MARCH

1

IApRIL 1980 No. 21, $3.00 ,

orking

Hans Wegner

Find your specialties in these back issues of Fine Woodworking Fine Woodworking

Each issue of takes a detailed look at many aspects of our craft, in effect building a growing reference of woodcraft techniques. And because there's always so much of interest to cover,

never repeats itself. Small wonder one new subscriber in requests the complete set of back issues. Here's valu­ able information you can't find anywhere else and that doesn't go out of date.

20

Fine Woodworking

Winter 1975, No. i-The Renwick Multiples. Checkered Bowls, Tramp Art, Hand Planes, Carving Design, Decisions, Woodworking Thoughts. Marquetry Cutting. Which Three? Library Ladders. A Serving Tray. Stamp Box. All in One. French Polishing. Birch Plywood. Bench Stones. Spring

1976. No. 2-Marquetry Today. Split Turnings. Eagle Carvings. Hand Dovetails. Mechanical Desks. Textbook Mistakes. Antique Tools. Spiral Steps. Gustav Stickley. Oill Varnish Mix. Shaker Lap Desk. Chair Woods. Back to School.

Summer

1976, No. 3-Wood. Mortise and Tenon. The Christian Tradition. Hand Shaping. Yankee Diversiry. Plane Speaking. Desert Cabinetry. Hidden Drawers. Green Bowls. Queen Anne. Gate-Leg Table. Turning Conference. Srroke Sander. Furniture Plans.

Fall

1976. No. 4-Cabinetmaker's Notebook. Warer and Wood. Hidden Beds. Exotic Woods. Veneer. Tackling Carving. Market Talk. Absrract Sculprures from Found Wood. Work­ bench, Ornamental Turning, Heat T rearing, Mosaic Rosettes, Shaped Tambours. Buckeye Carvings. Hard Sources.

wood

Winter 1976. No.S-Sracking. Design Considerarions. Key­ stone Carvers. Carcase Consrruction. Dealing Wirh Plywood. Patch-Pad Curting. Drying Wood. Gorhic Tracery. Measured Drawings. Wood Invitarional. Guitar Joinery. The Bowl Gouge. English Treen. Shaper Knives.

Spring 1977. No.6-The Wood Butcher. Wood Threads. The Scraper. California Woodworking. Bent Laminarions. Dry Kiln. Expanding Tables. Two Sticks. Sracked Ply woo d. Two Tools. Pricing Work. Going to Crafr Fairs. Colonial Cosrs. Ser­ ving Cart. Woodworking Schools. Summer 1977. No. 7-Cooperarive Shop. Glues and Glu­ ing. Winter Market. Three-Legged Stool. Lute Roses. Bowl Turning. Wharron Esherick. Doweling. Spalred Wood. Anti­ qued Pine Furniture. Solar Kiln. Carving Fans. Bending a Tray. Two Meetings. Index to Volume One. Fall 1977. No.8-Our West. Steam Bending. Triangle Mark­ ing. Painted Furniture. Chain-Saw Lumbering. Rip Chain. Gerting Lumber. Sawing by Hand. Gaming Tables. Two Con­ remporary Tables. Wooden Clamps. Elegant Fakes. Azrec

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Drum, Gout Stool, Two Tools, Measuring Moisture, The Rageolet. Young Americans.

Winter

1977. No.9-Repair and Restoration. Designing for Dining. Tall Chesrs. Entry Doors. The Right Way to Hang a Door. Drawer Bortoms. School Shop. Health Hazards in Woodworking. Basic Blacksmithing. Carving Cornucopia. Carving Lab. Roured Edge Joint. Shaker Round Stand. Cur­ ting Corners. Small Turned Boxes. Unhinged.

Spring

1978. No. 10-Two New Schools. Wooden Clock­ works. Hammer Veneering. Claw and Ball Feer. Block-Front Transformed. Her-Pipe Bending. Furniture Galleries. A Two­ Way Hinge. Laminated Turnings. Chain-Saw Carving. Circu­ lar Saws. Louvered Doors. Small Workbench.

Summer

1978. No. ll-Harpsichords. Spinning Wheels. American Woodcarvers, Drawers, Turning Spalted Wood, Scratch Beader. Leather on Wood. Notes on Finishing. Building Green. Parsons Tables. Hanging a Door. Pencil Gauges. Dulcimer Peg Box. Tiny Tools.

-Co

September

1978. No. 12 mmunity Workshop. Greene and Greene. Holding the Work. Scandinavian Styles. Tam­ bours. Stains. Dyes and Pigments. Spindle Turning. Cleaving Wood. Wherstones. Sharpening. Cockleshell. Dusr-Collecrion Sysrem. Sanding. Used Machinery. Wooden Wagon.

November 1978. No.

13-Making Ends Meet. Scientific In­ struments of Wood, Making a Microscope, The Harmonious Crafr. Laminated Bowls. Preparation of Stock. Tung Oil. Relief Carving. Roll-Top Desks. Shaped Tambours. Cylinder Desk and Book-Case. Basic Machine Maintenance. Portfolio: A.W. Marlow. End-Boring Jig. Scale Models. The Purpose of Mak­ ing. Lumber Grading. On Workmanship.

