Woodworker Manual #3: John Gerald Shea, Intrepid Author of Woodworker Manuals

John Gerald Shea is born June 7, 1906, at Rye, NY and dies in Greenwich, CT, November 12, 1980.

In preparation for a career as a professional writer -- which began in 1944 -- with a focus primarily on woodworker's manuals, Shea attends State University of New York, 1926-30; and conducts graduate study at New York University, Columbia University, and Whitewater College.

Before embarking upon a professional writing career, Shea collaborates with Paul Wenger by introducing a woodworker's manual on colonial furniture styles to a receptive, growing crowd of amateur woodworkers.

At the time, a woodworker's manual on colonial furniture styles: Colonial Furniture, Bruce, 1934, and two years later, Provincial Furniture, Bruce, 1936 with Paul N. Wenger. Furniture with a cultural slant, especially when it focuses on America's colonial period, is no accident. Instead, Shea is merely tapping into a movement sweeping the American nation at the time, a movement called the Colonial Revival. For more on the "Colonial Revival", see Chapter 5-1 . (No info on Wenger yet.)

Earlier in the decade, Shea himself is an occasional contributor of measured drawings for furniture projects in the start-up amateur woodworker's periodical The Home Craftsman -- for background on the HC, click here -- but it was a more frequent contributor, Lester Margon, of measured drawings of furniture that amateurs could make in their home workshops that created enthusiam.

INTRODUCTION THE age-old expedient of judging an enterprise in accordance with its product has been found to be quite applicable in evaluating the school course in industrial-arts woodworking. Employing good project ideas as a means of attaining the best results in a woodworking class is undoubtedly an excellent policy. Yet it has been found difficult to obtain project material which will truly tend to enhance the value of the course. While considering the product of the shop class we sometimes have occasion to notice the finest skill being wasted in the making of inferior furniture. Frequently we see boys who are capable of making excellent things being permitted to labor diligently on projects which are poorly designed and totally unsuitable for association with conventional home furnishings. These observations are disquieting, for they evidence a shameful waste of skill and consequently imply that the better aims of the woodworking course are not being realized. Although furniture project books play an important part in the program of the woodworking class, their value is largely dependent on the type of furniture they present. If they contain inferior, "homemade" designs, they may be considered a detriment rather than a help. When they present a type of furniture which, though good in appearance, is too difficult for production in the average school shop, they will do little more than ornament the bookshelf. Many teachers of woodworking realize the excellent results which may be obtained by having the product of their classes conform in quality to the product of high-grade furniture manufacturers. Undoubtedly the best inspiration is derived from the best source, and it remains a logical conclusion that the furniture industry provides the most valuable ideas regarding furniture. Those who make and sell quality furniture are well acquainted with the discriminating demands of a commercial market and realize that their product must conform to a high standard in order to compete. It has, therefore, seemed desirable to prepare a project book based on select commercial furniture designs of definite period. The needs of both junior- and senior-high-school woodworking groups were kept closely in mind when the material for this book was selected. While the majority of the designs is taken from exact copies of old pieces, it has been found practical to insert a few wholesome modern-day interpretations of the quaint old styles. Many articles of furniture which are distinct innovations of our times, blend well with the work of our forefathers and by including some of these an increased number of excellent project ideas is made available. Most of the working drawings were prepared from factory plans and, with the possible exception of a few minor changes in detail, conform exactly to the articles which they represent. Hidden construction was sometimes left to the discretion of those who prepared the book. Some of the drawings were prepared from detailed measurements, and it is altogether possible that a few slight divergences exist between these drawings and the articles for which they were made. No attempt has been made to belabor the reader with cumbersome technical advice pertaining to the construction of each article presented. However, a section of the book is devoted to a consideration of the various old woodworking processes which are involved in the construction of all these pieces. A few appropriate wood finishes are also suggested in this section. A number of interiors, showing many of the pieces from this book in attractive settings, are included to give the user an opportunity to visualize these pieces in actual use. It is expected that these interiors may also assist in the arrangement of rooms in which this type of furniture is to be used. This book is prepared to meet the existing needs of the industrial-arts wood-working class. It has been worked out on the contention that the school shop is entitled to the finest project material available. To complete the scope of this work other books will follow, incorporating in content other types and styles of furniture.

