Archive for the Studio Furniture Category

A Late, Great Source for Silk Tassels

Posted in Artisanal, Canadian Woodworking, Furniture Making, Interior Design, Studio Furniture, Vintage, Woodwork with tags , , , , , on March 21, 2014 by johnwiggers

Images of our recently completed Aquaria Desk are due to be published in a magazine at some point later this year.


One detail that we were looking to feature is this beautifully crafted silk tassel by Theodore Merwitz Textiles, Inc. of Chicago, Illinois.

The Merwitz company was founded in 1953 and is well regarded in the interior design trade for its ability to turn out elegant, one-of-a-kind trimmings using high quality yarns, Old-world looms and traditional hand-tying techniques. Amongst the many commissions that it has received over the years Merwitz was involved in the restoration of Carnegie Hall and they also supplied trimmings for various renovations at the White House.

Sadly, we have recently learned that Theodore Merwitz Textiles has closed it’s doors and is no more.

Our remaining inventory of vintage Merwitz tassels will be used judiciously on select upcoming projects, including a recently commissioned Diego Humidor for a cigar aficionado in Tennessee.

We’re now on Instagram

Posted in Artisanal, Furniture Making, Interior Design, Studio Furniture, Woodwork, Woodworking with tags , , , , , , on March 19, 2014 by johnwiggers

We’re now on Instagram!


Please click on the link below to check out some of our work.



Stack Laminated Walnut Console

Posted in Artisanal, Furniture Making, Interior Design, Studio Furniture with tags , , , , , , , , on March 11, 2014 by johnwiggers

Sometimes we find design inspiration in places we least expect.

This winter has been one of the coldest we have had in several decades. Because of this frigid air most of the snow that has fallen has managed to stay loose and powdery, making it prone to drifting with even the slightest of wind. This has resulted in many snowdrifts being created, including some very unusual sculptural shapes.


A few weeks ago I was walking outside when I noticed this formation over a raised garden bed. Right away I began to think about possible shapes for some stacked laminated designs I have been pondering for a while. Before long I was off to the lumberyard to buy the necessary Walnut.


What you are looking at is roughly 100 board feet of 8/4 solid Walnut. This should be enough material to make a wall hung console and a table base.


Kevin rough cuts the planks and prepares the edges for glue.


Gluing the boards together.


Planing the segments down to a consistent thickness.


The boards ready to be marked for bandsaw.


Aligning the templates to mark the boards.


Marking the boards.


Gluing the stacked layers together.


The stack lamination in the bench vise, ready for shaping.


Shaping with an angle grinder.


Sanding the final shape.


Applying the oil finish.


Wiping down the finished console.


Console shown mounted on wall.


Corner detail, showing the layers of stacked lamination.

It’s Interesting How Memory Works

Posted in Artisanal, Furniture Making, Interior Design, Studio Furniture, Vintage, Woodwork, Woodworking with tags , , , , , on February 27, 2014 by johnwiggers

Earlier today I dug up some vintage furniture handles that have been stored away for almost 20 years.


I knew exactly what box to find them in, and also where in the hardware room to look.

What surprised me, though, is that I also remembered that 8-32 x 1-3/4″ machine screws would be needed to mount these handles onto a 3/4″ thick drawer front.

It’s strange how I can remember that, but not what I had for supper 3 nights ago.

Whale Tail Desk – for Canadian Woodworking Magazine

Posted in Artisanal, FSC, Furniture Making, Interior Design, Studio Furniture, Woodworking with tags , , , , , , on February 16, 2014 by johnwiggers

The story behind the creation of my Whale Tail Desk was published in issue #79 of Canadian Woodworking Magazine, in August/September 2012.



What follows is the content that was submitted for publication.

In the Autumn of 2001 my daughter was working on a school project that had to do with whales. Her writings contained all the standard textbook information available on these creatures, i.e. “whales are the world’s largest mammals; they live in the sea; they eat fish or plankton, and they are endangered.”

