI/AAAAAAAAEwo/44qNgw4ovVc75V-wZqYnm1gP8qDxC9l3gCEwYBhgL/s1600/IMG_3299.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1196" data-original-width="1600" height="478" src="https://1.bp.blogspot.com/-fLzh3ONiMNQ/XqNvW1bZIVI/AAAAAAAAEwo/44qNgw4ovVc75V-wZqYnm1gP8qDxC9l3gCEwYBhgL/s640/IMG_3299.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Traditional Hide Glue Cakes</td></tr>
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Today I am posting the second part of the Fine Woodworking video series about protein glues. When I lecture on this topic, I always encourage my audience to not make this more complicated than it is. Remember, protein glues have been used for 8,000 years and that is way before nuclear physics was even imagined. It doesn't take a rocket scientist to cook animal glue.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-GODYTsNeROs/XqNvPjHm4PI/AAAAAAAAEw0/MdCGz2xKQA0eSJhmyA70cursYDHLULsNQCEwYBhgL/s1600/IMG_3294.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-GODYTsNeROs/XqNvPjHm4PI/AAAAAAAAEw0/MdCGz2xKQA0eSJhmyA70cursYDHLULsNQCEwYBhgL/s640/IMG_3294.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Water and Heat Chart</td></tr>
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I think this video does a good job of making that point:<a href="https://www.finewoodworking.com/2020/03/20/choosing-and-mixing-hot-hide-glue" target="_blank">Start Cooking Protein Glue Today!</a><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-T9Yp62nhJM0/XqNvLHs3taI/AAAAAAAAEw0/SqQkSIk4wywC-qrqMZXuix-qItRaftXwACEwYBhgL/s1600/IMG_3290.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-T9Yp62nhJM0/XqNvLHs3taI/AAAAAAAAEw0/SqQkSIk4wywC-qrqMZXuix-qItRaftXwACEwYBhgL/s640/IMG_3290.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fish Glue</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8zHPfVYHGpM/XqNvMjt43VI/AAAAAAAAEww/OjHb8zcBxwQ3tqBB7yS1R6wSP-3kLItsACEwYBhgL/s1600/IMG_3293.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-8zHPfVYHGpM/XqNvMjt43VI/AAAAAAAAEww/OjHb8zcBxwQ3tqBB7yS1R6wSP-3kLItsACEwYBhgL/s640/IMG_3293.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rabbit Skin Glue</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-v9xmBLXUkxo/XqNvLOUVo7I/AAAAAAAAEws/BvqVTKqmSOoclMhQpjqmBxmvzHTwYqFVwCEwYBhgL/s1600/IMG_3291.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-v9xmBLXUkxo/XqNvLOUVo7I/AAAAAAAAEws/BvqVTKqmSOoclMhQpjqmBxmvzHTwYqFVwCEwYBhgL/s640/IMG_3291.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hide Glue</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-8SAFr0DG1ds/XqNvLXEjIDI/AAAAAAAAEw4/r3eXCqH8FKk047Vvgt-5Lymm1qlc5lpjgCEwYBhgL/s1600/IMG_3292.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-8SAFr0DG1ds/XqNvLXEjIDI/AAAAAAAAEw4/r3eXCqH8FKk047Vvgt-5Lymm1qlc5lpjgCEwYBhgL/s640/IMG_3292.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Liquid Hide: Processed or Organic?</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5IJZb_vQYaU/XqNxyE9ESBI/AAAAAAAAExY/NHL4p1okXKYB6okGtAcKnpYQB0CAIjLdQCLcBGAsYHQ/s1600/IMG_5770.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-5IJZb_vQYaU/XqNxyE9ESBI/AAAAAAAAExY/NHL4p1okXKYB6okGtAcKnpYQB0CAIjLdQCLcBGAsYHQ/s640/IMG_5770.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ready to Work</td></tr>
</tbody></table>
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Tomorrow, the video gets into the application of this glue to common woodworking problems.W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com2tag:blogger.com,1999:blog-4695685403802703716.post-62614192060211259472020-04-01T10:13:00.002-07:002020-05-08T11:04:33.873-07:00Video Series: Working With Protein Glue<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-_z1G9hC6M84/XqNwz6XcGfI/AAAAAAAAExA/gIn2vgmD3XU7NA1gxaUI7UwKvQQT--PNgCLcBGAsYHQ/s1600/IMG_5665.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-_z1G9hC6M84/XqNwz6XcGfI/AAAAAAAAExA/gIn2vgmD3XU7NA1gxaUI7UwKvQQT--PNgCLcBGAsYHQ/s640/IMG_5665.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Another Day at Work</td></tr>
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To say that I repair furniture is being modest. For 50 years I have solved two types of problems associated with antique furniture. The normal cause of wood failure is shrinkage and movement of wood as a result of age and environment. This damage is also a result of movement by careless furniture movers. You would think that professional movers would be careful with client's heirlooms. You would be dead wrong.<br />
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I have seen solid curly maple Chippendale chest of drawers arrive in two sections (upper and lower) which was not the way they were made. I saw a triple pedestal dining table put on the moving truck and then the heavy boxes of goods were stacked on top until all the legs (9 in all) broke at the same time. Another antique Cuban mahogany dining table was transported properly with the top removed from the pedestals. However, when it arrived, the mover carefully put down blankets and laid the top face down to install the pedestals. Using sheet rock screws that were at least an inch too long, he proceeded to screw on the pedestals. When he turned it over the result was shocking. It was also a difficult job to repair.<br />
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It is not always the movers. Another antique dining table was damaged by the house cleaner trying to do a good job. Her job was to polish the crystals on the chandelier which hung over the table. It seemed a good idea to stand on the table to do this work. The problem was that to reach all the crystals she decided to rotate the chandelier, instead of walking all over the table. Eventually the screw holding it to the ceiling came loose and it crashed onto the table, resulting in a thousand very visible holes. Another difficult job.<br />
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I am starting to get off topic here. Sorry. The second, and perhaps worse, type of damage is caused by amateurs (including movers) who use synthetic glue and/or sheetrock screws and nails to do the repair.<br />
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I have two prices: The best price is if you bring it to me without trying to repair it. The worst price is if you try to repair it and then bring it to me. This is the reason I insist on using traditional and reversible protein glues.<br />
