The Sugar Chest/Cellaret

Project Reference Manualemail: workshopofcharlesneil@msn.com

website: www.antiquesbuiltdaily.com

Text, Illustrations Copyright 2008 The Workshop of Charles NeilAll Rights Reserved

April 2008

Dear Woodworker:

The sugar chest has always been a rewarding build for me. Its straight forwardconstruction as well as its simple beauty have always made it a joy to do and now, witha ton of them under my belt, I pass the torch to you.

What I hope is that you will not only build the chest, but will learn from it. Thereare so many sound/solid techniques used that it will surely expand the advancedwoodworker and bring the novice further than say any single project that I know of. Ithas always been my favorite teaching project. So, no matter what your skill level, this isa winner.

Not only has the chest been a favorite of mine, it has been a huge hit with myclients, they have always sold as quickly as we made them.

The hope of any teacher is to become less and less needed, if you have aquestion, please email me and once you have mastered the chest, pass it on so othergenerations can share in the joy of woodworking.

Table of Contents

History of the Sugar Chest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Introduction to the Project.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Materials and Supplies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Calculating Your Lumber Needs.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Line Drawings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

DVD Chapter References. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Sanding Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Finishing Schedule. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Bonus Material

Selecting and Purchasing Lumber. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Processing Rough Lumber. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

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The Sugar Chest/Cellaret

Why do we call the same piece two different names? Because the most common form of a sugar chestoutwardly resembles a cellaret or bottle case. The maindifference in the two pieces is the dividers inside thechest. A cellaret usually was divided by partitions thatseparated 12 to 16 bottles and a sugar chest, if dividedat all, only had two or three compartments for storingdifferent types of sugar, sometimes coffee, tea andspices.

The original piece that we fashioned our piece after wasa sugar chest that had no dividers. When making thisproject you decide for yourself whether you want todivide the chest and make a cellaret or have no dividersas was the case with most sugar chests. So throughout this manual we will refer to thepiece as a sugar chest.

Now, the form of the sugar chest is a large wooden box, usually on a floor standingbase. It was a popular furniture form in the southern United States in the 18 and 19th th

centuries. It was attractive and often displayed in the dining room. Most of the sugarused in North America during the 19 century was imported making it a luxury productth

used mostly by the wealthy.

The less affluent used honey, molasses or maple syrup as a sweetener. The sugarwas processed in cone-shaped clay molds that removed the syrup from the raw sugarand made loaves of sugar crystals. The housewife purchased the expensive cone orloaf and carefully cut into lumps using a sugar nipper. The locked chest protected thesugar from insects and theft! The nippers were stored in the drawer below along with aledger in which the household’s consumption was recorded.

When the processing of sugar changed in the 1850's, and the new methods made itinexpensive for most Americans, the sugar chest was no longer needed. Few peopletoday recognize and old sugar chest. It is often thought to be a jewelry chest or sewingchest. It is currently one of the most sought after small antiques and sells from$3,000.00 to $10,000.00 in shops and at auction.

If you are interested in purchasing cone sugar andreproduction sugar nippers here is the only source I found:

Jas. Townsend & Son, Inc.133 North First StreetPO Box 415-WPierceton, IN 46562www.jas-townsend.com

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Introduction

The sugar chest is a fun project that will provide you with an heirloom piece whencompleted. This project book is a companion to our DVD, “In the Workshop withCharles Neil - Crafting a Sugar Chest/Cellaret” and is not meant as a stand-alone book. Having said that, after watching the DVD you will be able to use this manual to help youretain what you saw in the DVD. It also gives you more in-depth reference materialsuch as basic dimensions, line drawings, etc.

Sometimes in the course of building every day, there are little details that are veryimportant but sometimes come so naturally that we overlook including them in thedirections, that is why this manual and the DVD together make for great instruction.

Your furniture begins taking form from the moment you select your lumber at the mill. There are several stages the piece goes through before becoming furniture.

1. The rough lumber stage.2. The “parts and pieces” stage.3. The construction stage.4. The sanding stage, and lastly5. The finishing stage.

The rough lumber stage is a stack of boards that have no real purpose except to thewoodworker. As you select your lumber at the mill, look for character and grain that“speaks” to you, the maker. Look for things that make your piece one-of-a-kind. Thevalue of the piece is increased if you use as few glued-up panels as possible. You willfind that 10" and wider boards cost more than random width, but increases the value ofthe finished piece tremendously. Using matched boards also will enhance the finishedpiece.

The parts and pieces stage is exactly what it says, parts and pieces. During this stageof your woodworking, you need to take time to grain and color match pieces thatintegrate with each other, paying close attention at this stage will be evident in the endresult.

