Newport Kneehole Desk

[Alan Turner]

In January I completed a Newport Kneehole Desk, which was begun in August last year. The original of this one is in the RISD Museum, and the prints were drawn from this original. I took a class for this piece, only because I had never carved before, and felt that this would be the best way to learn to do so. It was supposed to be 9 weekends over 9 months, but I only went to 3 classes as it was a 3+ hour drive, but the instructor was quite generous with his phone time for questions. The finishing took another while, and the hardware, cast in England, was much delayed and arrived only 2 weeks ago. Well, it is nearly done, with only the handle posts to trim off, and the nuts on the hardware on the drop front to countersink. I do commission work, but this one is for the Turner family!

I have posted it here as this was very much a neander effort, even though there were a few electrons burned as well. The stock was jointed and planed with power, and the TS got some use, as did the bandsaw. But, all surfaces are handplaned, which is not much effort in mahogany. The carving is by hand, of course. The cove on the feet was established on the TS, but the front feet had to be carved by hand. Carving the base was not as time consuming as carving the 4 shells, but was more difficult for me. Others might disagree with this assessment.

The carcase work was challenging. It is a traditional, dovetailed, slab sided box, all single planks (in fact, the same plank, endgrain matched. It is the most difficult carcase I have ever made. The drawer blades are a sliding DT into the carcase side, and both the pins and sockets were cut with a hand saw. The required angle does not lend itself to router work. The cockbeading on this piece is in the carcase, not on the drawers (which would be easier). The cockbeading is integral to the drawerblade, but applied to the carcase sides in a rebate. Miters are cut with a paring chisel. Assembly of the carcase is difficult since the kneehole portion forms the drawerbox sides, and getting a square cut and glueup was a bit testy. The kneehole sides are DT’d into the solid base.

All of the moldings, including the drawer blades, were hand carved or scraped, although on the undertop molding the basic stock removal is via rip cuts on the TS. The balance was one with molding planes and scrapers, all of which (the scrapers) I specially made for this piece. The edge treatment of the top was also by hand.

I made a number of changes from the original in terms of construction details, and learned a ton with this project. I would love a commission for one of these fellows, but it sure would be expensive, too much so I am afraid.

The coloring was done per rob Millard’s schedule, with lemon yellow dye, and lime. I think I will call it the “citrus finish.” Thanks Rob! Modern mahogany is not near so rich as the older wood, but this is new wood.

Thanks for looking.

[Joel Moskowitz]

Really beautiful Alan, Great Work!!!!

[Mark Stutz]

Alli can say, because I'm almost speechless, is....WWOOOOWWWWW! Absolutely beautiful. I can only dream about having enough skill for something like this. You need to submit this for a reader's gallery. If FWW wouldn't publish this, I might think about cancelling a subscription! Do you have any "in progress" PICS?

[Steve Wargo]

Alan,
Outstanding! It's always refreshing to se a piece that's been so well thought out and detailed finished off with the appropriate hardware. I think you've done a most excellent job.

[Ken Fitzgerald]

Allan.....this is a Masterpiece! Fantastic craftsmanship! You've set the bar highter for everybody at SMC!

[Steve Evans]

WOW. Stupendous.

[Mike Scoggins]

Alan,

Awesome...really awesome! I can sit and look at work like that for a long time. You did a great job. When I see pieces like this I realize how very little I know about woodworking.

You should be proud of that one!

Mike

[Jim Young]

Great work Alan. I really like the color you chose. Can you get a little more in detail about the finish/stain? What is behind the door in the knee area?

[Brian Buckley]

Allan, absolutely beautiful. It does not get any better than this.

Brian

[Cecil Arnold]

WOW, I'm knocked over. A really beautful piece of work.

[Dan Moening]

Alan,

That is very impressive work.

Beautifully executed, and photograghed.

The second photo shows off your elegant DTs quite nicely.

But lets be honest here...the one design element that sets this desk off from many is the shell carvings.

We want to see the CARVINGS!

Please? :D

[Carl Eyman]

Wonderful work. Is the detail of the gallery (pigeon holes) of this desk unique? I don't think I've seen the fold-down writing surface and gallery before in this style piece. I studied one in Williamsburg in the museum that had a similiar block front design liberally carved, but don't think it had the gallery - I know it was not visible. We have one in our living room that was in my wife's family for generations, but it is much plainer than yours and has a plain flat top. Thanks for posting this great piece. Please submit it to FWW.

