A Master Carver Preserves Old World Craft at Naples' Premier Woodworking Guild

Robert Greene, known as Bob and affectionately called Hugger by his Bonacker friends, is a renowned decoy carver residing in Springs. His exceptional skill elevates decoy carving to a museum-worthy art form, as recognized in Harvey J. Lewis's book, “Artistry of Louisiana Decoy Carvers: Old and Contemporary.” Greene's masterpiece, a life-size red-tailed hawk, demonstrates his meticulous attention to detail, having taken him 550 to 600 hours to carve. This piece, complete with a chipmunk emerging from a stump and intricately carved oak leaves and acorns, showcases his ability to transform a block of wood into a lifelike sculpture. His home is a testament to his artistic passion, featuring taxidermied animals, his own vibrant landscape and animal paintings, and display cases filled with carved ducks like red-breasted mergansers, green-winged teal hens, and mandarins. Greene's creative process begins in his shed, where he carves the wooden forms, and continues in his basement workshop, where he applies paint. Both spaces are filled with a mix of taxidermied birds he has hunted and his own carved creations, covering nearly every surface. His tools range from band saws for rough cuts to fine-pointed wood burners and Gesswein devices with tiny diamond drill bits for intricate feather detailing. He employs gesso for priming and an airbrush for blending colors, often adding bright dashes of color to secondary feathers, such as the green in a green-winged teal. Greene also crafts “smoothies,” decoys that achieve texture through painting rather than carving. His current project, a group of six lesser yellowlegs, exemplifies his progression toward photorealistic detail, a stark contrast to his earlier, blockier sanderling carvings. He studies books to accurately capture bird outlines, colors, and textures, creating practice pieces like individual duck heads. Decoy carving, an art form originating over 2,500 years ago with Native Americans, now encompasses two main categories: hunting decoys and decorative decoys. Greene specializes in decorative decoys, which demand lifelike detail. He emphasizes that being a successful decoy carver requires knowledge of wood, carving proficiency, painting skills, and an artistic eye. Greene's journey into carving began during his time as a heavy equipment operator, inspired by a fellow worker. Starting with basic tools like a jackknife and coping saw, he refined his craft over five decades, becoming one of the last carvers from his local group. He participated in national duck carving shows, earning ribbons and advancing through classes, and even competed in the prestigious Ward World Championship, though he eventually withdrew due to perceived political biases in judging. Despite his achievements and the museum-quality of his work, Greene views carving primarily as a hobby. He does accept commissions, with his reputation spread through word-of-mouth, as evidenced by a recent request for a $1,500 black duck. His passion for the outdoors extends beyond carving; he started duck-hunting with his father as a teenager and, at nearly 85, continues to fish and hunt with his son and grandson. His yard contains a fishing boat, lobster traps, and a camouflage duck blind trailer, highlighting his deep connection to nature and traditional outdoor pursuits. #DecoyCarving #WoodSculpture #WildlifeArt #RobertGreene #ArtisticProcess #TraditionalCraft #HomeDecor #NatureInspiredArt

The Italian furniture and accessories brand Morici, established in Recanati in 1979 by Luciano and Doriana Morici, unveils the intricate production process behind its Venezia collection of luxury boxes. The company, known for its fundamental craftsmanship vocation, integrates centuries of woodworking tradition with innovative production technology. Morici's approach involves the careful selection of natural woods and leathers, combined with the skilled hands of Italian master artisans, to create high-quality, meticulously detailed modern products. The Venezia collection specifically showcases a series of colorful luxury boxes, homewares, and furniture, segmented into five distinct lines with high-impact palettes. These lines include Cannaregio and Mestre, which blend earthy tones with blues and a mix of red and yellow, respectively. Rialto features a more vibrant and randomized palette by incorporating elements from other lines, while Sestiere is characterized by shades of purples and pinks. Laguna offers a cool combination of blues and pearlescent whites. The design process for the Venezia collection is a seven-step journey, starting with the design phase. This initial stage focuses on developing unique color combinations that define the collection's various color lines, emphasizing the interplay of colors with different precious wood essences to achieve Morici's characteristic style. Following design, the inlay process involves a highly manual technique used since the 14th century to customize products. Craftsmen meticulously combine laser-cut wood veneers, colored with natural dyes, to create intricate patterns and mosaics. The selection of veneers and their characteristics is crucial for achieving an elegant and balanced mosaic, with each piece of wood contributing to a unique, unrepeatable natural pattern despite predefined designs. Carpentry is the third step, where the finished inlay is applied to wooden panels, then shaped and refined to form the desired design. This stage concludes with sanding, ensuring a smooth and perfectly formed product. The fourth step, painting, involves applying multiple layers of paint to strengthen the surface and enhance durability. Morici highlights its commitment to environmental safety by evolving towards the use of eco-friendly paints. Polishing, the fifth stage, is executed by highly skilled artisans using manual polishing machines. Their expertise in selecting the correct abrasive paste and applying precise pressure ensures a unique, long-lasting finish that maintains its quality over time. The penultimate step is assembly, which serves as a crucial quality control point. Various components like locks, hinges, and drawers are carefully put together to ensure the product's functionality and integrity. The final step, covering, involves manual processing in the covering department. Here, skilled artisans use cutters and sewing machines to select and apply various fabrics and leathers, creating a custom finish for each product, tailored to its specific purpose. This elaborate process underscores Morici's dedication to artisan know-how, combining traditional techniques with contemporary aesthetics to produce the high-end items in the Venezia collection. #HomeDecor #LuxuryDesign #HandmadeCraftsmanship #ItalianDesign #Woodworking #VeneziaCollection #ArtisanKnowHow #FurnitureDesign #DesignProcess