The construction stage is where you shine as a woodworker. It is very important thatyou use traditional joinery, (it does matter whether you use a pegged mortise and tenonjoint or screws and plug the holes). Pay close attention to all details, such as flush (notalmost flush), square, so everything works together properly. If I’ve said it once I’vesaid it a thousand times, details count!

The sanding stage can ruin the piece that has been constructed beautifully if attentionis not paid to the details. Wood can only be sanded so smooth so you must take carein sanding (not over-sanding) to insure that flat stays flat and details of construction arenot changed. You must sand out all scratches, planer snipes, etc. All sharp edgesmust be toned down for finishing, not eliminated. Our DVD does not go into detail

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about how to sand your project. If you need help in learning to sand, we do have aDVD available “Building to Finish - Sanding and Smoothing”

The finishing stage is what the other see and feel first. If you have a sloppy finish itdoesn’t matter how well the piece has been crafted, it will not appeal to the humansenses of sight and touch. A premier finish is not as simple as many think. If you can’tfinish, then you can’t build. Any finish technique is acceptable as long as it is complete. If you need finishing help, my DVD, Finishing A to Z: Beyond the Books has openedthousands of eyes to finishing your woodworking projects. In this DVD we do not gointo the finishing of the sugar chest but later in this manual we do give you a list of theproducts we used and a finishing schedule.

So, you see, each stage has its own importance and no one stage is more importantthan the other, but if undivided attention is not given to each stage, you will not have thecompleted piece you had hoped for.

We encourage you to take your time, go slowly and be patient, you WILL makemistakes and need to make corrections, we call this experience. Each project you takeon in the future will benefit from the mistakes you make today.

Throughout this manual, the right hand margin has been kept clear for note-taking. While proceeding through the project you may find it necessary for more detailedinstructions regarding the techniques being used. Some of this information can befound at the end of this manual.

Take some time, watch and enjoy the DVD set and being in the workshop with Charles,then kick back and read this manual and then make your plan of attack.

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Project Specific Materials and Supplies

Lumber: 4/4 Primary Wood8/4 Primary Wood

4/4 Secondary Wood

Hardware: 1 pair 1 5/8" x 2 ½" Butt Hinges (PB409)2 - 5/8" Knobs (H-42 with wood screw)

2 - 3" boring Drawer Pulls (H10FB with machine screw)

2 - 3 ½" boring Drawer Pulls (H10FB with machine screw)1 - Lock (LK-7)1 - Keyhole Escutcheon - (FE-7)1 - #8 Brass Slotted Wood Screw

The part numbers in parenthesis following the itemare the actual part numbers we purchase for oursugar chests from Horton Brasses Inc.

You can also ask for the brass hardware kit for theCharles Neil Sugar Chest when ordering.

Horton Brasses, Inc.49 Nooks Hill RoadCromwell, CT 06416800-754-9127www.horton-brasses.com

Consumable supplies such as glue, sandpaper, and finishingmaterials and supplies.

If you want to use the hand-forged black iron, here is the partnumbers at Horton Brasses

1 pair strap hinges - HF-10 (order 10" length for3/4" chest back thickness)2 - BK-1 Knobs with wood screws2 - BK-3 Knobs with machine screws1 - LK-7 Lock1 - H-39 inset escutcheon

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Calculating Your Lumber Needs

The Sugar Chest is the perfect project to learn to use theGolden Ratio/Golden Mean which has been used for thousandsof years. This proportion is said to make the perfect rectangleand therefore is very pleasing to the eye and allows yourfurniture grace in proportion.

The ratio to be used is 1.62 (this is rounded). In furnituredesign, we round the measurements so that we do not workwith extreme fractions of an inch.

In the Sugar Chest, all pieces work from the chest. The top andthe chest front being the most important because we want theseto be one board if possible.

So, if you have a stash that you are going to use for this projectyou need to measure the width of the widest board, this will bethe depth and height of your chest. If you aren’t working from astash and will need to purchase the lumber then you can decidewhat dimensions you want to work with.

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Parts List

Qty Part Description

A 1 Chest Top

B 2 Chest Front & Back

C 2 Chest Ends/Sides

D 1 Chest Bottom

E 1 Moldings

F 4 Legs

G 1 Base Back Skirt

H 2 Base Side Skirts

I 3 Front Face Rails

J 1 Pull-Out Front Face

K 1 Drawer Front Face

L 1 Chest Lid Support

M 6 Drawer Frame

Back/Front

N 6 Drawer Frame

Sides

O 1 Pull Out

P 2 Pull Out

Bread Board Ends

Q 2 Drawer Sides

R 2 Drawer Front/Back

S 2 Drawer Bottom

Construction note for the Chest Bottom. Because this piece iswider than the chest, and the only visibility from the outside isthe profiled edge, there are several options here.