[Jeff Sudmeier]

Alan that peice will be loved by your family for years to come! You have done all woodworkers proud with this one!

[John Miliunas]

Oh my Goodness, Alan! I just had a couple minutes in between appts. and happened to open this post. Man, am I glad I did!!!:) Part of me is saying, "Hey John, now there's a goal for you!" The other is saying, "Hmmm...So I wonder how much I can get for all my WW equipment!?":rolleyes: I'm usually pretty long-winded but, I don't know that I have enough adjectives for this wonderful piece! The detail, the joinery, the carving, the....Everything!!! :) You have truly created a heirloom for the Turner family! Simply magnificent. Thanks so much for posting it!:) :cool:

[Zahid Naqvi]

Alan,
This is a superb piece. I hope you marked your name on it some where, because I can see someone looking at it 200 years from now and wanting to know who made it.

[Alan Turner]

Thanks for the nice comments, guys. I probably will submit it to FWW, but so far they have not bitten on anything I have previously sent them. Maybe this time.

Mark,
This finish starts with a distilled water grain raising session, followed by 320, by hand. Then a coat of water diluted lemon yellow Transtint dye. Then a coat of powdered garden lime (1 tablespoon per pint), which I scrubbed in with a gray 3M abrasive pad. Then a water cleaning, drying time, and shellac. Did a bit of toning to even out the color where the wood was not well color matched. I top coated with lacquer, and hope I don’t regret that decision.

Carl,
You are correct that the writing gallery is unusual. The original of this piece was by John Townsend, and the teacher stated that this was one of only 3 of the documented Townsend pieces that had that feature. There are 13 drawers, each dovetailed, of course. Someday I will have to count the DT’s on this guy, but there are quite a few. Maybe excessive DT’ing was the reason there were so few. Carpal Dovetail Syndrome?

Zahid,
The piece is signed on the underfloor of the kneehole compartment. There is a false bottom in the kneehole, which is activated by pushing down on the very rear of the bottom shelf. A secret compartment, so to speak.

[Dave Brandt]

YOWZA! :eek: That is absolutely incredible. That's it. I'm selling everything and finding a new hobby.

[Chris Daigh]

Is that a picture of the museum piece, that is a very nice piece of furniture. If I was able to build that and if it was in my home I would rope it off. How many hours to you think you spent on it.

[Alan Turner]

Actually it is in a glass enclosed, humidity controlled structure. :) I think it was about 600 hours, which shows you what slow really is. I make a turtle look quick. I think Rob Millard would have done it in a 3 day weekend.

[Roger Myers]

Alan,
Exquisite!!
My love of furniture and craftsmenship peaks with Goddard Townsend and with the furniture of the Seymours... Your work is an incredible testament to the strength and lasting ability of the original design, and crafted with incredible skill and attention to detail.

I just was reading an article in the Boston Globe where a second of the Goddard Townsend "Brown family" secretarys is going to be put up for auction. The first one went for over 12 million when it went up for auction and Al Breed built the reproduction of that piece (featured in FWW)... Big debate over allowing this piece to go up for auction as I believe it is owned by the RI historical association, where the last time, the piece was owned by one of the Brown family members... Just shows what the value is in such a classic design!
Did you send this off to the SAPFM forums... you should come to the summer conference in June and bring the piece with you!! I'd love to see it in person!!

Great, great job!!!

Roger

[Dan Forman]

By definition a masterpiece, truly spectacular!!! The bar has been raised.

What is the function of the lime in the finishing process?

Dan

[Robby Phelps]

Alan,

Absalutely stunning. Excellent execution. I hope someday to be in the same calibur as you and Rob Millard.

Again beautifull work

[Matthew Dworman]

Great Job Allan!

[Marc Hills]

Alan:

In an instant, everything is changed. I am for once, speechless. You have my limitless admiration.

[John Shuk]

Alan,
It is extraordinary! I can't say much more than that. Abosolutly fabulaous!
John

[Philip Duffy]

Magnificent! Pleasure to see such high quality work being done by today's masters. Phil

[Dave Anderson NH]

Not much for me to say Alan. Everyone else has covered it pretty well. I will however echo Roger Myers' comments and ask you to come to the SAPFM summer meeting and by all means bring the desk. Truly magnificent my friend. The unfortunate thing is that you have raised the bar for yourself to truly dizzying heights and it's going to be a hard act to folllow.

