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Readers Gallery
From Fine Woodworking Issue #169
Philip A. Houck
This mahogany and ash armchair (19 3/4 in. deep by 23 in. wide by 37 in. tall) is a copy of one of two chairs on display at Boston’s Museum of Fine Arts. “I wanted to make an armchair with stretchers and carvings for the experience of the construction,” said Houck, “and this one is so delicate and lovely.” Houck’s wife loved it so much that it has become her “throne.” The chair is finished with water-soluble dyes and shellac. Photo by Lance Patterson
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Gerald Ben
This ash and wenge buffet table (32 in. deep by 84 in. wide by 34 in. tall) is the fourth interpretation of a design concept Ben came up with 10 years ago. The main structural curves of the base and the top frame are tapered laminations. The veins in the center of the top frame (inset) are 1/8 in. thick and are under slight compression to help keep their shape. “I use a technique used by ukulele and guitar makers of steam-bending over a hot pipe to influence the curve that I want the veins to take,” said Ben. The finish is lacquer.
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Eliane Kinsley and Eric Sauvé
An exploration in contemporary marquetry, these two pieces are a collaboration between Kinsley, a professional marqueter, and Sauvé, a visual artist. The display cabinet (12 in. deep by 18 in. wide by 58 in. tall) and the four-door cabinet (12 in. deep by 30 1/2 in. wide by 36 in. tall) both are constructed out of cherry, wenge, and English curly sycamore. Each of the pieces has a catalyzed-lacquer finish.
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Harvey J. Von Culin
Having an interest in Gothic art and the Middle Ages, Von Culin became inspired to build and carve this American black walnut chest (14 1/2 in. deep by 26 in. wide by 17 3/4 in. tall) after reading Edward R. Hasbrouck’s “Gothic Tracery” (FWW #5, pp. 44-46). He carved the linenfold side panels from a design he saw in Richard Butz’s How to Carve Wood: A Book of Projects and Techniques (The Taunton Press, 1991). With the incorporation of both the tracery and the linenfolds, the chest is representative of pieces from the late 15th and early 16th centuries. It has a tung-oil finish.
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