Posts Tagged ‘furniture restoration’

The Boat Man Moves North

Thursday, December 6th, 2012

Sandy's stunning clock created at the school

Sandy's stunning clock created at the school

A blog on progress since graduating by Sandy Boyd, winner of the Design Award on the 2011 -12 professional cabinet making course at the Chippendale International School of Furniture.

“Just buy the place – you really can’t lose at that price”. That was Anselm’s advice to me when, during  my second term at Chippendale, I tentatively showed him property particulars relating to a disused fish processing plant on the pier at Gairloch, Wester Ross, where I already had a house that I intended moving to after the cabinet making course.

At 414 sq meters it is an intimidating size and I would not have considered buying such a place had it not been available for a song, due to a liquidation sale. It also has the all important 3 phase power supply. Bankers had being trying to recoup their losses on it for 6 years.  In the end, with advice similar to Anselm’s from a surveyor friend and the local council’s business start up advisor, they got 10% me and my lawyer had another 2% on top of that; the total would not buy you a new mid range car these days.

Every visitor gravitates to the pier so straight into business selling my nautically themed commissions to tourists smitten by the romance of the West Highland seaboard?  Not quite, there are a few issues to address, not least of which is the loft conversion at our house that Catherine rightly insisted should take priority. This job is a story all on its own and nothing to do with cabinet making except that without Chippendale School of Furniture I would never have had the confidence to tackle all the heavy duty joinery.

To paraphrase Anselm “if you can build a box you can build anything” – it’s just a pity that I had already done the planning and building control applications before I learned his views on these particular matters!

There is also some boring stuff that goes hand in hand with a building like this. I have been speaking with the Highland Council about the rates, the building does not qualify for full remission under the Scottish Government small business scheme as the rateable value is too high, however they are allowing me some latitude whilst the business is being developed and have been unexpectedly helpful.

Sandy's boat before it moved north.

Sandy's boat before it moved north.

Getting reconnected to the electricity supply required a large deposit (£2,000) because, as a new business, I have no credit rating; every supplier told me the same thing. Finding out who was responsible for the re-connection (the previous occupant having been disconnected as a bad debtor) was also a bit of work. The whole industry is now a bureaucratic nightmare created in the name of capitalist dogma. It was still “Bruce the Hydro” that turned up to flick the switch, as every local confidante predicted it would be.

Water supply for a business now follows much the same pattern but I gave up on ploughing that particular mine field when I found a stop cock and realised that we were good to go. No doubt they will come and find me at some point: I have not even started on telephones yet and I also have to pay to get my buckets emptied (in addition to any rates charged).

I spent some time speaking with a very nice lady at the NFU mutual office in Dingwall and, although I had a cheaper quote on line, I decided to take their building and general business cover because they offered to tailor things to my exact needs as the business develops and to come and see what was what on site.

You don’t get that service by speaking to a call centre in Calcutta and, in the end of the day, what we want insurance to do is to payout when things go wrong so I reckon the better informed of your actual circumstances the insurers are the more chance there is of that happening.

I dealt with a family firm in Barry, South Wales, imaginatively called “Used Woodworking Machines”. They seem to be the only used machinery supplier online that actually tells you how much money they want for an item. Again, I could have had cheaper by doing the rounds of sales and private disposals but, being remote from the centre of things, that would have cost me more in time, effort and transport in the long run. As it is I got a package deal on a full set of heavy machines, a single delivery charge, I have some kind of guarantee and everything is fitted with DC brakes ready for workshop sharing and tutoring or employing in the future.

Moving into December I will be setting up the machines. I have one commission from my exhibition at Chippendale and recently acquired a “friends and family” for a rocking chair, together with several word of mouth local enquiries about restoration work. I doubt there will be masses of other work coming in the near future but I have plenty to do at the house and in developing and marketing the workshop premises.