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I started to use hot hide glue when I opened my business in 1969. I eventually was able to formulate a liquid version of this in 1995, which I sell as Old Brown Glue. In experimenting and formulating this glue there have been some setbacks.<br />
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For example, I went home one day and forgot to unplug one of the glue pots which was cooking the glue. When I arrived the next day this is what I discovered: <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-trXkhKkhU9g/XqNxAron4yI/AAAAAAAAExE/G7SpFQcfpZItE5dsbYP79Lvtt0uujr-wgCLcBGAsYHQ/s1600/IMG_7119.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-trXkhKkhU9g/XqNxAron4yI/AAAAAAAAExE/G7SpFQcfpZItE5dsbYP79Lvtt0uujr-wgCLcBGAsYHQ/s640/IMG_7119.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Do NOT do This At Home!</td></tr>
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I need to point out that since the protein glue is reversible, I was able to clean up the mess completely.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-C2K-NaRZhf4/XqNxOKsy6QI/AAAAAAAAExM/UxfgB_esMGI4vDK0lnj7XGl8_nqlaJw1QCLcBGAsYHQ/s1600/IMG_5305.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1196" height="640" src="https://1.bp.blogspot.com/-C2K-NaRZhf4/XqNxOKsy6QI/AAAAAAAAExM/UxfgB_esMGI4vDK0lnj7XGl8_nqlaJw1QCLcBGAsYHQ/s640/IMG_5305.jpg" width="478" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is What It Should Look Like</td></tr>
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In the last post I mentioned that Ben at Fine Working visited last year and shot a series of videos about protein glues. Today I am posting the first of these videos, which previously were only available to paid subscribers.<br />
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This first video discusses the working characteristics of these types of glues. I think you will be amazed at what they can do. <br />
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Fine Woodworking Video: <a href="https://www.finewoodworking.com/videoworkshop/2020/03/the-fundamentals-of-using-hide-glue-with-patrick-edwards" target="_blank">Protein Glue Fundimentals</a><br />
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I will post the second video tomorrow. Have fun and stay safe!W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-77594355575575032020-03-31T17:20:00.000-07:002020-05-08T11:04:58.595-07:00Quarantined At Work<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-fFXxD61oDy8/XoPdkW0sYwI/AAAAAAAAEbA/HQqTcrc8rqEB_MFRB-CkL3p6ViwBwWlYgCLcBGAsYHQ/s1600/IMG_7170.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-fFXxD61oDy8/XoPdkW0sYwI/AAAAAAAAEbA/HQqTcrc8rqEB_MFRB-CkL3p6ViwBwWlYgCLcBGAsYHQ/s640/IMG_7170.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Christmas at 3815 Utah Street</td></tr>
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The world has changed since my last post. I have been as busy as always, working on diverse and amazing projects. But with the emergence of the global Pandemic all non essential business has been shut down and half the work force is advised to stay home.<br />
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For me nothing has changed. I get up at 5am as usual and walk 6 blocks on deserted residential streets to work. I stay inside and work all day until it is time to walk home. I am deeply concerned about the future of the global economy, but I am not concerned about having something to do.<br />
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In many ways business has picked up, unlike the economic collapse of 2008. At that time it was serious. The phone stopped ringing for several months. My normal backlog of work went from the usual 6 months to 2 weeks and I was taking any job that showed up just to make ends meet.<br />
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These days we are more plugged into the virtual communication features of the web. Since people are staying home they are interested in getting things done around the house, including restoring furniture. More importantly, woodworkers are busy in the garage building things and ordering glue.<br />
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I am pleased at the dramatic increase in Old Brown Glue sales the last week. Unlike the modern glues that are sold in "bricks and mortar" stores, OBG has always been sold online. That means that woodworkers do not have to leave the house to buy glue but can easily order online and we are formulating and shipping large quantities of fresh glue every day.<br />
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Another reason for the increase in sales is the recent release of several Fine Woodworking videos that I taped last year. I had completely forgotten about them since they were available only to magazine subscribers, but FW decided to make them public in light of recent events.<br />
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Last year Ben Strano, who is the digital brand manager for the magazine, spent a day at my shop with his equipment. I have done several television and web videos over the years, but spending a day with Ben was a lot of fun. The videos turned out fantastic.<br />
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There are 6 short videos in all. I will post them here every day, starting with the shop tour. Ben wanted to do an introduction to my shop for other woodworkers to see just how I operate. It will allow you, dear reader, to virtually visit my studio while maintaining your social distance.<br />
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The rest of the videos discuss different features of working with protein glues. I will post the start of that sequence tomorrow.<br />
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SHOP TOUR VIDEO:<a href="https://www.finewoodworking.com/2020/01/24/shop-tour-patrick-edwards" target="_blank">3815 UTAH STREET</a>W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-77613987530766876662019-11-10T12:03:00.001-08:002020-05-08T11:04:10.531-07:00Master to Master InterviewI returned to teach at Marc Adams School of Woodworking in Indianapolis recently. I have been asked to teach there for several years now and it is starting to feel like a second home.<br />
