Vol.12 / Issue 1 2                           Tennessee Valley Woodworkers                             Editor, Richard Gulley                            December 1997

Another great Christmas Party! How do you woodchuckers keep up this fast paced lifestyle. In the world of academia it’s just study, study, study (Broken up occasionally by a mid-term or final.) My finals are this week then I can turn all that compressed knowledge loose before I hurt myself. It will be good to be back with you all starting at this month’s meeting at Milner Carden’s home (see map attached.)

I would also like to take this opportunity, in behalf of everyone at the Christmas gathering, to thank John Sargent and all the Good Ole Boys (and one Good Ole Girl.) They did a great job entertaining while our supper settled. And speaking of supper (or dinner if your from the city <grin>), that was a great meal. I’m not endulging as much as I used to but I did try to sample most everything and I didn’t find anything to cull. Maybe we should put together a cookbook?

I don’t have any minutes from last month’s meeting. That’s not saying I didn’t receive them from one of my insiders, I just don’t have them.

It’s too late to attend the Grand Christmas Ball, but not too late to make plans to attend this month’s regular meeting. Milner Carden has graciously invited us to his home. You’ll find a map to the Carden home attached. For those of you who don’t know Milner, he is a purveyor of air dried wood. If you’re looking for a special piece of wood, he’s your man. I understand the Carden’s have a large collection of antique furniture (seeing that will be worth the trip.) Make a place in your busy Christmas calendar for this one!

The Following Flea Market tips are from Andrew Tune from Down Under. The Tune Brothers must be a sight to behold as they pick a flea market clean of old tools.

1) Keep money in different pockets ($40 in hip pocket, $20 in LHS front pocket, $10 in RHS front pocket, $5 in coins _ you're wearing jeans, right?) This enables you to come up with any multiple of $5 from $5 to $75 while still doing the "pull out the contents of the pocket, empty it onto the table, sift through for the money, count it up, etc., routine. "Gee, I know you've got $28 on it, but I've only got $20 here...". And you can still "find" the other money if you need to.

2) Travel with a companion. Harder to organize, but effective if you're willing to put in the work. I often "do" the local flea market with my brother Nick, who lives nearby and shares my tool acquisition desires. We'll do a good_guy, bad_guy thing where he picks up something he likes, and I proceed to tell him it's missing a part, or has a non_genuine knob, or he should be getting a so_and_so instead. Mind you, you've got to pick a dealer who has no idea at all. It makes the dealers nervous. Nick looks doubtful, dealer looks at him, he makes a half_offer, then stops. I saw something more derogatory about the tool (not rude, you understand, just something like "Well, if you want to spend your money on _that_...") and dealer makes him an offer.

3) Final "two_on_one" technique. I find something, point it out to Nick. He goes in and low_balls the dealer. If he gets it, we're OK. If he doesn't, I can go in and a) know what won't work, b) have lowered the dealer's expectations, and c) not offend the dealer.

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The ever devious Paddy describes the "Just a minute, I gotta ask the missus" gambit

I can't believe we've left out one of the oldest bargaining tricks in the book: "Just a minute, I gotta ask the missus"

Val and I use this to our advantage. We both approach a booth, and she scowls, usually moving off in mock disgust (although sometimes I'm not too sure). This display is clearly visible to the vendor, and works best on men. It's sort of a version of good_cop/bad_cop, only the bad cop is in absentia. I pretend to be the harried, hen_pecked husband (I do this remarkably well... a little too well), and negotiate my best deal. Then I drop the "gotta ask..." bomb on them, and start to leave. This causes a rather surprising panic from the vendor, as he sees his sale go down the tubes. This works especially well on vendors who don't specialize in tools. It is also effective when the tool is rather heavy, as the vendor would rather a big burly Galoot like me, haul it off, than he having to drag it back to his car. The ironic thing is that SWMBO is usually the one who spots tools at the swap meets.

I think it exploits the notion that you and the vendor are no longer at odds with one another, but are two *men* trying to solve a problem, mostly to undermine the authority of the female. Heh heh, if they only knew.

