Woodworker's Manuals 1971 - 1980Below are highlights that I have discovered in a survey of woodworker's manuals published over a period of several centuries.
Why survey three centuries of woodworking manuals? The main focus of my study is the 20th century, but since woodworking manuals published in the 18th century remain popular among certain amateur woodworkers today, I believe that I need to explore approaches that allows you to visualize the context in which these "original" woodworking manuals were published, and thus may be able to sense their significance as timeless artifacts.
My first convictions about woodworking manuals is that the intent of their authors in assembling these manuals is to instruct and to inspire.
The "to instruct" -- the "how-to-do-it" function -- is obvious. Potential woodworkers need guidance, and guidance comes best from other woodworkers' experience.
The "to inspire" part may not be obvious to beginners, of course, but finding any evidence of attempts toward inspiration is usually not difficult, especially if you read the introduction to a woodworking manual.
For example, read the introduction to the 1946 woodworker's manual, How to Get the Most Out of Your Home Workshop Hand and Power Tools, published by Popular Science.
This manual's Introduction revives the term, "Skill Hunger", coined and popularized in the Depression by promoters such as Lawrence Pearsall Jack, for promoting use of "leisure time" wisely.
What is "skill hunger?" For the editors of the woodworker's manual, How to get the most out of your home workshop hand and power tools, skill hunger concerns "How the Hammer, Saw and Try-Square Can Satisfy the Urge to Make Things". Read more on this term by clicking on this hyperlink.
In comparison, how does this 1946, How to Get the Most Out of Your Home Workshop Hand and Power Tools, manual stand up in promoting use of power tools over competitive manuals?
I checked this matter by doing a survey of woodworking manuals published between 1941 and 1950 in the Worldcat bibliographic database.
(Worldcat, the world's largest bibliographic database of books, periodicals, publications of governments, etc, etc., currently contains records for over 50 million items.)
How to Get the Most Out of Your Home Workshop Hand and Power Tools, Worldcat registers only 17 copies in libraries worldwide -- telling us that libraries did not perceive this title as a "keeper", meaning that we can't use library holdings as an indicator of the impact of this manual on the amateur woodworking movement in the '40s.
(Since How to Get the Most Out of Your Home Workshop Hand and Power Tools is over 50 years old, and has been "replaced" by numerous other more up-to-date manuals, most public libraries could have "discarded" their copies for more recently published books.
By discard, do not think the trash can; instead, it is more likely that the book was offered for sale at one of the book sales public libraries conduct annually. As a rule, public libraries -- unlike college libraries -- do not consider themselves "last copy" repositories. However, while this assumption may be soundly based, it is still only speculation.)
Worldcat registers that in 1946, 35 volumes were published, and for the decade, i.e., from 1941-1950, 206 volumes were published that libraries classified as woodworking manuals. So, with these figures, we can conclude that the How to get the most out of your home workshop hand and power tools volume had much competition, especially in a nation occupied by a war.
How to Get the Most Out of Your Home Workshop Hand and Power Tools was, however, indexed in the Index to Handicrafts, Modelmaking and Workshop Projects, 2d supplement, 1950. This is one volume in a series of five volumes, published between 1943 and 1975. These volumes were purchased widely by public libraries, because their contents are indexes the internal contents of manuals. Pages of The Index to Handicrafts where certain "how-to" plans are accessible: for example, the following entry shows that you can find:
"Mortising and shaping on the drill press". In How to Get the Most Out of Your Home Workshop Hand and Power Tools, pp. 91-95.
The Index to Handicrafts began as an in-house file of hand-written 3 x5 inch library cards in the Pittsburgh Public Library. Click on this link for an online example of how a public library lists these volumes.How to get the most out of your home workshop hand and power tools is still in the Index to Handicrafts, Modelmaking and Workshop Projects volume, but the manual itself -- probably because in public libraries it is considered outdated -- has been removed from the shelves of many public libraries.