Our preferred method of making the chest bottom is to use a

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whole panel and rout the profile directly on the chest bottom asshown in the DVD. An alternative method, as shown in the linedrawing above is to make the chest bottom about 1/8" backfrom the outside of the chest walls and to use an appliedmolding on three sides. This method is usually used whentrying to get the best yield from lumber on hand.

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DVD Set Contents

Disc 1

Chapter 1 - Processing Lumber

Chapter 2 - Laying Out Parts

Chapter 3 - Final Dimensions

Chapter 4 - Orientation of Chest

Chapter 5 - Dovetail Chest

Chapter 6 - Prepare Chest Inside

Chapter 7 - Chest Glue Up

Chapter 8 - Square and True

Chapter 9 - Define Story

Chapter 10 - Mortise Legs

Chapter 11 - Cut Tenons

Disc 2

Chapter 1 - Tapering Legs

Chapter 2 - Make Apron Bead

Chapter 3 - Glue the Base

Chapter 4 - Dovetail Top Rail

Chapter 5 - Carve and Chisel Socket

Chapter 6 - Drawer - Slide & Framework

Chapter 7 - Bread Board Slide

Chapter 8 - Biscuit/Nail Bread Board Slide

Chapter 9 - Make Drawer

Chapter 10 - Fitting Drawer

Chapter 11 - Drawer Frames

Disc 3

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Chapter 1 - Flushing Front

Chapter 2 - Drawer Bottom

Chapter 3 - Drawer Fronts

Chapter 4 - Apply Drawer Fronts

Chapter 5 - Drawer Hardware & Stops

Chapter 6 - Moldings & Chest Bottom

Disc 4

Chapter 1 - Fit and Attach Moldings

Chapter 2 - Install Lock

Chapter 3 - Set Keyhole Escutcheon

Chapter 4 - Hinge Installation

Chapter 5 - Lid Support

Chapter 6 - Overall Details

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Sanding Schedule

All construction sanding should be done with 80 grit then 120 grit and in areas that willbe difficult to reach when the piece is constructed, continue with 150 grit then 180 grit.

After the piece is constructed:

If needed in certain areas, start with 80 grit, but this is unlikely.

Start with a trace coat (diluted dye, alcohol or water) and lightly cover all surfacesthat are accessible for sanding and that will be visible in the end product. Thetrace coat allows you to see any glue residue, chip out, scratches, etc. Allow todry before beginning to sand.

Begin with 120 grit, sand all surfaces including hand sanding all areas until thetrace coat is removed and you see no signs of residue or scratches in thesurfaces to be finished.

Next, lightly trace coat all exterior surfaces, try to stay away from areas that willbe difficult to remove the trace from.

Sand with 150 grit, again, paying close attention that all scratches are removed.

Now, final sand with 180 grit, this is only a smoothing sand, all scratches, glueresidue, etc. should already be gone.

Finishing Schedule

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Old Pine Sugar Chest

General Finishes Shaker Maple Stain

One Coat Pre-Cat Flat

Light Scuff sand with 320 grit

Glaze with Van Dyke Brown

Three coats of Pre-Cat Flat Water Base

Scuffed with grain using 500 grit abralon pad

Waxed

Tiger Maple Sugar Chest

Dye with New England Maple (Gemini Coatings #DS64)Reduce with lacquer thinner - 1 quart dye to ½ quart thinner

Wipe down with damp lacquer thinner rag - allow to dry.

Wipe coat of Zinnser Seal Coat

Top Coat with 4 coats of Gemini Coatings S5989 Pre Cat Lacquer in SatinSheen

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Appendix A

Selecting and Purchasing Lumber for Your Project

One of the most important steps in your project will be selecting and purchasing thelumber. There are many reputable sawmills and each handles small retail salesdifferently. Ideally, look for a mill you are comfortable with and deal primarily with onemill We recommend that you stay away from mills that do not allow you to select yourown lumber. There are also specialty mills that cater to the discreet buyer. These millsgenerally charge a higher price for their lumber, but the service and end result are worththe extra dollars. If you do not have a planer, ask the mill if they surface the lumber, ifthey do, there is usually a nominal fee per board foot, but they will surface both sides tothe thickness you request.

Before you head out to the mill, equip yourself with some basic knowledge abouthardwood lumber grading and dimensions. Refer to the article from Oklahoma StateUniversity Extension Services also on this disc.

Determine Board Footage

To determine the board footage of a board use this simple formula:

Width in inches times length in inches divided by 144 equals board feet

example: a board that is 9" wide and 8' long would be calculated as 9" x 96"equals 864 divided by 144 equals 6 board feet.