Provincial Furniture Milwaukee: The Bruce Publishing Co., 1936, with long-time collaborator, Paul N. Wenger. Also, in the "how-to-do-it" section, page 129, acknowledgment is given for pen sketches to George M. Munk.

Introduction to Provincial Furniture INTEREST in woodworking often implies an associated interest in furniture making. Because of this, the student or amateur woodworker is usually on the alert to discover new and makable furniture designs. Unfortunately, a great many woodworkers have been led astray by poor designs, and, consequently, have lost sight of the importance of furniture as an expression in itself. Good furniture exists in a realm of its own, and whether it be made by the amateur woodworker or the professional cabinetmaker, its conventions and its traditions should be strictly observed. The furniture designer is the standard-bearer in all furniture making. Thus it has been through the centuries and thus it will be as long as furniture is made. In the past, such men as Chippendale, Hepplewhite, Sheraton, Boulle, Goddard, Duncan Phyfe, and numerous others, have been leaders in this field. They were responsible for the origination of styles of design. They were geniuses in the practice of their calling. Their skill and talent was responsible for the making of better furniture. Thus their contribution has been lasting and their influence is felt even to the present day. At the present time the furniture designer may choose to work in one of many ways. Undoubtedly, if he is developing fine furniture, he will find it very necessary to adhere closely to the important traditions of his profession. He will go back many centuries in his research and will look upon the principal furniture periods for his inspiration. This designer will be ever aware that he is molding subtle clay and that with every touch he must be rigidly on guard to maintain the proper degree of cultured restraint. There is, however, another type of designer who does not have to be so particular about his adherence to the traditions of furniture. The conditions under which he operates tend to inflict limitations upon his enterprise. The work of this designer usually involves the improvising of so-called "tricky" or "snappy" pieces. Such pieces are widely popular with people who are not acquainted with the background of furniture design. From the standpoint of good design there is little value in this type of work. In many instances, it represents the out-and-out mutilation of the most significant characteristics of good design. It is particularly important that the woodworker give careful thought to the selection of his own design. When deciding upon a project he should keep in mind that equivalent hours of work may result in either a beautiful and valuable article of furniture or a cheap and worthless contraption. Furthermore, he should observe that good hand workmanship acts as a positive enhancement to good design; while it is a wasted ingredient when lavished upon a cheap medium. Therefore, in the preparation of this book, a basic and proper style of furniture is dealt with. It seemed imperative that only the work of the more thoughtful school of designers be herein presented. Each article was carefully selected according to the criteria of makability, value, and authenticity. Every effort was made to offer a correct representation of the French provincial furniture style, in thoroughly makable form, and to safeguard this offering by utilizing only those designs which possessed genuine value. The selection of this material was made possible through the splendid co-operation of several makers of quality furniture who understand the problem on hand and who kindly assisted in facilitating this work. Thus it was possible to review countless designs and to make appropriate selections therefrom. Working details of each article were obtained either from factory plans or directly from the article itself. A number of simple patterns were especially introduced in order to round out the content of the book. In presenting this material, it was thought best to go briefly into the background of the French provincial style. Of course, this style, as such, was directly influenced by the principal period styles of French furniture. In order to understand it, therefore, it is first necessary to understand its background. The final chapters of the book are devoted to the various woodworking practices which are involved in the construction of these articles. Likewise, one section has been set apart which treats on the subject of wood finishing. A book of this type would not commence to fulfill its best purpose unless it disseminated a better understanding of furniture. Moreover, the actual designs contained herein should serve as a nucleus for the inspiration of other designs and furniture ideas. With due restraint these designs may be revised to suit individual needs or tastes. It is hoped that this book may tend to relieve the woodworker of a few of the limitations which in the past have impeded his enterprise. Woodworking is a splendid activity and nothing must stand in its way! Greenwich, Conn. November 5. 