Erik Wyckoff, a professional woodcarver operating out of Minneapolis for 28 years, specializes in creating bespoke wooden elements that add unique character and timelessness to homes. His interest in wood carving began in childhood, inspired by the intricate details of historic homes like the James J. Hill House. Wyckoff's parents encouraged his passion for traditional craftsmanship, leading him to pursue formal training. He honed his skills under the tutelage of master carver Konstantinos Papadakis, who passed down artistic, historical, and practical knowledge, including tool handling, carving efficiency, and the fundamental decorative styles. Papadakis's instruction covered various motifs such as birds, flowers, grapes, and the scrolling acanthus leaf, which forms the basis for numerous historical carving styles. This comprehensive training has enabled Wyckoff to undertake a diverse range of projects, from Italian-style wine cellar doors and French mantels to Black Forest-style mantels for rustic cabins. Wyckoff's portfolio includes notable projects such as a Renaissance-Revival-style carved paneled study featuring hidden loons, deer, and beavers, inspired by the Minnesota State Capitol. He also replicated missing wood carvings for the restoration of the Donaldson Mansion in Minneapolis and created a French-style relief carving over a door in Medina, incorporating the owner’s industrial symbols. Wyckoff places significant emphasis on research, drawing inspiration from historic decorative arts ranging from medieval churches to French tapestries, ensuring historical accuracy and a sense of permanence in his creations. Among his favorite projects are the doors and panels for a Maplewood home's wine cellar, which were inspired by France's Château de Chambord, designed to immerse the owner in a French aesthetic. This project also included a unique bar top under glass, carved with mythical beasts and foliage, conceived as a conversation-starting "cabinet of curiosities." Another deeply sentimental piece involved a carved panel with vines and a pair of cardinals for an older couple, symbolizing their lifelong partnership. Wyckoff collaborates frequently with design professionals, integrating his custom carvings, which often feature Old World decorative art motifs like animals, flowers, and scrollwork, seamlessly into the overall architecture and interior design. He ensures historical accuracy and tasteful integration, often being part of a larger design team to achieve the client's vision. Clients like Steve and Susan Rudolph of Orono attest to Wyckoff's ability to create custom pieces that perfectly match existing architectural details, as demonstrated by the eight unique willow corbels he carved for their Spanish Revival home's entry gallery. These corbels not only highlighted the groin vault ceiling but also subtly incorporated the initials of each family member, adding a personal touch while maintaining historical consistency. Wyckoff expresses profound satisfaction in knowing his work brings joy and lasting beauty to clients' homes. #Woodcarving #BespokeDesign #InteriorDesign #CustomCraftsmanship #HomeDecor #ArtisticWoodwork #HistoricalAccuracy #Renovation #ArchitecturalDetails

In the quiet Italian town of Spilimbergo, the Scuola dei Mosaicisti del Friuli stands as a unique institution dedicated to the preservation and evolution of mosaic art. Established in 1922, the school was founded to formalize training for local artisans and maintain a mosaic tradition deeply rooted in the region's history, extending back to the Roman Empire. Today, it remains the sole academic institution globally focused exclusively on mosaic arts, attracting students from diverse backgrounds and ages, from recent high school graduates to seasoned professionals, all seeking to master this intricate craft. The three-year program at the school is rigorous, immersing students in historical mosaic techniques such as Greco-Roman patterns and Byzantine compositions, before encouraging experimentation with contemporary, freeform designs. Annually, approximately 40 students are admitted, but only about 15 successfully complete the full curriculum, earning the esteemed title of _maestri mosaicisti_ (mosaic masters). A select few, typically six, further pursue a fourth year, likened to a master's degree, to refine their skills even more. Director Gian Piero Brovedani emphasizes that becoming a maestro mosaicista demands significant effort and discipline, highlighting the craft's humbling and exacting nature, which fosters patience, attention to detail, and an appreciation for repetitive tasks. Mosaic creation is an exceptionally precise art form, requiring artists to meticulously arrange hundreds, or even thousands, of tiny pieces called _tesserae_—some as small as 0.5cm—to construct elaborate patterns and lifelike scenes. These tesserae, made from materials like marble, glass, _smalto_ (opaque glass tiles), and shells, necessitate careful craftsmanship and an intuitive understanding of rhythm and placement. Cristina de Leoni, a third-year teacher, notes the collaborative and selfless aspect of mosaic-making, where individual tiles only gain significance when combined with others, creating a collective artwork without emphasizing individual ego. The rich history of mosaics, tracing back to Mesopotamia in the 3rd millennium BCE and spanning various cultures including Greek, Maya, Byzantine, and Islamic civilizations, underscores its reliance on anonymous virtuosity rather than individual artistic fame. Friuli-Venezia Giulia has remained a stronghold of this tradition, fueled by an abundance of stones from the Tagliamento river and strong cultural links to Venice. In the 19th century, Friulian artist Gian Domenico Facchina revolutionized the craft with the _rovescio su carta_ (reverse on paper) method, enabling off-site assembly of large mosaic panels, a technique first showcased in the foyer of Paris' Opéra Garnier. Today, Friulian mosaicists, many trained in Spilimbergo, have contributed to prominent projects worldwide, from Rome's Foro Italico to the New York City subway at the World Trade Center, and from Jerusalem's Church of the Holy Sepulchre to galleries in Tokyo. The art form continues to evolve, embracing both precision and expression. Purnima Allinger, a student, describes mosaics as a meditative yet expressive craft that keeps artists fully engaged. Amos Carcano, a Swiss maestro mosaicista, highlights the blend of manual work, invention, and exploration of texture, color, and patterns in contemporary mosaics. Carcano is currently part of a team working on a monumental 1,265-sq-m mosaic floor for the school's courtyard, depicting Friuli's native flora and fauna. The school operates as a _bottega_ (workshop), where students learn through hands-on practice, as explained by mosaic history teacher Danila Venuto. Visitors can also engage with the art through _corsi brevi_ (short courses) ranging from four-day to week-long programs, offering an introduction to mosaic creation. Guided and independent tours provide access to an archive of over 800 mosaic works and opportunities to observe students and masters at work. Spilimbergo itself serves as an open-air gallery, with mosaics adorning buildings, shops, and restaurants. The town also hosts mosaic shops and showrooms, displaying works by alumni, and offers visits to Fabbrica di Mosaici Mario Donà, a historic kiln producing enamels for mosaics. The region's natural landscape, particularly the _grave_ (river-washed stones) from the Tagliamento and the Magredi plain, provides the essential materials and inspiration for many Friulian mosaics, underscoring the deep connection between the art and its environment. Mosaic-making is a central part of Friuli's cultural identity, and the school invites curious individuals to partake in this enduring legacy. #MosaicArt #ItalianCraftsmanship #ArtEducation #Spilimbergo #FriuliVeneziaGiulia #AncientTradition #ContemporaryArt #ArtisanalSkills #TravelDestination