[Alan Turner]

Thanks again guys. Dave, I will consider the Lancaster meeting. I'm pretty busy, but it would be a well spent weekend.

I will share a few details of this piece (and would gladly share more if anyone is interested).

The installation of the hinges on the door was done in the conventional way on the original. One leaf was cut into the door, one into the cockbead. But, Ernest Joyce writes of a way to have a proper hinge installation, while putting the barrel of the hinge totally on one side or the other. You simply cut angled mortises, parallel, so that the barrel is fully right or left. This I did on this piece since the cockbeading is only 3/16" and frames the door so nicely. But, to cut into it destroys that nice framing line. This was a new trick for me, and is not difficult, once you figure out you should do it.

The back of the original was two pine boards, nailed on. I thought this piece might someday live in a large room, and not be against a wall, so it got a frame and flat panel back, with two central stiles to mirror the thirds that divide the front.

Townsend used corner blocks/legs, with the grain up and down, which is cross grain to the feet. Some bracket feet crack under this situation, but his hadn't. Instead, I used what I believe is the Scott method, and layered the corner blocks, cross grain on each layer, so that there is long grain on both the front and side feet. This desk rests on the corner blocks; the feet are merey decorative, and hold the corner blocks.

I mitered the feet, and splined them, with parallel grain splines. I was tempted to do do 12/4 feet, full blind dovetailed, but didn't. I have never cut them, and I knew it would take a lot of time, so I got lazy.

On the original, the top is attached to the sides via a long sliding DT. That is not a joint I like as I think it is weak (being so near to the edge), so I used a more traditional joint -- a sub top, with the actual top screwed to it.

The drawer rails were just nailed into dados on the original, and had no back connecting piece. I used a M&T, both front and back, glued the drawer blades to the runners, glued the back piece to the carcase, and left the back M&T's loose, with a short shoulder, to accomodate wood movement.

Townsend used full width pine drawer bottoms, with the grain running 90 degrees to standard drawer bottoms. In the summer these drawers do not open. Mine are built conventionally, and do work, at least so far.

The drawer sides for the small gallery drawers are of quartered sycamore, at the suggestion of Steve Wargo. A little detail sort of touch which I like. Sort of a non-period surprise.

The original has 8 keyed locks. Mine has one; on the door. I would rahter be a theft victim than have a broken desk; hence the decision. We will see if the thief finds the secret compartment (also a non-Townsend feature).

All of this means that it is not a true period piece, and that is fine with me. I am not wed to the period details if there is a better way of doing things, and I think my improvements are structurally more sound. Hard maple should outlast the pine drawers of 1765, even though mine will never be in a museum. What I really like about this desk is the soundness of the appearance, and its total integration with itself. It is a design that is worth copying.

I should add that this is the first piece that I have ever built from another's print, and my first quasi-reproduction piece, in addition to being my first piece of carving. Lots of firsts here. I doubt I will ever do a piece a fine as this again, as noted by Dave the Moderator.

In thanks to Dave, I should disclose that this piece would not have been possible without having made and used one of his marking knives, from his early posts here, before he went "commercial."

[Martin Shupe]

Alan,

This piece deserves to be in the FWW gallery...but I think someone already said that. Well done!

It also deserves to be in a museum...but then your family wouldn't be able to enjoy it, would they?

Just think how much your piece will be worth in a hundred years!

[Chris Thompson]

Holy &%$)@*~!

I'm used to people posting project pics here and thinking "Wow, that's nice."

But this is the first time I've ever actually said Holy &%$)@*~ out loud with mouth agape.

Amazing. Truly inspiring.

[Mark Singer]

Alan,

That is real crafstmanship! Beautiful detailing! This quality of work takes years of experience....and it shows! You can be very proud of that piece....I for one am very glad your here at SMC....Great work!

[Richard Wolf]

Excuse me while I pick up my jaw!!

Richard

[Roy Wall]

Alan,

It has already been said............."Masterpiece" is barely adequate..

Your skills are exquisite, admirable, full of patience and precision. Thank you for sharing your talent!!

Now for some padawon learner questions:
1) the lower drawer fronts - is that 8/4 that was bandsawed from a template? I notice the front curves "dive in" to a somewhat crisp edge; are these outside drawer faces cut by the TS....and then cleaned up with a chisel or chisel plane? Did you mate it to a same thickness scrap so the plane/chisel would be level & square to the actual drawer front for finish planing???

