i tre
The philosophy behind the making is as important as the actual design if you do not put duality and integrity into the work I feel the piece will not stand the test of time. Steam bent oak with Russia leather seat. 1500 x 500 x 500mm 59 x 20 x 20 in. The sides and elliptical arch are steam bent from 25mm 1 in. solid Pook-matched oak. Ripple oak, mouth-blown glass and leather. 2200 x 2450 x 450mm 87 x 96 x 18 in. Cabinet handles in leather bound oak.
Matthew Burt
Matthew Burfs work is rooted in English country furniture, fertilised by the Shaker style and pruned by modernism. His overwhelming enthusiasm and pleasure in using wood appropriately, making fine furniture and creating beautiful objects that will become treasured family heirlooms, is only eclipsed by his determination to perform the daunting task of doing this for ordinary people at affordable prices. am endlessly delighted and increasingly fascinated by the joy of selling beautifully made and...
Andrew Lawton
Since I have been making furniture there has been a tremendous upsurge both in the number of good workshops and in the number of people who are interested in commissioning work. I think this is going to continue, especially as mass-produced furniture offers less and less individuality. Even more nowadayspeople are becoming increasingly receptive to good design and are genuinely interested in pushing things forward. Made of solid wych elm with bandsawn veneers. 810 x 460mm 32 x 18 in. Solid...
Sean Feeney
1800 x 1 200 x 500mm 71 x 47 x 20 in. Sean Feeney pursued woodwork and design skills through school in Sussex and further education at Rycotewood College, followed by three years of further study in a design consultancy and furniture makers in Warwickshire before setting up his own workshop in 1979, Now well established, Sean's output is small, ten to twelve pieces of furniture a year. He exhibits rarely, does not advertise and works with one assistant in an old school house tucked away in the...
Martin Grierson
Martin Grierson has strong traditional roots having been good at both art and woodwork since the age of eight, he was encouraged to combine both of these interests in a career. He attended the Centrai School of Arts and Crafts and spent five years in architectural offices before setting up his own design consultancy. His own workshops came later out of a desire to see his work Petter made, I think the future is very encouraging because the advantage of the designer-maker over manufacturing...
Cato
If you w lk into a room that has a beautiful piece of furniture - you could say the some of a stunning work of art, even a superb rug, anything - there is definitely something that emanates from that which contributes to the atmosphere In the home. A low table in sycamore. Its concealed metal bracing allows the top and legs to meet at a fine edge. 1100 x 700 x 360mm 43 x 27.5 x 14 in. Ripple sycamore and patinated bronze. Detail inset shows top. 1700 x 700 x 800mm 67 x 27.5 x 31.5 in Ripple...
Tony McMullen
Tony McMullen is one the last breed of makers who were apprenticed to the furniture trade, and trained in the art and craft of furniture making. He is steeped in the ethos of the Arts and Crafts movement and true to that tradition, he passes on his knowledge to the next generation at the University of Central England for a few hours each week, spending the rest of his time in his workshop. Tony is now experimenting with designs and techniques that will enable him to make furniture from...
Robert Ingham
Of all the furniture designer-makers who have started and remained successfully in business over the last twenty years, it would not be a gross exaggeration to state that the bulk of them were trained at Parnham College under the guidance of its principal Robert Ingham, Robert's exacting standards and patient guidance have been a major influence on a string of graduates that are now the backbone of the British designer-making industry. After twenty years at Parnham, creating furniture as and...
Philip Koomen
for creating is an expression of the human spirit in action. Philip Koomen established his workshop in 1975 and employs a team of five craftsmen, including an apprentice. His work evolves from themes which may be based on traditional furniture or sculptural forms, but it is always designed to be appropriate to the client's lifestyle and practical needs. Although his furniture covers a wide price range, he aims to produce classic pieces that will become heirlooms for future generations. Above...
Ashley Cartwright
Ashley Cartwrighfs wide academic training, his international reputation as an advisor and adjudicator in design, and his vast experience at home and abroad in the field of furniture making and environmental design have placed his name at the forefront in publications, exhibitions and commissions for the past thirty years, Despite, or perhaps because of, his exceptional knowledge of his subject, his furniture is simple, based on an analysis of balance and form, virtually undecorated and...
Alan Peters
Alan Peters epitomises all that one expects of a craftsman he is the revered elder statesman. Newly qualified designer-makers set out with the high ideal of possessing his quiet integrity. His clients will wait patiently until they head the top of his two-year waiting list. Throughout the fifty years that Alan has been involved in the industry his designs have moved confidently and inexorably towards the millennium. In 1990 he was awarded the OBE for his services to furniture design....
Nicholas Pryke
Nicholas Pryke comes from a background of structural engineering and architecture and this is strongly reflected in his work and his confident use of materials other than wood - stainless steel, glass, copper etc., and in the architectural roots of his designs. He spends the majority of his time at the drawing board, working closely with a network of top class craftsmen. Vavona, etched glass and stainless steel. 950 x 500 x 500mm 37.5 x 20 x 20 in. Burr ash, anodised aluminium and lignum vitae....
Stemmer Sharp
To understand the unusual and make it into harmony is what I would like to achieve. In this world there are not enough things which are unusual but harmonious. Andrea Stemmer was trained at Dusseldorf in Germany and at Parnham College. Her partnership with Fiona Sharp ended when Fiona died in 1995. Her work, mainly in solid timber from sustainable sources, displays clean sharp lines and is strictly functional. 'Jekyll' garden table and curved bench Oak. 800 x 740 x 1800mm 32 x 31 x 71 in....
John Makepeace
John Makepeace is one of the few British furniture designers to achieve international recognition in his own lifetime, and one of the few in the world whose work commands prices comparable to fine art. Alone, he has done more to promote public awareness of the British furniture designer-maker industry than any other person or institution. His designs challenge the accepted boundaries and his workshops are continually experimenting to provide the innovative techniques required by these designs....
Lucinda Leech
Lucinda takes a serious environmental interest in the source of her raw materials and to this end has devoted much of her time to travelling extensively to research methods of managing, harvesting and the replanting of forests. This has given her the confidence to use exotic timbers in her work, when she is able to verify the source, and a variety of lesser known timbers to choose from. A young family has slowed Lucinda down a little over the past couple of years, but she is using the time away...
Andrew Varah
Writing desk with infinity model housing stationery Quilted maple and madrona burr. 1370 x 685mm 54 x 27 in. 2133 x 2133 x 610mm 84 x 84 x 24 in. 2133 x 2133 x 610mm 84 x 84 x 24 in. 1680 x 610 x 610mm 66 x 24 x 24 in. Collector's cabinet desk with infinity model Amboyna. 1860 x 950 x 750mm 73 x 37 x 30 in. Cherry and rosewood. 900 x 1220 x 600mm 36 x 48 x 24 in. Cherry and rosewood. 900 x 1220 x 600mm 36 x 48 x 24 in. Lacewood, black walnut burr and holly. Lacewood, black walnut burr and...
Senior Carmichael
The hands-on element is very important to us because it improves our understanding of the pieces of furniture we can actually design. If we step aside from that we will never see all of the problems. Detail The caps at the end of each of the bronze arms can be removed to allow candleholders to be attached. American black walnut burr with mechanism of polished and patinated bronze and engine turned stainless steel. Seats six to ten. The table expands by turning the top, Eight leaves are then...