Phase one involves creating a machine shop and work bench space, tidying up the frontage cosmetically, and creating some sort of showroom space in time for next tourist season. I still have to clear out a lot of  stuff left over by the former owner, some of it, like the refrigeration plant, will raise cash in scrap value and some of it is just a nuisance – anybody want an artic lorry load of polystyrene boxes ? No? I thought as much!

As with the house I can do much of the building work around the place myself with a bit of help where needed – there is an interesting bartering of labour system goes on here among various self employed people. I quickly realised that playing the self help game in a remote area requires practical transport so out went the X trail and in came the Sprinter van.

It is all a bit nerve wracking at the moment, spend, spend, spend and no guaranteed income from it in the near future. Fortunately, I have cash to invest and I certainly would not advise anyone to take this deep end approach if they were dependant on borrowed money. For me this is a second career and I am investing savings in both the house and business to achieve a lifestyle that I want. Not the most business like approach I know, but at fifty years old I have decided it’s a now or never. One thing I would advise anybody to do is get a decent accountant in on the act as soon as possible. Their services don’t come cheap but even without having done much business yet, due to my accountant’s advice, I have been able to reclaim serious amounts of tax paid on other income, worthwhile even if he did claim around 20% of for his trouble.

I used the lifestyle business phrase when talking to the local Business Gateway advisor and quickly realised it was a mistake. In the midst of a recession the authorities are focused on supporting business that bring immediate employment and the more the merrier. Not that they were offering me anything other than advice (and a bit of leeway with rates) but if anybody out there is banking on government support of any kind be warned, you need to dance very much to prescribed tunes!

So, by this time next year what will Wester Ross Woodwork look like? Well, if all goes according to plan we will have a presentable if somewhat utilitarian building with a “shop front” displaying examples of my own and other woodworker’s products (along with perhaps some leather or glass work made by my tenants, if I’m really fortunate).

Liz Jackson's versatile library steps.

Liz Jackson's versatile library steps.

My fellow Chippendalian, Liz, and I will be sharing spacious workshop accommodation on the main ground floor area and we will have made a decision on either incorporating the first floor section into that facility or splitting it for rent, depending on how we see our plans for a teaching or training element developing. We will have a smart new logo designed by a local professional graphic artist adorning the van and our local adverts and, because I have to actually do some woodwork at some time, my wife Catherine will be busily putting it to good use by applying the internet marketing skills she will learn on the free Gateway course – watch this space!

Making a contemporary four poster bed

Wednesday, July 18th, 2012

Quentin Dimmer's stunning, modern four poster bed.

Quentin Dimmer's stunning, modern four poster bed.

A blog by Quentin Dimmer of Ghillie Dhu Furniture who graduated from the Chippendale International School of Furniture in 2011. While there Quentin won the students’ Best Design Award for his piece ‘A story teller’s chair – the Viking’s rocker’.

“I got the idea for making the four poster bed from a local antique dealer and friend of the family who suggested I make a four poster as they tend to sell well. I want to continue to make furniture that will eventually furnish an entire house.

“Anyway, I did some research; I really liked the Venetian style of four poster so I started playing on that theme to come up with my own interpretation. I noticed all the four posters I could find were made in dark woods like mahogany and ebonised woods so I wanted to make one in a lighter coloured wood to make it more contemporary.

“I chose birch for the posts as it symbolises fertility and sycamore for the frame and headboard. The wooden candle flames at the top of the posts is to symbolise passion, and the Celtic knotwork headboard is to symbolise love.

“I worked with a tree surgeon for a day and at the sawmill for a day to get the sycamore planked. For the birch, I have an agreement with a local landowner that I can take small amounts of timber from his land in return for helping to manage his woodlands. I aim to manage the woodlands for continual cover and encourage the production of high quality hardwood timber in the longer term. Because I used green timber for the posts, I let it season at home.

“I may take the bed to an exhibition in Aberdeen in September.”