1935. FRENCH PROVINCIAL FURNITURE DURING the past score of years the American people have shown marked interest in quaint historical types of furniture. This interest has been fostered through the renewed popularity of the early American antique. It has continued to include other kindred styles of furniture which emanated from other countries. Among the offerings of these other countries, that of France is particularly noteworthy. There is something about these unsophisticated provincial furniture designs which attunes them to our popular imagination. Perhaps the feeling of inherent warmth or homely well-being which they convey, furnishes some clue to their current popularity. People are impressed by the charming simplicity of these designs-a sort of simplicity that is in absolute contrast to the modern scene. It may even be thought that provincial furniture brings with it warmth and comfort and relaxation and that it distinguishes the home in which it is used as a proper retreat from the harsh hubbub of everyday life. Ideas such as these are quite appropriate in interpreting the current appeal of all provincial furniture, and while this work does not possess any absolute uniformity of character, still the typical French provincial designs do express themselves essentially in much the same manner. France has always been noted as a country of artistic distinction, and its furniture, along with other things, has been closely united with artistic trends. Unlike our native provincial furniture, that of France was subjected to a complexity of influences which rendered it, as a whole, a rather assorted lot. It is, therefore, impossible to establish a definite unity of form and feeling common to all the provincial furniture. Each province maintained itself in its own picturesque way, and, in many instances, there is no resemblance between the contemporary furniture of one province and that of another. A few standardized articles, such as small tables, commodes, chairs, buffets, and the like, did originate simultaneously throughout all the provinces. Such designs, probably, emanated from Paris and were later adopted in other sections of the country. The geographical position of each province had much to do with the style of furniture made within its bounds. While the frontiers of adjoining nations marked each national dividing line, still this political division seldom wrought mind that equivalent hours of work may result in either a beautiful and valuable article of furniture or a cheap and worthless contraption. Furthermore, he should observe that good hand workmanship acts as a positive enhancement to good design; while it is a wasted ingredient when lavished upon a cheap medium. Therefore, in the preparation of this book, a basic and proper style of furniture is dealt with. It seemed imperative that only the work of the more thoughtful school of designers be herein presented. Each article was carefully selected according to the criteria of makability, value, and authenticity. Every effort was made to offer a correct representation of the French provincial furniture style, in thoroughly makable form, and to safeguard this offering by utilizing only those designs which possessed genuine value. The selection of this material was made possible through the splendid co-operation of several makers of quality furniture who understand the problem on hand and who kindly assisted in facilitating this work. Thus it was possible to review countless designs and to make appropriate selections therefrom. Working details of each article were obtained either from factory plans or directly from the article itself. A number of simple patterns were especially introduced in order to round out the content of the book. In presenting this material, it was thought best to go briefly into the background of the French provincial style. Of course, this style, as such, was directly influenced by the principal period styles of French furniture. In order to understand it, therefore, it is first necessary to understand its background. The final chapters of the book are devoted to the various woodworking practices which are involved in the construction of these articles. Likewise, one section has been set apart which treats on the subject of wood finishing. A book of this type would not commence to fulfill its best purpose unless it disseminated a better understanding of furniture. Moreover, the actual designs contained herein should serve as a nucleus for the inspiration of other designs and furniture ideas. With due restraint these designs may be revised to suit individual needs or tastes. It is hoped that this book may tend to relieve the woodworker of a few of the limitations which in the past have impeded his enterprise. Woodworking is a splendid activity and nothing must stand in its way! Greenwich, Conn. November 5. 1935.

