Furniture Masters 2013 Designbook

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Contents Furniture Masterworks 2013: A Celebration For members of the New Hampshire Furniture Masters Association (NHFMA), building furniture is not simply a job, but a way of life. Each of the masters spends long hours in his studio, designing and building the exquisite pieces of furniture you see exhibited in the Furniture Masters’ Concord gallery and in exhibitions throughout the region. Some pieces are unique works that are commissioned by clients, while others are speculative pieces created by the masters to demonstrate their creativity and exceptional skill in the art of fine furniture making. We have gathered a selection of these works in the annual yearbook that you hold in your hands. Our intent is to underscore the ongoing nature of the Furniture Masters’ pursuits—they are creating magnificent furniture year-round. The pieces depicted in these pages are a representative sample of the Furniture Masters’ creative output over the course of the last year. This annual yearbook does not necessarily reflect every item you will see at the October 27 event, “ Furniture Masterworks 2013: A Celebration,” at the Wentworth by the Sea Hotel. Some pieces have been made with this grand exhibit in mind, while others were created to be displayed during the course of the exhibition season. Please note that every piece is for sale throughout the season and may sell at any point. Pieces may appear at the celebration on October 27, or by that time they may be in a savvy collector’s home or office. With this in mind, please enjoy this year’s dazzling collection of works, and remember, if you see something you like, it can be yours today!

NHFMA Gallery 4 Exhibition 5 Lead Sponsors 6 Message from the 8 2013 Furniture Masters 9 Gary 10 Ted Blachly 11 Aurelio 12 Jon 13 John Cameron 14 Timothy Coleman 15 Jeffrey Cooper 16 Garrett Hack 17 David 18 David Leach 19 Tom 20 Sam Norris 21 Richard 22 Brian 23 William Thomas 24 A. Thomas 25 Emerging Artists 26 Education 30 Contributors 32 All photos are by Bill Truslow, except where noted.


Terry Moore’s Carlton House Desk represents his take on a traditional form. While visiting family in Wales, Moore stumbled across a beautiful antique Carlton House Desk and the idea of melding his desk design with the traditional Carlton House concept was born. “I changed the leg profile because I knew that my standard fluted leg was rather delicate, and adding the extra weight of the top compartments would require extra support. I was also very fortunate to have found some highly figured rosewood veneer that was just begging to be used in a project like this.”



Photo by Ted Blachly

In June of 2012, the Furniture Masters realized a longtime dream—the establishment of a permanent gallery in which to display their work. The gallery occupies a premier spot in the “Smile” building at 49 South Main Street in Concord, New Hampshire, located within the Concord Chamber of Commerce’s new Welcome Center and across from the League of New Hampshire Craftsmen’s headquarters. The gallery provides the Furniture Masters with an elegant year-round venue for exhibits and events to promote the craft of studio furniture making in New England, allowing them to acquaint both residents and visitors to the area with the region’s rich, ongoing tradition of fine furniture making. Here, the masters offer a rotating calendar of exhibitions featuring works by current members, as well as by other gifted artisans in the field.

Photo by John W. Hession

Our Appreciation The Furniture Masters Gallery became a reality thanks to the generosity of Concord businessman and longtime arts patron Steve Duprey and his vision for a synergistic business and arts community in downtown Concord. We are deeply appreciative of his support, as well as that of all of our patrons and sponsors.