JanuarylFebruary 1979. No. 14-Guirarmaking School. George Nakashima, Lester Margan's Measured Drawings, Tapered Lamination. Improving Planes. Restoring Bailey Planes. Box-Joint Jig. Five Chairs: One View. World Globe. Koa Table. Incised Lerrering. Bolection Turning. Air-Powered Tools. Polyhedral Puzzles. Design Sources. Have a seat. March/April 1979. No.1S-College Dropouts. The Shape of a Violin. Stalking Mesquite. The Mortise Tenon Joint.

&

$2.50

1.19; $3.00

W.A. Keyser. Rourer Tables. Treadle Lathe. Freewheel Lathe Drive. Milk Paint. Rying Woodwork. Routed Signs. Staved Containers. Carved Shells. Right of Fancy.

May/June

1979. No. 16-Working With a Handicap. Ed­ ward Barnsley. Locking the Joint. Harvesting Green Wood. Shop-Built Vacuum Press. Five More Chairs: One View. Hol­ low Turnings. The History and Practice of Marquerry. Silas KopPs Marquerry. Before the Finish. Workbench. Circular Stairway, Three Stairways, Spiral Staircase, The Machinist.

July/August

1979. No. 17-Frederick Brunner, Sawmilling. Working with Heavy Timbers. Portfolio: Woodworking Women. Bending Compound Curves, Furniture from Phorographs. Routing for Inlays. Precision: Tips from rhe Die­ Making Trade, Finishing Materials. Solid Wood Doors. Library Steps. Norwegian Woods.

September/October 1979. No. 1S-Showcase Cabiners. Tapered Sliding Dovetails. The Haunched Mortise and Tenon. Methods of an Old World Cabinermaker. Producrion Problem. Drop-Leaf and Gare-Ieg Tables. Making rhe Rule Joint. Wood­ turning Chisels. High School Woodwork. To Finish the Finish. Cabriole Legs. Making Cabriole Legs. Contour Tracer. Cabriole Templare. Paneled Doors and Walls. Rhinodesk. NovemberlDecember 1979. No. 19-Wharton Esherick. Ringed Ratde. Another Ratde. Dragonfly. Two Toy Trucks. Oysrer-Shell Veneering. PEG for the Woodworker. Tips from the Turning Conference. Old-Fashioned Turners' Gauges. Oil! Varnish Finishes. Porrfolio: Charles Rombold. Chip Carving. Copenhagen 1979. Mortise Tenon by Machine, East Comes West. The Jointer. More Mortising: Sloping Wedges and Shims. Band Saws. The Woodchuck. Mother Narure. Woodcarver.

&

JanuarylFebruary

1980. No. 20-Michael Thoner. A One­ Piece Chair. A Glue Press. Working Woven Cane. Making a Basket From a Tree, Laminated Fishing Net. Knockdown Tablerops. Orientable. Japanese Planes. Making a Modern Wooden Plane, French Polishing. Seedlac Varnish. Shaper Cutters and Fences. Plans for a Pigeonhole Desk. Repairing Wobbly and Broken Chairs. Wood '79. Arnold Mikelson. Geo­ metric Marquetry, Hardwood Sources.

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28

Books (continued)

ferior tools what they are--junk? For help with the answers , the publishers turned to two experts--R.] . DeCristo­ fo ro , a w e l l - k n own woodwork i n g author (for the power tool evaluations) , and Ernie Conover, whose company manufactures specialty hand tools (for the hand-tool evaluations) . The tools evaluated are a predictable batch selected from American standard brands (Stanley, Sears, Rockwell , etc . ) , with a sprinkling of imported hand tools. More questions are raised by the tools left out of the evaluations than by those left in. For example, Sears' lathe is glaringly absent from the lathe sec­ tion (all their other tools are here) as is Powermatic ' s table saw from that sec­ tio n . The book mentions only one manufacturer of lathe tools (Sorby) and clamps (Adjustable Clamp Co . ) . I guess i t ' s not reasonable to expect that all brands and models of all tools be evaluated. But when both good and bad tools are left out there's no way to sort out the junk. And sorting out the junk is perhaps the most valuable serv­ ice a buyer's guide can provide. The Tool Catalog falls especially short here. The selections on hand planes and hand saws are informative and well written , however. There' s a description of Stanley ' s efforts to upgrade the qual­ ity of their hand planes. Their new models (look for the brass adjusting knob) are reputedly on a par with the more expensive, imported Record planes. The one-page chart on saw buy­ ing is also well done. -Jim Richey Greene and Greene : Furniture and Related Designs by Randell 1. Makin­ son . Peregrine Smith, Inc. , Box 667, Layton, Utah 84041 , 1 978. $2 7. 95, cloth, 1 90 pp. The furniture made by the brothers Charles and Henry Greene might right­ fully be called the most impressive con­ tribution to the art yet made by any American. Yet Greene and Greene fur­ niture and furnishings remain virtually unknown, both in this country and elsewhere. Author Makison and photo­ grapher Marvin Rand have made an eloquent attempt to rectify this situa­ tion . This book, following their earlier text on the Greenes' architecture, tempts anybody interested in design to sift through it not once, but often . In the pieces designed and built by the Greene brothers, we see what can happen when fortunate circumstances enable men of extraordinary sensitivity to voice a creative vocabulary unfet­ tered by considerations of time and ma-