This article highlights the design philosophy and personal home of Katie Kath, an interior designer and partner at Jkath Design Build + Reinvent. Kath embarked on building her dream home with her husband, Jesse, on a double-wide lot along Minnehaha Creek, aiming to create a space that prioritizes timeless interiors, exceptional quality, and impeccable craftsmanship, moving away from a standard builder-grade aesthetic. The vision for their 4,000-square-foot home was to incorporate customized features tailored to their family of five, ensuring every detail was intentional and thoughtfully chosen. The construction of the home, which commenced during the pandemic, was completed in a swift eight months. Despite the rapid timeline, design decisions were meticulously made, with Katie acting as both the manager and client. This dual role necessitated careful attention to both major and minor details to ensure the home's enduring appeal. Key design elements on the main floor include reclaimed wood beams from Manomin Resawn Timbers and alder accents in the cabinetry, island, and built-in banquette, which together create a warm and inviting atmosphere. The cast stone fireplace surround, matching the kitchen cabinetry, serves as a contemporary focal point in the living room, with white oak flooring extending up to its base for a seamless look. The home's modern design is enhanced by black-frame windows, which are balanced with gold tones to maintain a comfortable and clean feel. The baseboards and millwork are intentionally taller than standard, adding a traditional touch. Unlacquered brass cabinet hardware from Armac Martin in London provides a desired contrast in the kitchen. Beyond the physical design, the article emphasizes that the true essence of Kath's home lies in the traditions she shares with her family, especially during the holiday season. These traditions transform the house into a cozy, safe, warm, and inviting home, fulfilling her original vision of a timeless, traditional abode with festive flair. Kath also shares practical tips for incorporating seasonal spirit into home decor without overwhelming the space or compromising on timelessness. She advises decorating for the season rather than specific holidays to allow decor to remain relevant for longer periods. Sticking to neutral earth tones for the main color scheme, with bright accents, is another recommendation. Kath suggests focusing decorating efforts on main entertaining areas, like the ground floor, and involving family in the decorating process to make it an enjoyable event. Finally, she advocates for investing in high-quality, reusable decor pieces, such as garland, and taking advantage of end-of-season sales to build a collection of timeless decorations that can be cherished year after year. #HomeDesign #InteriorDesign #TimelessInteriors #HolidayDecor #CustomHome #JkathDesignBuild #Renovation #FamilyHome #SeasonalDecor

This article highlights the enduring appeal of hardwood furniture amidst the emergence of new materials in design. While acknowledging innovations like bioplastics and vegan leathers, the piece emphasizes that skilled and creative woodworkers can transform traditional materials like teak, walnut, and oak into long-lasting, heirloom-quality pieces using only their tools and workshops. The focus then shifts to showcase several custom wood furniture makers in Toronto and the Greater Toronto Area (GTA) who excel in crafting these enduring designs. Five distinct pieces of furniture are presented, each demonstrating different styles, materials, and price points. The first featured item is Daniel Gruetter’s bar stool, crafted from red oak. When treated with iron oxide, the red oak develops a unique ruddy, patinated complexion. Gruetter combines this material with mortise, tenon, and an upholstered seat to create a bar stool designed to be an heirloom, priced at $2500. Next is Nicholas Hamilton Holmes’ Captain’s dining table, which features a rounded design and pin and tenon joints that playfully extend through a marble tabletop. Made from white oak, this table, starting from $3700, offers a commanding presence while maintaining a lighthearted aesthetic. Heidi Earnshaw’s Half Hathaway is the third item, a made-to-order piece distinguished by its minimalist appearance, bevelled legs, turned knobs, and straight-lined design. Despite its seemingly simple form, the piece incorporates complex joinery, showcasing the hidden craftsmanship. It is priced from $5400. Atelier Arking’s Lami dining chair is highlighted for its contrast between a rigid white ash frame and soft, pillowy leather upholstery. This chair, starting from $620, is designed to serve both as a functional everyday seating option and a striking statement piece. Finally, the article features Kate Duncan’s Ribbed Bed. Inspired by brutalist architecture, this bed, however, uses textured hardwood instead of cold concrete. It can also include optional details such as brass pulls and leather-veneered fronts, and is available from $18,000. Each piece underscores the timelessness and quality achievable through traditional woodworking techniques. #CustomFurniture #Woodworking #TorontoDesign #HeirloomQuality #ProductDesign #HardwoodFurniture #LocalMakers

