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Franklin H. Gottshall - Making Antique Furniture Reproductions: Instructions and Measured Drawings for 40 Classic Projects

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Franklin H. Gottshall Making Antique Furniture Reproductions: Instructions and Measured Drawings for 40 Classic Projects
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Making Antique Furniture Reproductions: Instructions and Measured Drawings for 40 Classic Projects: summary, description and annotation

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With this profusely illustrated guide, even beginning woodworkers can build precise reproductions of the most sought-after antique furniture heirloom pieces by Sheraton, Hepplewhite, Duncan, Phyfe, Chippendale, and other celebrated craftsmen. Its possible by following the simple, step-by-step procedures outlined in this expert manual.
Youll learn how to construct such magnificent antiques as a Chippendale flat-topped partners desk, Queen Anne handkerchief table, Sheraton drop-leaf dining table, Hepplewhite four-poster bed, grandfather clock, Queen Anne spice cabinet, and many more. Every step is clearly explained and illustrated, with remarkably detailed and precise construction drawings, accompanied by exact measurements. Youll even find superb photographs of the finished pieces.
The book begins with an expert introduction to the fundamentals of cabinetmaking and woodworking: how to cut, square, and plane lumber; the use and care of hand tools; and then clear explanations of such processes as joinery, drawer construction, dovetailing, wood turning, gluing, bull and claw foot carving, and other wood carving details as well as how to choose the correct stock. Also included is a wealth of time-tested advice on selecting hardware, finishing, and other aspects of the craft.
No matter what your level of woodworking expertise novice to expert the exceptionally precise and well-thought-out instructions and diagrams in this book will enable you to craft beautiful and authentic antique furniture youll be proud to use and display for years to come.

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Table of Contents Acknowledgments THE author wishes to express thanks to - photo 1
Table of Contents

Acknowledgments

THE author wishes to express thanks to the following for material help in the preparation of this book.

To his son Bruce H. Gottshall who has done the greater part of the photographic work in this book.

To Mr. Robert Treate Hogg, cabinetmaker of Oxford, Pennsylvania, for permission to take measurements, make working drawings, and take photographs of many of the fine reproductions built in his workshop. Mr. Hogg also has been most generous in giving of his time and technical advice in the preparation of this book, for which the author is extremely grateful.

To Mr. William Ball of Ball and Ball, reproducers of antique hardware for fine period furniture, for permission to photograph and reproduce much of the hardware shown on the plates in the chapter on hardware.

To The Modern Technical Tools and Supply Co., 211 Nevada Street, Hicksville, New York, for information regarding their clock movements and supplies.

To Mason and Sullivan of 39 Blossom Avenue, Osterville, Massachusetts, for information regarding clock movements and supplies.

To McKinney Manufacturing Company, Scranton, Pennsylvania, for permission to photograph wrought-iron hardware manufactured by them and shown on Plate 2 in the chapter on hardware.

To Mr. Lewis Hamrick for help in getting photographs of chairs made by the authors students at Berry College.

To Berry College, Mt. Berry, Georgia, for permission to photograph furniture built in classes conducted by the author and to use them in the preparation of this book.

To Mr. Richard L. Malmberg, proprietor of Malmberg Antique Shop, Boyertown, Pennsylvania, for permission to photograph the Queen Anne highboy, and the grandfather clock in his collection and to make drawings of these for this book.

To Mr. John Renninger of Renninger Studios, Boyertown, Pennsylvania, for photographing the Queen Anne highboy.

To Mr. Daniel Bush, upholsterer, of Boyertown, Pennsylvania, whose help and advice in working up and checking data for upholstered furniture in the book is greatly appreciated.

ONE
Some Useful Fundamentals of Gabinetmaking

WOOD, being the prime material with which the cabinetmaker should concern himself, we feel that anyone using this book needs to know a great deal, not only about characteristics of this most versatile raw material, but about methods of choosing the proper kind for the use to which it is to be put, shaping it, and getting it ready to use in whatever worthwhile project he may decide on. Much ought to be known about how to prepare various pieces in order to have them ready to assemble, and the best ways of putting them together once this preliminary work has been done. Therefore this chapter will explain a few principles of woodworking to help those whose knowledge of such principles may be limited or nonexistent.

