A Very Nice Commission

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custard

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Thirty odd years ago I had a go at being a professional furniture maker. I trained as a cabinet maker and made domestic furniture but specialised in Windsor Chairs. It didn't work out and I threw in the towel and got a "proper job", but after a different career I decided a few years ago I'd give it another shot, so re-trained and for the past few years I've been doing it all over again.

Recently I was contacted by a lady who had bought some children's chairs from me thirty years ago, Elm seats and Ash for all other components. Children have become grandchildren and she wanted to order some more, identical chairs. I don't make windsor chairs anymore, but it was impossible to turn this job down, especially as I still have stocks of the same English Elm which I used for the original order!

I went around to measure up the originals and was delighted to see the joints were still firm and the chairs still sat level.

Child's-Windsor.jpg


What was disappointing was just how grubby the Ash components had become, as the very open grain has filled up with dust and dirt. It had a simple oil and wax finish when first made. You'll hear that only happened to Ash in the days when people had open coal fires, but this chair has sat in a modern, centrally heated home and is nearly as bad as antique Ash. Lesson learned, I'll never use Ash again without thorough grain filling.

Here's the seat blanks for the next batch.

Windsor-Seat-Blanks.jpg


There was a glut of English Elm in the 1980's due to Dutch Elm disease. But apart from the occasional bit of Wych Elm from Scotland or the far North of England you hardly ever see any Elm these days. Working it again reminded me what a very great loss that is. I don't have a huge amount of Elm, especially of the 2 1/2" thick, very wide boards that would allow an adult sized windsor seat to be made in a single piece. But there's enough for a few very special windsor chairs, all I need now is a commission for a pair of gothic style windsor with cabriole legs, and then to find some boards of clear, beautiful Yew to make them from!
 

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  • Windsor-Seat-Blanks.jpg
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wow, I loved the story behind this, it's a shame that you couldn't make woodworking a full-time career years ago, this proves to me how important it is to pursue what you really love and ignore others, wouldn't you agree custard?

it's also a shame not enough people appreciate this level of fine craftsmanship and quality, I certainly do now I have been learning woodwork, it has completely changed my views on what quality is, and my level of appreciation for this kind of work continues as I learn more.

I'd love to see the end result, thanks.

Ben.
 
That's beautiful work, Custard. I look forward to seeing the new additions :)
 
Very nice work.
With your combined experience of being a cabinet maker plus your recent re-training and your work since then, how far beyond your often quoted 10,000 hours are you?
 
galleywood":9i4jqnv4 said:
Very nice work.
With your combined experience of being a cabinet maker plus your recent re-training and your work since then, how far beyond your often quoted 10,000 hours are you?

The 10,000 hour "rule" is ********* anyway. Just an easy to quote tag line for Gladwell's book. Life and skill are more variable and richly complex than that.

BugBear
 
thetyreman":259fx2oz said:
it's a shame that you couldn't make woodworking a full-time career years ago

It's always been an economically marginal occupation. What changes over time are the other things that furniture makers do in order to get their income up to something reasonable.

Now it's joinery packages, fitted work, teaching, or part time work as a wood machinist or in a spray shop.

In the 70's, 80's, and 90's (and probably earlier) it was mainly antique restoration. So much so that most cabinet making training thirty or forty years ago automatically included a big dollop of restoration work, it was just assumed that would be how you really kept body and soul together.

Around about the turn of the century antique furniture prices started to fall, and since then they've just kept dropping. There's so little demand for middle market antique furniture today, and prices are so low, that it's no longer a viable way to augment a furniture makers income. But in it's heyday it could be fairly profitable. Generally it was more about trade jobs than taking in work from the public, which meant you could buy a dirt cheap workshop freehold in the middle of no where and still make the numbers add up. Once you had a regular stream of antique dealers passing through your workshop you could start buying and restoring pieces on your own account, before long you'd always get a decent trade offer for your restored pieces. And with antique prices steadily marching up even the occasional bad buy would get turned into a profit before too long.
 
bugbear":eu9x5sok said:
The 10,000 hour "rule" is bull dung

BugBear

Seems to fit pretty neatly with most makers I know, and also with traditional apprenticeships.

About a 1,000 hours of dedicated application gets you to the stage where you can make most basic, rectilinear hardwood furniture. Say the majority of Shaker style furniture for example.

About 10,000 hours of dedicated application gets you to the stage where you can handle curves, free form laminations, jointed chairs, veneered pieces, and you can make pretty much anything that you can draw.

Beyond that there's a third level of skill (where I'm not but would like to be) where you have the imagination and ingenuity to invent the complex fixtures and jigs required to make things that have never been made before.
 
Woodmonkey":au59y75d said:
did you hand carve the seats or get the angle grinder out?!


It's faster (and a lot less messy) to saddle an Elm windsor seat with a scorp and travisher. If the seat was kilned Oak or Ash an angle grinder might have advantages, but not for air dried Elm.
 
phil.p":2mwe2t2c said:
Beautiful. If you struggle to find elm large enough, I would think with the right piece a book match could actually look better?

A bookmatch (or series of bookmatches) would be first choice for a table top or a cabinet top/sides. But for a windsor it could look a bit contrived. If I had to joint a seat personally I'd either paint it or use really straight grained stuff and aim for an invisible glue line.

Just my opinion.
 
Now that is what a very nice chair looks like. Thank you for posting both the image and a brief history of custard.

xy
 
It's kind of you to say that xy, but the honest truth is that windsor chairs really aren't that hard to make, you don't even need much in the way of a plan or a rod.

Sure, making something really special might be trickier, but a basic windsor is pretty straightforward. After all, absolute beginners go on a course for a two or three weeks and come away with a windsor that they've made themselves. The complexity comes with jointed chairs, they may look similar but in reality they are an entirely different order of challenge.
 
I agree about the ease of making a Windsor custard, even I with no specific training managed a comfortable chair. Unfortunately I had no prior knowledge of tools, or timber available and a two week time constraint. Visually it is appalling, but it keeps the backside off the floor.
Luckily my recent attempt at a couple of Welsh Stick Chairs was significantly better.

Without plans I think the difficult part of a Windsor is the visual balance, something you have cracked beautifully.

xy
 

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