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

The article showcases the work of Jared Abner, a 2021 Furniture Design graduate from RIT, focusing on his distinctive approach to creating furniture and sculptures. Abner's artistic philosophy is characterized by a unique combination of subtraction and addition, a process he describes as "creation through destruction." He begins by engaging in subtractive methods, such as turning, carving, and cutting raw materials, and then reassembles these modified pieces to form new creations. This methodology highlights a dynamic interplay between deconstruction and reconstruction in his design process. One prominent piece featured is a walnut and fiber rush bench from 2020. This work exemplifies his ability to blend traditional woodworking materials with contemporary design principles, resulting in a functional yet artistic piece of furniture. Another significant creation is an abstractly shaped chair crafted from stack-laminated cherry wood, also from 2020. This chair demonstrates his innovative use of lamination techniques to achieve complex forms and textures, transforming solid wood into a visually fluid structure. The intricate layering of cherry wood not only adds to the aesthetic appeal but also speaks to the meticulous craftsmanship involved in its construction. The article also presents a series of "Suspension Study" sculptures, which further illustrate Abner’s exploration of form, balance, and material interaction. "Suspension Study One" features a wood sculpture connected to a large blue ball, utilizing walnut, poplar, and milk paint from 2020. This piece suggests an investigation into equilibrium and the tension between different elements. "Suspension Study Two," from the same year, continues this theme with a wood sculpture incorporating a rope to hold a blue ball, again using walnut, poplar, and milk paint, alongside the addition of rope. The inclusion of rope introduces an element of flexibility and dynamic force, contrasting with the rigidity of wood. Finally, "Suspension Study Three," created in 2020, consists of a black sculpture where two large wood pieces sandwich a blue ball, made from ash, poplar, and milk paint. This piece explores containment and compression, with the blue ball acting as a focal point that is simultaneously supported and constrained by the wooden components. Collectively, these works underscore Abner’s versatility in transforming raw materials into pieces that challenge conventional notions of furniture and sculpture, emphasizing both aesthetic innovation and a thoughtful engagement with the physical properties of his chosen media. His portfolio reflects a deep understanding of material manipulation and an artistic vision that merges functionality with sculptural expression. #FurnitureDesign #Sculpture #JaredAbner #RITAlumni #Woodworking #MaterialManipulation #ArtisticProcess

Chris Yates, through his East Wood Trading Company, specializes in creating unique wood products for luxury interiors, including homes, yachts, and private jets. His work is characterized by an intricate understanding of wood and an artistic yet pragmatic approach. The company is renowned for its preservation of unique wood products, attracting a clientele seeking exceptional craftsmanship. Yates's workshop, described as a Harry Potter-esque apothecary, houses thousands of natural liquids, powders, and emulsified pigments he has developed to create custom wood finishes. He has spent nearly a decade perfecting these techniques, drawing inspiration from European artisans who have guarded such methods for centuries. Unlike conventional wood refinishing processes that often involve harsh chemicals, East Wood Trading focuses on sustainably sourced, meticulously hand-finished wood that tells a story and is free from harmful off-gassing. His expertise extends to personally selecting source materials, often taking architects, designers, and homeowners on trips to retrieve wood from old structures. Notable projects include using sunken cypress logs from the Industrial Revolution era and a 10,000-year-old bog oak. Yates’s commitment to quality ensures that each piece of wood is treated with the utmost care, designed to last for generations. Yates’s connection to wood art and craftsmanship traces back to his grandfather’s footsteps in Germany’s Black Forest. He explores nature for colors and materials, emphasizing the importance of the source and environment in achieving specific finishes. Born in Maryland, Yates grew up on a farm, splitting wood and driving tractors. His family's Nantucket roots are strong, with his uncle founding Yates Gas in 1973. Chris Yates, alongside Linda, later founded East Wood, initially focusing on reclaiming high-quality antique materials from old factory buildings and barns in states like Pennsylvania, Virginia, and Maryland. His global network and fascination with Old World techniques and sustainable practices have further shaped his approach. Yates traveled to Europe to study advanced finishing techniques, which he found lacking in the United States. His research delves into the molecular and cellular structure of trees, particularly oak, and how environmental stressors, like cold conditions, influence the wood’s defense mechanisms and tannin production, which are crucial for natural finishes. Despite the high demands of perfectionist clients, Yates adopts a Zen philosophy, embracing the wabi-sabi concept—finding beauty in imperfection. He acknowledges that every tree and board is unique, possessing natural scars and fractures that designers often wish to conceal. However, Yates believes these imperfections are integral to the wood’s history and character, reflecting a deeper aesthetic value where "the cracks are where the light shines in." #WoodArtistry #LuxuryInteriors #SustainableWood #HandcraftedFinishes #ChrisYates #EastWoodTrading #WabiSabi #NantucketCraftsmanship #ArchitecturalWoodwork

