During the last 30 years I have journeyed to every corner of our country to visit people who have mastered unique aspects of woodworking. But I didn't have to go far from home to meet one of the most impressive artisans ever, master woodworker George Reid of Kettering, Ohio.

Reid and I have been good friends for 18 years, and I never will forget the first time I walked into the Reid home. Heirloom antiques adorned every room. Because I collect antique furniture, I quickly calculated that Reid had a king's ransom in antiques in his modest home. But then came the real shock: Reid told me they weren't antiques. He had made them all.

Photos by Christopher Schwarz

Reid's eye for proportion and dimension not only gives him the ability to build reproduction Chippendale, Queen Anne, Sheraton, Hepplewhite and other classic furniture styles (both full-size and exquisite miniatures) — it has given him the grace to carve them beautifully. His carving is what sets him apart from just about any other cabinetmaker I know. Lots of folks can build the furniture; few can really master the carving.

Other than his signature and date on every custom piece, you cannot distinguish his work from museum originals. Even more impressive, Reid doesn't just make copies. He has studied the classical furniture styles to a degree where he can think and design like an 18th century cabinetmaker. He can handle sensitive furniture restoration, as well as design new pieces in the classic styles, sometimes even adding additional detail that would be appropriate for that period.

From the Farm to the Woodshop

Raised on a family farm near Fletcher, Ohio (the farm is still in his family), Reid grew up with a strong work ethic. If you wanted something, you made it; and the milking stool that was his first woodworking project is still in his den being used as a footstool.

Working with his hands on the farm led to a love of wooden models, including his perfectly built scale model of a stagecoach. That model was eventually shown to folks at Wright Field (now Wright-Patterson Air Force Base) in Dayton, Ohio. Impressed, the Army Air Corp hired Reid to make scale airplane models for use as training props and for movies during World War II. The original stagecoach is still on display in his home.

After the war, Reid made the acquaintance of a local businessman who was selling the newest hi-fi components in his store in downtown Dayton. His customers were anxious for the radio pieces, but they wanted them housed in cabinets that would complement their existing furniture. Reid started building these cabinets, many matching quality furniture pieces, and that work led to a study, and love, of furniture styles.

He has always worked by referral only, no walk-in trade. His practical head for business led him to always keep detailed records on how many hours each job took so he was able to charge an accurate price that was both fair and rewarding.

After making furniture for a very prosperous golf pro, the stream of new customers was continuous. Word of mouth from happy customers (who always turned into lifelong friends) still keeps him busy in his shop on weekdays and some Saturdays.

Modest Shop, Modest Tools

When you stop by to see George in his 28' by 32' basement shop, you'll likely find him wearing his white shop apron. In the breast pocket is the folding carpenter's rule that was issued to him at Wright Field during the war. He uses it every day, but he comments that it has gotten a little too close to the saw once or twice, pointing out the nicks.

The pictures shown here represent a small portion of the work Reid has created, working in the same shop for 60 years. It should humble all woodworkers who complain about not having enough space or tools.

The machines in his shop are mostly late 1940s vintage, which he purchased new shortly after leaving Wright Field. They are in immaculate condition, and many still have the original manuals hanging handy. The shop itself is just as meticulously maintained. Chalk that up to necessary organization for working in a small space, and to avoiding tracking dust all over the house.

As you peer around his shop, your eye takes in clamps neatly stored in the basement joists. His original workbench (with a white oak top) is still as sturdy as the day he made it 60 years ago, and it sees continuous use. This is where he does almost all of his carving, including period ball-and-claw legs and bombe chest miniatures.

His first major purchase was a 1941 Delta tilt-top table saw. It was his only table saw until he received a Delta Unisaw in 1997. The tilt saw is still used right alongside the Unisaw. Most of his Delta tools were purchased in the 1940s and are still used to make furniture. A Delta benchtop drill press near his bench has been upgraded with a balanced pulley and Powertwist belt. His Delta shaper has performed flawlessly for years, to the point that he doesn't own a router.

A sanding station is positioned near a heavy-duty shop vacuum to save time sanding. He keeps his shop orderly by doing a thorough cleaning once a day. Ultimately there is no substitute for elbow grease.

A 12" Boice-Crane planer, a Craftsman 1940s band saw and lathe, a 6" Delta benchtop jointer by a smaller workbench and a Delta jigsaw (scroll saw to us today) round out the list of stationary machines.

His small power tools are limited to a couple of vintage corded drills, a belt sander, finishing sander, a rotary flat-top oilstone grinder and a few other common corded tools.

Hand Tools Make the Difference

Reid's hand tools are his prize possessions and are the tools that let his skills shine. They are decades old, but in better shape than when new because of his years of care.

His hand tools include a selection of more than 300 great carving chisels, most from one set he purchased from the son of a leading woodcarver of Pullman train cars. It's an amazing set that's been used to carve ornately detailed period reproductions for many years. Many of Reid's reproductions are built directly from measured drawings of original museum pieces drafted by renowned furniture designer and craftsman Lester Margon in the 1930s, and later published in the 1940s.

When asked what work he respects, George cites the Garvan collection of period furniture at Yale University as the "purest" American collection to be found. Reid credits Francis Garvan for purchasing a piece of furniture only after it was first thoroughly inspected by a master cabinetmaker.

The most important lesson George shares with other woodworkers is to study design every chance you get, in museums, books, plans and magazines. Pay particular attention to dimension, scale and proportions. Take time to understand the designs you are interested in, and just build it.

Reid is a renaissance man who will never stop exploring and learning. Congratulations on creating some of the most awe-inspiring woodworking ever seen, and a woodshop that is still growing and thriving after more than 60 years — an accomplishment that few individuals can boast. PW

Woodworkers love to see the shops of other woodworkers. And few people see as many notable shops as Scott Phillips, host of PBS' "The American Woodshop." In every issue of Popular Woodworking, Phillips takes you inside the shops of some of the finest craftsmen (and women) in America. You can see more about George Reid's work and shop in episode #1001 of "The American Woodshop" on your local PBS station. Or you can visit Woodcraft Supply (woodcraft.com) to purchase a videotape of any of "The American Woodshop" programs.

More on Lester Margon

After seeing some of the amazing detailed Lester Margon drawings George Reid uses for his work, we wanted to see and know more. If you'd like to see his work, his "Construction of American Furniture Treasures" is available as a reprint in paperback from Cambium books for $12.95. Visit Cambium's web site at cambuimbooks.com or call 800-238-7724 for information.