500 Tables

In "500 Tables" by Lark Books esteemed juror Andrew Glasgow selected a wide array of table styles and forms, from pieces that showcase masterful artwork to ones that feature alternative materials and aesthetic sensibilities. Published in 2009 this book features more than 300 artists.

We had the good fortune of having three tables selected for this publication.



This Cuff Link Table measures 12" dia and 18-1/2" high and is made of a wood called Madero Acero. The wood on the top was cut into a sunburst pattern, with the grain allowed to cascade as a waterfall down the tapered cone sides. A polished stainless steel collar separates the split cone segments.



"Solomon's Desk" measures 50-7/8" long by 18-7/8" wide by 29" high. It was crafted from a rare sampling of Narra timber that came from of the very first batch of wood to be sustainably harvested on the Solomon Islands in the early to mid-1990s. This Narra made its way into North American by way of Eco-Timber in California.



A pencil drawer with bevelled edge was discretely inset into the edge of the top.

Inside the drawer is a lidded tray made of Hawthorn and Sassafras woods. Both of these woods were used in traditional medicine for their aromatherapeutic and Ayurvedic properties. These scents accumulate naturally inside the drawer while it is closed, before being released when it is opened.



The drawer box is literally a puzzle that is fitted together by means of sliding dovetail construction. The back mitres are joined by a solid walnut dovetailed key, while the Narra bottom is set into dadoes on all 4 sides.



The finger pull inlay on the underside of the top is crafted from a special sampling of Black Walnut (Juglans nigra). It is relevant that this is located in a place that is frequently touched because Native American medicine women discovered through many generations of trial, error and observation that this wood has medicinal properties said to be conducive to healing. It was believed that simply touching this wood would release the active molecules to the surface of one's skin, where they could be naturally absorbed into the pores.

Although such claims were initially dismissed as little more than old wives' tales, these active molecules (known scientifically as ellagitannins) are currently at the leading edge of research into finding a cure for cancer.



The Whale Tail Desk was crafted from a reclaimed flitch of Macassar Ebony veneer, with the high gloss finish helping create the illusion of a Right Whale breeching in preparation for a deep dive.



An anthracite grommet in the top allows wiring to access the floor by means of a vertebrae wire management system hidden inside the lower torso of the desk. Stability is achieved by securing the desk to the floor by means of hidden fasteners.

The Journey Continues (Pt. 12) - Ramping Up Again

Having experienced the severity of the economic recession of the early 1990s I had surprisingly mixed feelings about the surge of new work coming in from places like Brueton. Although one part of me was thankful to be busy once more, there was another part of me that dreaded the thought of ramping back up to warp speed again.

When we were at our busiest in the 1980s I was constantly working long hours, including evenings and weekends. This made it difficult to do simple things, such as spend time with my young family. Although it was tough to decelerate the business as orders dried up, it was also a welcome relief in some ways because I was simply burned out.

During these down times I began to sketch out all kinds of ideas of furniture concepts I wanted to have made. This became a surprisingly enjoyable exercise and it had an almost meditative quality for me. Deep down I loved the creativity of it all - conceiving ideas; sketching them out; then figuring out how to go about making them into reality. The latter part was easy because the science of making was something I had down to a fine art already - after years of taking other people's ideas and transforming them into finished product.

The first prototype I ended up taking from sketchbook to bench was a Biedermeier style desk - very similar to the Rainforest Desk shown below.
An old bundle of Myrtle Burl veneer that had been stored away for years was used to make the inset of the top, while offcuts of Macassar Ebony were utilized to make the apron, legs and plinths. Not long after the desk was completed I was fortunate to have it sold - to an author who was looking for an inspiration place where he could write his books.

The success and sale of this first piece - especially one that was wholly of my own creation - actually inspired me to consider scaling my shop down even smaller, to focus exclusively on making and selling my own designs. This fantasy, however, was short-lived because the economic reality of the situation had its own facts and figures.

For one thing I was now the father of 3 young children, and as much as it might be righteous and honourable to pursue the path of the starving artist - also starving one's family in the process was not a viable option.

In addition, despite how cool I thought my furniture pieces were, the marketplace as a whole was not sharing my enthusiasm. Aside from the initial desk sale, three consecutive years of displaying at IIDEX did virtually nothing to stimulate any interest in my designs although, to be fair, the recession going on at the time wasn't conducive for sales either.

Around 1992 or 1993 there was also a Call for Entry for furniture designs to be submitted for an upcoming book entitled "Conservation by Design". This was a collaborative effort by W.A.R.P. (Woodworkers' Alliance for Rainforest Protection) and the furniture design program at RISD (Rhode Island School of Design) to select tangible examples of sustainable furniture designs. I was thrilled beyond belief at this opportunity to be published, and felt certain that my Rainforest Desk would be one of the pieces selected.

Sadly, of the 76 furniture makers accepted for publication, I wasn't one of them.

About a year later there was another Call for Entry - and another rejection - once again from RISD. This time it was my "Tower of Power" that bit the proverbial dust.


It was shortly after we started ramping up with Brueton that I had a lengthy discussion with J. Wade Beam on what my business focus should be. Wade advised me to abandon my efforts to develop my own pieces and focus, instead, on being an OEM supplier to companies like Brueton. At the time this seemed like sage advice, for a couple of reasons.

First, given the rejections I was getting it seemed obvious that my furniture pieces weren't resonating with the more knowledgeable design academics of the world. Second, thanks to the recession there was now a seismic shift under way in the way in which companies had their pieces made. Making things in-house was now falling out of vogue as more and more designers began to outsource rather than invest in their own production. (Of course, taken to its extreme this ultimately led to the almost complete offshoring of production that we now see today).

As the 1990s wore on our base of OEM clients expanded to include not only Brueton but also Vladimir Kagan, Rick Shaver, Monroe Sherman (Sherman Designs), and Lee Weitzman. To keep up with the growing influx of work we were soon compelled to expand the size of our staff.

Although I was never keen on having large numbers of people working for me, in many ways I had little choice if I was going to keep my customers happy.

But it was only after I hired a "Jesus woodworker" that I decided to go CNC.