My name is Andy Johnson. I’m a carpenter and joiner and I did my Fellowship in 1994, with Graham Campbell and Harvey Layzell who were both stone masons. I served my apprenticeship with a general building firm, Stanyon and Holmes, in Burton on Trent in Staffordshire and at Burton TechnicalCollege. During this period I achieved City and Guilds Craft certificate and Advanced Craft Certificate in carpentry and joinery. Whilst working there I met my wife, Sharon, on holiday and, after completing my apprenticeship, I moved to Petersfield in Hampshire, where our son Daniel was born. He is now 11.
After moving to Petersfield, I got a job working for a general joinery firm, Staple Ash Joinery, we produced all types of joinery from windows, doors, stairs etc. I also worked for a shopfitting firm, RPL Ltd, producing high quality shop fronts and fittings.
I started working for Tankerdale Ltd in 1991, on the conservation and restoration of oak panelling at Sutton
Place, near Guildford. This was formerly the home of John Paul Getty, and was built in 1530 by Sir Richard Weston. Whilst working on this project I met Nigel Hammet, who suggested I apply for the Fellowship and I was fortunate to be accepted onto this unique course. I really enjoyed the first two blocks on the course, opening my eyes to the wider picture of building conservation. We learnt about different stages of architecture and gained valuable knowledge from working alongside the Scholars, and hoped they learnt from us the craftsman’s perspective of looking at a project. Some of the different skills we were introduced to were flint knapping, thatching, timber framing, French polishing and lead casting, to mention just a few. We were also involved in
doing case reports on different projects. Whilst giving you an insight into other trades that you may work with on site, the Fellowshipgives you an insight as to how others might look at a project and help you to work better as an overall team on site, thus helping to conserve the building being worked on in the best way possible.
During my last block I did various things including lime plaster work with Jeoff Orton, wood carving
with Mike Painter, site management with John Baskerville, and how to run and manage different sites with Stuart Carter of Linford Bridgeman. My final placement was at Saint Paul’s Cathedral, working alongside their joiners on the everyday maintenance of the cathedral and assisting in various projects working up to Christmas. I really enjoyed my Fellowship; I think it has helped me continue my work in architectural woodwork in a manner sympathetic to the buildings’ needs, and to discuss things in a constructive way with other trades, clients and architects. I firmly believe that we are all working to conserve these buildings for future generations to enjoy, and to help pass the knowledge and skills we have gained to people wanting to become trades people, as they are the key to our country’s heritage in historic buildings. This is why The William Morris Craft Fellowship is such an important training scheme.
After completing my Fellowship, I have been privileged to work on many jobs for Tankerdale Ltd (as part of a discerning and conscientious team), including Chastleton in the Cotswolds, The Chinese House at Stowe, Buckingham Palace on the state room floors, various houses in Southern Ireland, Hardwick Hall and Bolsover Castle in Derbyshire, Kingston Lacy in Dorset, Saint George’s Church in Bloomsbury, Shaw House in Newbury, Canon’s Ashby in Northamptonshire and, most recently, an almshouse in Dartmoor. I am extremely fortunate
to work in so many different places and so many different areas. The work we do varies from panelling, doors, floors, windows, stairs and a plank and muntin screen.
It’s vital that, whatever or wherever you work, these jobs are carried out in the same manner – whether you are in a royal palace in Londonor an almshouse in Dartmoor, as they are all just as important.
After moving to Petersfield, I got a job working for a general joinery firm, Staple Ash Joinery, we produced all types of joinery from windows, doors, stairs etc. I also worked for a shopfitting firm, RPL Ltd, producing high quality shop fronts and fittings.