We are deeply appreciative of Steve


Duprey’s support, as well as that of all of our patrons and sponsors. Photo by Ted Blachly

2013 Exhibitions and Celebration June 30–July 28

New Hampshire Furniture Masters Platform Exhibit The Gallery at Somes Sound 1112 Main Street, Somesville, ME Reception: Sunday, June 30, 4:00–6:00 PM

August 18

New Hampshire Furniture Masters Exhibition and Reception Castle in the Clouds Route 171, 455 Old Mountain Road, Moultonborough, NH Reception: Sunday, August 18, 5:30–7:30 PM

August 3–October 19

Creative Minds, Disciplined Hands: Selections from the New Hampshire Furniture Masters The Society of Arts and Crafts 175 Newbury Street, Boston, MA Reception: Friday, September 20, 6:00–8:00 PM

September 24–October 26

New Hampshire Historical Society Exhibition and Reception New Hampshire Historical Society’s library 30 Park Street, Concord, NH Reception: Thursday, September 26, 5:30–8:00 PM

October 27

Furniture Masterworks 2013: A Celebration Wentworth by the Sea Hotel 588 Wentworth Road, New Castle, NH Celebration and Silent Auction: 4:00–7:00 PM

November 7–December 6

New Hampshire Furniture Masters and New Hampshire Institute of Art Collaborative Exhibition New Hampshire Institute of Art 77 Amherst Street, Manchester, NH Reception: Wednesday, November 13


Photos by Steve Booth


Lead Sponsors


Developing New Hampshire Communities. Supporting New Hampshire Arts.


Marriott Residence Inn, Concord, New Hampshire. Photo by Joseph St. Pierre


Lead Sponsors

Stunning carpets to complement exquisite furniture.

227 Main Street • Nashua, NH • 603-882-5604 •


Shown above: Side Table by Richard Oedel. Black and Gold Bidjar Rug. Photo by Grant Morris


A Message from the Chairman Renewal As the Furniture Masters organization moves toward its 20th anniversary, the strength of the group grows in many different ways. Derived from its members, this strength manifests itself in the work that we do, the relationships we nurture and the skills we share. As we mature, our work does as well. Over time, the pieces that we create become more fully realized, and our vision expands to include new skills, techniques, materials and an ever larger design vocabulary.


Since its inception, NHFMA has been about the revival and preservation of the skills and craftsmanship that do not exist in the furniture made in large factories and sold in big box stores. In order to survive and prosper, we have needed to enlarge the group of people who appreciate what we do and how we do it, and who are willing and eager to support the work to which we dedicate our lives. We need to continue to cultivate not only new clients and supporters, but also the next generation of furniture makers who will build on our mission and explore ever newer techniques and technologies, while delivering the fruits of their creative labor to yet another generation of collectors.


Almost all of the masters teach, write and mentor new furniture makers. Whether in the prison systems in New Hampshire or Maine—where we have founded furniture programs—at formal schools like the North Bennet Street School or at conferences at which we talk and demonstrate, we find some of the best new furniture makers in the country. Many of them have significant skills and creative vision. A smaller group is driven to the levels of excellence and perfection that drives the Furniture Masters. We invite a few of these young makers to join us as emerging artists.

With these promising furniture makers, we share the craftsmanship, skills and knowledge that we have collectively built up over the years, and from this process new Furniture Masters emerge. The transition to this new generation is at the core of what we do every day, continuing the centuries-old tradition of crafting pieces of handmade furniture of the finest quality for an appreciative audience.

Richard Oedel Chairman, New Hampshire Furniture Masters

“ ...our vision expands to include new skills, techniques, materials and an ever larger design vocabulary.”

Furniture Master David Lamb’s relationship with patron Diane Griffith is a rich one, reaching back nearly three decades. This partnership has yielded many stunning pieces of furniture that now adorn Griffith’s home. Her library offers an example of their collaboration. “This room is virtually filled with my work,” Lamb notes. “I made everything here except the antique sofa in the background.” Lamb created the library table, scroll-arm chair, upholstered armchair, bench and secretary—all in mahogany— as well as the pair of cherry side chairs. Photo by John W. Hession, courtesy of New Hampshire Home

The New Hampshire Furniture Masters are full-time, professional furniture makers who exhibit the highest degree of excellence as designers and craftspeople. This section showcases these gifted artisans, together with their exquisite creations.