2)upper drawer fronts - 8/4 also? and did you use the "mirror image" of the lumber to create the matching "reversed" faces...
Again - just awesome!!!

[Lars Thomas]

Not sure what to add here, but amazing work. Lars

[Dave Malen]

Truely great work! Very inspiring. Makes me want to take a course in carving. Thanks for sharing

Dave Malen

[Jim Becker]

"Oh....wow!" There are no words...

Wonderful work Alan. It says loudly, "Touch me", too...

[Rob Millard]

Alan,

Newport pieces are difficult to capture, you have done it perfectly. I'm especially impressed with the feet scrolls. Going with the fitted upper drawer, was a great choice, and is the icing on the cake. I cite those details, but it is a masterpiece in all its details and execution.

A couple of questions.

Would you use the lime treatment again?

What hardware is used hold the drop front in the up position?

Rob Millard

[Alan Turner]

Alan,

It has already been said............."Masterpiece" is barely adequate..

Your skills are exquisite, admirable, full of patience and precision. Thank you for sharing your talent!!

Now for some padawon learner questions:
1) the lower drawer fronts - is that 8/4 that was bandsawed from a template? I notice the front curves "dive in" to a somewhat crisp edge; are these outside drawer faces cut by the TS....and then cleaned up with a chisel or chisel plane? Did you mate it to a same thickness scrap so the plane/chisel would be level & square to the actual drawer front for finish planing???

2)upper drawer fronts - 8/4 also? and did you use the "mirror image" of the lumber to create the matching "reversed" faces...
Again - just awesome!!!


Good questions, Roy. The lower drawer fronts finish at 1 1/4". 3/4" for the thickness, and the offset is 1/2". 6/4 stock. Apparently some blockfronts have as much as 7/8" of offset, but to me the 1/2" is right, at least for this piece. But, it is a pretty small piece. 36 wide, 34 1/2 high, 20 5/8 deep.

The lower drawer construction is a bit of a cheat. Glue up all 3 of the drawer fronts together, leaving enough extra for the kerfs, when they are sawn apart, plus enough to cover the tearout from hand planing. Establish the shoulder on the TS. The offset is only 7/8" in from the sides, but leave extra for fitting. Then flip the 3 board plank up on end and cut the face of the ends at 3/4" off the back. Then plane to a good curve, cross grain, and clean up with a carving gouge of the right sweep. This way all three verticals are right in line. This precise vertical line is critical to the design as any error will show right away. Cross cut the package to just oversize, and then rip apart and fit them one by one on a cross grain shooting board. The usual drawer stuff. Fit them tight, and then after they are DT'd, relieve the bottom of the front so that it does not contact the blade but rides only on the drqer sides. Keep in mind that all of this keys off of the drawer blades, and the accurate shaping and sizing and joinery of them. That is the secret to true verticals. Once they are right, then the rest is made much simpler. If they are wrong, you are in trouble, and they should be recut.

The top drawer front finishes at 7/8", and the two convex shells are applied, which is generally traditional, I believe. The top drawer front needs to be 7/8" thick as the center, concave, shell is 3/4" deep, which means, of course, that there is only 1/8" of material left behind the center shell at its deepest. This takes a bit of courage, and slow going, with frequent reference to a Starrett depth guage, which is standard fare for a carver, I believe. Not a time for dull tools or a mid-carving martini.

Interestingly, the carving of the shells was easier than the carving of the base. The shells are laid out with dividers, and one uses a series of the same sweep of gouges as the rays become finer. It sort of self carves, in a way. I say this not at all claiming to be a carver after this one piece, but I will say that it is not as difficult as it seems at first blush. The lessons were quite helpful in this regard. Setting in, picking the right tools, sharpening, etc. All seemed mysterious at first, but now seem doable. Several hours of precise sanding brings them in. Were I a real carver, the shells would be right off the gouges, not sanded much if any.

[Tom Stovell]

Alan,
That is just a beautiful piece of furniture. Others have used all the adjectives and they are all correct. It is one of the better reproduction pieces I've seen. You've done well.

Tom

[Alan Turner]

Alan,

Newport pieces are difficult to capture, you have done it perfectly. I'm especially impressed with the feet scrolls. Going with the fitted upper drawer, was a great choice, and is the icing on the cake. I cite those details, but it is a masterpiece in all its details and execution.

A couple of questions.

Would you use the lime treatment again?

What hardware is used hold the drop front in the up position?