After reading her project to me, she asked what I knew about whales. I told her that when a whale turns up dead in the St. Lawrence River it’s carcass is so contaminated with pollutants that it has to be handled and disposed of as toxic waste. Needless to say, her eyes went wide as saucers and her whale project evolved along a whole new tangent.

That conversation made me wonder about what it is that our schools are teaching our children. Or, rather, what it is that our schools are not teaching.

My daughter and I ended up talking a great deal about whales, and out of those discussions came a promise that the following summer we would take a trip out east to see some real whales, up close and in the wild.

Not long after this discussion I received an invitation from World Wildlife Fund to build a showcase exhibit for the inaugural “Forest Leadership Forum” to be held in Atlanta, Georgia in April, 2002. Given that the show was focussed on protecting the world’s forests, I was challenged to come up with a cool idea for a piece of furniture made of FSC certified wood.

For several months I wavered on the idea of whether or not to even participate in the show, because after 9/11 the thought of flying anywhere wasn’t holding much appeal for me.

By early 2002 I was still undecided about whether to participate, but now faced a deadline. I was stuck with the furniture designer’s equivalent to writer’s block. Nothing clever was manifesting in the way of ideas, although I had concluded that my furniture piece should be a desk of some kind.

Then one night I’m watching television and there’s a program on about saving whales, and I see the actor Pierce Brosnan speaking on behalf of the whales.

I was already familiar with Brosnan because at that time he was also a spokesperson for FSC.

The connection of Brosnan to both whales and FSC suddenly melded with my idea for a desk, and everything came together in a flash: FSC + Whale + Desk.

Grabbing a pencil and a thin piece of cardboard I scribbled out a quick rendering of a desk based on what a whale’s tail would look as it breeched in preparation for a deep dive. Cutting this out with scissors I then Scotch taped the pieces together into a crude scale model. The result was an actual miniature prototype, and the whole process probably took no more 15 minutes to do.

This model was then scaled into working drawings, and the woodworking process began. The main face of the torso and tail started as an oversized T-shape slab of 1-1/4″ veneer core ply that was cross laminated with Macassar Ebony veneer. Relief kerfs were cut into the underside for bending the curve. Plywood offcuts were used to make elongated L-shaped vertical gables, with the 1″ ply floor set into dadoes.

An anthracite grommet was inset into the top, to allow wiring to pass through to the vertebrae wire management column running vertically inside the torso of the desk. For stability the desk was engineered to be secured to the floor with lag bolts.

After a thorough sanding the exposed surfaces were finished in a high gloss low-VOC polyester finish to enhance the grain and give a glossy “wet look” to emulate a whale rising from the water.

The finished Whale Tail Desk was displayed at the “Forest Leadership Forum” in late April, 2002 along with a custom made Andiroba Credenza crafted from the same wood and finish. These pieces are both now part of a private collection in Moscow.

A few months later our family travelled east to New Brunswick and took a long ferry ride to a remote island called Grand Manan, which lies just off the coast of Maine. We arrived on the island on August 6th and had advance reservations to go on a whale watching tour the following morning.

As we travelled around the island I soon learned from the locals that whale watching was not an exact science. Even in optimal summertime conditions such tours are highly dependent on the weather, the seas and the fog. I was told that in the previous 2 weeks hardly any tours had managed to make it out to sea because of heavy fog. And even when boats did make it out, there was no certainty of even seeing a whale – let alone seeing one up close.

I now felt concern that expectations for the trip might not unfold as planned. We had a wedding to attend in a couple of days, and our only opportunity to see whales would be the following morning. My daughter in particular was excited at the prospect of seeing a whale, and I did not wish to see her disappointed.

That night I took a walk to a small rise of land overlooking the sea. I prayed for good weather and silently called out into the darkness – asking for a whale to make an appearance the following day.