But it is with Woodworking for Everybody, International Textbook Co., 1944, evidently that he saw his chance of making it as a writer. 4th edition, Van Nostrand, 1970. (see below) Other books are Plywood Working for Everybody, Van Nostrand, 1963;

Colonial Furniture Making for Everybody, Van Nostrand, 1964, reprinted as Making Colonial Furniture Reproductions: Over 100 Projects with Measured Drawings, Dover, 1994;

Contemporary Furniture Making for Everybody , Van Nostrand, 1965, revised edition as Anatomy of Contemporary Furniture, Van Nostrand -Reinhold, 1973;

The American Shakers and Their Furniture, with Measured Drawings of Museum Classics , Van Nostrand, 1971, reprinted as Making Authentic Shaker Furniture, with Measured Drawings of Museum Classics, Dover , 1992. ;

Antique Country Furniture of North America , Van Nostrand Reinhold; 1975, retitled as Making Authentic Country Furniture, with Measured Drawings of Museum Classics , Dover , 1993 -- (hyperlink takes you to Google Print's limited view of this book )

The Pennsylvania Dutch and Their Furniture , Van Nostrand Reinhold, 1980, reprinted as Making Authentic Pennsylvania Dutch Furniture, with Measured Drawings of Museum Classics, Dover, 1992.

He also contributed articles for American Home, Better Homes and Gardens, Living, Popular Mechanics, Science and Mechanics, and Mechanix Illustrated,

1935: John Gerald Shea, and Paul Nolt Wenger. Colonial Furniture. Bruce, 1935. 180 pages.

Indexed in Index to Handicrafts 1936

Colonial Furniture begins the half-century-long tradition of Shea in presenting the woodworking community with measured drawing of furniture classics.

(Given its topic, colonial furniture, this book also falls into the Colonial Revival sphere. In the "30s, was Shea, as a school official, thinking that by introducing second-generation immigrant boys to American colonial traditions, that it was a means of "Americanizing" them? Perhaps, but I am more inclined to think that Shea was following another strategy, specifically one dedicated toward "democratizing taste", that is introducing -- visually -- a vast public to the world of early American furniture design. Currently I am working on an "appendix" item, "Democratizing Taste", in which I explore the means by which the larger American public was introduced to the furniture that comprise the heritage of early American furniture design. I will try to illustrate that -- along with such authors of woodworker's manuals as Herman Hjorth and Lester Margon -- Shea plays a significant role in the democratization of taste -- an outcome that occurred in the first half of the 20th century.)

In the '30s, Shea -- his co-author was Paul Nolt Wenger, identified on the volume' s title page as "Manual Arts Supervisor, Public Schools of Greenwich, CT" -- published two woodworking manuals, this one and the 1938 volume dedicated to French provincial furniture projects. Since Shea was still an official in school system, the audience for this book was students in woodworking classes. A curiosity exists with Shea's "official" position in the 1930s, and maybe later. On the 1935 Colonial Furniture's title page, Shea is identified as simply "Author, Editor and Designer", while on the 1938 Provincial Furniture title page he is designated "Public Schools of Greenwich, Connecticut".

In the front matter of the volume on French provincial furniture, he acknowledges a wider audience, including the growing interest of amateur woodworkers in broadening their options in designs for projects to undertake.

The verso side of the title page of this book shows that while it was copyright in 1935, that this copy is one of the "Sixth Printing", in 1949. For now I am using the following formula as a means of determining the numbers of copies of a book in existence: 5,000 copies for first printing? 4,000 copies for each subsequent printing?

FOREWORD AMONG those sturdy people who came to colonize the new America , were individuals versed in the craft of wood joinery. These early craftsmen, "versatile in their abilities", were depended upon to contribute their knowledge in erecting the simple homes in which the settlers were to dwell, and then they were sought after to make furniture for these homes. The character of the makers was expressed inherently in their furniture. Utility was an essential quality of their product, and enduring strength was transfused into it seemingly from the stalwart spirit of the craftsmen. Their handiwork was endowed with a quaint beauty emanating from the soul of the honest maker and obviously not affixed thereto as an intentional expression. So through the centuries this furniture has come to us, echoing the staunch principles which gave birth to our nation. And as surely as they brought comfort to the snug cots of the colonists, these pieces will lend their quaint charm to our present-day homes and imbue our surroundings with the calm dignity of their tradition. How fitting then that the young people in our schools should endeavor to emulate the craft of their forefathers. What a splendid experience to apprentice themselves to the masters of yore. And such satisfaction may be derived from a tangible expression of the thought, "If I build and build well, I too may have at least this to leave with posterity!"