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Marc has created the largest woodworking school in America and is celebrating 25 years in business. It is expanding every year and he continues to offer new and exciting classes with amazing teachers.<br />
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One way he supports and promotes his teachers is to ask them to sit down after class and chat for 5 minutes. If you go to his website you can watch many different videos he has done with this casual format. It gives you a close up view of the personalities he has developed a relationship with over the years.<br />
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Here is the video he did last year with me. <a href="https://www.youtube.com/watch?v=QzPcwlMoZLg&feature=youtu.be" target="_blank">Edwards and Adams</a><br />
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It is easy to be humble around someone as great as Marc.W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-25892234013190567312019-09-04T13:04:00.001-07:002020-02-11T08:08:39.300-08:00What Was He Thinking?<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Ksq6g9LPLoM/XXAU56YjO_I/AAAAAAAAEPI/CBNwXaD-aEYIZUov-BqjkTpMvnGdDVGvgCEwYBhgL/s1600/IMG_6791.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-Ksq6g9LPLoM/XXAU56YjO_I/AAAAAAAAEPI/CBNwXaD-aEYIZUov-BqjkTpMvnGdDVGvgCEwYBhgL/s640/IMG_6791.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jug of Wine and a Good Pipe Makes Me Happy</td></tr>
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This week I was contacted by a client with another late 17th century marquetry tall case English clock for restoration. It had been in his family in New York for a century and he wanted it put back in original condition. I have done dozens of these similar clocks in my career, and it always amazes me that I can live and work in Southern California and still be able to restore marquetry furniture from over 3 centuries ago.<br />
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I have written many posts about the history of the tall case pendulum clock. The concept was invented in England around 1650 but the golden age for the marquetry case and brass works was during the last 20 years of the 17th century when it became essential to own such an expensive time piece.<br />
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When I began my initial examination of the marquetry, I discovered a rather unique design, which I am sure is the only one of its kind. I did some initial cleaning of the dark finish and took some photos. What came to light stimulated my imagination and made me want to determine the series of events that would lead to this creation.<br />
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Tall case clocks at this period were custom made for clients, and took a long time to deliver. In some cases, the client expressed their own personal desires to have something different from their rich friends. (Only rich people could even imagine owning a clock at that time.)<br />
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So I created a story about Mr. and Mrs. Smythe to explain what I saw in the marquetry. How much is fiction and how much is fact I will leave it to historians to determine if the research is available...<br />
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Mr. and Mrs. Smythe have a good life. They live in a large house and have a good income which was left by Mr. Smythe's grandfather, a landed gentleman, who died when Mr. Smythe was a young man. So Mr. Smythe grew up rather spoiled and always got his way, no matter what.<br />
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He married well, finding a decent and intelligent wife in the church, but she had a habit of arguing with him on certain occasions. This would always cause him to lose his temper, and even to resort to physical violence, slapping her in the face. She was smarter than him and when he ran out of good reasons why he was right, he found that using force would end the argument.<br />
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One good day in 1692 he was visiting a wealthy neighbor in the next township and discovered that this person had just installed the latest fashion for keeping track of the time: a tall case marquetry clock. When he inquired about its function, he was told it could keep time to within an hour a month, and that it was essential to know exactly what time it was at all hours of the day. <br />
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"Everybody should have one," his neighbor boasted. "In a few years, if you do not know what time it is exactly, you will not be considered 'civilized'," he added, with a smug grin.<br />
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Mr. Smythe immediately ran home to inform his wife that he had decided to get such an object, no matter what the cost.<br />
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"You will do no such thing," she admonished. "You can tell the time by looking at the sun. Why do you need to know exactly what the time is, anyway?" When he hesitated to answer, she asked, "Exactly how much is this going to cost?"<br />
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"None of your business," he bellowed, "It's my money and I will do what I want with it!" He raised his hand to make his point, but she quickly turned and left the room.<br />
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Mr. Smythe went to the local clock maker's home the next day. His name was Lewis Holland and he lived and worked in London, where he established his reputation as a master clock maker the year before, making wonderful marquetry clocks with brass dials.<br />
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"Here are some of my designs," he said, as he opened a folio of drawings. "I like birds, animals, arabesques and flowers. They are very popular recently and I am very much in demand."<br />