I started working for Tankerdale Ltd in 1991, on the conservation and restoration of oak panelling at Sutton
Place, near Guildford. This was formerly the home of John Paul Getty, and was built in 1530 by Sir Richard Weston. Whilst working on this project I met Nigel Hammet, who suggested I apply for the Fellowship and I was fortunate to be accepted onto this unique course. I really enjoyed the first two blocks on the course, opening my eyes to the wider picture of building conservation. We learnt about different stages of architecture and gained valuable knowledge from working alongside the Scholars, and hoped they learnt from us the craftsman’s perspective of looking at a project. Some of the different skills we were introduced to were flint knapping, thatching, timber framing, French polishing and lead casting, to mention just a few. We were also involved in
doing case reports on different projects. Whilst giving you an insight into other trades that you may work with on site, the Fellowshipgives you an insight as to how others might look at a project and help you to work better as an overall team on site, thus helping to conserve the building being worked on in the best way possible.
During my last block I did various things including lime plaster work with Jeoff Orton, wood carving
with Mike Painter, site management with John Baskerville, and how to run and manage different sites with Stuart Carter of Linford Bridgeman. My final placement was at Saint Paul’s Cathedral, working alongside their joiners on the everyday maintenance of the cathedral and assisting in various projects working up to Christmas. I really enjoyed my Fellowship; I think it has helped me continue my work in architectural woodwork in a manner sympathetic to the buildings’ needs, and to discuss things in a constructive way with other trades, clients and architects. I firmly believe that we are all working to conserve these buildings for future generations to enjoy, and to help pass the knowledge and skills we have gained to people wanting to become trades people, as they are the key to our country’s heritage in historic buildings. This is why The William Morris Craft Fellowship is such an important training scheme.
After completing my Fellowship, I have been privileged to work on many jobs for Tankerdale Ltd (as part of a discerning and conscientious team), including Chastleton in the Cotswolds, The Chinese House at Stowe, Buckingham Palace on the state room floors, various houses in Southern Ireland, Hardwick Hall and Bolsover Castle in Derbyshire, Kingston Lacy in Dorset, Saint George’s Church in Bloomsbury, Shaw House in Newbury, Canon’s Ashby in Northamptonshire and, most recently, an almshouse in Dartmoor. I am extremely fortunate
to work in so many different places and so many different areas. The work we do varies from panelling, doors, floors, windows, stairs and a plank and muntin screen.
It’s vital that, whatever or wherever you work, these jobs are carried out in the same manner – whether you are in a royal palace in Londonor an almshouse in Dartmoor, as they are all just as important.
 |
|
The project that we worked on in the almshouse was a plank and muntin screen, which had elm panels and an oak frame. The cill had completely rotted away, as the floor level had risen since the screen had been installed.
The bottoms of the muntins had begun to rot, and the panels had rotted half way up and been replaced with softwood horizontal tongue and grooved boards. Our job involved splicing new elm onto the panels, after consolidating the bottom edges, cutting the extension pieces to match, and cleaning these back to the undulating surfaces of the originals. We repaired the muntins in situ, and fabricated a new cill in oak. This was all installed on a d.p.m to prevent any further deterioration of the screen.
The bottoms of the muntins had begun to rot, and the panels had rotted half way up and been replaced with softwood horizontal tongue and grooved boards. Our job involved splicing new elm onto the panels, after consolidating the bottom edges, cutting the extension pieces to match, and cleaning these back to the undulating surfaces of the originals. We repaired the muntins in situ, and fabricated a new cill in oak. This was all installed on a d.p.m to prevent any further deterioration of the screen.
|
|
|
|
I was also involved in the restoration and re-siting of the Reredos, at Saint George’s in Bloomsbury, a Nicholas Hawksmoor church. The reredos was rebuilt on a new softwood platform and positioned in the niche where it was originally sited.
|
|
|
The proposal was to remove the 1973 gilding scheme and adjust the surface finish of the Reredos and its parquetry and marquetry veneered niche, and balance the appearance of the Pulpit. There were several layers
of varnish on the marquetry of the Apse, all of which were clear, unpigmented natural resin varnishes. These had
discoloured (as expected) to a brown colour.