We arose before dawn and made our way to the harbour where a small converted lobster boat took us into the Bay of Fundy, to an area where whales traditionally feed. Luckily for us, the weather, the fog and the seas were all working in our favour, and conditions were nearly perfect.

After a bitterly cold 2 hour ride, the boat’s captain spotted a pod of 6 or 8 whales on the horizon. He slowly eased to within about 1/2 mile of where these whales were, and shut off his engine. Now we had to wait, with cameras ready, scanning the horizon in anticipation of the whales coming to the surface. We didn’t know when, or where, these creatures might appear.

For the next 20 minutes we enjoyed sporadic sightings of whales in the distance. These massive creatures would suddenly and unexpectedly emerge from the depths, then crash back into the sea with huge plumes of water and spray. Everyone was crowded to the starboard side of the boat, methodically snapping off frame after frame of film.

Given the unpredictability of the whales appearing on the horizon, I was snapping through an incredible amount of film in the vain hope that one of these shots might yield an incredible photo. At one point I stepped back from the group to change film when the most amazing and magical thing happened. Unbeknownst to any of us a huge Humpback Whale had quietly surfaced behind the boat. This whale didn’t make a noise, and not one of us even noticed he was there.

As I busied myself with changing my film an odd feeling suddenly came over me. Casting a slow sidelong glance over the stern I found myself looking – no more than 10 feet away – right into one of eyes of this massive creature. In one brief moment I felt the whale say to me, as if telepathically, “you asked for me to appear. Here I am.” Needless to say, as soon as I announced the whale’s presence behind our boat everyone stampeded to the back for a better look.

The feeling of being small and powerless was overwhelming. Humpbacks can grow to a size of 40 tons, and if he wanted to this whale could easily have flipped our boat like a cork in the water. But this was not how things unfolded.

It was as if this whale had been waiting for us to show up, and he was floating patiently in the water until he was sure he had our undivided attention.

He slowly raised the top of his bumpy head out of the water, as if to confirm with his own ancient eyes that we were all watching. He then exhaled a huge, bushy spout of misty air with a sound not unlike that of an elephant’s trumpet. And let me tell you, after a lifetime of eating seafood that fellow could definitely have used a breath mint. Children were giggling at how bad his breath smelled.

But the best was yet to come, and the only way to describe it would be to say that this whale grabbed this moment to, literally, seize the proverbial stage and ham it up for our cameras.

It was a most amazing few minutes of time, during which this wild mammal – of its own accord – decided to approach our boat in a manner that gave us both the time and the angles necessary to take some absolutely phenomenal photographs. It would not be an exaggeration to say that this whale was probably posing for some of the shots.

On our long ride back to the harbour I considered what might have motivated such an untamed creature to behave in this manner. I know that whales are highly intelligent, so on some instinctual level this individual would probably know that the greatest threats to its survival (i.e. pollution, collisions with ships, entanglement in fishing nets, and slaughter by commercial industry) all come from humans.

In spite of this, this whale took incredible risk to reach out and connect with us.

Perhaps, deep down, it was because this whale also realises that as much power as Man has to destroy, Man also has the power to change – and to protect. And maybe through connecting with us, this whale is also trying to secure his own future survival by sharing with us that feeling of oneness with him.

It would be easy to dismiss this magical moment was an isolated incident, a coincidence, or a figment of my imagination. But I do not believe this to be the case.

When we arrived on Grand Manan the day before, there was a story circulating amongst the locals about a Humpback Whale and her calf which had become entangled in fishing nets earlier in the week. Such entanglement is a guarantee of certain death for a whale, especially calves. To the amazement of the locals these two wild mammals instinctively swam right up to a research vessel and waited patiently on the surface of the water while deckhands used knives to cut away the netting. Somehow these whales intuitively knew what they needed to do in order to survive.

Life always finds a way, and we should never underestimate the magic at work in Nature.