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"I like them," Mr. Smythe replied, "But I have something personal in mind. I would like you to add images of my good wife and myself, so it will reflect our marriage to all who enter the door."<br />
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Mr. Smythe then handed a small drawing to Mr. Holland, and presented him with a good deposit to begin the work. With ready cash in hand, Mr. Holland was in no position to complain, and he went to work.<br />
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Sometime later that year the clock was delivered and placed in the entry hall. <br />
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There is no record of what Mrs. Smythe had to say about the purchase.<br />
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<tr><td class="tr-caption" style="text-align: center;">What Exactly Is Going On With These Two?<br />
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Looking at Mr. Smythe, it seems he is making a rude gesture and sticking out his thumb while he reaches out and slaps Mrs. Smythe in the face.<br />
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<tr><td class="tr-caption" style="text-align: center;">Not a Nice Man</td></tr>
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Looking at Mrs. Smythe, it seems she is surprised to be slapped in the face.<br />
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<tr><td class="tr-caption" style="text-align: center;">Perhaps a Marriage Counselor Would Help?</td></tr>
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W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-22087274191466471962019-07-28T09:36:00.002-07:002019-07-28T09:36:41.669-07:00The Difference Makers<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">New Book From Marc Adams<br /></td></tr>
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I have been very fortunate in my life to know many of the best woodworkers in the world. Some have become good friends. Others are a real inspiration to me personally. I have learned something from each of them, and I want to believe I have provided something in return.<div>
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Since I live in Southern California and most of these artisans live either on the East Coast or in Europe, it has been necessary to leave the bench and seek them out. I enjoy traveling and have done a good bit of it. I do miss being at work, but when I am in the workshop of another sympathetic soul I feel that I am at home.</div>
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Marc Adams has just published his latest book, "The Difference Makers." It was expertly put together by Christopher Schwartz at the Lost Art Press. Very high quality product. I strongly recommend you find a copy and support Christopher in his business, as well as investigate classes offered by Marc at his school. My previous post listed the classes I will be offering soon.</div>
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Since I have been teaching for several years at MASW I have been able to meet new friends and other professional woodworking instructors who are gathered in one location. Although the weather in Indianapolis cannot compare with San Diego, the intellectual environment is without equal. Marc is always busy and personally supports his teachers, providing everything they might need to do a good job. </div>
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And he keeps the ice cream machine working...</div>
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"The Difference Makers" is a book with stories about 30 instructors that Marc selected from the hundreds of well qualified teachers he has employed over the past quarter century. Each chapter tells the story of that person, with personal comments from Marc, and samples of their portfolio.</div>
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Here is my chapter:</div>
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<tr><td class="tr-caption" style="text-align: center;">Mug Shot with Satinwood Pembroke Marquetry Table Top</td></tr>
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Second Page:<div>
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<tr><td class="tr-caption" style="text-align: center;">My Early Work</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">After Paris: The Influence of Pierre Ramond</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Was I Ever That Young?</td></tr>
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As I read through the contents of this amazing collection, I am humbled and honored to be included. I am pleased to see many of my good friends and compatriots included, and look forward to meeting others when I return to MASW in future years.<div>
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In my long career I have produced several television and video programs, instructed at dozens of adult education and institutions of higher learning, published professional articles, taught students from ecole Boulle in my workshop, held classes at Marc Adams, and enjoyed hundreds of students at my school, the American School of French Marquetry.</div>
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I am a woodworker and a teacher. However, I think I am a better teacher than a woodworker. I may retire some day from woodworking, but I will never retire from teaching.</div>
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Hungry young minds need to be fed to grow the future.<br /><div>
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W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com0tag:blogger.com,1999:blog-4695685403802703716.post-41369328721979319712019-07-20T15:04:00.001-07:002019-07-20T15:04:20.050-07:00New October Classes at Marc AdamsI just received the notice from Christopher Schwartz that Marc Adams' book, "The Difference Makers," is ready to ship. I am excited to see it and to get a chance to read about all the instructors that Marc decided to include in his book. Over the past quarter century, Marc has worked every day to build the largest and most comprehensive woodworking trade school in the country. He has engaged hundreds of professional artisans to teach classes, and has always provided both the teacher and the students with the support and encouragement needed to flourish.<br />