‘Emerson’ Queen Anne-Style Breakfront Bookcase English walnut burl, English yew burl, oak 14-1/2" deep x 72" wide x 84" high Highly figured walnut veneer was the medium of choice during the Queen Anne period. Renowned for an emphasis on line and form rather than ornament, furniture of this period is refined, delicate and graceful, curvilinear in essence and tasteful in its simplicity and elegance. This bookcase features a customary herringbone inlay around the perimeter. Traditional double-arched doors, moiré silk-backed panels, and antique brassware characteristic of the era counter the contemporary backlit glass shelving designed for modern-day living.

Gary Armstrong

Photo by John W. Hession


“As an English cabinetmaker, I find the Queen Anne


38 Rowell Road East Brentwood, NH 03833 603-866-6667

period is, without a doubt, one of my personal favorites for simply stated elegance, style and grace.”

“A quick instinctive sketch convinced me that this was a piece I had to make.”

Ted Blachly

Ash Desk popcorn ash, cherry, white oak 27-1/2" deep x 51" wide x 43" high

PO Box 216 Warner, NH 03278 603-456-2385


I see this as a bright and cheery desk for the home. The upper section was interesting to make. It drapes over the sides and is shaped for a feeling of intimacy. Finely detailed sliding panels cover upper shelves and a center drawer completes the desk base. The wood exhibits a lively and unusual “popcorn” figuring. It was sawn from an extremely large ash tree by Goodhope Hardwoods in Pennsylvania.


Simple Desk quarter-sawn cherry, oil finish 22" deep x 50" wide x 29" high Less is more and Simple Desk doesn’t mean that the joinery is basic and it doesn’t mean easy!

“Less is more.”


Aurelio Bolognesi


591 Czeski Road, Box 167 Hardwick, MA 01037 413-563-4146

“ This chair is inspired by my ‘Mouvinon’ 2011 piece. When the backrest for this one was found to include the tree root, it made possible a small table at one end.”

Jon Brooks ‘Chairoscuro’ maple, acrylic, stain, varnish 30" deep x 52" wide x 35" high Locally harvested tree sections from the forests surrounding my studio are configured in sculptural form as a collaboration with nature. I select maple for its strength, durability, light weight and color. The naturally formed shapes are carefully selected and joined to create a dance of seven legs painted and incised with my hieroglyphic carvings. The yellow contrasting seat and backrest are configured for maximum comfort. Please be seated.


Pine Road New Boston, NH 03070 603-487-2780


‘ Neptune’ Narra, Swiss pear, walnut, bronze 16" deep x 55" wide x 40-1/2" high The artful integration of metal and wood form the basis of my work. This piece expands that focus to include cast bronze, a material that has intrigued me for years. The glowing golden brown cabinet, of thick old-stock Narra veneer, sits atop bronze legs. The concave front opens to a light, clean Swiss pear and Narra interior offering banks of drawers and hanging shelves. An intricate engraving of a New England seascape graces the escutcheon plate.

John Cameron “ This piece—the intersection of polished wood and cast bronze sculpture—is the


culmination of years of thought.”


34 Mount Pleasant Avenue, No. 5 Gloucester, MA 01930 978-283-0276

“ I kept the overall form of the cabinet simple and direct, so the natural character of the yew wood and intricate patterns could do the talking.”

Timothy Coleman

Photo by John Polak

‘Something About Yew’ western yew, English sycamore, cypress, rosewood 16-1/2" deep x 38" wide x 30" high Portrait by Gary Samson

39 Wilson Graves Road Shelburne, MA 01370 413-625-0080


There is something mesmerizing about yew wood. Its silky auburn grain swirls and loops around random knots, while a bright ivory band of sapwood provides order as it hugs the contours of the undulating edges. Both refined and wild, it inspires me to create patterns that echo this dichotomy. Here, in the fret-sawn sycamore panels, delicate blossoms are interwoven into a random matrix to form a pattern that is familiar yet mysterious.


