So, I had an idea for a leg design inspired by motorcycle girder-forks (yeah, I know this bike doesn’t have them). I was also thinking about the work of Carlo Mollino, a 20th century furniture designer. The leg could be used on tables, case pieces and chairs. The idea wasn’t to mimic the forks exactly but more to subtly tap into the industrial strength of the shapes.
I liked the simplicity and efficiency of the design, but couldn’t resist the temptation to use more traditional joinery. This made for some tricky mitered mortise and tenon joints. I made full scale model of the leg in poplar first to see how to it would work, and look.
I had some large planks of sepele which would yield a 3 foot by 9 foot table. The planks were 18 inches wide and I wanted to show that so I joined them together with bread-board ends. I used the space between the boards as a design feature and aligned the aprons to allow light through. Placing the aprons in the center also keeps them from hitting your knees.
I hand planed the top and left the faceted marks from the planes for a more lively hewn surface. It just seems warmer and friendlier. The finish is linseed oil and shellac.
It’s hard to photograph this table in our little gallery. I really like the stance and angles down bellow.
I don’t mind mixing styles, good design is good design.
This is the shop and warehouse of Duncan Phyfe, on Fulton Street in New York City c.1816. I think that must be his home on the right, otherwise why have it in the painting? Duncan Phyfe was a very successful cabinet maker in the early 19th Century and the first American to have a furniture style named after him, though not in his time. I’d love to have seen the City in this time period–look at all that sky! I also love the person peering out of the attic window.
This is the house, shop, and warehouse of David Alling on Broad Street in Newark, New Jersey c.1835 (attributed to Johann Jenny). David Alling was a tremendously prolific “fancy chair” maker (yeah,that’s a thing) and exporter who made tens of thousands of chairs and shipped them all over the south and mid-west. I love the bare trees in this painting, and all of the details.
And guess what, here’s my house and showroom in Lambertville, New Jersey c.2013. The sign is hidden by the still-leafy tree. It makes me happy to share something with these craftsmen and shop keeps of the past, who lived and worked and made furniture right there in the same place. It’s a rare thing these days for furniture to be designed, made, and sold by the same person in one place.