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I don't remember exactly, but it was about 10 years ago when I first started teaching there. Marc built 8 French chevalets and each year I return for a couple weeks to teach students about traditional French marquetry. I also have included some weekend classes, like French polishing, veneering a column, protein glues, and other topics.<br />
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For this October, I decided to offer some completely new classes on the weekends, which I hope will find interested students. If you think you might want to meet me, now is the time to contact MASW and register for these classes. Just go to <a href="https://www.marcadams.com/" target="_blank">MASW</a><br />
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Since I am one of the instructors Marc included in his new book, I thought it would be appropriate to discuss my career and the lessons I have learned about making a living as a wood worker in America. Therefore, the first class I will teach this year is on Saturday, October 19 and it is called "The Business of Woodworking by Hand: 50 Years of Success with Patrick Edwards." In this one day class I will offer detailed information about every aspect of my business, and how I have managed to make a good living working with wood, using only hand tools and traditional methods. The key word for this class is "diverse income streams." I will focus on how to price your work, where to find clients, managing your time, and cost effective promotion.<br />
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The next day, Sunday October 20, I will offer a class on a completely different topic: Antique furniture locks and keys. This may be the first time a class on this topic has been offered at MASW. I will discuss the evolution of furniture locks and keys, and how to repair them. How to fit a missing key to a lock, as well as how to "break in" to furniture which has been locked and the key lost.<br />
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During the entire week of October 21-25 I will be teaching the French marquetry class using the traditional "chevalet de marqueterie." This class is limited to 8 students, and you do not need any prior experience to be able to create wonderful marquetry pictures. I will teach different methods, such as Boulle, Painting in Wood, and the Classic Method. I studied at ecole Boulle, in Paris, under Dr. Pierre Ramond, and his book, "Marquetry" is the best textbook in the English language on the subject. You can find a copy online, using book search engines.<br />
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My next class is on Saturday, October 26, and is a simplified variation of the traditional French polish class. However, instead of all the trouble and fuss required to make a high gloss French polish, this class will focus on what I consider the most common method of finishing using shellac. Nearly everything I have built or refinished over the years is just finished with brushed shellac, rubbed out with a paste wax. It produces a nice semi gloss polish which is non toxic and easy to repair. All you will need is a good brush, some shellac and alcohol. There are tricks to rubbing out with a paste wax which I will demonstrate. This is a one day demonstration lecture so all you need to do is watch and learn.<br />
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The following day, Sunday October 27, I will teach a one day class on traditional upholstery. This will include demonstration and instruction on how to stretch jute webbing, tie springs, tack materials, and work with curled horsehair and cotton. This class will provide you with the basics needed to make your upholstery foundation strong and comfortable. Note that there will be no use of staples or synthetic materials, like foam. This type is instruction is rare these days, and I think you will find it very informative.<br />
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Just before I travel to Indianapolis to teach at Marc's school, I will offer a one week class here at my workshop, the American School of French Marquetry, in San Diego. We already have two students registered, and the class is limited to 6. If you would like personal instruction on the traditional techniques I learned in Paris, now is the time to contact us and reserve a place.<br />
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Here is the link:<a href="http://www.americanschooloffrenchmarquetry.com/" target="_blank">American School of French Marquetry</a><br />
<br />W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-3591325136278734202019-07-18T16:36:00.003-07:002019-07-19T07:47:23.601-07:00Climb Every Mountain<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">If This Is What You Wake Up To In The Morning, It Is Going To Be A Great Day!<br />
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Patrice and I have been discussing for two years what we wanted to do to celebrate the completion of the Treasure Box III project, and I have been planning for longer than that how I wanted to celebrate 50 years in business. We decided to spend three weeks in the Andes Mountains in Peru. Part of that trip was spent hiking the Inca trail into Machu Picchu.<br />
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Fortunately, I am in pretty good shape, and have never had any problem with altitude sickness. I raced bicycles for 35 years and have walked to work every day for longer than that. Patrice and I have been camping and hiking for some time, and along with our friend Anna, we are known as the "Middle Earth Tourists." Unfortunately, Anna had to work, so we had to go without her.</div>
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<tr><td class="tr-caption" style="text-align: center;">On Top Of The World</td></tr>
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Hiking along the Inca Trail is a dream of a lifetime. Just thinking about the civilization that created cities of stone and connected them with thousands of trails, paved with rocks, which are still intact after more than 500 years of use, boggles the imagination. Not only were they able to transport stones which weigh as much as 70 tons up and down thousands of feet of mountains, they somehow were able to fit them together as tight as I fit together small pieces of veneer. I have no idea how they were able to do this.<br />