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B UTT E R N UT, WALN UT, R O S EW O O D , P I N E, C H E R RY, B U CKEYE a n d about a dozen other woods, in boards, slabs and freeform cut ovals. Pieces up to 6 " thick, 3' wide and 16' long in some species. We specialize in coffee tables, benches, bars, carving stock, ciock ovals and movements, accurately cut for you to finish. We sell by m a i l a n d from o u r fantastic wood "museum," 9-5 except Sunday. Send $ .25 for brochure. W E I R D WOOD, Box 190FW C h ester,

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terial COStS. Because these pieces were never mass-produced , they created lit­ tle or no social impact, unlike Gustav Stickley's " Craftsman" furniture. They lacked exposure. They were made for a few members of an elite upper class to fu rnish C a l i fornia d w e l l i ngs a l so designed by the Greene brothers. Most are one-of-a-kind and have never left the homes for which they were de­ signed 70 years ago. The author deals historically with the development of Greene and Greene style. He breaks up the early work into fou r parts encompassing the years 1 900- 1 9 1 6 . Two chapters take up the work done after 1 9 1 6 , when Charles and Henry split up, and delineate the further careers of each in turn. During the first period, to 1 904 , the brothers were influenced by Stickley. This translated i n co a rectilinear, straightforward approach with minimal decorative touches, mainly protruding dowel plugs. Toward the end of this period, ends of tenons were carried through and exposed . Then there ap­ pear what the author identifies as Oriental influences, in particular in a design element he terms a " cloud lift , " supposedly a n abstraction o f cloud forms. The Chinese used a stretcher having this form in certain classical pieces, although I doubt that its shape came from any deliberate attempt to abstract the qualities of clouds . A second period , 1 904 to 1 907 , saw the introduction of the square plug. Most of these " pegs" are decorative, shallow inlay; others conceal screw heads. During this particular period, the Greenes enlisted the services of John and Peter Hal l , Swedish immi­ grants, who produced in their Pasadena shop the fixtures and furniture de­ signed for the various interiors. Their specialized knowledge and machinery, and the talents of their old-country craftsmen , enabled dramatic design refinements to be made in the furni­ ture. A well-defined, plainly identi­ fiable style resulted. As the use of wood and metal inlay and other surface de­ coration increased during the following period, from 1 907 to 1 9 1 1 , this style became increasingly ornate. From 1 9 1 1 through 1 9 1 6 , Charles Greene flirted with more elaborate fur­ niture and architectural styles, most notably Empire, one of the most ele­ gant and d ignified of the c1a"ssical periods. He employed several decora­ tive devices from this period, such as sheaves of wheat and inlaid borders. I found the photographs and instruc­ tive original drawings by far the most

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valuable part of the book because they convey the flavor of the designs so con­ vincingly, their refined proportions, subtly placed contrasts of hue and tex­ ture, accents , delicate inlays, restrained carvings and the general overall cohe­ siveness. Makinson intended this book as a historical survey of the creative de­ velopment of the brothers Greene. He achieved this in due course, but one hungers throughout the book for more interpretative, incisive passages such as the isolated one on p. 58 about Charles Greene ' s system of forms and joinery: " I n principle, the system followed the same concepts underlying the Greenes' architecture: the total was composed of separate partS; the identity of those pans was openly expressed; the bring­ ing together of two similar or dissimilar elements created a point of transition and the resolution of that transition often developed a totally independent, third condition which both acknowl­ edged the joining of elements and at the same time brought an enrichment to the total composition . " I deplore the scarcity of this kind of analysis. I nevitably, when one studies furniture as well articulated as this, cer­ tain design approaches and an implied philosophy reveal themselves. In the passage quoted above, we touch on a very profound theory of the evolution of form . Whether Charles Greene was consciously aware of this approach , or whether it worked on him from deeper, unconscious sources seems immaterial . For the student of design, the value of a more sensitive examination of his work cannot be overemphasized . It remains for the reader to make the necessary analysis himself, providing he can per­ ceive the abstractions underlying the pieces shown . Fortunately, many origi­ nal scaled detail drawings show furni­ ture and fixtures for an entire room on one sheet, and comparison reveals things that would not be apparent if one piece were examined in isolation . Makinson's objective, scholarly ap­ proach precludes conjecture. Such a shortcoming is outweighed by the book' s usefu lness as inspiration for the architect and designer/ craftsman . And for those of us who merely appreciate seeing beautifu l work for its own sake, Greene and Greene: Furniture and Re­ lated Designs will occupy a special place in our libraries. -Alan Marks Rob Tarule works wood and teaches in Plainfield, Vt. ; Jim Richey, Methods of Work editor, and Alan Marks, West Coast correspondent, wn'te frequently for this magazine.

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