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Course: The Metropolitan Museum of Art > Unit 1
Lesson 15: Making, finding, and conserving- After the Fall: The Conservation of Tullio Lombardo's "Adam"
- Conserving Tullio Lombardo's "Adam": Time-Lapse
- Conserving Tullio Lombardo's "Adam": Order of Assembly
- An Art of Attraction: The Electrotyping Process
- Conserving the Emperors Carpet
- Conserving the Damascus Room at The Metropolitan Museum of Art
- Craftsman Allan Breed Turns and Carves a Duncan Phyfe Bedpost
- Craftsman Allan Breed Carves a Bow Knot and Thunderbolt Crest
- Jan Gossart - Conservation Discoveries
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Craftsman Allan Breed Turns and Carves a Duncan Phyfe Bedpost
Allan Breed turns and carves a bedpost after the renowned nineteenth-century furniture maker Duncan Phyfe, taking us through the carving of a leaf motif. As he works, Breed explains the cuts, the tools, and the intricate and highly refined techniques and behind each move, describing not only the practical methods but also the poetic rhythm of cabinetmaking.
Read more about Duncan Phyfe on the Heilbrunn Timeline of Art History. Created by The Metropolitan Museum of Art.
Read more about Duncan Phyfe on the Heilbrunn Timeline of Art History. Created by The Metropolitan Museum of Art.
Want to join the conversation?
- What exactly is the grain in woodworking that he is referring to over and over again?(4 votes)
- Simply, the grains are the rings in the wood. Every year the tree gains a new ring as it grows in width and height. You can tell how old a tree is by how many rings it has. When you carve or make planks out of wood you can see the rings which are then also called grains. The darker stripes and wavy lines in wood are the Rings/Grains.(3 votes)
- In the credits, it listed someone known as a "gaffer". What is that?(2 votes)
- a gaffer is the chief electrician in the shooting of a video or movie(2 votes)
Video transcript
- I am reproducing
a section of Duncan Phyfe's bed. It was about seven feet tall,
so this is just a small piece of it. And this is a piece of mahogany, and I'll be turning it
on a modern-powered... electric-powered lathe. I'm looking at this original
to get an idea of the flow of the vase section here,
because this pretty much has to be done by eye. And so I'm turning
this section here, and this will be rounded over
into a nice vase form. So I know that this
is the maximum diameter, this is a smaller diameter,
which I'll caliber. I'm shaping the vase
with a gouge. I'm coming from each side
into the low spot. This is the skew chisel,
and this will take the last few little bits of the gouge
tool marks away. Most of this will be
carved away, so it's just the flow of it
that needs to look good. And now I can take it off
the lathe and start carving. What Phyfe did here was
he wrapped his post in leafage,
carved water leaves here. And so he's taking
an essentially unornamented turned mahogany post and put in leaf carving
on it to ornament it. I'm going to start at
the high point of the vase here, and follow that line. And so from the high to the low,
I can cut this way, because all the fibers
are exiting this way. From the high to the low here
I can cut this way, because the fibers are all
exiting through the edge of the canyon wall that way. I'll put the tool
right on my rib cage and just lean into it like that. And so I'm getting
a lot of power. It's not just... I'm really
not just using my hands and my arms. I'm using... you have to use
your whole upper body. The hollow part that
separates one leaf from another, this is where
this trough is happening, right on these points. And once you start carving,
you immediately erase all your lines. And so drawing in
the initial cuts is okay, but after that, you're kind of
on your own. Actually, sound is pretty
critical. I will be listening for it
to start snapping. If it starts to make
a snapping sound, it means that I'm running into
oncoming grain, and I want to turn around
and come the other way. Because you do get into
a certain rhythm and a certain motion
that's repeated, makes it a lot easier
to do those repeated cuts. Do similar cuts,
one after the other, instead of going from
one type of cut to another, then switching back again. So now I'll go to a tool
that's going to scoop out this rib that I've left in here, and leave the hollow space
between the leaves. So once this groove... once the space
between the leaves has been cut, I'll just
check these V cuts again, clean them up. So here we've got... the
divisions between the sections of the water leaf have been
mottled with the V cut and the hollow cut. And now I'll round off
what's left. And I'm trying to cover
the entire width of that piece with one cut. Now I have to go back
and round off the other half of these. So I'll probably have to
come in the other direction. This is a back bent gouge. And this has been...
moves the handle up out of the way, so I can
reach in there and cut this part of the carving. So I'm going to
turn it over and come in from this direction, as this
is the way the grain wants to be cut
on this particular part. And then there are
a couple more things that need to be done. One of them is to round off
the end of each leaf, which gives it just a little bit
more three-dimensional roll. See the rhythm I just
got into doing all those, one right after another? Chop, chop, chop. You don't want any
straight surfaces anywhere. That's kind of my mantra
with carving, especially Rococo stuff, is there's no straight line
anywhere. The last thing I do
is to round off this rib. And I was going to detail
this rib a little tiny bit. Another instance of where
this tool might sit in a drawer for 90% of its life,
but every once in a while it's the perfect tool
for this job. So that's rounded over. And now what he did
was take a cut from right about here... and I've got to go
in two directions, because the grain
switches right here. I'll do the top half of it
from here up. There. And the bottom half
from here down. You really only have
one chance to get that, so there we go. I would not normally
carve one leaf from start to finish. All these cuts,
all these V cuts I did, I would just keep spinning it, do all of them
with my right hand, all the ones I do
with my left hand, I'd spin it,
do all my left hand ones, then go back and do all
the next cut on everything. Just slowly melt it down
and bring it into focus. By making a nice contrast
between the high spots and the low spots,
and ruffling the edge, all of a sudden,
it has some motion. It's crawling up here,
and in the process it's sort of waving. And my making these deep cuts
and then rounding these off, it gets a little rhythm going, and it breaks up
this turned post. So you've got this
stark turning here and here, and then all of a sudden
you've got leaves wrapped around this. So I think you get
a lot of the power in the contrast between
carved and uncarved.