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<tr><td class="tr-caption" style="text-align: center;">The Famous Stone Of 12 Angles In Cusco</td></tr>
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As I hiked along the stone trail, I gradually moved back in time, soaking in the sounds of the jungle and breathing the rarefied air of the mountains. Modern problems faded away. The spirit of the Inca philosophy took over: Don't Steal. Don't Lie. Do Not Be Lazy.<br />
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<tr><td class="tr-caption" style="text-align: center;">Inca Trail</td></tr>
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Along the trail we found ruin after ruin, left standing after centuries. Each one was carefully laid out, with windows, doors, stairs, and even bathtubs with running water. <br />
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<tr><td class="tr-caption" style="text-align: center;">Stairway To Heaven</td></tr>
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When we reached the Sun Gate we were able to see Machu Picchu for the first time. It was shrouded in clouds and mist, and as the sun broke through in the early morning, it revealed itself completely.<br />
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<tr><td class="tr-caption" style="text-align: center;">Machu Picchu</td></tr>
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We had perfect weather during the entire trip and were fortunate to have excellent guides who educated us about the history of the site and the culture of the Inca civilization.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-_iFSOT9D0Uo/XTD7dFP62EI/AAAAAAAAELA/L3cDzeMH30Quuw0buvbjTzfTRnCrTvDXQCEwYBhgL/s1600/IMG_0746.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-_iFSOT9D0Uo/XTD7dFP62EI/AAAAAAAAELA/L3cDzeMH30Quuw0buvbjTzfTRnCrTvDXQCEwYBhgL/s640/IMG_0746.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Just Imagine What Life Was Like When This Was Alive With Inca Peoples</td></tr>
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During the trip, I was drawn to the mountains, and had some wonderful dreams. <br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-bOZy61FCzqI/XTD7QkE4EkI/AAAAAAAAEKs/ynpkWQrJlRg25ZRnqb4vHNnK6k5H6dbtACEwYBhgL/s1600/IMG_0661.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-bOZy61FCzqI/XTD7QkE4EkI/AAAAAAAAEKs/ynpkWQrJlRg25ZRnqb4vHNnK6k5H6dbtACEwYBhgL/s640/IMG_0661.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This Was The View From Camp At 14,000 Feet</td></tr>
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Standing in the city of Machu Picchu, I felt a strong urge to create a Haiku poem about the experience. I offer it here for others to enjoy. We were there during the Summer solstice, June 2019, when the Milky Way lined up perfectly with the Sacred Valley. A great time to be alive.<br />
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W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com1tag:blogger.com,1999:blog-4695685403802703716.post-75245760455301963642019-05-31T15:46:00.000-07:002019-06-12T14:55:49.420-07:00Celebrating 50 years in business!<br />
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<tr><td class="tr-caption" style="text-align: center;">Patrice Lejeune and I show our Treasure Boxes</td></tr>
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When I started my business in June of 1969 it was because I needed furniture for my new house and it was obvious that old or antique furniture was a bargain. You could find nice hardwood rockers, tables and chairs and other antiques in thrift stores and used furniture stores, which were nearly everywhere.<br />
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I remember the first "antique" I bought was from the used furniture store just two blocks from my house. It was a very ornate oak parlor pump organ made around 1880. I think I paid $125. It did not work (as the bellows were damaged and the works were dirty). I immediately took it apart to see how it was made. <br />
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(True fact: all my life I have taken everything apart as a first step to fix it. Not all of these efforts proved successful...I'm thinking of carburetors in particular, where you always end up with extra parts and no place to put them.)<br />
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In any event, I was soon playing music on my pump organ, which was very loud. The dealer who sold it to me was walking by my house and the door was open. He was surprised to hear the organ working and made me an offer to buy it back. I think the offer was $250. I had doubled my money!<br />
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AND I had a lot of fun. I thought this would be a good way to pay for college, since I was making only minimum wage working 20 hours a week in the Physics Department at UCSD. I was able to make much more than that restoring antiques on the side.<br />
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As you may know from reading earlier posts on this blog, the physics thing did not work out and the antiques thing just kept getting more fun and more profitable. First I opened an antiques store and called it "Antique Wholesalers." My motto was "Quality Pieces at People's Prices." I went back and forth in my truck from San Diego to the Mid West and East Coast and bought nice things.<br />
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After about 6 months in business I lost the entire inventory to theft. I don't want to talk about it...<br />
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I quickly opened another business and called it "Antique Refinishers." My new motto was "Here We Save the Past for the Future." Business was great and, after a few hurdles, my reputation started growing and I began working on finer and finer pieces of antique furniture. I specialized in veneer and marquetry repair.<br />
