Thread: A cutlery box in a Georgian style

Thanks Wendy and Wongo
To give you an idea of how the cutlery will fit, here are some photos that will explain it.
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This is a test panel cut from plywood to test the arrangement. (Note that I snapped this shot with the panel upside down in the sawing jig. When it sits the right way up it's at the correct angle to cut with the saw held horizontally). The panel needs to hold a 12 place setting. I fell just short, with no room for the 2 serving knife thingamejigs and 4 small meat serving forks. If I extend the panel a little they can sit at the back and the rest of the setout is preserved. Then I just need to make the 'real' box a little deeper F to B. I like the tight arrangement of the cutlery, but it will be one heavy box well kitted out. Alternatively, I could make a pair of boxes and put a half set in each. I am worried this will leave the panels looking rather sparsely popluated and give the effect that not much thought went into the planning.

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The items do not hang from the panel, they will sit on a platform of partitions underneath, which I have not made yet, and this will make everything sit uniformly. Here is 12 dessert spoons and 12 teaspoons. 12 knives and forks are above the D spoons and 12 cake forks are above the teaspoons.

Cram them in Michael; the Georgians didn't leave much space.

Very beautiful work! I love the "plain"ness!

(Wonder if I could do a turned thingy for Kings Pattern my cutlery set I got for $10 from the market? How were the inerds of those constructed Woodwould? )

Originally Posted by tea lady

Very beautiful work! I love the "plain"ness!

(Wonder if I could do a turned thingy for Kings Pattern my cutlery set I got for $10 from the market? How were the inerds of those constructed Woodwould? )

Cutlery urns were constructed from glued segments and then turned. The innards consisted of a thin board similar to Michael's with cutouts for the individual pieces of flatware and cutlery. There are various blocks glued to an internal platform to support the different lengths of the pieces. The platform rests on an integral ledge which is part of each segment.

Some cutlery urn lids were hinged, but the majority of the ones I've seen are attached to a post (like a stout dowel) which is withdrawn vertically. A stop on the post halts the upward travel and the lid and post are then rotated 90° which locks the lid in the open position for access to the cutlery. It's a lot simpler than it sounds.

Originally Posted by Woodwould

Cutlery urns were constructed from glued segments and then turned. The innards consisted of a thin board similar to Michael's with cutouts for the individual pieces of flatware and cutlery. There are various blocks glued to an internal platform to support the different lengths of the pieces. The platform rests on an integral ledge which is part of each segment.

Some cutlery urn lids were hinged, but the majority of the ones I've seen are attached to a post (like a stout dowel) which is withdrawn vertically. A stop on the post halts the upward travel and the lid and post are then rotated 90° which locks the lid in the open position for access to the cutlery. It's a lot simpler than it sounds.

Will ponder and do some thumbnail sketches.

Why would you draw on your thumbnail?

Originally Posted by Cliff Rogers

Why would you draw on your thumbnail?

I'm drawing WITH my thumbnail!

Can't afford a pencil?

The talent shines in another direction Mic!! lovely piece!!

Thanks Artme. Blame it on Woodwould, I reckon he might have started the Australian Georgian revival period. I'd like to do some more and maybe Tea Lady too and... how many would we need to start the revival?

A day of failures today building the partitions. I thought I was building what was needed but it turns out it was a dead end street, so back to the drawing board tomorrow.

I discovered after building a gallery of partitions to support the silverware that it was not going to work. The items are too crammed in to allow it. So I hung nearly all the items in the sawing jig again and looked for other ideas.
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It quickly became apparent that the only way to do it was with a series of stages that would support the items at the correct relative height.
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To get the stages to the right height within the box, without adding too much weight, I constructed this rude torsion box from scrap spruce.
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Finally I added a lipping to all the stages to retain the items.
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I haven't put it to the acid test yet in case it deflated my currently inflated state

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Ah cool!

"The next box will include banding and marquetry and so won't be so plain.[/QUOTE]"

Hi Mic,
I am going to repeat what others already told you but.... It looks very impressive! I do like the finished product, and I enjoyed even more the photos of the construction. That was awesome!

(on a totally different note: can I ask you what are the bits hanging out from your wax/hide glue lid? Looked interesting. You drilled the lid then.... ?)

If you plan to do some marquetry on your next box, my comment would be to put an extra layer of veneer on the bare timber, with changing grain direction. It helps not to split the veneer with time. Veneering solid timber on a long term never really works well, but two layers are good. So if you put the effort and time for marquetry why not make the base stable?
Others may have different opinion, but that is what I think.
My other comment is about banding: hope you not going to buy them. You can make much better quality. Don't spoil your work with commercial banding .

Looking forward to see the next box.

Originally Posted by katbobkat

"The next box will include banding and marquetry and so won't be so plain."

Hi Mic,
I am going to repeat what others already told you but.... It looks very impressive! I do like the finished product, and I enjoyed even more the photos of the construction. That was awesome!

(on a totally different note: can I ask you what are the bits hanging out from your wax/hide glue lid? Looked interesting. You drilled the lid then.... ?)

If you plan to do some marquetry on your next box, my comment would be to put an extra layer of veneer on the bare timber, with changing grain direction. It helps not to split the veneer with time. Veneering solid timber on a long term never really works well, but two layers are good. So if you put the effort and time for marquetry why not make the base stable?
Others may have different opinion, but that is what I think.
My other comment is about banding: hope you not going to buy them. You can make much better quality. Don't spoil your work with commercial banding .

Looking forward to see the next box.

Hi and thanks!
You can see a brush and a candy thermometer sticking out of two holes I drilled in the wax pot. I only used the thermometer to calibrate the pot, now I hardly look at it as the pot has very good temperature control.
Thanks for the tips and regards the banding, I'm looking at making my own.