The reinstatement of the Reredos involved:
o Finalising the location of the base in conjunction with the architect, taking the projection of the cornice to the curved wall into account; fabricating a support structure in timber and incorporating a system to move the Reredos into position, and assemble the base.
o Positioning and assembling the niche and dome, using lifting tackle.
o Designing scaffolding, lifting beam and tackle necessary to lift the heavy elements into position.
o Positioning and assembling the façade and pilasters; fitting/scribing the returns from the pilasters to the wall; fitting the columns and soffits; lifting and fitting the entablature, cornice and pediment; and adapting the structure to fit the curved walls.
o Making panel inserts to fit between the Reredos and the window architrave on each side to the top of dado height, and colouring and polishing to match.
o Extending the height of the mahogany skirting facings of the reredos, scribing to floor height, and colouring and polishing to match.
o Undertaking repairs to the existing skirting facia in the apse, including patching losses where heating ducts had been removed, and adjusting their height to the new floor level.
At Tankerdale we also do a lot of conservation and restoration of panelling. Recent projects include Bolsover Castle in Derbyshire, for English Heritage, and Kingston Lacy in Dorset, for The National Trust.
At Bolsover, all pieces of the panelling from the Caesar Room were removed from the Little Castle, with the painted panels being protected in acid free tissue and supported on boards during transportation to the workshop. A full site survey was carried out to enable us to match existing panelling. Moisture readings were taken at the Castle and compared to those in our workshop, so that the precise speed of unwrapping the panels on arrival at our workshop could be determined (if the moisture variation was high, the panels would be unwrapped gradually to allow them to slowly acclimatise to their new environment).
Once back at the workshop carefully selected and dried oak was used to produce new panel extensions, muntins, rails, skirtings, window boards and stile extensions. The rails and panels were cut into the existing ones, to whatever profile the originals dictated. These were then secured to the original sections, using stainless steel plates rather than glue (so that the work could be reversed in future without major intervention. The new oak was then coloured to match the existing.
The panels were then transported back to site, where they were refixed using existing holes in old panels, and screwed and pelleted in the new oak with stainless steel fixings. The new oak was roughly 100mm above the glass line of the windows and below.
of varnish on the marquetry of the Apse, all of which were clear, unpigmented natural resin varnishes. These had
discoloured (as expected) to a brown colour.
The reinstatement of the Reredos involved:
o Finalising the location of the base in conjunction with the architect, taking the projection of the cornice to the curved wall into account; fabricating a support structure in timber and incorporating a system to move the Reredos into position, and assemble the base.
o Positioning and assembling the niche and dome, using lifting tackle.
o Designing scaffolding, lifting beam and tackle necessary to lift the heavy elements into position.
o Positioning and assembling the façade and pilasters; fitting/scribing the returns from the pilasters to the wall; fitting the columns and soffits; lifting and fitting the entablature, cornice and pediment; and adapting the structure to fit the curved walls.
o Making panel inserts to fit between the Reredos and the window architrave on each side to the top of dado height, and colouring and polishing to match.
o Extending the height of the mahogany skirting facings of the reredos, scribing to floor height, and colouring and polishing to match.
o Undertaking repairs to the existing skirting facia in the apse, including patching losses where heating ducts had been removed, and adjusting their height to the new floor level.
At Tankerdale we also do a lot of conservation and restoration of panelling. Recent projects include Bolsover Castle in Derbyshire, for English Heritage, and Kingston Lacy in Dorset, for The National Trust.
At Bolsover, all pieces of the panelling from the Caesar Room were removed from the Little Castle, with the painted panels being protected in acid free tissue and supported on boards during transportation to the workshop. A full site survey was carried out to enable us to match existing panelling. Moisture readings were taken at the Castle and compared to those in our workshop, so that the precise speed of unwrapping the panels on arrival at our workshop could be determined (if the moisture variation was high, the panels would be unwrapped gradually to allow them to slowly acclimatise to their new environment).
Once back at the workshop carefully selected and dried oak was used to produce new panel extensions, muntins, rails, skirtings, window boards and stile extensions. The rails and panels were cut into the existing ones, to whatever profile the originals dictated. These were then secured to the original sections, using stainless steel plates rather than glue (so that the work could be reversed in future without major intervention. The new oak was then coloured to match the existing.