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In 1991, when I met Dr. Pierre Ramond at the Getty Museum, I was ready to graduate to the next level. He was so impressed with what I had learned on my own that he invited me to study with him at ecole Boulle, in Paris. That changed my life. I owe a debt of gratitude to Brian Considine, who introduced me to Dr. Ramond.<br />
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I was fortunate to have spent much of the 1990's with Dr. Ramond and other craftsmen and educators in Paris, and when he retired, I opened my school, the American School of French Marquetry.<br />
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I am responsible for introducing the French method, using the "chevalet de marqueterie," to North America, and happy to see its general acceptance. It is a wonderful tool and you can accurately saw the finest pieces of material in comfort and with confidence. You can order a custom chevalet from David Clark. <a href="https://www.chevaletkits.com/" target="_blank">Chevalet Kits</a><br />
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Soon after I opened the school, I was contacted by Patrice Lejeune, a graduate of ecole Boulle. He wanted to work with me, and I ended up making him a full partner. He has an amazing talent for the craft, and an educated eye. Most unusual, he is not offended by my personality.<br />
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Working together, we have created many wonderful pieces of furniture. Starting in 2011 we decided to produce a series of Treasure Boxes, in a process which allowed us to make four identical boxes at the same time.<br />
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To better understand our methods, you can visit our YouTube channel: 3815utah.<br />
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Here is a short video that illustrates a typical assembly process. This is Patrice working on the marquetry for the inside of Treasure Box II.<br />
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TREASURE BOX I<br />
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The inspiration for TB I came when I was searching online with Google images. I spend a lot of time using "images" as it provides an amazing wealth of information. I discovered a marquetry box that was made late in the 17th century and sold at Christies in Monaco for 18,000 British pounds. I thought it was perfect and the price indicated a certain demand for such an object.<br />
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We spent the next 18 months producing 4 identical boxes with a similar construction and design.<br />
The background for the marquetry was some wonderful absolutely black Gabon sawn ebony veneer that we obtained from J. George in Paris. The interior was veneered in sawn olive with king wood, tulip wood and boxwood.<br />
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<tr><td class="tr-caption" style="text-align: center;">Treasure Box I</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Interior View (secret compartment)<br />
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We were able to sell all four boxes before we had finished construction. <br />
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TREASURE BOX II<br />
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Encouraged by the success of the first series, we began to design TB II. Again, Google images provided examples of marquetry that we adapted for our use. The inclusion of birds was a goal, as we find collectors really like them.<br />
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The detail on the second series is much more complicated than the first. Also, we included bone inlay, both white and green. It took some research to find out exactly how to color the bone green. I want to thank Don Williams for help in that search.<br />
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<tr><td class="tr-caption" style="text-align: center;">Treasure Box II</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Interior (secret tray released)</td></tr>
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Instead of a hidden compartment, we designed a system for a gilt leather writing surface to be released. In one spot on the interior the wood is slightly flexible. By pushing down in that spot the tray is ejected by hidden springs.<br />
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The interior is veneered with sawn bloodwood, kingwood, tulip and boxwood. In total there are three birds on the box and marquetry on all sides.<br />
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As before, we sold all the series before construction was completed. One was purchased by a kind client who donated it to the permanent collection of the Mingei museum, in San Diego. That represents the first time one of our creations found its way into a museum collection, although I have participated in several different museum shows in the past.<br />
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TREASURE BOX III<br />
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There are several objects in the Getty museum collection that Patrice and I really appreciate. One is the ivory and horn table attributed to Gole. One of my students, Aaron Radelow has succeeded in making exact copies of that table, and they are wonderful.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-NoT4WZ3u9rU/XPGsGUR8txI/AAAAAAAAEGc/f0gnYziMVoACpHc00BelFVByQRUiIjpBACLcBGAs/s1600/iprhQwAA.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://1.bp.blogspot.com/-NoT4WZ3u9rU/XPGsGUR8txI/AAAAAAAAEGc/f0gnYziMVoACpHc00BelFVByQRUiIjpBACLcBGAs/s640/iprhQwAA.jpeg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ivory and Horn Tables by Aaron Radelow</td></tr>
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The other object that we admire is the marquetry coffer. It is a basic box, resting on a gilded stand (not original?) and covered in marquetry. We decided to use it for our inspiration and reduced the scale by 33 % to make it more manageable and salable. We also decided to design custom made hardware and include drawers.<br />
