This is the second post in a three-post series featuring images from a carousel of Don Weber’s slides, which he found while working with us on a profile for The Stick Chair Journal No. 4. These images show chairmakers, Don’s journey to the Wycombe woodlands, Don’s pole lathe and his Welsh left-handed writing chair. Captions from Don are in quotes.
Does anyone know the function of the board hanging around his neck at the shaving horse? At first I thought it was to protect his chest from the drawknife, but what might be a center indentation makes me think that maybe it’s used to push sticks into the horse or put pressure on them for some reason? My dad had and used (what we called in New England English) a “schnitzel-bunk” but I never saw him or anyone wearing something like that. Of course, it could be entirely unrelated (maybe he likes big wooden bling?) but it reminds me of the guards umpires wear under their face shields to protect their necks.
Reading up a bit on Don Weber, it might also be a rest for the butt end of a long chisel while he’s working at the pole lathe, but I can’t find any evidence of that.
Does anyone know the function of the board hanging around his neck at the shaving horse? At first I thought it was to protect his chest from the drawknife, but what might be a center indentation makes me think that maybe it’s used to push sticks into the horse or put pressure on them for some reason? My dad had and used (what we called in New England English) a “schnitzel-bunk” but I never saw him or anyone wearing something like that. Of course, it could be entirely unrelated (maybe he likes big wooden bling?) but it reminds me of the guards umpires wear under their face shields to protect their necks.
Thanks!
Reading up a bit on Don Weber, it might also be a rest for the butt end of a long chisel while he’s working at the pole lathe, but I can’t find any evidence of that.
Curious as to where the “Bodger’s Pub” was located. I couldn’t hardly read the sign of the name of the place from the picture…
“The Hampden Arms” it says on the sign:
https://www.thehampdenarms.co.uk/
Sure looks like the place.
Facts Only
* Images feature chairmakers and Don Weber.
* Content includes images of Don's journey to the Wycombe woodlands.
* Images show Don's pole lathe and his Welsh left-handed writing chair.
* Don poses questions about a board hanging around his neck at the shaving horse, speculating on its function (e.g., pushing sticks).
* A comparison is made between this item and guards' neck protection.
* Possibility was raised that the board might be a rest for a chisel while working at the pole lathe.
* A question was asked about the location of "Bodger’s Pub."
* The location was identified as "The Hampden Arms" based on a sign.
Executive Summary
Full Take
The narrative operates on a pattern of invitation and gentle inquiry, using personal experience to prompt external investigation regarding craft and labor practices. The core tension lies between observable reality (the images) and unverified functional assumptions (the board's purpose). Don’s questioning about the shaving horse equipment—ranging from practical mechanics to anecdotal comparisons—serves not as a request for a definitive answer, but as an exploration of the intersection between traditional craft, personal history, and external object function. This mirrors a pattern where expert observation is framed as collaborative mystery-solving rather than declarative statement. The shift from specific physical objects (lathe, chair) to ambiguous functional artifacts (the board) tests the reader's willingness to suspend certainty in favor of narrative engagement. The resolution regarding the pub location shifts the focus from speculative functionality back to verifiable detail. This structure implies a pattern of establishing credibility through shared curiosity, where the act of questioning itself becomes the primary mode of interaction.
Bridge questions: What underlying assumptions about traditional craft tools do we carry that lead us to seek external confirmation for these seemingly mundane objects? How does the framing of personal mystery relate to the broader discourse surrounding artisanal labor and material culture? What function does the shared uncertainty serve in building community understanding around complex historical practices?