The panels were then transported back to site, where they were refixed using existing holes in old panels, and screwed and pelleted in the new oak with stainless steel fixings. The new oak was roughly 100mm above the glass line of the windows and below.
|
|
|
At Kingston Lacy, we removed a 6mm plywood covering, which concealed original panelling, where the
Sebastiano painting hangs in the Dining Room and we had to infill the gap in the panelling to match the existing.
Sebastiano painting hangs in the Dining Room and we had to infill the gap in the panelling to match the existing.
|
|
|
The new sections of panelling, framework and mouldings were constructed in cedar and oak, to exactly match the dimensions, profiles and cross-sections of the original. The new rails were machined grooves to accommodate the new panels in the correct orientation, and the joints between muntins, rails and stiles were generally joined with mortice and tenon joints as originally, apart from the rails to the right side of the
original stilewhich were butt-jointed, with plywood ‘plates’ securing them from behind.
Following alterations in 1986, when tenons had to be sawn through to release the two currently stored panelling sections, these were re-attached using plywood plates, screwed and glued from behind with fish glue (reversible). New panel surround and astragal mouldings were machined, coloured and polished to exactly match the originals, and fitted on site following installation of the panelling, using fine moulding pins as were used originally.
The original studwork wall framing survives behind the panelling, and this was used to provide secure fixings for the panelling framing, with purpose-made spacing blocks and packers fitted in between. Where the new securing fixings for hanging the suspension chains for the Sebastiano (and temporary hanging of the Tintoretto) were to be fixed, appropriate blocks were screwed and glued to the back of the framing and into the studwork to reinforce it.
original stilewhich were butt-jointed, with plywood ‘plates’ securing them from behind.
Following alterations in 1986, when tenons had to be sawn through to release the two currently stored panelling sections, these were re-attached using plywood plates, screwed and glued from behind with fish glue (reversible). New panel surround and astragal mouldings were machined, coloured and polished to exactly match the originals, and fitted on site following installation of the panelling, using fine moulding pins as were used originally.
The original studwork wall framing survives behind the panelling, and this was used to provide secure fixings for the panelling framing, with purpose-made spacing blocks and packers fitted in between. Where the new securing fixings for hanging the suspension chains for the Sebastiano (and temporary hanging of the Tintoretto) were to be fixed, appropriate blocks were screwed and glued to the back of the framing and into the studwork to reinforce it.
|
|
|
|
The repair of floors also seems to occur on quite a regular basis. Whether this involves advice on the correct way to lift floors or the repair of damaged floors, historic wooden floors are often overlooked. It is vital that, when a project is being proposed, the right people are consulted from the outset. In the case of floors and the installation of new services, routes should be planned carefully to minimise the need for intervention, using
existing access traps wherever possible, and only lifting what is really necessary (always asking the question: “Do we need to lift these boards at all?”). We should be aiming to preserve the integrity of the whole building in the best way possible.
I am also involved in The William Morris Craft Fellowship Trust as one of the three founding members, being myself, Tom Flemons and Sarah Pennal. We are all trades people who have completed the Fellowship, and want to give something back for the unique opportunity we have received, and to help in the continued survival of the Fellowship. I really enjoy my work, with the new challenges it offers daily, and I feel that you never stop learning, no matter where or what you do.
existing access traps wherever possible, and only lifting what is really necessary (always asking the question: “Do we need to lift these boards at all?”). We should be aiming to preserve the integrity of the whole building in the best way possible.
I am also involved in The William Morris Craft Fellowship Trust as one of the three founding members, being myself, Tom Flemons and Sarah Pennal. We are all trades people who have completed the Fellowship, and want to give something back for the unique opportunity we have received, and to help in the continued survival of the Fellowship. I really enjoy my work, with the new challenges it offers daily, and I feel that you never stop learning, no matter where or what you do.