Chronological List of Woodworking Manuals, Periodicals, 1971-1980:
1971: Sunset (magazine) Furniture You Can Make. Lane Books, 1971.
The distribution of this bookstore/newsstand paperback was probably limited to the West, since Sunset is oriented toward topics of Western America.
1971: Daniel W. Irwin. Power Tool Maintenance. McGraw-Hill, 1971.
The most sought after manual for the maintenance of major stationary woodworking tools. Twenty-two chapters cover belts, pulleys, bearings, lubrication, motors (wiring and controls), parts and service info, for stationary woodworking tools and portable electric tools.
1971: Franklin H. Gottshall. Making Antique Furniture Reproductions: Instructions and Measured Drawings for 40 Classic Projects. New York: Dover, 1971. (reprinted in 1994?)
1972: Vernon M Albers, Advanced Furniture Construction 1972
In the early 1970s, I reviewed this book for Library Journal, and while I recommended it then, today, -- with a lot more experience -- have reservations about its usefulness, precisely why, though, is difficult to articulate. Let's just say that everybody's mind works differently, and that Mr Albers and I different ways of woodworking. (I intend upon syaing more about this topic in the future.)
1972: G. W.Endacott, Woodworking and Furniture Making for the Home. New York: Drake Publishers, 1972.
1972: William E. Schremp. Designer Furniture Anyone Can Make.Simon and Schuster, 1972. 127 pages.
Continues the tradition of Mario Dal Fabbro, Modern Furniture, 1949.
1972: R J. DeCristoforo, DeCristoforo's Book of Power Tools, Both Stationary and Portable, , New York: Times Mirror Magazines, , 1972, 434 pages.
Adapted from Decristoforo's manuals dedicated to the Shopsmith -- starting in 1953 -- this is an extensively illustrated guide to the use of power woodworking tools, both stationary and hand-held, that -- while over 30 years old -- has many features to recommend it for woodworkers today, especially beginning woodworkers. Includes table saws, drill presses, lathes, band saws, belt sanders, shapers and jointers. As is De Cristoforo's wont, the volume describes the safe operation and standard techniques and applications of that particular machine, numerous photos and plans for simple jigs and accessories, e.g., an adjustable wooden frame for cutting large panels easily with a power hand saw.
1972: F. E. Hoard and Andrew W. Marlow. Good Furniture You Can Make Yourself. New York: Collier Books 1972.
1973: John Gerald Shea, Anatomy of Contemporary Furniture. Van Nostrand Reinhold, 1973. 191 pages
First published in 1965 under the title Contemporary Furniture Making for Everybody
1973: Charles H Hayward, Tools For Woodwork New York: Drake, 1976, 127 pages
Published in England in 1973, this slight looking manual -- with many photos and diagrams that illustrate tools and techniques -- even today has much wisdom for amateur woodworkers, especially those just starting out. I use "slight" not to denigrate the book, but to draw attention to the deceptiveness of its compact size. Only 127 pages, still it covers the array of hand tools at the disposal of woodworkers in the 1970s. (In his tenth chapter, on portable power tools,Hayward's acknowledges the recent growth -- remember it's the beginning of the 1970s -- in greater interest among woodworkers for power tools: -- "powered hand tools", like portable circular saws, jig saws, the portable planer, the router, the orbital sander.
(In woodworking, especially amateur woodworking, Hayward is for England and the rest of the United Kingdom what R J DeCristoforo is for America. Even with their English slant, Hayward's books are popular in America.)
Selected Images and Text from Tools For Woodwork
Table of Contents:
Tools and Metrication:
(Strangely, this page missing, but no evidence exists that it was removed after publication; instead it looks like an oversight publisher)
Saws Pitch of teeth, bevel, set, tension, size, hand saws, back saws, saws for cutting curves, special saws, sharpening.
Chapter two Planes Bench planes, cutting action, back iron, mouth sharpening, use of, rebate, grooving, moulding, universal and compass.
Chapter three Chisels and Gouges Types of, sharpening, cutting action; carving tools, types of sharpening.