Introduction to Colonial Furniture:

INTRODUCTION THE age-old expedient of judging an enterprise in accordance with its product has been found to be quite applicable in evaluating the school course in industrial-arts woodworking. Employing good project ideas as a means of attaining the best results in a woodworking class is undoubtedly an excellent policy. Yet it has been found difficult to obtain project material which will truly tend to enhance the value of the course. While considering the product of the shop class we sometimes have occasion to notice the finest skill being wasted in the making of inferior furniture. Frequently we see boys who are capable of making excellent things being permitted to labor diligently on projects which are poorly designed and totally unsuitable for association with conventional home furnishings. These observations are disquieting, for they evidence a shameful waste of skill and consequently imply that the better aims of the woodworking course are not being realized. Although furniture project books play an important part in the program of the woodworking class, their value is largely dependent on the type of furniture they present. If they contain inferior, "homemade" designs, they may be considered a detriment rather than a help. When they present a type of furniture which, though good in appearance, is too difficult for production in the average school shop, they will do little more than ornament the bookshelf. Many teachers of woodworking realize the excellent results which may be obtained by having the product of their classes conform in quality to the product of high-grade furniture manufacturers. Undoubtedly the best inspiration is derived from the best source, and it remains a logical conclusion that the furniture industry provides the most valuable ideas regarding furniture. Those who make and sell quality furniture are well acquainted with the discriminating demands of a commercial market and realize that their product must conform to a high standard in order to compete. It has, therefore, seemed desirable to prepare a project book based on select commercial furniture designs of definite period. The needs of both junior- and senior-high-school woodworking groups were kept closely in mind when the material for this book was selected. While the majority of the designs is taken from exact copies of old pieces, it has been found practical to insert a few wholesome modern-day interpretations of the quaint old styles. Many articles of furniture which are distinct innovations of our times, blend well with the work of our forefathers and by including some of these an increased number of excellent project ideas is made available. Most of the working drawings were prepared from factory plans and, with the possible exception of a few minor changes in detail, conform exactly to the articles which they represent. Hidden construction was sometimes left to the discretion of those who prepared the book. Some of the drawings were prepared from detailed measurements, and it is altogether possible that a few slight divergences exist between these drawings and the articles for which they were made. No attempt has been made to belabor the reader with cumbersome technical advice pertaining to the construction of each article presented. However, a section of the book is devoted to a consideration of the various old woodworking processes which are involved in the construction of all these pieces. A few appropriate wood finishes are also suggested in this section. A number of interiors, showing many of the pieces from this book in attractive settings, are included to give the user an opportunity to visualize these pieces in actual use. It is expected that these interiors may also assist in the arrangement of rooms in which this type of furniture is to be used. This book is prepared to meet the existing needs of the industrial-arts woodworking class. It has been worked out on the contention that the school shop is entitled to the finest project material available. To complete the scope of this work other books will follow, incorporating in content other types and styles of furniture.

1944: John Gerald Shea and Paul Not Wenger. Woodworking For Everybody. International Textbook, 1944.