The article highlights a growing trend away from mass-produced items towards unique, handcrafted furniture and home decor pieces that emphasize creativity, craft, and time-honored techniques. It showcases 15 such items from various global makers, positioning them as collectible interiors pieces that are worth investing in now for their potential to become future design classics. The featured items begin with a modern take on a classic: the Canopy Armchair from Marchmont Workshop, a handcrafted stickback chair inspired by woodlands and priced at £3,600. This piece reflects a return to traditional craftsmanship with a contemporary aesthetic. Following this, the article introduces hand-painted lampshades by Spanish artist-designer Alvaro Picardo, which can be custom-matched to interior paintwork and wallpaper using Farrow & Ball paints, starting from £110. These lampshades are presented as artistic finishing touches for living spaces. Another innovative item is the Vine Vase by Wobbly Digital, a Glasgow-based artist who creates eccentric 3D-printed objects from recycled and bioplastics, priced at £350. This vase is noted for its viral potential, akin to the popular Gluggle Jug, and is recommended for dried flowers only. Scarlett Farrer, a rising star in hand weaving, is featured for her rustic textiles, specifically wall hangings made from undyed British wool. Her work, ranging from £250 to £1,800, gained recognition after she won the 2024 Young Weaver of the Year award. The article then presents a statement chair designed by Esto Estudio in Madrid, which combines a tubular steel frame with vibrant orange fabric, blurring the lines between furniture and sculpture, starting from approximately £800. Rich Miller, a ceramic artist and judge on 'The Great Pottery Throw Down,' offers unique cone-shaped pendant lights inspired by antique sugar cones, each priced at £2,425. These lights explore the history of the sugar trade and Miller's cultural ancestry. Sustainability is a key theme, exemplified by Jacob Marks' resin lamps, made from pine resin, with the Red RF Lamp I priced at £730. These lamps were a highlight at the London Design Festival for their use of unusual sustainable materials. Xanthe Somers, a Zimbabwean ceramic artist, contributes surrealist stoneware from her 'Sisters Toil' series, which explores women's work and crafts, with pieces ranging from £6,500 to £9,000. Loney Abrams and Johnny Stanish of Wretched Flowers create mesh murals and chain mail lamps, drawing inspiration from diverse sources such as museum archives and medieval armor. These shimmering wall hangings are available on application. James Shaw's sustainable seat, priced at £2,000, is crafted from recycled plastic waste like milk cartons and shampoo bottles, transforming discarded materials into unique, organic forms. The master plasterers Ffion and Steven Blench, known as Chalk Plaster, produce marbled, fluted sidetables using scagliola, a 16th-century technique imitating marble, priced at £7,800. Freya Bramble-Carter, a ceramicist, offers wheel-thrown pots in earthy shades, blending traditional techniques with an expressive approach, starting from £900. Maria Sigma, a textile designer and weaver, focuses on zero-waste wares using natural, often undyed, fibers for her throws and cushions, with her 'Apricity' throw priced at £890, though it has an eight to ten-week waiting period. Joe Sweeney's terracotta stoneware butter dish, priced at £300, is described as a charming and functional addition to the breakfast table. Emsie Sharp, a glassblower, presents candy-colored drinking glasses made in her Dorset studio, priced at £38 each, as a modern alternative for smart dinner tables. Finally, the article highlights Matthew Raw's tiled bedside table from his 'Welcome' collection, inspired by tiled facades of train stations and buildings. These pieces, featuring handcrafted and glazed tiles, are priced at £5,180 for a sidetable with a drawer, indicating a growing presence in contemporary home design. #FurnitureDesign #HomeDecor #HandcraftedItems #SustainableDesign #CollectibleArt #InteriorDesignTrends #Craftsmanship #ArtisanalProducts #LuxuryInteriors

This article highlights a collaboration between The Hudson Company, a custom mill based in upstate New York, and Schotten & Hansen, a German flooring company, to introduce a line of naturally finished wood products to the U.S. market. The Hudson Company specializes in sustainably sourced and reclaimed wood, and this partnership expands their offerings to include wood from Germany's Bavaria region, which is also sustainably harvested. The defining characteristic of this new product line is Schotten & Hansen's unique finishing process, which emphasizes sustainability and traditional craftsmanship. Unlike typical industrial finishing methods, Schotten & Hansen uses only natural ingredients to treat their wood floors. This commitment to natural processes extends to every stage of finishing, including the use of waxes, oils, and resins derived from natural sources, ensuring that the final product is free from synthetic chemicals. The process involves meticulous hand-finishing techniques that have been passed down through generations of German woodworking. Each piece of wood undergoes a series of manual treatments, including planing, brushing, smoking, and coloring. These traditional methods are not merely for aesthetic appeal but also contribute to the wood's durability and natural texture, creating an authentic old-world feel. The natural ingredients are carefully selected not only to enhance the wood's inherent beauty but also to fill knot holes and other natural imperfections, seamlessly integrating them into the overall design while maintaining the wood's organic character. This approach results in a luxurious natural finish that is both environmentally friendly and aesthetically rich. The partnership aims to cater to a growing demand for sustainable and artisan-crafted building materials in the American market. By combining The Hudson Company's expertise in sustainable sourcing with Schotten & Hansen's traditional German finishing techniques, the collaboration offers a unique product that stands out in the flooring industry. The availability of these products in the U.S. provides architects, designers, and homeowners with access to high-quality, eco-conscious wood flooring and paneling options that embody both natural beauty and historical craftsmanship. This initiative underscores a broader trend towards integrating sustainable practices and traditional artistry into modern home design and construction. #OldWorldCraftsmanship #SustainableWood #NaturalFinishes #GermanWoodworking #LuxuryFlooring #EcoFriendlyMaterials #WoodPaneling #TraditionalMethods #HomeDesign