Chapter four Marking out and Testing Tools: Gauges, squares, diagonal rod, parallel strips, marking knife, spirit level, rules.
Chapter five Boring Tools: Braces, bits, use of brace and bit, sharpening bits, drill, bradawl, automatic drill, dowelling jig. Chapter six Spokeshaves, Scrapers, Scraper Planes, Routers, etc. Wood spokeshave, metal spokeshave, draw knife, scrapers, scraper plane, routers, scratch-stock.
Chapter seven Hammers, Mallets, Punches, Pincers, etc. Hammers, mallets, pincers, punches, nail pulls, screwdrivers, axe, adze, dowel plate, splitting wedges, glue pots, screw box and tap, shapers, rasp, file, float, riffler, cork rubber, oilstone and slips, grindstone, emery wheel, veneering hammer.
Chapter eight Cramps [British for "clamps"] Sash, cramp heads, handscrews, G. quick action, thumbscrew, corner, spring, improvised, flooring, band.
Chapter nine Appliances: Sawing appliances, planing appliances, chiselling appliances.
Chapter ten Powered Hand Tools: Circular saw, jig saw, powered plane, sanders, rebater and moulder, router, dovetailer.
The router can be used as a spindle moulder, capable of moulding or grooving. For this the tool is reversed beneath the bench, the bit protruding through a hole, and a fence fixed on the table. The wood is then pressed close up to this.
Fig. 12 shows the router fixed beneath a special stand made for the purpose. For straight work it is usually convenient to fix a fence to the table. This fence is adjustable towards and away from the cutter, and a recess is cut at the middle to clear the revolving cutter tips. Usually a cutter without nose is fitted, the edge of the wood bearing against the fence. In this form the router is virtually a form of spindle moulder.
Tool kit (That is, the image above)
A knowledge of tools is a fundamental necessity to the man who goes in seriously for woodwork. It makes all the difference between success and failure in what is one of the most interesting and useful of crafts. It includes knowing how to choose tools in accordance with the general run of work to be done, how to sharpen them and keep them in condition, understanding their cutting action, and knowing how to use them.
Taking these points in their order, consider the wide range of tools listed in most tool dealers' catalogues. The number of types and sizes is almost bewildering in its vastness, and the beginner may well find himself in a state of uncertainty in making his choice unless he has some guidance. Then, proper sharpening is an obvious necessity; you cannot do good work with tools which are blunt or which have been badly sharpened, and you may easily seriously harm good tools by faulty treatment. Understanding the cutting action may not appear so essential, but a little reflection shows that the man who realizes just how a tool does its work will get the best out of it. Furthermore, he will certainly be better able to correct any fault that may develop. Finally, the necessity of knowing how to use tools is so obvious as to need no enlarging.
In this book we have endeavoured to cover all these points. The range of tools is divided into general classifications to give easy reference, and their main features are described. In addition a suggested list of tools is given in which the woodworker is advised to invest. This includes a preliminary kit, a further list which can follow as the necessity arises, and those tools which can be made at home. Certain of the tools given in this book may be unobtainable as they have gone out of production, but they are included because there are many of them still in constant use, and they are excellent tools.
An important point to be emphasised is the necessity of buying good tools. It may seem strange that two tools, apparently the same, may have widely varying prices, but the difference will soon make itself felt. A good tool will last a lifetime and will always be a joy to use; a poor one will soon develop faults and will be more of a handicap than a help. The best plan is to select tools of well-known, reliable make, knowing that they have behind them the guarantee of a firm with a reputation to maintain.
The present edition includes a chapter on powered hand tools because of the growing tendency to use them even in a hand workshop to speed up some of the more laborious operations such as ripping, etc.
