Beautiful & practical wooden bowls and plates created using a foot powered pole lathe

Woodi

Turning a bowl on the pole lathe

Turning a wooden bowl on a pole lathe from Steven Byrne on Vimeo.

This quick video shows the process of taking half a log, shaping it and then turning it on the pole lathe with hook tools, to produce a finished bowl.

Bowlturning in Ireland

As bowl turning using pole-lathes effectively died out in Ireland in the 1930's, there remains little written material relating to the craft. We are fortunate that what little there is has been previously summarised by Megan MacManus in "Tools & Trades"(The Journal of the tool and trades history society, Vol1, 1983).

As in the UK, archaeological evidence would suggest that bowls have been turned on pole lathes in Ireland for centuries, and a number of bowl 'blanks' - unturned but roughly prepared pieces of timber have turned up in various parts of Ireland.

Until comparatively recently, wooden bowls and plates would have been used by the majority of the population, and it seems that in most cases, each person would have carried their own bowl, perhaps for many years. Relatively few remain, presumably because a broken or damaged bowl would simply be burned on the fire.

The best documented Irish bowl turning family are the Hughes, of Armagh. We are extraordinarily fortunate that they had the foresight to write a letter to the Irish Homespun Society describing their tools, methods, and what they knew of other bowl turners.

Joseph Hughes pictured at his lathe - photo courtesy of Belfast Telegraph

The Hughes family originated in the village of Glasslough in County Monaghan where four brothers practised as turners. One of the brothers, Felix moved to Armagh where he and his sons continued to use the pole lathe. Before they died, the last of these sons - Joseph and Frank wrote a letter to An Cumann Sniomhachain describing their craft. Frank died in 1964, the last of the Irish pole lathe bowl turners.

In their letter they describe the lathe, pictured above in 1936. The uprights of this substantial lathe are made from lengths of telegraph pole, set into the ground - a design that I have largely replicated in my own bowl lathe.

Tools (or 'irons' as they are described)

Joseph Hughes' tools are kept at the Ulster Folk and Transport museum, and include a wide variety of hook tools, presumably made by the Hughes themselves although they do not specify whether this was the case in their letter.

Frank and Joseph describe how the tools are made mostly from worn out files, which were shaped and filed to an edge before being reheated and the tip bent over to form a hook. They were then tempered, honed and ready for use.

They describe how the outer face of the bowl is finished first with a series of 'backing hooks', before the blank was reversed and a straight 'enterer' tool used, presumably to flatten the upper face and begin the cut into the blank. At this point a series of 'bottom irons' was used to continue the cut. They mention that as many as 5 bowls could be made from one blank so presumably much of their work was in producing nests of bowls. Not to neccesarily form a set, but merely to reduce wastage and get as much out of one piece of wood as possible.

They also mention that the outer faces were finished with 'a small piece of broken glass and with glasspaper', and sold immediately. This contrasts with many other turners whose work was finished 'off the tool', and no abrasives used.

The Loftus Family

Born in Borrisokane in 1855, James Loftus learned woodturning from his father. The tools he used were made in the local forge in Borrisokane and James himself tempered and ground them.

James mainly manufactured dairy utensils, small churns and butter prints on which he hand carved his own designs. However he also made wooden pails, dishes, flower and shrub planters, centre pieces exquisitely carved for the ceilings of country houses and elegant furniture with turned legs.

During the Great War he did a great deal of trade with wholesalers in Dublin, Cork and Limerick, because of the shortage of metal which was needed for the war effort. It was not unusual for him to send a selection of sixty or seventy dozen articles to any one of these firms at a time.

James practised this ancient craft for more than sixty years, up until his death in 1933.

In 1935 two years after his death representatives of the National Museum of Ireland visted his small factory in Borrisokane and with the consent of his family they took the lathe to the museum in Kildare St, Dublin. The family also donated his tools and a selection of small items manufactured on the lathe. The lathe and these items remain in the possession of the National Museum.