When looking at fine 18th Century American furniture (in museums), and similar English furniture (in antique stores), it is striking to see the frequency with which large (but tight) knots appear in the these pieces. These knots usually occur in table tops and desk fronts in very obvious places, not "hidden" in side panels, which are almost always clear. The knots (or other figure) are nearly always asymmetrically placed__off to one side, or inside a corner__and are large and obvious. The craftsmen who built these surely included these "imperfections" purposefully, not because they were strapped for clear stock. It may also be reasonable to think that individual craftsmen regularly adorned their furniture in characteristic ways__with what I like to call "signature" knots.

When you look at this furniture, a common reaction is to want to reach out and touch that knot. A while back, someone writing to this newsgroup (rec.woodworking) commented that a knot, included in his otherwise clear kitchen cabinetry, drew the attention and approval of people admiring his work. I suppose this asymmetry introduces the kind of conflict or tension into cabinetry that is a hallmark of art, be it music (dissonance), visual arts, or literature. It makes the "piece" interesting and transforms the craftsman into an artist.

Several years ago the Fine Tool Journal in cooperation with EAIA, MWTCA, fellow dealers and collectors developed a grading system for old tools. The system has been generally adopted by the tool world and is used in one from or another by most tool dealers. The Fine Tool Journal holds the copyright to the Condition Classification Table and allows use in the FTJ format or any other format by anyone interested in using it. Recognition of the Journal always appreciated.

The original intent was to give the tool collecting hobby a grading system that both the sell and buyer could rely on. In most cases, we have found that the system has served the original purpose well. Of course, the grading of an individual tool always comes down to the opinions of the sell and the buyer and questions can rise as to rather a tool is Good+ or Fine_. But if one keeps a few important points in mind, buying tools sight unseen can be done very successfully. Some of the most important points are:

1. Be sure you know what you buying. If you really want a Bedrock #4, a Handyman will not do regardless of price.

2. Ask questions about the things that are important to you, most full time dealers are not users.

3. Read the tool description carefully. If it is listed as " cracked tote, chip in rear rail, ground sides, 20% japanning o/w good" it may bark.

4. Most important be sure that the dealer offers a Satisfaction Guarantee and that the minute you get the item you look it over and before you do ANYTHING TO THE TOOL call the dealer if you have a problem. Most dealers will take an item back but it is important to return it untouched and promptly.

5. Finally the average tool is in good condition that is the condition typically seen at flea markets and shops. Fine and better tools of any kind have had special care/storage and are the exception. So when you order a tool in Good condition plan on it needing a little TLC.

If you would like a copy of the Fine Tool Journal Condition Classification Table please print your name and address on a long envelope and send it to:

The Fine Tool Journal

27 Fickett Road

Pownal, Maine 04069.

Thanks for the opportunity to offer our views on the tool grading.

Clarence Blanchard

Fine Tool Journal

Patent No. 96,052: The Storke Patent for Corrugated Plane Soles

Planes with corrugated soles have long been manufactured by many companies, usually at a premium in price. The first patent for this innovation appears to be this one awarded to E. G. Storke of Auburn, New York in October of 1869. The patent is rather brief and has one drawing. The text of the patent indicates that the invention relates to preventing the adhesion of the sole to wood. Storke did not actually use the term 'corrugation' in describing his invention but instead used the terms "flutes, grooves, or

channels". Elliot Storke was the founder of the Auburn Metallic Plane Company as described in a brief history provided by Dan Weinstock. This company, not to be confused with the Auburn Tool Co., was the largest competitor to the Stanley Rule and Level Company in the production of metal planes during the period 1867_1878.

Well, that about wraps up another issue of Splinters (and another year.) I hope you’ve enjoyed perusing these past two years of the newsletter. I’ve throughly enjoyed putting them together. Thanks to all who contributed and helped make things go a little smoother. And thanks to all the Tennessee Valley Woodworkers for allowing me to serve and contribute in some small way.

Looking forward to seeing all of you Tuesday night ( the 16^th ) at Milner’s. And don’t forget to