Shopping for Lumber

What to take with you to the mill:

A measuring tape (at least 16'): You will want to measure the dimension of theboard to make sure it will fit the needs of your project and to be able to calculatethe board footage.

A calculator: To figure the board footage of the lumber you have selected.

A small hand plane: It is difficult in some cases to see the actual coloring andgrain pattern of the lumber in its rough stage, however, slight hand planing willexpose these details and assist you in selecting the right lumber.

Your cut list: You will most certainly need to make some decisions regarding thewidths and lengths of boards based on your project, so take a copy with you thatyou can refer to.

Getting the best yield from the lumber you purchase is important. Not only does it save

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you money, but it eliminates a lot of waste. Take a good look at the cut list for yourproject, try to get a good idea in your mind of what widths and lengths will work best. Make sure you know the minimum width of boards that will suit your needs. Determinethis by checking over your cut list and adding at least an inch to the widths required. For example, your minimum width board is 4" on the cut list, you should purchasenothing narrower than 5". Keep in mind any parts of your project that you may wantonly one board in, such as the panel for a door. Again, take the width from your cut listand add one inch.

Your first stop should be the One Common (1C) stack, especially if you are seekingsome character wood, either figure, wild grain, knots, etc. You will find that 1C isusually6 substantially less expensive than FAS. Often times you will be able to get thecuts of clear grain boards from 1C because you do not need the lengths and widths thatare demanded of the FAS grade.

Begin pulling boards from the stack based on the patina you are looking for as well asthe grain, don’t stop at “just enough,” because there may be some boards that after amore detailed inspection won’t work. A word of warning, don’t make yourself an enemyof the mill, make sure you re-stack their racks the way you found them after pulling yourlumber.

Now that you have a stack of rough boards, begin looking through them more carefully. Look down the board from the end for cupping and or twisting. All boards will have alittle of one or the other and sometimes both. If it is only slight, put it in the keeper pile,if it is severe, return it to the stack.

The illustration at the right is an example of acup and twist looking at the end of the board.

If the board from end to end is “cupping” or“concave/convex” it is called wain. All boardsdo this some, if it is severe, return it to therack.

Now is the time to get out your hand plane. Sort through the boards once again for patina(color) and grain likeness. Any board thatdoes not fit your criteria, return it to the rack. After this sort, determine if you have enoughlumber for your project. If not, it is time tomove to the FAS rack. Using the sameprocedure as above, begin sorting through thelumber until you have enough for your project.

Processing Rough Lumber

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There are so many ways to process the rough lumber that you have purchased at themill. How you process the lumber is determined by what equipment you have available.

All lumber must be surfaced to a thickness that is required by your project. Forinstance, 4/4 lumber in the rough is a very strong 1" thick. Most furniture projectsrequire no more than 7/8" thickness and in most cases 3/4". The lumber is milledstrong because during the drying and aging process, the boards will move, they maycup, warp, twist, etc. You must be able to get a flat board with a thickness that you canwork with and therefore you must find it within the board you have purchased.

If you do not own a planer, or know someone who will let you use theirs, you need tosee out mills who will surface the lumber on both sides. DO NOT have them surface tothe exact thickness you require, it is best to have the mill do a pass on both sides of thelumber and bring all pieces to the same thickness so you may see its grain and patina. Be sure to instruct them what your final thickness requirement is and insist that theystay “strong.”

Investing in a 12 or 12 ½ inch wide planer and perhaps a drum sander will give you thebest results in the long run. A belt sander can also be used to surface the lumber, butyou must be very careful to stay flat. And lastly you can follow the steps of ourforefathers and use hand planes.

The most important thing to remember is that the lumber you are using for your projectmust be flat and as smooth as possible during construction.

After this first processing you will be ready to rough cut your parts and pieces of yourproject. Sneak up on it and don’t just wack away cutting pieces, we firmly stand on onlycutting the exact size of the piece when you are ready to use it in your project as if thereare any mistakes in measuring or cutting, you can still adapt as needed vs. scrappingthe project and materials and starting over.

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Resources

Lumber - for nicely figured tiger maple

Bob KloesSeymour, Wisconsin920-833-7157

www.bobkloes.com

Skip HiseGood Hope HardwoodsLandenberg, PA

610-274-8842

www.goodhope.com

Finishes

General Finishes

www.generalfinishes.com

Also available at www.woodcraft.com or your local Woodcraft Store

Gemini Coatings

www.geminicoatings.com

Hardware

Horton Brasses, Inc.Cromwell, CT800-754-9127

www.horton-brasses.com

Abralon by Mirka

available at www.woodcraft.com or your local Woodcraft Store