Saws for Cutting Curves:-- Bow saw.This is the most satisfactory tool to use, the reason being that the blade is held in constant tension by means of the top cord which is tightened tourniquet fashion. (Click here for more on Bow Saw.) It is available to hold saws from 200mm. (8in.) up to 400mm. (16in.) in length, a useful all-round size being 250mm. (10in.) or 300mm. (12in.). It will be seen that the saw blade is secured at one end to a knob and at the other to the handle. Both these are free to revolve in the arms so that the saw can be set to work in any direction. It is obviously important to see that both knob and handle are in alignment as otherwise the blade will be twisted.
The advantage of being able to turn the blade is that it enables the saw to be worked in positions which would be impossible if they had to remain fixed. For instance, a long cut could be made parallel with the edge of a board by setting the blade to cut at right angles with the arms.
It can also be used for internal cuts. In this case a hole is bored through the wood and one of the rivets securing the blade is knocked out. This enables the blade to be withdrawn from its socket and passed through the hole. The only limit to the usefulness of the tool is the distance between the blade and the middle cross bar. Obviously it cannot work at a distance greater from the edge than this.
In use both hands grip the handle as shown in Fig. 26. The wood is fixed in the vice as low as possible so that it receives support close to where the actual cut is taking place. It is obviously necessary to keep the blade square with the wood and this is a matter which comes with experience and practice. When finished with the tension on the blade should be slackened.
1973: Jay W. Hedden and Monte Burch,Making Mediterranean Furniture. New York: Arco, 1973.
1973: James Hennessey and Victor J. Papanek, Nomadic Furniture 1: How to Build and Where to Buy Lightweight Furniture That Folds, Collapses, Stacks, Knocks Down, Inflates or Can Be Thrown Away and Re-Cycled: Being Both a Book of Instruction and a Catalog of Access for Easy Moving. New York: Random House, 1973.
1973: Andrew W. Marlow, The Early American Furniture-Maker's Manual.New York: Macmillan 1973.
1973: Rolf Schutze. Making Modern Danish Furniture. Van Nostrand Reinhold, 1973.
1973: Alexander Weygers, The Making of Tools Van Nostrand, 1973, 93 pages.
Based on Weygers teaching experience, this book is designed for the artist and craftsperson interested in making -- or forced to make -- his/her own tools. (The author -- born in Java, educated in Holland -- as an engineer has worked in Java and America, before concentrating on art.)"This book teaches the artist and craftsman how to make his own handtools: how to design, sharpen, and temper them, using only basic shop equipment and scrap steel."
The many illustrative drawings throughout show the "step-by- step progression from the raw material to the finished product the handmade tool." Raw material is usually high-carbon steel from steel scrapyards and auto junkyards. Hardwood is used for the handles.
Contents include: tempering steel, sharpening tools; making a screwdriver,cold chisel and other simple tools; stone carving tools; cutting tools; eyebolts and hooks, tool handles, hammers, gouges, seating cutter and hinge joints, tinsnips, wire and nail cutters, large shears, and pliers; applying color patina to steel surfaces. There is also a glossary of tool-making terms, useful to non-native English speakers.
1974: James Hennessey and Victor J. Papanek. Nomadic Furniture 2. Pantheon Books, 1974.
1974: Diane Cleaver, The Box Book: The World's Cheapest Way to Build Furniture. New York: McKay, 1974.
1974: Joseph William Daniele. Building Early American Furniture. Stackpole Books, 1974.
1974: Charles Hayward, Woodwork Joints 176 pages,
The craft of woodwork consists largely of joining pieces of wood together. In this book we have taken the basic joints, given their chief variations, and shown how to cut them. It is not suggested that the methods of cutting described are the only ones possible ... but it can be taken that the way described is useful and has been proven by experience to be reliable.
1974: Aldren A Watson. Country Furniture, New York: Thomas Y Crowell, 1974. 274 pages.
For an extended discussion of Watson's manuals, click here.
1975: R J. DeCristoforo. The practical handbook of power tools
: Fawcett Publications, 128 p.. New York
1975: Lester Margon. Construction of American Furniture Treasures: Measured Drawings of Selected Museum Pieces With Complete Information on Their Construction and Reproduction. New York: Dover, 1975.