Ghillie Dhu Furniture’s services include furniture design, making and antique restoration. He aims to “make furniture as art”. Using tree surgery skills Quentin also offers an opportunity to have fine or garden furniture made from a tree on your own land.

I’ve made my bed

Thursday, June 7th, 2012

Melinda & her 'enter the forest of dreams bed'

Melinda & her 'enter the forest of dreams bed'

Melinda Schwakhofer, who graduated from The Chippendale International School of Furniture in 1999, built this bed as her final project on the furniture design, furniture making and furniture restoration course.

Melinda, who is now a fibre artist, created the headboard art quilt at the same time as the bed, which she calls ‘Enter the Forest of Dreams’. The bed quilt was created in 2012.

Melinda says:

“This bed represents a journey from a time when I was still looking for a place called home to a time when I have found it. I’ve built a lot of the story of that journey into the quilts that complete the bed I made at the furniture school.”

The bed is due to be displayed at the International Festival of Quilts at the NEC in Birmingham from 16th to 19th August this year.

Melinda continues:

“The bed is made from wood found in the drying shed, either olive ash or elm.

“I made a full-size paper pattern, traced it onto the wood and used a bandsaw to shape most of the branches. We joined the branches with half-lapped joints, then I spent hours with wood files and sandpaper to shape and smooth them. The branches were morticed and tenonned into the surrounding frame and I think we used some Bondo at one point. Anything to make it work!

enter-the-forest-of-dreams_bed-on-own_blog1“I had brought a French Provincial bed over from America. We cannibalized the mattress support rails and the metal rods hidden in the base of the bed posts which they hooked over, then integrated them into the new bed frame.

“I faxed my quilt pattern and colorway to my friend in California and she bought and posted the fabric to me. I used some sheer yellow fabric from John Lewis for the sunbeam shining onto the glade. It was my first time using a sheer fabric and I felt quite excited about it!

“I dyed a duvet cover with Procion dyes and used walnut wood stain on the valance.”

You can contact Melinda via:

Website: www.melindaschwakhofer.com
Blog: www.inspiraculum.co.uk
Email: Schwakhofer@gmail.com

Thanks are due to Scottish photographer Derek Ramage for the photographs. www.derekramagephotography.co.uk

Learning the skilled techniques of furniture restoration

Wednesday, May 30th, 2012

Restoring the table from the Scottish National Portrait Gallery in Edinburgh

Restoring the table from the Scottish National Portrait Gallery in Edinburgh

A conversation with Simon Macintyre, a specialist tutor in fine furniture restoration who runs his own restoration business in West Sussex in England.

Simon Macintyre is one of the visiting external tutors at the Chippendale International School of Furniture. He teaches the skilled techniques involved in fine furniture restoration for a week in the first term and a second week in the third term.

“Learning about furniture restoration allows the students to relive the experience of furniture making over the last 400 years”, Simon says. “The furniture students learn the principles of good furniture construction and are shown how, unfortunately, style can sometimes triumph over function.

“I love teaching the students here. We all worked on restoring a large round table from the Scottish National Portrait Gallery in Edinburgh: this involved various veneer and carcass repairs and laying a large leather top. It’s a steep learning curve but most students rise spectacularly to the challenges and grow demonstrably during the furniture restoration course.

“We’ve also restored chests of drawers, card tables, long case clocks, bureaux and dining room chairs (which tend to take a lot of daily punishment!). The students can be quite reserved initially but they really get into it by the end of the furniture restoration course.”

The dilapidated table before its restoration.

The dilapidated table before its restoration.

Simon thinks that the “Furniture School works very well. The furniture course has an extremely well structured programme. The students know what to expect each week, and the pastoral care is also good; the students get help with finding accommodation, and Izzy helps them integrate with the local community, encouraging them to go to ceilidhs and other events.”

