Tom Meiller
My table differs from Gene's in that I used mahogany (Gene's and the original are walnut), and I also carved a molding detail on the table's edge.
- Dimensions: 28 5/8 high x ~19.5 wide (sides down) x 31 1/2 deep. 41 7/8 wide with side up.
- Primary wood: Mahogany
- Secondary woods: Poplar drawer side, drawer runners and hinged rail backers, White pine drawer bottom and glue blocks, red oak hinge pins.
- Finish: Yellow dye and walnut husk stain with about 10 thin brushed coats of orange shellac. Glazed with burnt umber and oil, then waxed
The drawer front and lower rail are from the same piece of figured mahogany. This piece was actually a cutoff from another project, and was in my firewood pile!
Crest rail.
I wasn't happy with the lines of the original shell I started to carve, so I filed them off and started over.
Ball and Claw.
I took this photo to "trace" the ball and claw for the drawing I made of this chair for Olde Mill's "Gene Landon Masterwork" series.
Base: The mid and base moldings were made with borrowed antique molding planes. One was 18th century. The Ogee bracket feet molding was made using hollows and rounds.
Cornice. All 3 moldings were hand made with planes and scrapers. The tenon pegs were made with a 1/4" beading plane.
When I first glued the mid-turning to the lower turning, it ended up at a visible angle, causing the drawer unit to hang at an angle. I used a heat gun and water to loosen the joint, and reglued it (paying attention to the straightness). Thanks for the advice I received from the SAPFM Forum!
The drawer front is made from the same crotch piece as the banjo, as is the drawer pull.
- Olde Mill supplied beautiful blacksmithed hardware and nails.
- The upper bracket's nails are clinched. There is also a blacksmithed spider supporting the sliding dovetail leg joints.
Original from the book "Winterthur". The finial on the original is not visible because the mid turning is shorter (repair?).
I made this chair after measuring a chair Gene Landon made. According to Gene, he copied the original in the 1960s. I probably spent as much time developing templates as it took to build the chair.
Other than shaping the legs, fitting the cross-stretchers proved to be the most time-consuming.
Everyone who has sat in the chair comments on how comfortable it is!
This last picture shows my completed chair next to Gene’s.
Gregg Miller
Ralph Mosher
John O’Brien
Tea Table with Sapele starburst, mother of perl inlays, and holly edging.
Tom Pedlow