1975: Paul Howard. Make Your Own Furniture: How to Do It the Fun and Easy Way with Canadian Materials. McGraw-Hill Ryerson, 1975.
1975: John Gerald Shea. Antique Country Furniture of North America New York: Van Nostrand, 1975. 228 pages.
1975: Dona Z. Meilach. Creating Modern Furniture: Trends, Techniques, Appreciation. New York: Crown Publishers, 1975. 310 pages
From the Chapter 1:The character of furniture reflects the personality and taste of the people who live with it; it depends upon their life-styles and the nature of their houses. Throughout the ages, as painting, sculpture, architecture, music, and dance have represented the thinking of the times, so has the furniture. For example, the severity of line in the art of the Renaissance also appeared in the furniture. The baroque is represented in heavy, ornately carved furniture designed to fit the decor of the rooms. With contemporary life-styles and art movements so varied, it is not surprising that many new ideas are evolving about the furniture we live with and use.
This book's scope: to present the current activity of designers who create furniture as an artistic endeavor rather than for mass production and the marketplace. The majority of pieces were created by the artist for himself or for a specific client rather than with an eye to production. Because of the handmade sculptural basis of the items, industry is not able to reproduce them economically.
1975: George R. Drake The Complete Handbook of Power Tools Reston, VA: Reston Publishing, 1975 415 pages.
In his Preface, Drake's first sentence will assure newbies that he has them in mind: "Nearly everyone can become a craftsman if he has the proper power tools and knows how to use them." In his second and third sentences, wisely, I think, Drake qualifies this initial declaration when he says, "Notice [that] I said power tools. I believe that it takes years of practice and a little inborn talent to be a craftsman if only hand tools are used.
Drake's "preface" is so ideal for my needs that what follows is a very liberal set of quotes from it:
Continuing this mode of assurance, Drake compliments today's "power tool manufacturers" because they "have designed and developed power tools with numerous accessories that anyone can use them to cut, drill, plane, shape, turn, and sand wood with precision." By using "the basic equipment, accessories, and inexpensive homemade jigs, the average person can create complex pieces of furniture, room accessories, decorations, personalized gifts, toys, and a multitude of intricate designs and patterns of yet-to-be-designed projects."
With his "handbook", Drake seeks to give the wannabe 1970s woodworker "the know how in the use of power tools". The you to whom he speaks "are the many men, women, and young adults who want to enjoy the pleasures, thrills, and personal rewards of having accomplished something with their own hands." With his manual, Drake declares that "You will take an idea, expand on it, and then turn a few pieces of rough lumber into a beautiful creation." At the same time -- and I believe this is truly realistic -- "You really won't save any money -- not if you count your time and your investment in tools in addition to the cost of the material. Your creation will cost about as much as if you had gone to the store and bought it, but it will be completely designed, constructed, and hand tailored by you. Your creation will be yours! "You will have personalized it by adding your own ideas to something you saw or read about."
One last thought: would you rather receive a set of store purchased candlestick holders or a set of lathe turned mahogany candlestick holders that your friend personally created for you? Your friends and loved ones have the same answer.
If you are one of the people who would like to turn a piece of rough wood into a finished product, then this handbook is for you. It's for the accountant, the craftsman, the do-it-yourselfer, the grandparent, the hobbyist, the housewife, the nurse, the retiree, the student in high school, vocational school, or adult education program, and the zoologist.
Drake's handbook provides you with a complete description of the principal parts, operating controls, operating procedures, calibrations and adjustments, accessories, installation procedures, and hints and kinks for attaining professional results from each of the power tools discussed. All of the major power tools for home use are covered and are presented in alphabetical order for your convenience; the band saw, drill press, jigsaw (scroll saw), jointer, lathe, radial arm saw, sander (belt and disk), sander-grinder, shaper, table (arbor, bench, circular) saw, and thickness planer are presented. There are 180 images and 50 sketches. Except for "how-to-build" jigs and fixtures, there are no project plans. Chapter 1 sets you straight initially by discussing: your power tool needs; your workshop; floor plans; electrical and lighting considerations; motors, pulleys, belts, and speeds; power tool and workpiece support stands; storage; patterns; jigs, stop blocks and miter gauges; buying accessories; general power tool care; and safety precautions.