Rob Millard



Rob,

Your kind words are a great complement indeed.

Thanks so much for the finishing help!! Yes, I would use the lime again. It brings out the redish color of the mahogany very nicely. You spray it, but I did not want to trash a gun so went by hand, and would do so again. The gray pad seemed to work well. All should know that the lime was a gift from Rob as I could not get any in Philadelphia in the off season, and he sent a care package. I have enough left for another 50 or so desks. Very generous! I better get cracking.

The top drawer front is held up by a hand forged hook and eye, from Ball & Ball. Spendy for this small amount of goods, and spec'd by the teacher, and specially made by B&B. They are very similar to the original. Steel, not brass. It is not elegant, only functional. Were I the designer, I would have gone with brass quadrant stays, and in fact bought some but did not use them. They are from a slightly later period. Sheraton I suppose. This choice was one of my few concessions to the period nature of this piece. Also, the hinges are steel, and rustic, but nice heavy and strong, well milled, brass would be my choice were I to make another. Also might use the quadrant stays next time. They would help support the lid, which is only held by the somewhat sloppy steel hinges, and primarily the interlocking rabate.

The fret profile on the feet was for me the most difficult piece of carving on this desk. The scroll actually extends down into the bottom flat by 1/8". I think Townsend did this just to frustrate the period guys that he knew would emulate him. It is a wonderful design, which I really came to appreciate from living and breathing it for so long. At the end, I felt like I really owned it. Among the 600 or so hours of investment, I will guess that about 1/3 or more was just thinking time. Sitting and pondering how to do it, and what step next to take. And, to think, Townsend just knocked these out. Pretty amazing.

[Pete Harbin]

Alan,

All I can say is....................I forgot was I was going to say. I was distracted by that amazing desk!

Really wonderful work Alan.

Pete

[Karl Laustrup]

Alan, that is a strikingly marvelous, beautifully executed piece of furniture. :)

I only wish I could be around in 50-100 years to see that piece come up on some future edition of Antiques Roadshow. The beauty of the piece will only be enhanced with time and the workmanship will be touted as some of the best the early 21st century had to offer.

I now have a much higher standard to achieve.

Karl

[Ken Fitzgerald]

Alan.....After much review of the pictures and after SWMBO saw the photos...I'd like to join the others suggesting you submit this to FWW. If they don't accept this project, I'll cancel my subscription! :D Again....stunning!

[Brad Schmid]

Alan,
That is truly awesome work. The number of skills you have mastered to succeed in it's completion is simply mind boggling! Well done. This definitely deserves to be on the pages of FWW and I hope you make it.
Brad

[Greg Hairston]

For sale:

Shop full of woodworking tools, Books, Magazines Real Cheap... I am giving up woodworking to pursue a more humble hobby....

I am not worthy...

Greg H

[Doug Cowan]

Fantastic work, Inspiring! Can't wait to see it in FWW!

[Pete Lamberty]

Alan Everyone has already said what I was thinking as I looked at this piece. It is absolutely beautiful. You can be very proud of yourself. Very well done.

[David Hayes]

Alan,
Thanks for sharing this wonderful work with us. You sir, are a true craftsman!

Dave (going out to throw away his tools!)

[James Mittlefehldt]

For sale:

Shop full of woodworking tools, Books, Magazines Real Cheap... I am giving up woodworking to pursue a more humble hobby....

I am not worthy...

Greg H

It would have to be cheap Greg I imagine a lot of us feel the same way, when I grow up I want to do stuff like that to.

Really Allan you have done something that defies mere simple praise good on you. You mentioned that Townsend knocked these out.

I saw a recent episode of the New Yankee Workshop where Norm said that when building a New England Highboy as an example it took them three weeks to build in the 18th century with a master, two journeyman and a couple of apprentices. How long would this one have taken then, and how big was Townsend's shop. This is the stuff that really interests me how they did what they did.

[Bruce Page]

Alan, not to sound redundant but WoW!
Although I don’t make chips anymore, I consider myself a master machinist - there’s not much that I couldn’t make with the right machine tool. However, I will never have the skills required to build a piece like that!

Here’s to you, Master Craftsman!

[Michael Gabbay]

Alan - Spectacular! You should be really proud of that piece.

Mike

[larry merlau]

one thing is for certain, you shouldnt be helping anyone put up a tarp in high places anymore, your to valauble of a resource, and i dont think your renewable.. i am amazed at your skills you might be a small framed man but your a very large craftsman. once again great work alan.