Artisanal Furniture Making Has Become Cool

Posted in Artisanal, Furniture Making, Interior Design, Studio Furniture, Woodworking with tags , , , , , , , on February 15, 2014 by johnwiggers

Although designing and making custom furniture is one of the more challenging ways to earn a living in today’s world, one of the upsides is that artisanal furniture making has now become cool.

On the television series Sex and the City Carrie’s long term boyfriend Aiden Shaw was portrayed as a sweet and good natured furniture designer.


Channing Tatum, in the movie Magic Mike, plays a male stripper whose biggest dream is to become a custom furniture maker.



The real life Brad Pitt actually designs and makes his own line of custom furniture out of a studio in New Jersey.


And finally there is Nick Offerman, who portrays Ron Swanson Рthe manliest man amongst manly men Рin the television series Parks and Recreation. When not on the set the real life Offerman makes custom furniture out of his own woodworking studio, located near Los Angeles.


A few weeks ago I attended the Interior Design Show (IDS14) in Toronto. For all intents and purposes the IDS has become an upscale version of a home show. Although corporate mega-exhibitors such as Ikea have become behemoths at these events, one has to admit that these brands are doing an effective job of marketing their wares to the mainstream audience that enjoys watching home improvement and DIY interior desecrator shows on television.

But to be fair I have to admit that when comes to design Ikea has come a long way from the days of the Allen key.


For me, the best part of the IDS is Studio North and Prototype, which is a tiny display of micro booths that is usually tucked away in one corner of the main show.


Studio North and Prototype is where student work and the wares of emerging makers gets displayed, and in my book this is the coolest and most inspirational part of the show.

At this year’s show, however, I noticed something unusual. There were all kinds of skinny jeans and an abundance of plaid shirts milling about, but the attire looked more American Apparel than proletarian Mark’s Work Wearhouse. It was only when I noticed the odd handlebar moustache and numerous well combed gnarly beards under a sea of carefully coiffed bedheads that I fully understood where I was. Studio North had become Hipster Central, and Hipsters were everywhere checking out the latest artisanal stuff.

Hipsters have become the butt of many jokes and parodies in recent years, but as a small scale furniture maker I actually appreciate the fact that they exist.

What I like most about Hipsters is their intense dislike for commercialization, mass production and mainstream brands. This, I believe, is one of the prime drivers behind the reemergence of craft in America, with the ‘Maker Movement‘ and the embracing of All Things Artisanal making it cool to be making things here again.

Of course, when it comes to making things, embracing the artisan and being the artisan can be two totally different things.

The Core Stash

Posted in Artisanal, Furniture Making, Interior Design, Knitting, Studio Furniture with tags , , , , , , , on January 12, 2012 by johnwiggers

My wife Teresa enjoys reading a blog called Yarn Harlot, which is written by Stephanie Pearl-McPhee.

There seems to be three reasons why Teresa follows this blog:

1. Stephanie loves knitting (as does Teresa);
2. Stephanie will enjoy a beer or wine with her knitting (ditto, Teresa);
3. Stephanie writes a good blog (while Teresa enjoys reading good blogs);

At various points in the Yarn Harlot Stephanie talks about having a “core stash” of yarn. A core stash is basically a collection of yarn that is is never going to be knit – either because it is too expensive or special, or because it is so beautiful that it is not worthy of knitting.

“Core stash is the foundation of every good stash” says Stephanie. “It is inspiration. It is beautiful. It is the reason that I knit, but it is not for knitting.”

How beautiful is that?

I am well aware that Teresa has her own core stash of yarn, with most of it having extreme sentimental value since it originally belonging to her Mom, before her Mom passed away.

Not one fibre of this material will ever be thrown away (not by Teresa anyway), but then again it’s also unlikely that Teresa will ever knit anything with it either.

Recently Teresa asked if I too had a core stash of material.

Of course, in my case she was referring to wood.

“Um, yeah” was my reply; but it was only when I really thought about my answer that I began to realize how much wood I actually have squirrelled away.