Appendixes A through G have been included to provide you with the mathematical processes and the conversion factors necessary for converting from the English system to the metric system (International System of Units) and from the metric system to the English system. Appendix H is a lumber conversion chart that converts standard sized lumber into board feet and Appendix I lists decimal equivalents of number and letter size drills. Appendix J illustrates many of the common joints used in woodworking. Appendixes K and L provide nail and screw reference charts, respectively.
Finally, a glossary defines all of the terms that you may be unfamiliar with, and a detailed cross reference index pinpoints the next page for information that you need.
In my first look at this manual, I couldn't help but picture Drake as a sort of De Cristoforo wannabe, an observation that may be, in Drake's mind, at least, be an insult, but nonetheless is a real prospect manual writers incur in the era -- between 1950 and 2000 -- when De Cristoforo held sway as the principle writer of woodworking manuals.And, it would be unfair not to say that -- in the mid-70s, when Drake is writing -- I myself would be a target wannabe woodworker, and thus perhaps acknowledge why Drake's book, today, has a particular appeal, even thirty years later, after such a revolution in major woodworking tools has occurred. Examples: the radial arm saw is still considered a major tool for amateurs to add as shop equipment -- including all the demonstrations of some questionable procedures, such as ripping with the RAS -- and innovations such as carbide-tipped blades and bits are just on the horizon.
1976: Franklynn Peterson. The Build-It-Yourself Furniture Catalog New York: Prentice-Hall, 1976.
1976: R J. DeCristoforo. Wood Projects for the Garden New York: Grolier's H.O.M.E., 1976
1976: R J. DeCristoforo. How to build your own furniture. New York: Popular Science, 1976
1976: Mario Dal Fabbro. How to Build Modern Furniture. New York: McGraw-Hill, 1976.
First published in 1957.
1976: Lura, LaBarge. Crate craft: Easy-to-make furniture and accessories you can build quickly and inexpensively. New York: Butterick Pub., 1976.
One of the many manuals listed for this decade not yet examined, is this directed at the amateur woodworker, or the newly-married couple? Will the experience become something that will engender a follow-up pursuit of amteur woodworking? It's happened before.
1976: John R. Trussell and G. W.Endacott, The Complete Library of Woodworking and Furniture Making New York : Drake Publishers, 1976.
1976: Spiros Zakas ( Parsons School of Design). Furniture in 24 Hours. Collier Books, 1976.
1976: Ralph Treves. Early American Furniture You Can Build Arco, 1976.
1976: Donald R. Brann. How to Build Colonial Furniture. Briarcliff Manor: Directions Simplified, inc., 1976.
1976: "Tubal Cain" [pseudonym for T D Walshaw] Drills, Taps and Dies Birmingham, England: Argus Books, 1976. 109 pages.
Outside the scope of the majority of woodworker's manuals on this website, nonetheless, very useful for woodworkers who, eventually, in making jigs and fixture, need to work with metal, either metal sheets, threaded rod, T-track, etc. (I have done this myself frequently -- ex: a metal stand for a vintage shaper table converted into a shaper/router table; rather than a router, though, it has a 2 hp reversible Baldor motor -- and found out that the more you know about drilling in metal, the better off you are.)