[Alan Turner]

Thanks Larry, but it is that small frame that allows me to carve the bottom shell. :)

[Matt Meiser]

All I can says is WOW!

[John A. Lord]

Alan: Fabulous piece. Very impressive!!

[Todd Davidson]

Bravo!!!!!

[Steve Inniss]

Alan,
I've been travelling for a while, so I have to join a very long line here I see.

The kneehole desk is incredible - museum quality, absolutely beautiful. I love the fact you shaped your own scrapers for it - it is so much more one-of-a-kind. -Steve

[Jerry Palmer]

I am beyond speechless!! Wow!! and only 4 months in the making.

[Tyler Howell]

Bravo, Bravo!:cool:

[chris toomey]

...( head bowed ) i stand humbled before thee...........

[Clay Craig]

I have to join this chorus - Just now saw this, and spent a ridiculous amount of time perusing the pictures. It's amazing work. You said the feet were the most challenging carving, and I believe that, but the shells are SO graceful ... I've seen these carved, and understand the divisions and sweeps and all, but the difference between competent and artful is so thin, and is here demonstrated in the ... I dunno ... 'effortless' look of the carvings.

In this as in all things - the masters make it look easy. Not that these look easy, but they do look as though they grew there, like they were the result of a natural process rather than of prolonged toil.

My congratulations - I'd like to see a close-up of the concave shell, and one of a foot! And, how does the secret compartment lock/release?

Clay

[Alan Turner]

The bottom shelf in the kneehole is at the level of the door "sill", but the bottom of the carcase is down 1 1/2", leaving an unused space. The shelf rests on vert. grain pin board, and the back 1 1/2" has an angle planed onto it, so that if you push down on the back of the shelf, the front lifts, and can be removed.

As to the closeups, you might want to download them and enlarge. The pix, even at 25%, have good resolution. Or PM me and I will send you a full strength set.

Thanks for the comments on the carving, but I can claim no such art. Much is in the layout, and sticking to it, but I am a left brain guy, and can't even draw a lick. My kids won't even let me sing in the shower. The fun thing about the center shell is its depth. The drawer front is 7/8", and the shell is 3/4" deep. Hitch 'em up. I was just glad to get through the carving of the shells. They took far too long. Perhaps, including sanding (way to much was needed), 12 hrs. each. Hardly a commercial pace.

[Dev Emch]

Well, to all the editors at Fine Woodworking Magazine! You all listening! HELLO.... ANYBODY HOME????

I have become a very bored reader. VERY VERY BORED READER! And its always the samo samo.

I think we need to hold the staff of FWW hostage until they agree to a three or four part series on the detailed construction of this piece. I for one would renew my subsription if they did this. In fact, I would sign up for 3 or 5 years just to get this one series of acticles completed! And that is saying a lot as I have to tolerate all the cheese written on router tables and contractor saw evaluations and wird articles on various glues. By the way, since when did hide glue come in bottle? Oh, that is another peave.

Alan, you did good! Very Good Indeed!

[Mark Riegsecker]

Alan, you've done the impossible. I've always loved that piece. The closest I've ever come was to assemble a kit. Then I never even did that:(

Just think, a Creeker in Fine Woodworking. :D

Wonderful job!

[Alan Turner]

Well guys, with your strong encouragement, I have today submitted the desk to FWW's Readers Gallery. Let the letter/petition drive commence. :) Having never before been published (except for SMC, of course), I will likely add the result of this submission the growing list of form rejection letters. "We thank you for your . . . . "

Dev - Yes, this piece was made with real hide glue, but you probably knew that.

[Mark Singer]

Alan,

If there is any justice....(I know you probably have some professional opinions about that subject)...you should make it no sweat! Question: in the photo where the desk is open it appears there are 4 screws projecting upward....what are those? It almost loks as though they would fasten the front hardware...?
I will be checking my FWW!:rolleyes:

Well guys, with your strong encouragement, I have today submitted the desk to FWW's Readers Gallery. Let the letter/petition drive commence. :) Having never before been published (except for SMC, of course), I will likely add the result of this submission the growing list of form rejection letters. "We thank you for your . . . . "

Dev - Yes, this piece was made with real hide glue, but you probably knew that.

[Jason Tuinstra]

Alan, okay we're on page 5 here, so it's all been said. But I just wanted to chime in to say that you really are the man! That piece is wowalicious!