Simon trained with Anselm Fraser, the furniture school Principal, in 1981-82. His workshop is in the Norfolk Estate’s village joiner’s shop in Arundel. The Duke of Norfolk leads one of England’s best known Catholic dynasties with a lineage going all the way back to 1066 and the Norman Conquest.

Simon works on private furniture restoration commissions as well as for the antique trade. His famous clients have included: rock musician Brian Ferry; the sculptor Philip Jackson, well known for creating seven big bronze bomber crew statues for St James’s Park in London; the Benson family, founders of Kleinwort Benson fame; and the Bonham Carters, who number Hollywood star Helen Bonham Carter.

The furniture restorer’s projects are mostly 17th, 18th and 19th century English furniture, including Chippendale Furniture, although they have also spanned rare Elizabethan and Jacobean furniture. He particularly likes Queen Anne furniture and the simplicity of early Georgian pieces, which he describes as “quintessential English furniture”.

Simon says that “the quality of the materials used for making furniture has fallen steadily over the centuries. Wood which is currently commercially available, might still have the same name, as with  ‘mahogany’ for example, but that’s where the similarity ends. I have to source 30 different species of tropical hard woods and veneers, many of which are now protected and commercially unavailable, so have to be continually on the look out for rare hardwoods; I recently managed to track down a trunk of 100 year old rosewood in a garage in the Channel Islands.

“The furniture restoration techniques I use have to be a lot less mechanised than at the school. Most of the restoration work has to be done with high quality hand tools made of decent steel with sharp edges. Modern tools are often sub-standard.

“I work with the original style of the piece and try to get inside the craftsman’s head. Projects often involve repairing damaged veneers and renewing old polish finishes.

“I once restored a case for a bracket clock made by England’s foremost clockmaker, Thomas Tompian, worth a quarter of a million pounds. Another interesting piece was a Guernsey tea table which had been wrecked by occupying German troops during the Second World War.”

Thomas Tompian bracket clock

Thomas Tompian bracket clock

Returning to his furniture restoration courses at the school, Simon Macintyre says:

“I teach the furniture school students the correct restoration procedures. To avoid devaluing a piece of antique furniture, they need to understand it before starting work. Undoing the poor restoration work done by others is the bane of a furniture restorer’s life; you can find nails or screws in loose joints that have caused a lot of damage, and other poor quality repairs.

“The students learn how to be exacting with their estimates and about the importance of developing good client relationships. They have to learn to consult and talk through issues that emerge. I teach them not to lower their commission prices too much so they can afford to do a good job without cutting corners.

“I give talks on the different furniture styles and features for particular periods. The students get a good grounding of knowledge and go on to learn by experience.

“Many of the students keep in touch with me after I’ve headed back south.”

Simon Macintyre can be contacted at macintyre641@aol.com or on 01903 883387.

Anselm & Chippendale School of Furniture on Antiques Uncovered on BBC2

Thursday, May 3rd, 2012

Dr Lucy Worsley meets Anselm Fraser and learns how to make a Thomas Chippendale chair leg at the Chippendale International School of Furniture.

She describes the great craftsman’s famous Director as “like an Ikea catalogue” and sees a Chippendale chair worth a £1 million.

At the Furniture School, historian Dr Lucy Worsley has a shot at making a Chippendale chair leg in the School’s workshop using traditional methods with a little help from Anselm. Apparently the mahogany may have been used as ballast in slave ships in Georgian times.

Anselm goes on to make some glue in the traditional method by heating it with a candle (apparently the apprentice would have had to pee in the glue pot to make the mixture sticky!).

You can see the programme on the BBC iPlayer (8pm on 2.5.12). Fast forward to 15 minutes into the programme when Chippendale furniture is introduced, and you can see Anselm and the Chippendale School of Furniture between 18 and 22 minutes into the programme.  Go to this link to see the programme on BBC iPlayer (it’s at http://www.bbc.co.uk/iplayer/episode/b01hbmsp/Antiques_Uncovered_Entertainment/ if link does not work).