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For the background we selected ferreol. This wood was rare, even in the 17th century, and found in South America. It has the density of brass and is very hard to cut. That said, it has a wonderful chocolate brown color and really shows off the marquetry elements. We added pewter and brass inlay to set off the border.<br />
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For this box we used nearly 50 different species of exotic hardwood sawn veneers. I must say that I was fortunate to have purchased the bulk of my veneers in Paris during the 1990's, while I was in school. These veneers were very expensive then and, unfortunately, are not available today. Thus, it is essential that I use the material I have very carefully. It cannot be replaced at any cost.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-9dLRAQn1o8Y/XPGtZZUGTsI/AAAAAAAAEGo/6qos6_0kdQAgcD9XdzYcOeZgKWBv1h5PACLcBGAs/s1600/IMG_5592.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://1.bp.blogspot.com/-9dLRAQn1o8Y/XPGtZZUGTsI/AAAAAAAAEGo/6qos6_0kdQAgcD9XdzYcOeZgKWBv1h5PACLcBGAs/s640/IMG_5592.jpg" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I Love Wood</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Selecting the Material for Treasure Boxes</td></tr>
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That is why making the Treasure Boxes makes sense. These are perfect objects to show off the last of the rare woods from all parts of the world.<br />
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We immediately sold the first box to a long time client and he asked "could you make a stand?" We had not considered that, but his suggestion was taken to heart. We created a stand in matching material in the same late 17th century style.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-Rjg2xehEhdU/XPGCPT-vOCI/AAAAAAAAEFw/71WWhqHFrwwEqrOPORNNfyGsD-4qdYVKACEwYBhgL/s1600/074_W_Patrick_Edwards_May_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1068" height="640" src="https://1.bp.blogspot.com/-Rjg2xehEhdU/XPGCPT-vOCI/AAAAAAAAEFw/71WWhqHFrwwEqrOPORNNfyGsD-4qdYVKACEwYBhgL/s640/074_W_Patrick_Edwards_May_2019.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Treasure Box III and Stand</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-ZuWe1Zmu83Q/XPGCP-HIY1I/AAAAAAAAEF0/SKXHtnbXbAgDpp-FS75Upq1M-i_AnOUFACEwYBhgL/s1600/076_W_Patrick_Edwards_May_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1068" height="640" src="https://1.bp.blogspot.com/-ZuWe1Zmu83Q/XPGCP-HIY1I/AAAAAAAAEF0/SKXHtnbXbAgDpp-FS75Upq1M-i_AnOUFACEwYBhgL/s640/076_W_Patrick_Edwards_May_2019.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interior (three drawers, writing surface, secret compartment)</td></tr>
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In fact, the stand itself is something that "stands on its own" (sorry, I had to say that!)<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-tW4wW-PRgrI/XPGHJaNiKLI/AAAAAAAAEGE/fW4x7fv4Agc6-RNZ8hpr3vFtFrURMB5DgCEwYBhgL/s1600/IMG_6466.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-tW4wW-PRgrI/XPGHJaNiKLI/AAAAAAAAEGE/fW4x7fv4Agc6-RNZ8hpr3vFtFrURMB5DgCEwYBhgL/s640/IMG_6466.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Here's Looking at You, Kid</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-sClkmiNfLZ8/XPGCK30yGnI/AAAAAAAAEFs/slrr1Stg75Q6fqA8OuHRpodagaTL7aHYACEwYBhgL/s1600/100_W_Patrick_Edwards_May_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1068" height="640" src="https://1.bp.blogspot.com/-sClkmiNfLZ8/XPGCK30yGnI/AAAAAAAAEFs/slrr1Stg75Q6fqA8OuHRpodagaTL7aHYACEwYBhgL/s640/100_W_Patrick_Edwards_May_2019.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Louis XIV Stand</td></tr>
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The interior of Box III has several interesting features. The key that locks the box also serves to open the secret compartment located behind the mirror. The front lid is released by pushing two buttons on the sides. The writing surface is covered in French silk and lifts up to reveal a tray veneered in satinwood. Inside this tray is a small brass button. Depressing this button allows the drawers to spring forward.<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5uoUY717ixg/XPGB-1yZpZI/AAAAAAAAEFc/WbnVnpc_EPk6Sl4vYlMOR14RhN6IO-jYACEwYBhgL/s1600/092_W_Patrick_Edwards_May_2019.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="426" src="https://1.bp.blogspot.com/-5uoUY717ixg/XPGB-1yZpZI/AAAAAAAAEFc/WbnVnpc_EPk6Sl4vYlMOR14RhN6IO-jYACEwYBhgL/s640/092_W_Patrick_Edwards_May_2019.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three drawers, Silk writing surface, Secret compartment</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-HAfnDCadWWc/XPGG_bexzeI/AAAAAAAAEGI/PDuNrracryc2BpEDflz7Nnfrn4O9A086ACEwYBhgL/s1600/IMG_6493.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-HAfnDCadWWc/XPGG_bexzeI/AAAAAAAAEGI/PDuNrracryc2BpEDflz7Nnfrn4O9A086ACEwYBhgL/s640/IMG_6493.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Drawer Release System</td></tr>
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Here is a photo of TBI, TBII, TBIII and the stand sitting in the veneer cave.<br />
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<tr><td class="tr-caption" style="text-align: center;">Words escape me....</td></tr>
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As you can see, what I have learned in 50 years of business as a furniture conservator in private practice is how to convert hardwood logs into rare veneers into decorative marquetry surfaces into money. And it all started with a pump organ...<br />
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-CQtmS9rN_yw/XPWrfTGmzvI/AAAAAAAAEG8/V8RcOZQ4hIkqZAniReKBMchIRm6u_FRGACLcBGAs/s1600/104_W_Patrick_Edwards_May_2019.tif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1237" data-original-width="1600" height="494" src="https://1.bp.blogspot.com/-CQtmS9rN_yw/XPWrfTGmzvI/AAAAAAAAEG8/V8RcOZQ4hIkqZAniReKBMchIRm6u_FRGACLcBGAs/s640/104_W_Patrick_Edwards_May_2019.tif" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top View Treasure Box III</td></tr>
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PS: We have sold two of the boxes and stands at this point and are looking for nice homes for the rest. I am thinking of a new motto for these boxes: "Limited Quantities, Unlimited Quality."W. Patrick Edwardshttp://www.blogger.com/profile/15001954861903457707noreply@blogger.com2