Other Bowlturners

Little is known about other bowlturners in Ireland, save for this description given by the Hughes brothers in their letter:

"Upwards of 70 years ago there were woodturners in Kerry, at least there was one also in Tipperary, there was one or more and to come to a later period over 60 years ago, there were at least two turners named MacFaddan's who resided in Forkhill, Co.Armagh. At that time there was also a turner in Westmeath, and in Co.Monaghan, near Glasslough were eight, another MacFaddan and two sons, my father and his three brothers, and yet there was still another MacFadden who came from Derry. I should mention that none of the MacFaddans were related in any way except of course father and sons. I remember over 25 years ago a woodturner came to Armagh and called with my father, he turned a few small cops, he was a Tipperary man. My father's brother one of the turners still lives but he is now over 80 years old."

Exactly how many we shall never know, but one suspects that there is a great deal about Ireland's bowlturning history that has yet to be discovered.

If you have any information that you feel might be of interest, do let us know. For a definitive guide to the history of the wooden bowl and bowlturning, Robin Wood's excellent book 'The Wooden Bowl' is well worth a read.

References
Tools and Trades, the journal of the Tool and Trades History Society - MacManus, Emma - 1983.
The Loftus Family of Galway, Tipperary and Glasgow - Bridget Cassidy - http://www.esatclear.ie/~brib/loftus.htm
Belfast Telegraph - Photograph of Joseph Hughes
Many thanks to the Ulster Folk and Transport Museum for allowing me access to their collection.
National Museum Ireland - Photograph of Loftus materials

Why are these bowls so special?

Although bowls may be very similar, each one reflects the individual personality of the piece of wood from which it was made. The finish on each bowl is that left by the cutting tool, and no abrasives are used to smooth the surface, which relies on sharp tools for its finish.

Is is safe to eat from wooden bowls and plates?

Yes. Some research has been done by Dr. Dean Cliver at the University of California comparing wooden and plastic chopping boards and he concluded that "disease bacteria ... were not recoverable from wooden surfaces in a short time after they were applied, unless very large numbers were used. Wooden boards that had been used and had many knife cuts acted almost the same as new wood, whereas plastic surfaces that were knife-scarred were impossible to clean and disinfect manually".

How should I care for my wooden bowls and plates?

They are pretty tough, so you can wash and dry them as normal, and give them a wipe with some walnut oil, or if you are concerned about nut allergies, some sunflower oil.

Can I learn how to make my own?

Well, the beauty of a pole lathe is that you can make your own and have a go. The best place to look for information is the Association of Pole Lathe Turners. If you would like to try your hand, why not take a look at our courses

I have special requirements, can you help?

Definitely. Give me a call on 07833997586 or email - This e-mail address is being protected from spambots. You need JavaScript enabled to view it

The Heritage Crafts Association

The Heritage Crafts Association is the advocacy body for traditional heritage crafts. Working in partnership with Government and key agencies, it provides a focus for craftspeople, groups, societies and guilds, as well as individuals who care about the loss of traditional crafts skills, and works towards a healthy and sustainable framework for the future.

Although based in England, it is important that craftspeople across Northern Ireland and Ireland become involved - we need an advocacy body, and the HCA is making a real difference.

Unesco and Intangible Cultural Heritage

In 2003, UNESCO adopted a Convention for the Safeguarding of Intangible Cultural Heritage, including 'traditional craftsmanship'. It stated:

"Any efforts to safeguard traditional craftsmanship must focus not on preserving craft objects - no matter how beautiful, precious, rare or important they might be - but on creating conditions that will encourage artisans to continue to produce crafts of all kinds, and to transmit their skills and knowledge to others."

107 countries from Albania and Algeria to Zambia and Zimbabwe have signed up to the convention, effectively making Intangible Cultural Heritage part of their cultural policy. Unfortunately, neither Ireland the UK is not one of them.