This picture sums up where I am these days. Looking backward and forward, old and new. The Hadley trunk, based on examples from 1695-1725, I made of sassafras and finished with paint and shellac. It rests upon a minimalist and modern white oak breakfast table. The trunk is festooned with an ancient carving pattern complemented by an escutcheon cast from original 17th Century brasses. The corners are nailed like the original.
The table is restrained, it is all about the form., the only decorations are the figure of the boards with which it is made. The finish is “dry” with a low shine that suits it perfectly. It’s modern and clean but approachable and warm, usable.
I’ve been bouncing back and forth between styles for the last 13 years, making custom furniture here at Antick in Lambertville, New Jersey. It’s never a straight line, but sometimes things relate to each other in style or species of wood. This year I’ve been making 17th Century case pieces or farm tables. Here are some of them.
This cabinet is based on a piece at Winterthur in Delaware. It is made of walnut with excellent hardware from Londonderry. I really like the turnings and, though it’s hard to see, the x-stretcher between them.
This is a farm table I designed in white oak with a plank top.
This valuables cabinet was particularly interesting. It is made of walnut with two figured tombstone paneled doors. Lots of great hardware and moldings.
Lastly we have another farm table. This one in walnut with a one and a half inch thick top. At nearly 7 feet by 4 feet it is truly a great table.
I decided to make another version of the Girder Fork table. This one has solid “forks” which simplify the joinery and offer new design opportunities. I left a void at the top of the leg to lighten the mass and to give a subtle outside “curve.” It is interesting how the shape changes as you walk around the table or spy it from different parts of the room.
I also changed the apron for this table, that is, it runs the full length of the table. It gives the piece a timeless more familiar feeling.
Lastly I made a new top for the original Girder Fork table, with an asymmetrical arrangement of the boards.
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.