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The Sugar Chest/Cellaret
Project Reference Manual
email: workshopofcharlesnei[email protected]
website: www.antiquesbuiltdaily.com
Text, Illustrations Copyright 2008 The Workshop of Charles Neil
All Rights Reserved
April 2008
Dear Woodworker:
The sugar chest has always been a rewarding build for me. Its straight forward
construction as well as its simple beauty have always made it a joy to do and now, with
a 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. There
are so many sound/solid techniques used that it will surely expand the advanced
woodworker and bring the novice further than say any single project that I know of. It
has always been my favorite teaching project. So, no matter what your skill level, this is
a winner.
Not only has the chest been a favorite of mine, it has been a huge hit with my
clients, 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 a
question, please email me and once you have mastered the chest, pass it on so other
generations 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. .............................................. 1 0
Finishing Schedule............................................... 1 1
Bonus Material
Selecting and Purchasing Lumber. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 2
Processing Rough Lumber. .................................. 1 4
Resources . .................................................. 1 5
-1-
The Sugar Chest/Cellaret
Why do we call the same piece two different names?
Because the most common form of a sugar chest
outwardly resembles a cellaret or bottle case. The main
difference in the two pieces is the dividers inside the
chest. A cellaret usually was divided by partitions that
separated 12 to 16 bottles and a sugar chest, if divided
at all, only had two or three compartments for storing
different types of sugar, sometimes coffee, tea and
spices.
The original piece that we fashioned our piece after was
a sugar chest that had no dividers. When making this
project you decide for yourself whether you want to
divide the chest and make a cellaret or have no dividers
as was the case with most sugar chests. So throughout this manual we will refer to the
piece as a sugar chest.
Now, the form of the sugar chest is a large wooden box, usually on a floor standing
base. It was a popular furniture form in the southern United States in the 18 and 19
th th
centuries. It was attractive and often displayed in the dining room. Most of the sugar
used in North America during the 19 century was imported making it a luxury product
th
used mostly by the wealthy.
The less affluent used honey, molasses or maple syrup as a sweetener. The sugar
was processed in cone-shaped clay molds that removed the syrup from the raw sugar
and made loaves of sugar crystals. The housewife purchased the expensive cone or
loaf and carefully cut into lumps using a sugar nipper. The locked chest protected the
sugar from insects and theft! The nippers were stored in the drawer below along with a
ledger in which the household’s consumption was recorded.
When the processing of sugar changed in the 1850's, and the new methods made it
inexpensive for most Americans, the sugar chest was no longer needed. Few people
today recognize and old sugar chest. It is often thought to be a jewelry chest or sewing
chest. 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 and
reproduction sugar nippers here is the only source I found:
Jas. Townsend & Son, Inc.
133 North First Street
PO Box 415-W
Pierceton, IN 46562
www.jas-townsend.com
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Introduction
The sugar chest is a fun project that will provide you with an heirloom piece when
completed. This project book is a companion to our DVD, “In the Workshop with
Charles 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 you
retain what you saw in the DVD. It also gives you more in-depth reference material
such as basic dimensions, line drawings, etc.
Sometimes in the course of building every day, there are little details that are very
important but sometimes come so naturally that we overlook including them in the
directions, 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 lastly
5. The finishing stage.
The rough lumber stage is a stack of boards that have no real purpose except to the
woodworker. 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. The
value of the piece is increased if you use as few glued-up panels as possible. You will
find that 10" and wider boards cost more than random width, but increases the value of
the finished piece tremendously. Using matched boards also will enhance the finished
piece.
The parts and pieces stage is exactly what it says, parts and pieces. During this stage
of your woodworking, you need to take time to grain and color match pieces that
integrate with each other, paying close attention at this stage will be evident in the end
result.
The construction stage is where you shine as a woodworker. It is very important that
you use traditional joinery, (it does matter whether you use a pegged mortise and tenon
joint or screws and plug the holes). Pay close attention to all details, such as flush (not
almost flush), square, so everything works together properly. If I’ve said it once I’ve
said it a thousand times, details count!
The sanding stage can ruin the piece that has been constructed beautifully if attention
is not paid to the details. Wood can only be sanded so smooth so you must take care
in sanding (not over-sanding) to insure that flat stays flat and details of construction are
not changed. You must sand out all scratches, planer snipes, etc. All sharp edges
must be toned down for finishing, not eliminated. Our DVD does not go into detail
-3-
about how to sand your project. If you need help in learning to sand, we do have a
DVD available “Building to Finish - Sanding and Smoothing”
The finishing stage is what the other see and feel first. If you have a sloppy finish it
doesn’t matter how well the piece has been crafted, it will not appeal to the human
senses of sight and touch. A premier finish is not as simple as many think. If you can’t
finish, 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 opened
thousands of eyes to finishing your woodworking projects. In this DVD we do not go
into the finishing of the sugar chest but later in this manual we do give you a list of the
products we used and a finishing schedule.
So, you see, each stage has its own importance and no one stage is more important
than the other, but if undivided attention is not given to each stage, you will not have the
completed piece you had hoped for.
We encourage you to take your time, go slowly and be patient, you WILL make
mistakes and need to make corrections, we call this experience. Each project you take
on 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 detailed
instructions regarding the techniques being used. Some of this information can be
found 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.
-4-
Project Specific Materials and Supplies
Lumber: 4/4 Primary Wood
8/4 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 item
are the actual part numbers we purchase for our
sugar chests from Horton Brasses Inc.
You can also ask for the brass hardware kit for the
Charles Neil Sugar Chest when ordering.
Horton Brasses, Inc.
49 Nooks Hill Road
Cromwell, CT 06416
800-754-9127
www.horton-brasses.com
Consumable supplies such as glue, sandpaper, and finishing
materials and supplies.
