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Hi:
Sorry for the duplicate posting, but I’m pretty interested in getting some help.
I’m interested in taking a few stabs at producing art deco inspired pieces. Could anyone point me in the direction of some written or published info that addresses the construction and veneering of the classis ‘fuesee'(sp?) or ‘torpedo’ leg?
It’s a hallmark of Ruhlmann’s work, and I’ve seen variations of it elsewhere.
Rather than re-inventing the leg (as it were), I’d appreciate any guidance one might offer. In particular: Prep a solid blank, flute it, then veneer? Or prep fluted pieces, glue up, then veneer? Or prep fluted pieces, veneer, then glue up? I have my suspicions, but there’s no way around spending a LOT of effort in verifying them.
I’m also curious as to the leg/carcase attachment. A lot of my problem here is that I don’t know where I can track down any examples in the Seattle area for inspection – I’m generally relying on the photography in a few books and magazines, along with internet accessible antique shops. It’s tough to justify a trip to the MET in order to eyeball a handful of specimens.
Thanks for any help you can offer.
-t
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Joinery most likely is by the use of dowels or loose tenons. It's beyond my expertise, but I can't imagine how one could veneer over an already fluted leg. My intuition tells me that the legs of which you speak are not veneered, except perhaps on an area of the leg that is not fluted.
As far as for making a torpedo leg, you could turn a blank to the shape you need and then flute using hand planes. A jig could be built to accomodate the use of a router too.
*I believe Ruhlmann did veneer his work...and I too would be interested in anyone out there with direct or indirect experience creating this unique shape. TAB...you may try this forum:http://www.vacupress.comThey are primarily a veneering forum, run by a guy named Daryl Keil I believe (he mfrs. vac presses)..but I've gotten some good feedback from this board.
*I don't remember fluting on Ruhlman torpedo legs, unless you are talking about where the white inlay goes (often on the intersection between two facets, if the leg is faceted). I remember reading that there were 40 hours into a typical Ruhlman leg, and they were always veneered to my knowledge (2000 hours into a basic bed). It might be worth firing off an e-mail to Frank Pollaro, probably the most knowledgeable Ruhlmann guy out there. One of his companies, Flamingo Veneers, has a website, you could email him from there (www.flamingoveneer.com). I've seen him from time to time on forums, and Flamingo offeres advice to customers.
*Good Lord, 2000 hours is practically one man-year, working around 40 hours a week.
*Hi,There is a good book on Ruhlmann's work called Ruhlmann : Master of Art Deco by Florence Camard, David Macey (Translator). No construction details that I remember, but great pictures. Some of the most astonishing work I've ever seen. This is design and workmanship of the highest order!I was once asked to bid on the reproduction of one of Ruhlmann's credenzas. I thought long and hard about it - considering subbing the work out to Frank Pollaro. Turned out that the client had no idea what they were asking for in terms of price so the issue was moot. But the experience did give me a chance to think hard about this work.Frank is the expert on this work. I would certainly contact him with your questions. But here is how I guess the legs could be made.Ruhlmann's legs are not fluted. You can't veneer into a flute. But some of them have multiple facets. Make the solid wood blank - use mahogany: it's relatively stable. Make the joinery: dowel or spline I would think. Pattern route the facets. My guess is that the inlay found on the tops and bottoms of the legs hide the attachment marks for an indexed jig. Veneer the legs. Use the same indexed jig to route for the inlay. Inlay the legs (the function of inlay is to hide all your mistakes ;-o). Construct the top and bottom finial and foot and attach to the leg.The real question for me is how were the legs made that don't have facets? You can't veneer over a compound curve. But the color matches are so perfect. Maybe he cut his own veneer so he had the solid on hand for the legs.I would be VERY interested in what you find out about construction details. Kim Carleton Graves Carleton Woodworking
*He could have used a method that I have used before and that is veneering over a square blank with several different veneers and then shape the leg (flute or whatever) which will reveal the veneered layers resulting in an interesting striped effect.One would use contrasting veneers to achieve a certain look.
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