CUTTING STOCK TO SIZE AND SQUARING IT

It has been the authors experience that the essential first step in teaching woodwork to beginners is to teach them how to cut, square, and plane lumber to predetermined sizes, using hand tools only. Insistence at the beginning on the use of hand tools only is important because if handwork in wood is properly mastered by beginners, they will have relatively little difficulty in mastering the essentials of working with laborsaving electric-powered machinery later on. It is not necessary to use large pieces of wood to practice these essential operations. Small pieces of wood have some advantages over larger pieces in the beginning, such as greater ease of manipulation, less surface to cover, and consequently less effort required to accomplish the ends sought.

Start with a piece of yellow poplar, mahogany, red gum, or some other wood similar to these in texture, which is neither too soft nor too hard. Generally speaking, soft-textured cabinet woods, like the ones we have mentioned, require sharp tools to work them, but are not so hard or tough that they will make the job needlessly difficult for the beginner. Practice blocks should be free of knots. While learning to deal with knots is something every beginner will have to cope with later, forcing him to deal with this additional handicap at this time would only slow the learning process and might impede progress rather than help it.

Choose a piece of unplaned stock measuring roughly 1 inch thick, 3 inches wide, and 7 inches long. As a first step number the sides, using an ordinary lead pencil. The better wide side or face is #1; the better edge is #2; the better end is #3. The opposite side of 3 is 4; the opposite of 2 is 5; the opposite of 1 is 6. Note: the sum of opposite pairs of sides always equals seven. (See .)

Before starting work on the block, be sure the plane is sharp and properly set. The best plane to use for the purpose in hand is a jack plane. To sharpen a plane or chisel proceed as follows: grind the plane iron by holding the blade as shown in , with the bevel on a grindstone or emery wheel. The bevel should be considerably wider than the thickness of the blade, straight, and at right angles to the side of the blade. Move the blade sideways, back and forth over the stone, until a smooth, slightly concave bevel has been formed. Keep from burning the cutting edge by dipping the blade into water frequently or by using light pressure when holding it on the stone.

Grinding the plane blade Note carefully how the blade is held After a - photo 2
Grinding the plane blade Note carefully how the blade is held After a - photo 3

. Grinding the plane blade. Note carefully how the blade is held.

After a plane blade has been ground to shape on an emery wheel or grindstone, it must be whetted to make it sharp. To do this, hold it as shown in , with the bevel flat on the oilstone. Use machine oil thinned with kerosene on the oilstone as a lubricant and to keep the surface of the stone from glazing. Whet the plane iron by moving it over the entire surface of the oilstone with a circular motion. Exert considerable downward pressure on the blade while whetting. Remove the wire edge formed by whetting by reversing the blade and laying it flat on the stone with the bevel on top and then moving it back and forth over the stone several times. Repeat these processes as often as necessary until the wire edge has been entirely eliminated and the edge is keen and sharp.

Whetting the plane blade Note the angle of the blade resting with bevel flat - photo 4
Whetting the plane blade Note the angle of the blade resting with bevel flat - photo 5

. Whetting the plane blade. Note the angle of the blade resting with bevel flat upon oilstone. Whet blade with a circular motion covering entire stone to keep stone as flat as possible.

Decide the direction to plane by determining which way the grain of the wood runs. Grain lines on the edge of a board are in most cases clearly enough defined to show which way the grain runs on top or bottom, though this is not true in every case. If they are, plane side #1 in the direction the grain lines on the edge of the block go uphill. (.) If the grain lines are not clearly defined, then try planing in both directions to find which way the grain runs. In almost every instance, the grain on the opposite side of the block, or piece of wood, will run in the opposite direction.

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