If you want to use the hand-forged black iron, here is the part
numbers at Horton Brasses
1 pair strap hinges - HF-10 (order 10" length for
3/4" chest back thickness)
2 - BK-1 Knobs with wood screws
2 - BK-3 Knobs with machine screws
1 - LK-7 Lock
1 - H-39 inset escutcheon
-5-
Calculating Your Lumber Needs
The Sugar Chest is the perfect project to learn to use the
Golden Ratio/Golden Mean which has been used for thousands
of years. This proportion is said to make the perfect rectangle
and therefore is very pleasing to the eye and allows your
furniture grace in proportion.
The ratio to be used is 1.62 (this is rounded). In furniture
design, we round the measurements so that we do not work
with extreme fractions of an inch.
In the Sugar Chest, all pieces work from the chest. The top and
the chest front being the most important because we want these
to be one board if possible.
So, if you have a stash that you are going to use for this project
you need to measure the width of the widest board, this will be
the depth and height of your chest. If you aren’t working from a
stash and will need to purchase the lumber then you can decide
what dimensions you want to work with.
-6-
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 is
wider than the chest, and the only visibility from the outside is
the 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 as
shown in the DVD. An alternative method, as shown in the line
drawing above is to make the chest bottom about 1/8" back
from the outside of the chest walls and to use an applied
molding on three sides. This method is usually used when
trying to get the best yield from lumber on hand.
-8-
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
-9-
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
-10-
Sanding Schedule
All construction sanding should be done with 80 grit then 120 grit and in areas that will
be 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 surfaces
that are accessible for sanding and that will be visible in the end product. The
trace coat allows you to see any glue residue, chip out, scratches, etc. Allow to
dry before beginning to sand.
Begin with 120 grit, sand all surfaces including hand sanding all areas until the
trace coat is removed and you see no signs of residue or scratches in the
surfaces to be finished.
Next, lightly trace coat all exterior surfaces, try to stay away from areas that will
be 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, glue
residue, etc. should already be gone.
Finishing Schedule
-11-
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 Satin
Sheen
-12-
Appendix A
Selecting and Purchasing Lumber for Your Project
One of the most important steps in your project will be selecting and purchasing the
lumber. There are many reputable sawmills and each handles small retail sales
differently. Ideally, look for a mill you are comfortable with and deal primarily with one
mill We recommend that you stay away from mills that do not allow you to select your
own lumber. There are also specialty mills that cater to the discreet buyer. These mills
generally charge a higher price for their lumber, but the service and end result are worth
the extra dollars. If you do not have a planer, ask the mill if they surface the lumber, if
they do, there is usually a nominal fee per board foot, but they will surface both sides to
the thickness you request.
Before you head out to the mill, equip yourself with some basic knowledge about
hardwood lumber grading and dimensions. Refer to the article from Oklahoma State
University 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 the
board to make sure it will fit the needs of your project and to be able to calculate
the 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 and
grain pattern of the lumber in its rough stage, however, slight hand planing will
expose these details and assist you in selecting the right lumber.
Your cut list: You will most certainly need to make some decisions regarding the
widths and lengths of boards based on your project, so take a copy with you that
you 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 your
project, 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. Determine
this 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 purchase
nothing narrower than 5". Keep in mind any parts of your project that you may want
only one board in, such as the panel for a door. Again, take the width from your cut list
and add one inch.
Your first stop should be the One Common (1C) stack, especially if you are seeking
some character wood, either figure, wild grain, knots, etc. You will find that 1C is
usually6 substantially less expensive than FAS. Often times you will be able to get the
cuts of clear grain boards from 1C because you do not need the lengths and widths that
are demanded of the FAS grade.
Begin pulling boards from the stack based on the patina you are looking for as well as
the grain, don’t stop at “just enough,” because there may be some boards that after a
more detailed inspection won’t work. A word of warning, don’t make yourself an enemy
of the mill, make sure you re-stack their racks the way you found them after pulling your
lumber.
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 a
little 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 a
cup 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 boards
do this some, if it is severe, return it to the
rack.
Now is the time to get out your hand plane.
Sort through the boards once again for patina
(color) and grain likeness. Any board that
does not fit your criteria, return it to the rack.
After this sort, determine if you have enough
lumber for your project. If not, it is time to
move to the FAS rack. Using the same
procedure as above, begin sorting through the
lumber 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 the
mill. 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. For
instance, 4/4 lumber in the rough is a very strong 1" thick. Most furniture projects
require no more than 7/8" thickness and in most cases 3/4". The lumber is milled
strong because during the drying and aging process, the boards will move, they may
cup, warp, twist, etc. You must be able to get a flat board with a thickness that you can
work 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 to
see out mills who will surface the lumber on both sides. DO NOT have them surface to
the exact thickness you require, it is best to have the mill do a pass on both sides of the
lumber 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 they
stay “strong.”
Investing in a 12 or 12 ½ inch wide planer and perhaps a drum sander will give you the
best results in the long run. A belt sander can also be used to surface the lumber, but
you must be very careful to stay flat. And lastly you can follow the steps of our
forefathers and use hand planes.
The most important thing to remember is that the lumber you are using for your project
must 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 your
project. Sneak up on it and don’t just wack away cutting pieces, we firmly stand on only
cutting the exact size of the piece when you are ready to use it in your project as if there
are any mistakes in measuring or cutting, you can still adapt as needed vs. scrapping
the project and materials and starting over.
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Resources
Lumber - for nicely figured tiger maple
Bob Kloes
Seymour, Wisconsin
920-833-7157
www.bobkloes.com
Skip Hise
Good Hope Hardwoods
Landenberg, 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, CT
800-754-9127
www.horton-brasses.com
Abralon by Mirka
available at www.woodcraft.com or your local Woodcraft Store
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