‘Three Quotes from Ovid’ cherry, paldao veneer, roble burl veneer, paper 2" deep x 63" wide (open) x 70" high With this screen, Jeffrey Cooper has collaborated with award-winning screen printer Catherine Green. The artwork illustrates quotes from Ovid’s “ Metamorphasis,” the story of Persephone. Jeffrey and Catherine carefully integrated the drawings with decorative carvings on the wood frame and veneer work of the panels. The panels have shoji-style latticework and pivot within an outer frame to allow movement in how the screen can be arranged.

Jeffrey Cooper

“ She (Persephone) was picking flowers, roses, crocus and beautiful violets.


She (Demeter) sat in the shade,


135 McDonough Street Portsmouth, NH 03801 603-436-7945

under the thick growth of an olive tree. It began straightaway to flourish with long ears of grain.”

“ Fourteen drawers—one for every need —sliding sweetly through generations.”

Garrett Hack

Charleston Chest butternut, walnut, ebony, rosewood, abalone, ivory, various secondary woods 21-1/4" deep x 59" wide x 37-1/2" high

344 Jackson Brook Road Thetford Center, VT 05075 802-785-4329


Designed for a lady, this elliptical asymmetric chest puts some fun in functional, from a playful variety of drawers and the patterns of knobs and dark beads highlighting each drawer, to small drawers that pop out unexpectedly. Two small walnut drawers are inlaid with abalone waves reflecting the seaside of Charleston, South Carolina, where this chest lives. Well-engineered and made of warm golden butternut, it is both light and strong.


“A design of this scope and complexity is a lifelong goal for any artist-craftsman.”

David Lamb Photo by John W. Hession

The White Mountain Breakfront, aka Lambovich IV


Cuban mahogany, mahogany, birch, ebony, white oak, tulip poplar 23" deep x 84" wide x 108" high


228 Shaker Road Canterbury, NH 03224 603-783-9912

This commission is the fourth in a series of collaborative efforts with artist James Aponovich. Patrons Tom Silvia and Shannon Chandley were fully supportive and instrumental in the full development of this work, which celebrates New Hampshire in both its natural beauty and human history. The “frosted” doors and snow-covered Mt. Washington emphasize the winter focus of the piece.

‘ Stella’ walnut, upholstery 20" deep x 20" wide x 38" high These chairs take their form from the surrounding landscape, the gesture of a ballet movement and a patron’s desire for delicacy.

David Leach

“ I am inspired by the challenge of chair design, rewarded by its making.” MASTERS

153 Whipple Road Kittery, ME 03904 603-988-6091


“Even after twenty-something years, each day feels like a new beginning.”

Tom McLaughlin ‘Seating in the Round’ South American mahogany, Cuban mahogany, Gaboon ebony, hard maple, upholstery by Joseph Portinari 26" deep x 37" wide x 42" high


A large and imaginative collaboration, these two dramatically curved chairs are just one quarter of a set made to encircle a 61" diameter mahogany table. With the chairs pushed together, my client desired the top “crest” rails to connect, forming a continuous mahogany ring.


336 Baptist Road Canterbury, NH 03224 603-783-9700

My aim for these sofa-like chairs was to create a soft enveloping interior, made all the more inviting when contrasted against a stunning “ hard-shell” exterior composed by sweeping curved panels, layered in Cuban mahogany with ebony edges.

“ Two dramatically different styles of work meet in one compelling form.”

Sam Norris

‘Confluence’ cabinet: sycamore, curly maple, redwood burl, Monterey cypress with hand-forged steel and brass pulls, shellac base: cherry, oil/varnish 13" deep x 27" wide x 57" high

34 Gove Court Burlington, VT 05401 802-363-7785


Quiet, meticulous work yields polished surfaces that highlight the remarkable depth and chatoyance of the panels on this cabinet. A freer, looser hand hammers out the steel pulls, adding personality and flair in their imperfection. “Confluence” is about this contrast and the excitement of learning a new craft that pushes me from the calm of the woodshop to the bluster of the blacksmith’s shop, where ordinary steel bar is transformed to elegant forms that are inviting to the touch.


