Whether in a large Dining Room, Conference Room or Patio. A large solid wood slab table makes a big statement.
Elegant and graceful this table commands attention. It graces the dining room of a Model Home in Clarkdale, Arizona and can be Viewed at Vineyards on 89A.
At twelve feet long this amazing Himalayan Ceder beauty comfortably seats 10 hungry pizza fans…And Carson Wheeler of Grand avenue Pizza never disappoints. (Visit this table @ http://www.grandavenuepizzacompany.com/)
Want the “Home court advantage? Invite your clients to sit at this beauty. At four feet by almost ten feet this Colibah and Arizona Ash Beauty commands respect. While the geometry exhibits style and sophistication.
At a little over twelve feet this amazing Sequoia Table comfortably fits more family, than most find comfortable. But, Matt and Sarah never seem to mind, they will this beauty quite often, With festive friends and family, wonderful food and good company…
Large slab tables begin at $3500…
Gustav Stickley and the
American Craftsman Movement.
As I sit typing this from my own “stickley” Table, Lets discuss his influence on American culture and Furniture. Many people are familiar with the term “Craftsman” it invokes of bungalows and Historic neighborhoods, or maybe “Sears craftsman” But, how exactly did it become a movement in Art, Architecture, Design? One so ingrained in American society to be easily recognizable?
One man did much of the heavy lifting, borrowing from Morris’ British “Arts and Crafts” , Gustav Sickley designed and built fine furniture made by men, not machines. It was intentionally simple, the beauty was in the honesty of materials and joinery. the complexity in the materials and methods, not in “False adornment”. It was real, solid wood, with quality joinery and functional designs.
Stickley was also responsible for the publication of the iconic “American Craftsman” magazine which along with discussions on the current methods of wood and steel working, design trends and trade discussions. It also featured heavy political discussions of the day, he published works by Anarchist, Socialists and Libertarians. He saw a worker, as a craftsman who created a value and a beauty to society.
As Stickley was so am I committed to the honesty, and natural beauty of the materials, designs and workmanship. To Truly become an American Craftsman…Life is so short, the craft so long to learn…
Here is an excerpt from Wikipedia to fill in the blanks…
Stickley’s new furniture reflected his ideals of simplicity, honesty in construction, and truth to materials. Unadorned, plain surfaces were enlivened by the careful application of colorants so as not to obscure the grain of the wood and mortise and tenon joinery was exposed to emphasize the structural qualities of the works. Hammered metal hardware, in armor-bright polished iron or patinated copper emphasized the handmade qualities of furniture which was fabricated using both handworking techniques and modern woodworking machinery within Stickley’s Eastwood, New York, factory (now a part of Syracuse, New York). Dyed leather, canvas, terry cloth and other upholstery materials complemented the designs.
Those ideals – simplicity, honesty, truth – were reflected in his trademark, which includes the Flemish phrase Als Ik Kan inside a joiner’s compass. The phrase is generally translated ‘to the best of my ability.’
His firm’s work, both nostalgic in its evocation of handicraft and the pre-industrial era and proto-modern in its functional simplicity, was popularly referred to as being in the Mission style, though Stickley despised the term as misleading. In 1903 he changed the name of his company again, to the Craftsman Workshops, and began a concerted effort to market his works – by then including furniture as well as textiles, lighting, and metalwork – as Craftsman products. Ultimately, over 100 retailers across the United States represented the Craftsman Workshops.
Looking for the perfect piece, searching for the perfect piece…
Finding the right wood, whether looking through a dumpster, a wood pile, or some freshly sliced timber — knowing what you are looking at is an art.
Identifying the species, age, growth pattern — is it Dry? Cured? Kilned? Is it an “Old Growth” tree or Urban Forested?
Three main ways I get wood.
Urban forested: These are yard trees cut down or blown down, which are milled into useable slabs. Usually has one or both live edges.
Walnut For Barrio Gran Reserva
Assorted woods and wood shopping.
Urban Foraged: Wood found in dumpsters, ally ways, or curbside.
With all the remodels in historic neighborhoods If you are careful you can find some real “Old growth” treasures.
Dumpster score with Miss Bane in Coronado.
In short I use many methods to get the woods I use, but I want them all to be as beautiful and sustainable as possible. Knowing what is useful, what is not, what is firewood, what will not burn.
This entire show was found wood.
Reclaimed: Found in yards, or online purchased, maybe even from a “barn wood store”
This wood is usually old, either a demolished building, or someone was storing it for quite some time.
Green Goddess house of herbs was all reclaimed wood from a Bar in New River.
Old growth Fir “found”
Kitchen and bridge in Ghent, NY made of wood found on site.
Carson Wheeler, Friend, Pizza maker, and Wood Connoisseur…
The premise was simple “A contemporary twist on a picnic table”. So, we started with two giant slabs of Himalayan Cedar…
Then I cut one slab in half to make the benches, leaving the second slab intact for the top…
Next comes the all too familiar X frames with a steel 30-degree take on an old classic.
And Carson was happy… The End.
I am very proud to present Tiny Tables Series 5. William Morris said,”Have nothing in your houses that you do not know to be useful, or believe to be beautiful.” and I believe Series 5 fits the bill for both.
Series 5 represents natural beauty, rebirth, and hope. Its construction is based on a butterfly sculpture I have been working on, and the legs mirror the angles I use for wings. Combined with all repurposed materials, Series 5 will be recreated over-and-over using a variety of materials while keeping the design the same.
Series 5 #1 and #3 feature removable X-ray cartridge tops as well as a handmade adjustor and walnut feet.
Dimensions 11″ x 13″ x 20″ // Price $113
Series 5 #2 has a reclaimed steel top, eye bolt adjustor.
Dimensions 14″ x 14″ x 21″ // Price $113
“Tiny Tables Series 5— Own Something Beautiful”
Tiny Tables: Beautiful, Simple and Useful.
One of my favorite things about making each piece individually by hand is how different and unique each piece really is. From the materials I am using, to the way I feel, and the designs that are in my head. Each piece is a truly unique experience, and a great way to watch the evolution is through the tiny tables. Let’s look back at the evolution of tiny tables.
These are from the first series of Tiny Tables. Under the ZOO name, this was an original set of ten, built at The Hive Phoenix. Do you have one?
Series two Tiny Tables were slightly larger due to the barn wood I was using at the time. All steel was “Urban Foraged”. There were originally five in this series, made under the ZOO label, and built at the Hive Phoenix. Do you have one?
Series three was similar to series one, but were numbered 1-12.
Series four tiny tables were the first under the new ‘Industrial Craftsman Furniture” label, featured a stenciled W on the bottom and were part of a full collection called “Industrial Revolution”. There were 3 of each piece in this collection, the first collection built at “the cottages”…
This series included 5 pieces and were cut offs from the patio tables I did for the Tempe Buttes Marriott. They were built at the cottages and were the first to feature a carved-W signature instead of spray paint stencilled.
Two Tiny tables and a saw blade table I built In Ghent NY.