[Alan Turner]

Mark,
These are the posts of the pulls protruding. They still do, and I need to counter drill and recess the nuts, and will do so as time permits. That will then be the end of this journey. When I sent it to FWW, I suggested that photoshop could fix this easily, or it could be cropped. but SMC got the unexpurgated version. I am in the middle of two commissions, and trying to build the new teaching studio, and in the tool acquisition mode, and took on a millwork job to pay a bill or two (I have many right now with the new tools!). Victorian roof supports, 29 of them. Spent the afternoon offloading a 15 hp. Torit DC and the pipe associateed with it, for example. No rest for the weary, it seems. That new DC should fill the bill for the studio's DC requirements.

Jason -- Thanks -- your work is excellent and this is a high compliment. Enjoy the Ca. weather.

[Jason Tuinstra]

Alan, I only found out about your FWW submission after I posted. Good for you! This one's a no brainer - it'll be published. I'm still waiting for my Shaker cabinet to be published (the card said up to a year after they approve your work for publication) but I'll gladly take a bump for this one. I could only hope to build something as nice as this.

[mike malone]

Beautiful Allan!!! Kudos!!
Mike

[Paul Comi]

Wow, whoa, oh man! I'm 41 now. How old will I be before I can do work like that?

[Alan Turner]

An update of no importance -- Yestderday's mail included an acknowledgement from FWW that my submission of this piece was received, and that they would let me know in the next several months. Having never been published, and having the proverbial powder room papered in rejection notices, I hold out no great hope.

Thanks again for the encouragement.

[Bill Sampson]

Allan,
My wife and I visited the Richmond Fine Arts Museum today, and in the American collection, was a Goddard/Townsend Newport kneehole desk. I commented to her that Alan Turner just completed a piece like this one and it is just as fine. I suspect that history will repeat its self in 250 years, and many will exclaim as they do today, about the Turner desk; "my, what a magnificent desk!!" You are in good company and I'm sure messrs. Goddard and Townsend would be proud of your work.
Bill Sampson, Richmond

[Peter Mc Mahon]

Hi Allen. Victorian roof supports huh? I am looking at re-creating some of those myself. I just got a picture of my house from the turn of the century when the supports where still there and the alluminum was not. How about some details? Peter

[Hal Flynt]

I'm speechless, wow!

[Alan Turner]

Hi Allen. Victorian roof supports huh? I am looking at re-creating some of those myself. I just got a picture of my house from the turn of the century when the supports where still there and the alluminum was not. How about some details? Peter

Peter,
I made them to an architect's prints and had no design input. 29 were "standard" and two, for use on an outside corner, were longer. I used salvaged douglas fir, supplied by the builder, and glued up for width using West epoxy. I made a pattern of 18mmk BB, and pattern shaped the detail, after bandsawing close to the line. Just screwed them to the pattern since this was a bondo job anyway (not part of my gig, however). Where that wouldn't work, I finished with a scrolling bandsaw, and cleaned up with a rasp. The pattern shaped sections were left as is, off the tool, as the edge was fine. I use a 3 by 3 Byrd Shelix cutter on a PM 26. They finished at 2 1/8" thick, and were roughly 31" long, and 6 1/2" wide at the widest. I took no pix. It was just a tool money commission; not one of great enjoyment.

Would have been easier in a larger shop as at the same time I was doing 10 wall suppoort brackets, and they were pretty large, and heavy, and thick, and a pain. Laminated 2 x 12's, with a wider part at 16" (added), and two of them sandwiched 1/2" marine ply. to finish at 3.5: thick, and 36" long. The laminations took a bit of epoxy, and a ton of clamps. I think I used about 1/2 gallon all together. Yuck. I prefer hide glue. :) My shop is smallish, and this was a lot of wood to move around a number of times, and tons of waste also. The ol DF was pretty tight grained, and about half of it was vertical grain. They were old high school stadium bench planks, 5 " wide, and heavily weatherd. Had to buy a metal detector for the job. Still nicked one nail Darn.

[Paul Comi]

Alan, that is also what I'm talking about. I'm not a purist with hand tools. I think its foolish to not do the grunt work with power tools but the mouldings, surface planing etc look great as a result of the toil of your hands. Thanks for sharing. Both yours and Rob's are truly inspirational.

[Roy Wall]

I hope no one is offended by this BUMP!

It's been almost a year since the last reply on this beautiful desk made by Alan - so I'm sure some new members will enjoy this piece.