“Straight lines are rare in nature. And they are almost never the shortest distance between two objectives.�

Richard Oedel

Wild Rose Console Table South American rosewood, American white ash 18" deep x 72" wide x 37" high


Rosewood is rare and planks like this are almost impossible to come by. This table top sat in a barn in upstate New York from the 1950s until 2005, when I bought all the rosewood in the barn from the gentleman who had saved it all those years. It then gathered dust in my shop for almost eight years before I was satisfied with the perfect leg and support geometries to combine into the Wild Rose Console Table.


23 Drydock Avenue, 3rd floor Boston, MA 02210 617-763-1349

“Stone reconnects us to our primal instincts."

‘ Two Energies Revisted’ Kewazinga, air-dried walnut, stainless steel, black Canadian anorthosite 18" deep x 17" wide x 76" high My desire to explore sculptural forms brought me back to my “Two Energies” foyer piece. The complex balance of fluidity and monolithic strength in the original piece asks the question, could the same balance be accomplished more simply? I feel I have accomplished this in “Two Energies Revisited,” by simplifying the function of the foyer tree and adding an asymmetrical element to the design, as well as adding a second dimension of curves to the sides of the foyer tree.

Brian Sargent

With its slender, cascading form, the Kewazinga veneer reminds me of the waterfall behind the AMC lodge at Pinkham Notch. The walnut accents of this piece would warm the entrance of anyone’s home.


96 Critchett Road Candia, NH 03034 603-483-0622


“An update on a timeless Portsmouth design.�

William Thomas

Portsmouth, New Hampshire Federal Bow-Front Dressing Table


mahogany with stump burl birch inlay 18-3/8" deep x 34-1/2" wide x 34-3/8" high


15 Todd Hill Road Rindge, NH 03461 603-899-3249

This dressing table completes a suite of bedroom furniture that I have built for a client over the last several years. Each piece in the suite, based on a Portsmouth Federal period design, features veneer that I cut from a native New Hampshire birch burl. The table features an inviting bow front and engaged front legs to give it special character.

‘ Give Me a Side of Deco With a Splash of Curves’ Macassar ebony; Sitka spruce; walnut; mahogany; African satinwood, koa and holly veneers; mother-of-pearl 16-1/2" deep x 71" wide x 34" high

A. Thomas Walsh

This Art Deco-inspired sideboard was designed to complement a previously commissioned sculptural “glass top” dining table. The indented shape of the sideboard accommodates a chair at the head of the table. The top surface of the center panel is done in a halfsunburst veneer pattern bordered by African satinwood. The curved front drawers have an inlay pattern using veneers of koa, ebony and satinwood, which are bisected by delicately shaped ebony pulls. The choice of pale-colored Sitka spruce for the legs was a suggestion of the clients and it contrasts nicely with the dark Macassar ebony.

a unique piece of furniture within the context of a client’s interior space.”

PO Box 482 W. Stockbridge, MA 01266 413-232-0249


“ It’s a stimulating challenge to create


Each year the Furniture Masters select several emerging artists to exhibit with the group as a means of mentoring the next generation of fine furniture makers.

Thom Walsh was commissioned by longtime clients to build this unique Art Decoinspired base for a piece of art they had recently purchased from world-renowned Massachusetts glass artist Dan Dailey. “The Indian rosewood-veneered tapered u-shape that comprises the largest part of the table includes a stainless steel inlay that matches the base material of the sculpture,” Walsh explains. “It is supported by a plinth of European pear wood with gun-blued and very heavy solid steel feet.” This remarkable piece also contains a hidden electrical cord, as the glasswork is a functioning lamp. Photo by Thom Walsh

“Why create if there’s no risk?”