The Antico Setificio Fiorentino, or Antique Florentine Silk Mill, located in Florence's San Frediano district, has been producing textiles since 1786. The mill operates with 18th and 19th-century timber and iron looms, some of which are over 16 feet tall, and employs expert artisans who weave silk threads into various fabrics. The workshop, often described as a living museum, houses 12 looms in total, eight of which are still in production and were donated by noble families in the 1700s. The mill's history is deeply intertwined with Renaissance society, particularly the era of the House of Medici. The mill maintains an archive of around 200 historical fabric designs, passed down through generations, many of which bear the names of Italian and European royalty and nobility. These include lampas for Princess Mary of England, brocatelle for families like Corsini and Guicciardini, and damask for Doria. During the Medici era, many of these families were involved in sericulture—the raising of silkworms and silk production—and silk weaving in Florence. Silk was introduced to Italy around 1100 by Catholic missionaries from China. The art of silk weaving and sericulture flourished in Tuscany in the 14th century, with Lucca as a primary production center, eventually expanding to Florence, Venice, and Genoa. At its peak, Florence had approximately 8,000 operating looms; today, only a handful remain, with Antico Setificio Fiorentino preserving eight of them for production. A central component of the silk mill is a vertical warper machine, built in the early 19th century based on original drawings by Leonardo da Vinci from 1485. This machine, operated by hand, meticulously aligns warp threads from spools onto a creel. These warp threads are then used to create trims, ribbons, cords, and braiding for a variety of products, including upholstery, furnishings, bed and bath linens, and fashion accessories. The technician and restorer, Fabrizio Meucci, highlights that the workshop is not merely a display but a fully functional mill. The weaving process is time-intensive, especially for hand weaving intricate fabrics like damask, which can take an entire day to produce just 15 inches. Fabrics with thicker threads, such as the brocatelle Guicciardini used for upholstery, can be produced more quickly, achieving six or seven feet per day. The process begins with pure silk fibers, progresses through tinting, winding, spooling, and the creation of yarn skeins and bobbins, ultimately leading to the warp threads and the final weaving on the looms. Dario Giachetti, a 30-year-old artisan with a decade of experience in the textile industry, recently joined the weaving team at the Antico Setificio Fiorentino. He describes the learning experience as profound and finds magic in witnessing raw materials transform into finished products. He emphasizes that the final product embodies not just technical skill but also the weaver's passion and dedication. This emotional investment, he argues, differentiates artisanal textiles from industrially manufactured ones, which are typically faster, easier, and cheaper to produce. The art of handmade textile production is increasingly rare outside such workshops, as most manufacturers prioritize cost-efficiency over traditional methods. #FlorentineSilk #TextileWorkshop #Handweaving #ArtisanalCrafts #ItalianHeritage #RenaissanceHistory #LeonardoDaVinci #TraditionalCraftsmanship

Echo Petersen, founder of E Lee Designs, has found a creative outlet for her artistic passion by creating a variety of home decor and kitchen items featuring unique swirled acrylic paint designs. Petersen's work, which includes handblown coasters, trivets, charcuterie boards, and holiday ornaments, will be showcased at the 605 Made Holiday Market in Sioux Falls. Her designs are characterized by their vibrant colors and intricate patterns, achieved through a technique of blowing acrylic paints with drinking straws onto surfaces like ceramic tiles, wooden cutting boards, and canvases. This method allows colors to remain separate and distinct without blending, resulting in visually striking pieces. Petersen's journey into this craft began after she retired from her career as a financial assistant. Inspired by a set of handblown coasters she encountered during a trip to Fort Collins, Colorado, she dedicated herself to learning and mastering the technique. This involved extensive research through online videos and significant experimentation to develop her own proprietary mix of acrylic artist paints. Her husband, Bryce, supports her endeavors by creating custom oak frames for her canvas pieces. Each item crafted by Petersen undergoes a meticulous, multi-stage process that spans approximately one week. After the initial paint application, the piece requires time to dry and for the paint to cure. Following this, Petersen prepares the item by sanding its back and carefully taping it before applying a resin layer, which then takes an additional three days to dry. This commitment to quality ensures the durability and longevity of her handmade products. E Lee Designs offers a range of items, from small porcelain tile coasters to larger six-inch porcelain trivets and various wooden cutting boards. A particularly popular item that frequently sells out is her bamboo charcuterie board, which features pullout drawers and includes small wooden utensils, all adorned with her signature handblown paint designs. Petersen prioritizes using high-quality materials to ensure customer satisfaction and product resilience. In her creative process, Petersen pays close attention to current interior design trends, specifically monitoring popular colors in furniture and granite countertops. This awareness guides her selection of hues, ensuring her designs complement contemporary home aesthetics. She also incorporates micro powder glitter into her paints to add a subtle shimmer to the finished pieces. Popular color palettes in her collection include gray-beige, purple, and various autumn colors, while her personal favorite combination involves navy blue, moss green, and gold. This will be E Lee Designs' first participation in the 605 Made Holiday Market, though Petersen has previously showcased her work at vendor shows across South Dakota in cities such as Brookings, Pierre, Aberdeen, and Yankton. The 605 Made Holiday Market, an event organized by Knotty Gnome Variety & Salvage, Sew Doggy Boutique, and SiouxFalls.Business, and sponsored by The First National Bank in Sioux Falls and Dakota Business Finance, will feature over 40 makers. It is scheduled for Saturday, December 7, from 10 a.m. to 4 p.m. at Cherapa Place in downtown Sioux Falls, with free admission for attendees. #E Lee Designs #HandmadeDecor #AcrylicPouring #HomeDecor #HolidayMarket #Craftsmanship #ArtisanProducts #SmallBusiness #SiouxFallsEvents