1976: Michael Dunbar, Windsor Chairmaking New York: Hastings House, 1976
A renowned teacher of the art of constructing Windsor chairs, Michael Dunbar, published his classic manual the same year that the woodworker's magazine, Fine Woodworking, was launched. In this manual, Dubar gives us three chapters on the historical background of Windsor chairmaking, twelve chapters on the construction of a range of the Windsor chair, and two chapters on the Windsor chairmaker and his customers. Many black-and-white photos depict the different styles of Windsors and construction sequences. (Be aware that in 1976, the big push for amateur woodworking -- the schools dedicated to different woodworking techniques, even the mass-circulating magazines that we know today -- were not yet visualized as possible future opportunities, which means that the audience for Dunbar's book on Windsor chairmaking was the professional, with the slight possibilty that amateurs would be intersted.) The text in the boxes is from the book's Introduction; the photos are a few from the book's main part
...Windsors are the result of excellent engineering, for it is no mean feat to make a chair which weighs only ten pounds but which will readily support a person who weighs two hundred.
The ability to make a good Windsor could be gained only after years of practice. The artisans who produced these chairs were by their technology totally dependent on hand tools and their own woodworking skills. They had no machines to help them. But because they had no machines their chairs are actual extensions of themselves: physical interpretations of thoughts conceived in their own minds and realized by the effort of their own hands. The chairmaker imposed his will on the wood he was working. The limitations of unthinking machines did not debase his work by dictating to him how his products would look. These chairs have the warmth and individuality of human endeavor about them, not the unfeeling repetition of cold and noisy machines.
Last, a good Windsor is esthetically pleasing. Success could only be achieved in the element of line. The craftsman could not disguise his failure to make a product with good lines by covering it with veneer or hiding it behind fancy grained woods. Furthermore, Windsors were painted dark colors which actually invited the eye of the viewer to examine their lines. Successful chairs could only be made by a man with the eye of an artist. Much has been written of the Shakers and their furniture which is praised for its function and stark simplicity. Windsors are elegantly simple, ultimately functional, and they are extremely comfortable. A type of furniture which can claim all that is certainly worthy of its own book. It was decided that the old methods of the craft could best be explained through the step-by-step construction of an imaginary chair. A bow-back was selected because it has always been the most popular type of Windsor. A chapter is devoted to the manufacture of each of the individual parts in the chair and their assembly. Each chapter is a detailed examination of the different eighteenth century wood working skills, tools and techniques which were needed. The description is illustrated with photographs of antique tools being used to construct an actual bow-back at Strawbery Banke. The collector will find tips on determining if a Windsor is indeed antique and if all the parts are original. The point of view the reader will gain is that of a New England country chairmaker running a one man shop during the last third of the eighteenth century. Reading the discussion of the Windsor chair industry, it is evident such a shop employed no more than the craftsman himself and he would have therefore made all his chair parts himself. The reader would be less involved with the chairmaking process if it were all in the past tense; to facilitate comprehension, construction of the bow-back is all in the present while references to old chairmakers are in the past. At first this change of verb tense may seem to interrupt the flow, but I feel the reader will quickly find that it makes the exposition and the book more easily enjoyed....
1977: Andrew W. Marlow. Classic furniture projects. New York: Stein and Day, 1977.
1977: Better Homes and Gardens (magazine). Better Homes and Gardens Furniture Projects You Can Build. New York: Meredith Books, 1977.
1977: Joseph Provey. Systems of Living Space. H. Regnery, 1977.
1977: R J. DeCristoforo, Handtool Handbook for Woodworking 1977, 184 pages,
A guide to woodworking tools, including measuring devices, saws, hammers, drills, screwdrivers, chisels and planes, this book is full of tricks for woodworkers. With 400 illustrations, DeCristoforo discusses safety, sharpening, shop math and how to choose good tools.
This book, surprisingly, is not a reprint, like most of Gottshall other books. Gottshall's first book is 1931, two years short of one half century earlier. One of the highlights is the shell-top corner cupboard, a piece that is Gottshall's signature project.Scharff, Robert, The Complete Book Of Home Workshop Tools New York: McGraw-Hill, 1979.
1979: Percy W Blandford, How to Make Early American and Colonial Furniture. New York: Tab Books, 1979.
1979: F. Richard Boller, Wood Furniture Projects. New York: Bobbs-Merrill Educational, 1979.