Greg Brown Emerging Artist

‘Lindsay Maple’ sugar maple, maple burl 19" diameter x 30" high This New England table germinated from the sugar maple forest outside my shop. Using this native species, I began to create a sculptural representation of growth. The negative space creates changing visuals as you walk around the table, while the elaborate carvings cast volleys of light and shadow to captivate its form. As the growth process finishes its cycle, carved leaves rest on a dished burled top, evoking fallen leaves resting in a rocky pool.

Portrait by Brian Sargent


63 Nottingham Road Deerfield, NH 03037 860-803-0161


“Crafting furniture for future generations, yet honoring our region’s past, is made possible by working wood sunk during a log drive to Moosehead Lake.”

Tom Latourelle Emerging Artist

‘Tea for Willa’ spruce, thuya burl, Douglas fir, red oak, brass, mother-of-pearl, decorative paper 12" deep x 33" wide x 28" high


Portrait by Brian Sargent


PO Box 1294 Norwich, VT 05055 802-681-3720

Intrigued by Japanese shoji, I am inspired by unique combinations of wood, paper and lattice. With this cabinet, I strived to create a light, strong case with quiet details, such as brass pulls inlaid with black mother-of-pearl and distinctive thuya burl drawers. My enthusiasm to work wood is fueled by the challenge of building a refined and unique piece from species not traditionally associated with fine furniture.

‘Adagio’ walnut, curly maple, ebony 19" deep x 21" wide x 53" high This music stand is inspired by the work it holds. The walnut base and stem flow seamlessly up to curly maple flags that waft gently from their union. Each piece is a curved, tapered and twisted lamination, and these characteristics make the joinery a significant technical challenge. Despite having only six components, this piece is the most difficult I have made.

Bradley Wolcott Emerging Artist

Portrait by Austin Trenholm


“ A single note dancing in space.”

5 Allston Street Charlestown, MA 02129 603-738-7546


Education plays a vital role in both preserving and furthering the tradition of fine furniture making. The Furniture Masters continue to support the Prison Outreach Program and are pleased to further their involvement with the New Hampshire Institute of Furniture Making’s Studio-Based Learning Program.

This patron’s library is a showcase for several works by members of the Furniture Masters. The stunning table in mahogany with a mahogany crotch sunburst veneered top and crotch birch inlays is the creation of Bill Thomas. “The patron commissioned my table for an auction several years ago and it sold to another buyer, so I made a second one,” Thomas recalls. “The experience was a strong validation of the group’s patronage process.” The elegant library ladder in the background is the work of Jere Osgood. Photo by John W. Hession, courtesy of New Hampshire Home

Prison Outreach Program The New Hampshire Furniture Masters’ Prison Outreach Program, spearheaded by Terry Moore and Tom McLaughlin, is now in its 14th year. It all began thanks to a suggestion from Superior Court Judge Kathleen McGuire to explore possibilities in the New Hampshire State Prison. The Furniture Masters’ outreach is a complementary work with the Hobby Craft woodworking program, a long-established rehabilitative effort of the prison system. This outreach program provides a regular series of instructional and project-based tutorials designed to teach inmates more advanced techniques and the finer aspects of woodworking. Nearly every month, several Furniture Masters go inside the prison walls to share their skills and experience with those inspired to further their furniture-making skills. On a personal note, Tom McLaughlin shares his inspiration to be involved with the program: “It is difficult to

conceive a more tangible means toward positive change. The actions that lead to incarceration are, at their root, evil and destructive—toward others and oneself, a result of seeing things through a lens of worthlessness. But the tangible experience of designing and making something of value and beauty is good and constructive. Creativity by itself is a substantial argument against worthlessness. “ Beyond that, just by passing through the checkpoints, entering their surreal world, I participate in a great exchange much larger than my small efforts. Out of my comfort zone, simply sharing time and skills, it is as if I am on a mission from God. And I am reminded once again that love always wins, causing evil to loosen its grip just a little more. The beautiful workmanship coming out from behind the walls is living proof.” NHFMA is excited to announce the Prison Outreach Program recently expanded into our neighboring state of Maine. Last November, through the organizing efforts of NHFMA members Brian Reid and Howard Hatch, a new program was launched at the Maine State Prison. Off to a running start, they are already making arrangements for inmate creations to be sold in both the prison store and outside galleries.