The "Bolete" table series, a collaboration between Hong Kong-based architect and sculptor Henry D’Ath and design-art duo Batten and Kamp, introduces a family of limited-edition coffee and side tables. These pieces are distinguished by their mushroom-like forms, crafted from hand-carved solid wood and natural stone. The design integrates the sculptural weight typical of permanent furniture with a flexible, modular approach that features configurable, overlapping surfaces. The genesis of the Bolete series traces back to a custom commission where Batten and Kamp recognized a natural synergy between D’Ath’s carved wood creations and their signature raw stone bases. This initial insight led to the formal collaboration and the development of the Bolete collection, emphasizing a harmonious blend of two distinct material elements. Each table in the Bolete series is meticulously carved by Henry D’Ath, who allows the intrinsic patterns of the wood grain and the natural contours of the stone to guide the creation of subtly organic shapes. The wooden tops are available in two finishes: a natural, sealed varnish that highlights the wood's inherent beauty, or a glossy black finish achieved through layers of calligraphy ink. The choice of wood for the tops is Camphor, a variety prevalent in China and Japan, known for its aromatic properties and natural insect-repellent qualities. For the bases, raw Taishan Granite stones are used. These stones are culturally significant, often featured in Zen gardens, and are admired for their grey-white hues, reminiscent of the dramatic Karst Mountains. Each granite base is individually sourced and intentionally left untreated, ensuring that every table possesses a unique character. The collaboration is deeply rooted in the shared heritage and mutual admiration among Alexandra Batten, Daniel Kamp, and Henry D’Ath, all originally from New Zealand but now working together in a Hong Kong studio. This shared background is reflected in the design philosophy, which embraces natural materials, robust forms, and simplicity—elements integral to New Zealand aesthetics—while also incorporating local materials and subtle Zen influences. Alexandra Batten describes the collaboration as effortless, stemming from a lifelong connection and shared artistic vision. Initially launched as a side table in 2023, the Bolete series has expanded to include coffee tables. The modular nature of the design is key, allowing for diverse configurations and sizes through the arrangement of overlapping surfaces, which enhances the collection's adaptability and aesthetic appeal. The tables are produced in limited editions, with eight pieces plus four artist proofs available per configuration, highlighting their exclusivity. Plans are underway to exhibit the series in major art and design hubs, such as New York or Paris, in 2025, further solidifying its presence in the global design landscape. The project was submitted through a DIY submission feature, reflecting a direct engagement with the creative community. #FurnitureDesign #Woodwork #StoneCraft #TableDesign #ModularDesign #LimitedEdition #DesignCollaboration #NaturalMaterials #HandCarved

A meticulously restored 19th-century co-op situated on a highly sought-after street in the East 70s has recently entered the real estate market with an asking price of $3.95 million. This apartment, located at 5 East 75th Street, is characterized by its original architectural details and impressive views, which are highlights despite the presence of bold wallpaper choices and numerous mirrors. The building, a historic limestone mansion, offers direct elevator access to the unit. Upon entering the co-op, residents are greeted by a mirrored foyer adorned with checkered marble floors and intricate dental oak molding. Adjacent to the foyer, a high-end kitchen features cabinetry that contributes to a serene, almost 'religious' ambiance. On the opposite side of the foyer, a spacious great room captivates with carved wood-paneled walls and towering twelve-foot ceilings featuring authentic carved beams. The exquisite millwork is a continuous design element throughout this room, extending to a functioning wood-burning fireplace and floor-to-ceiling cabinetry that includes bookshelves accessible by a library ladder. The private living quarters, located on the upper level, comprise a master suite that also includes a wood-burning fireplace. An adjoining second bedroom offers two generously sized built-out cedar closets. Both bedrooms provide picturesque "Parisian" views, looking out over the copper rooftops and mature trees of the elegant block. The property at 5 East 75th Street is ideally positioned within a historical limestone mansion, just steps away from Fifth Avenue. Its location offers convenient access to Central Park, with the Metropolitan Museum of Art located merely blocks away. This co-op represents a blend of historical charm and luxurious living in a prime Manhattan location. The emphasis on restored original details, such as the millwork and carved ceilings, preserves the character of the 19th-century building while providing modern amenities. The direct elevator access, high-quality kitchen, and the presence of two fireplaces enhance the comfort and sophistication of the residence. The apartment's views and proximity to iconic New York City landmarks further contribute to its appeal, offering a unique living experience in one of the city's most prestigious neighborhoods. The property is listed by Frances Katzen of Douglas Elliman, with additional details available through CityRealty. #CoOp #LuxuryRealEstate #HistoricHome #UpperEastSide #ManhattanRealEstate #ArchitecturalDetail #Millwork #NYCProperty #DouglasElliman