Indexed in Index to Handicrafts, 1950

When prefacing a new edition of a book which has been in print for over one-quarter of a cen­tury, the author's first impulse is to express a resounding thank you to the thousands of people who have made his work so enduringly popular. But with this expression of gratitude comes reflection on the changes which both the book and the world have undergone in the years since the original edition was published. For the world, this quarter-century spans the advent of the atomic bomb, many major wars, and the fantastic accomplishment of men walking on the moon. And the book, born in the turmoil of World War II, has also changed. At first, it was designed essentially as a school textbook -- and used in industrial arts and vocational education classes. In this role, it was adopted by many state boards of education. Shea -- the author -- claimed that he was gratified by the part it played -- and still plays -- as a practical educational medium. Then, during the immediate postwar period, this work was more generally used by homemakers. Many of its new readers had only recently returned from the rigors of military combat and were eager to settle down and apply their creative abilities to the peaceful pursuits of building and furnishing new dwellings. Thus, as the book advanced into its 2nd Edition, additional material was offered to help new home-makers with their domestic woodworking activities. This gave birth to a tandem "trade edition" which soon attained circulation equal to that of the original textbook edition. Meanwhile, with the dawn of the nuclear age, all things started to change—even the techniques, tools, and materials of woodworking. So much so, in fact, that anybody examining the fourth edition of Woodworking for Everybody and comparing it to the first and second editions will find very little of the text and photographs remain the same. Actually, about the only original elements are the animated chapter headings and caricatured tools, which seem to have endeared themselves to readers as "friendly Gremlins" ever since the book was first published. But aside from these creepy characters and the "Safety First" sketches and standard line illustrations, little else of the original edition remains. The present emphasis, it will be noted, is on the many new tools and materials which have appeared in recent years to facilitate do-it-yourself enterprise. Recent inventions and modifications of power tools alone demonstrate the competitive acumen of tool manufacturers to engineer something safer, lighter, and more efficient. (Indeed, each new edition of this book had to be "retooled" to keep abreast of constant changes.) Such advantages as shockproof insulation, unbreakable casings, and vari-speed control of motors have made power tools -- particularly the portable models -- safer, more durable, and easier to use. Stationary woodworking machines, too, especially the combination machines are now designed in detail for increased convenience of operation and greater functional efficiency. Even the cutting blades of hand and power tools may now be treated with the miracle "Teflon S" to reduce friction and ease operation. In order to highlight a few of the new materials and accessories now available, the first chapter of this edition has been devoted to brief exploration of these helpful auxiliaries. There are many others to be found at your building supply dealer. There have also been minor revolutions in methods and materials of wood finishing. Some of the new finishes, described in Chapter 7, go on easier, look better, and last much longer. Woodworking projects -- whether they be furniture or utility items -- have also changed with each new edition of this book. Thus, with the ex­ception of a few ageless designs (mostly colonial antiques), former projects have been replaced in this edition with new designs, fashioned to meet today's needs. So, in presenting the 4th Edition of Woodworking for Everybody, observe that despite an almost complete revision and updating of contents, the purpose of this book remains essentially the same. As with the first edition, this is intended to serve as a practical guide and book of instructions on woodworking practice. It is hoped that this up-to-date edition will serve today's readers as effectively as the earlier editions served in their time. John G. Shea Greenwich, Connecticut March 1, 1970

Antique Country Furniture of North America, Van Nostrand Reinhold; 1975; in 1994, Dover reissued the book, retitled as Making Authentic Country Furniture: With Measured Drawings of Museum Classics.

A truly exceptional book in the genre of woodworker's manuals, Antique Country Furniture of North America is a work of both scholarship and artistic flair that deserves much more attention than I am giving it now.

(More commentary to come later, this annotation draws heavily on the publisher's blurb on the book's dust jacket.)

Evidently published to coincide with the nation's Bi-cententennial celebration, 1976, this book's focus is the "simple, functional, handmade designs, which reveal the devotion and craftsmanship of the many nationalities that settled in the United States and Canada."

Rightly, Shea is regarded as a leading authority on American furniture.

Initial chapters -- brief but authoriative -- trace the arrival of different ethnic groups to North America and explain how their lifestyles, their native cultures, and their geographic surroundings combined to develop characteristic styles of furniture:-

Spanish Colonial

New England Colonial

Dutch Colonial

Pennsylvania German

French Canadian

Shaker

Connecticut Hitchcock

Southern Plantation

Maine Curiosities

Ohio Zoar

Norwegian American

Texas German

Representative designs from each region are illustrated, many with closeups that give details of significant features that can be copied.

A photographic section follows, arranged by categories of country furniture are compared piece-by-piece-chairs, rockers, tables, beds, cupboards, and many more.

"Antiquity alone is not enough to make furniture interesting to a contemporary audience: after evaluating hundreds of museum collections, the author selected these pieces on the timeless basis of good design and good taste."

The mechanics of their construction are analyzed in the next section, including the distinctive joinery practices-dadoes, dovetails, laps, mortise and tenons, peglegs, hinges, and templates-which are the backbone of these solid, sturdy designs. Full-page measured drawings expose the anatomy of over 90 country classics, which will enable students and craftsmen to reproduce some of these venerable pieces.

Two-pages of bibliography suggest sources for further study.