“…I participate in a great exchange much larger than my small efforts.”

The success of the NHFMA Prison Outreach Program is due in large part to the hard work and support of the current administrations at each prison. NHFMA would also like to thank all those who have contributed to this educational effort through their financial gifts, patronage, and/or time and energy. This meaningful and impactful work could not exist without their generous support.


Collaborations between artists frequently result in exquisite outcomes. This New England secretary, created by Prison Outreach Program participants Allen Eason and Eric Grant, is no exception. With its dynamic proportions and rare, lightly figured cherry boards, it has quite a presence. Among the features of this striking piece are an amphitheater interior, a delicately arched bonnet and flamed finials.


The Furniture Masters could not exist without the generous support of many individuals and organizations. Due to their continued sponsorship and patronage, we are able to carry forward the rich tradition of furniture making to the next generation. We are forever grateful.

This lovely dining room features a rich cross-section of works by members of the Furniture Masters. The exquisite mahogany dining room table and sideboard were created by Sam Chase. The chairs, comprised of a rich mixture of genuine mahogany with crotch mahogany and holly inlay accents, are the work of Tom McLaughlin and were designed to complement Chase’s table. The demilune table is the handiwork of Terry Moore, who notes, “Like everything I design and build, the inspiration comes from traditional furniture. I then re-interpret the form by bringing my personal preferences to the project, together with my palate of skills, my sense of design and proportion and, always, beautiful wood.” The whimsical, carved bear bench in the background is the work of Jeffrey Cooper. Photo by Tom McLaughlin

Acknowledgments “ We are so blessed to have friends and supporters... The creative world is full of crevasses ready to swallow the unsuspecting artist, and the path through this treacherous domain is often convoluted. To stay true to the creative vision is difficult, and at times daunting, but as members of the Furniture Masters we push on past obstacles and allow our inner voices to break free, creating something from this inspiration and placing this offering of time, talent and creative intent in front of an audience. This requires a deep-seated respect for the process and the people. The rewards for these efforts are immensely fulfilling, and the connections that we make on a personal level as a result of our work and vision make the entire process worthwhile. We are so blessed to have friends and supporters who also value this artistic vision and are willing to enthusiastically share their discoveries, insights and pieces with others. As members of the Furniture Masters, we say thanks to the many who have supported us for so long. To Tony Hartigan, whose energy and creative vision keep the Furniture Masters’ mission alive and as vibrant as ever. To Nancy Sununu and the entire Sununu family, who have supported us when times were tough and led the cheerleading for the masters. To Arthur Clarke, Susan Sloan, Tom Silvia and many others, whose contrasting opinions often help inform our understanding of the issues at hand.

To the members of our advisory board, including Pauline Ikawa, Bob Larsen, Scott Lawson, Sy Mahfuz, Van McLeod, Roger Myers, Geralyn Smariga, Gerry Ward and Maura Weston, who are always willing to contribute their experience and wisdom for the benefit of all. To Lori Ferguson, our public relations and marketing consultant, whose knowledge and attention to detail keep the Furniture Masters, their apprentices, interns and the craft as a whole in front of the public on a regular basis. To Jacqueline Stahle of Think Design, our creative design guru, whose rigorous attention to the design continuity of our website, blog and publications communicates our excitement and artistic vision to the world at large. And to Joan Bennett of The Write Connection, who provides copy editing and prevents us from committing grave literary errors. After all, we are mostly furniture makers. To Bill Truslow, our photographer, who fills the pages of our design books with stunning photographs of the pieces and the makers. We would also like to thank the Currier Museum of Art for hosting our auctions for many years, and for featuring the works of many of the Furniture Masters, and especially Director and CEO Susan Strickler and Director of Collections and Exhibitions Andrew Spahr, who have supported our work and juried our pieces over many years. And finally to our dedicated patrons and sponsors, we express great appreciation for making this all a reality.