Gilded furniture, an emblem of opulence and prosperity, gained widespread popularity in Europe during the 17th century, notably through Louis XIV's commissioning of the Palace of Versailles. This style, characterized by its lavish gold leaf embellishments, subsequently influenced English aristocracy, becoming a staple in grand country houses like Chatsworth and Waddesdon. While aesthetically stunning, gilded furniture presents unique challenges in its preservation and restoration due to its delicate and often fragile nature. The process requires a multidisciplinary approach, combining the precision of a master wood carver, the analytical rigor of a laboratory technician, and the steady hand of a specialist gilder, alongside the investigative skills needed to uncover a piece's historical context. The scarcity of highly skilled gilded furniture restorers underscores the complexity of this craft. Organizations such as the National Trust employ their own experts for in-house collections. Among independent firms, Carvers & Gilders, established in 1979 in south London, stands out. This company, a Royal Warrant holder, has a distinguished client list including Windsor Castle, Hampton Court, and Woburn Abbey. Co-founded by Christine Palmer, an art graduate with specialized training in carving and gilding from City & Guilds, the company comprises seven staff members, including conservators and carvers. Palmer emphasizes that gilded furniture restoration is a specialized niche, sharing techniques with picture framing but demanding even greater specificity for furniture due to the pre-conceived integration of carving and gilding in original designs. Identifying the age and original form of a piece is crucial yet often difficult, as historical repairs and alterations can obscure its true state. Gesso, a chalky base, played a significant role in mid-18th-century furniture, providing a smooth surface for gilding over bold carvings. As gold leaf became thinner, more intricate and smoother surfaces were required. Restoration at Carvers & Gilders begins with a treatment proposal, followed by collaborative work among the team, who possess comprehensive knowledge of all involved processes, from carving to gesso application and gilding. The use of original methods and materials is prioritized to ensure sympathetic and seamless restorations. A notable commission for Carvers & Gilders involved the reconstruction of a Chippendale state bed at Harewood House in West Yorkshire. Stored in disassembled pieces since the 19th century, the restoration was likened to a large jigsaw puzzle, with components unearthed from various locations within the house. The team meticulously reassembled and restored the bed, carving new sections where necessary and applying original treatments, allowing it to regain its historical splendor in the state bedroom. Another significant project involved a Chippendale state bed at Dumfries House, where the team's brief was to revert the piece to its original concept by carving replacements for lost elements and designing new valences based on Chippendale’s original blueprints. Beyond restoration, Carvers & Gilders also undertakes the creation of new pieces, such as a faithful reproduction of an 18th-century palm mirror by John Vardy for Spencer House in London. Despite their prestigious commissions, the company also offers advice on minor repairs, with services starting from a modest fee, ensuring that gilded furniture can be maintained and appreciated for generations. The article highlights the invaluable expertise required to preserve these elaborate historical artifacts and the dedication of specialists in this unique field. #GildedFurniture #FurnitureRestoration #AntiqueFurniture #GildingTechniques #HistoricPreservation #InteriorDesignHistory #CarversAndGilders #LuxuryInteriors #Conservation

Adrian Molitor, founder of Molitor Traditional Flooring in Madison, has dedicated his career to restoring historic hardwood floors in southern Wisconsin. His work is currently focused on preserving the red oak floor at the Lothlórien Cooperative House on Lake Mendota. Molitor expresses a strong preference for older constructions, stating his aversion to new builds and a profound appreciation for the 'patina' of aged materials. He views his work as a continuation of the craftsmanship of those who came before him, referencing the intricate parquet flooring created by early Swedish woodworkers in Wisconsin. Business for Molitor Traditional Flooring thrives primarily through referrals, underscoring the quality and reputation of his work. Molitor's journey to becoming a renowned floor restorer was unconventional. As a teenager, he dropped out of high school and traveled west, inspired by the lifestyle associated with the Grateful Dead. He gained initial experience in hardwood flooring through demanding labor at a business in Tucson, Arizona, finding satisfaction in the physical work. Upon returning to Madison, he explored a career as a tattoo artist, where he developed an appreciation for traditional American designs, an aesthetic he now sees reflected in his woodworking. His approach to traditional woodworking emphasizes staying true to established forms and traditions. A significant turning point in Molitor's life occurred in 2012 when he faced legal issues related to OWI and drug charges. This period forced him to rebuild his life from scratch, leading him to sobriety. He eschewed driving for several years, cycling around Madison, paying off debts, and actively maintaining his sobriety. Subsequently, he pursued higher education, enrolling in the University of Wisconsin to study poetry and English literature at the age of 40. Despite his academic achievement, he felt disconnected from his younger peers and ultimately returned to woodworking, a field where his extensive experience could be applied. Molitor launched his company with limited resources, operating out of a Hyundai Sonata and utilizing rental equipment, but he brought 15 years of experience and a commitment to perfection. His initial clientele comprised community members who recognized his work ethic, irrespective of his past struggles or numerous tattoos. He finds profound satisfaction in his craft, particularly in the knowledge that the hardwood floors he installs or restores will outlast the individuals who commission the work. Molitor reflects on his life's trajectory with a sense of acceptance, highlighting his contributions to the community and his role as a father. He continues to encounter countless historic floors awaiting restoration, each presenting an opportunity for renewal. #HardwoodFlooring #HistoricPreservation #Woodworking #Craftsmanship #MadisonWisconsin #MolitorTraditionalFlooring #Restoration #Artisan