To the New Hampshire Historical Society and the continuing support of Joan Desmarais, Wes Balla

…willing to enthusiastically share their discoveries, insights and pieces with others.”


To Mary McLaughlin and Roger Myers, who have steadily guided the New Hampshire Institute of Furniture Making in directions that allow us to fulfill the educational part of our mission, and to pass along the knowledge that we have built up in our individual lives as Furniture Masters.

and William Dunlap, who are always willing to provide a place for our meetings, a venue for our exhibits, and their unvarnished opinions of our ideas and plans.


Sponsors The New Hampshire Furniture Masters and the New Hampshire Institute of Furniture Making are grateful to our 2013 sponsors for their generous support:

Lead Sponsors


Arthur D. Clarke & Co.

Steve Booth Photograhy

Anonymous Bien Fait Decorative Arts Valuation Services, LLC Christopher P. Williams Architects, PLLC Arthur Clarke and Susan Sloan G.H. Evarts & Co., Inc. Guild of New Hampshire Woodworkers Hilda Fleisher Anthony and Cecie Hartigan Lie-Nielsen Toolworks MM Weston & Associates Northland Forest Products Rare Woods USA The Scott Lawson Companies The Sununu Family Vacuum Pressing Systems, Inc.

Friends of the New Hampshire Furniture Masters Alphagraphics, Manchester Andi Axman Steve Belair Bill Truslow Photography Castle in the Clouds Arthur Clarke and Susan Sloan Concord Chamber of Commerce Currier Museum of Art Steve Duprey Chris Dwyer and Mike Huxtable Jonathan Francis Gallery at Somes Sound Glenna Goodman Diane Griffith Ann Hackl Lynn Hanrahan Anthony and Cecie Hartigan Pauline Ikawa Robert Larsen Sy and Janet Mahfuz


TD Bank, N.A., Trustee


Marion Cohen Trust

This elegant Desk on Frame in the style of the Newport cabinetmakers of the 18th century, made of mahogany and crotch mahogany, was built by Jeffrey Roberts. “The Newport cabinetmakers did not make a desk on frame,” Roberts explains. “This is my interpretation of what they might have created if they had done such a piece.”

Mike and Mary McLaughlin Roger Myers New Hampshire Art Association New Hampshire Department of Cultural Resources/Van McLeod New Hampshire Historical Society New Hampshire Institute of Art Sharon Arts Center of the New Hampshire Institute of Art Tom Silvia and Shannon Chandley Geralyn Smariga Bill Siroty Society of Arts and Crafts William Stelling John and Nancy Sununu Gerry Ward Maura Weston

NHFMA is a group of professional furniture artisans committed to preserving the centuries-long tradition of fine furniture making. The association promotes the growth of fine furniture making, as well as the sale of fine furniture made by its members, by hosting exhibitions; engaging in collaborative marketing and educational activities; and partnering with museums, art organizations and galleries. The organization strives to uphold the highest standards of quality craftsmanship through a peer-reviewed jury system.

Furniture Masterworks: A Celebration October 27, 2013

P O Box 5733 Manchester, NH 03108 603-898-0242

This American Stand-Up Secretary by Wayne Marcoux is comprised of a rich assortment of exotic woods, including dyed curly maple, bocote, zebra and wenge. It features a soft open/close and an extreme secret compartment. It was inspired by a French secretary from Boston, circa 1825, maker unknown, currently in the collection of the Currier Museum of Art. “This piece is neat for a couple of reasons,” Marcoux notes. “The front looks like a cabinet with two doors that swing open, but it’s actually a panel that tilts forward toward the user.” And, Marcoux says, the piece also has a secret hiding place that he didn’t divulge to anyone but the buyer.

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