The bulk of my “core stash” came as a result of a wood auction that took place in the early 1990s. There was a veneer company called William L. Marshall that went out of business in New York around 1991, and the bulk of its assets were picked up by a firm called General Woods and Veneers. General allowed a large volume of inventory to be auctioned off, with the proceeds going to support W.A.R.P. (Woodworkers’ Alliance for Rainforest Protection).

W.A.R.P. at the time was one of the fledgling initiatives playing a key role in developing what would later become the Forest Stewardship Council (FSC) in 1993.

I ended up buying over 100,000 sq. ft. of veneer as a result of this auction, with the bulk of it being East Indian Laurel, Kila-Kila, Madagascar Rosewood, Mozambique, Afrormosia, and English Oak. There was also a crate of a golden coloured, aromatic species I had never seen or heard of before.

We ended up calling this wood Sabarona, but only because that was the name scrawled onto the side of the crate. Samples of this material were sent to labs and experts around the world, but no one was ever able to identify what it was.

Based on the heavy thickness of the material and the size of the flitches (up to 16′ in length, and 36″ wide in some cases) it was clear that the bulk of this wood was harvested sometime around the 1920s. I ended up becoming so attached to this old inventory that I soon found myself reluctant to use it on anything but the most special of pieces.

I guess this is where my definition of core stash differs from Stephanie’s – namely, I will dip into my stash, but only under the most special of circumstances.

One of those circumstances came up a couple of years ago when we were commissioned by a couple in Michigan to build some custom bedroom furniture. Given their desire to have something unique and special I suggested using some of the East Indian Laurel I had tucked away in.

One of the resulting dressers is shown below, and you can see how the polished chrome pulls helps to accentuate the figure of the grain.

As the FSC began to develop their sustainable forestry standards in the mid 1990s, some field testing began to take place in locations such as the Solomon Islands. Some of the very first sustainably harvested wood to come out of these beta tests was a species known as Narra.

This original sampling of Narra ended up making its way into North America by way of a company called Eco-Timber in California who, in turn, shipped to us via A&M Wood Specialty.

This Narra was quickly sold out, and one of the last pieces we managed to make from this rare inventory was the Solomon’s Desk shown above.

As of today there is only one board of this original Narra inventory known to exist, and it is a heavy piece of 10/4 stock that happens to reside at the very heart of my core stash. I consider this board to be particularly sacred, because for me it represents the proverbial “ground zero” of the sustainable forestry movement. It is the last of the originals.

I cut into this board very sparingly, and usually it is only to make some small inlays on very special pieces.

For example, the turtle glyph inlay shown in the top of the Gentleman’s Valet (below) was made out of this last remaining stock.

This Narra is used symbolically in much the same way that some engineers in Canada will wear an Iron Ring. An Iron Ring is often worn as a symbol and reminder of the obligations and ethics associated with the profession.

In much the same way I will periodically use these small inlays of Narra as a symbolic reminder of the relevance of sustainability in what I do.

The Curly Birds Eye Maple used on this cabinet also comes from my core stash of wood. (Geez, the more I write the more I realize how much wood I have squirrelled away…maybe I’ve got a problem. Is there an AA equivalent for wood?)

Several years ago I was visiting one of my veneer suppliers and he happened to show me an anomalous log of maple. This “freak of Nature”, as he described it, was too Curly to be sold as Birds Eye, and too Birds Eye to be Curly. It was an orphan he wanted to unload, and I was only too happy to take it off his hands as the newest addition to my stash.

Finally we come to the photo below, which is of my own personal humidor. This humidor is very special to me, mostly because it is made of materials that came from my father’s core stash. (Hm, maybe I inherited the gene from him…)

The main body is of some kind of pommelle mahogany which is absolutely stunning because of its heavily quilted appearance. My father hung onto this wood because he always intended to make something nice out of it, but he never got around to doing it.

Although the wood looks like some kind of pommelle sapele, the lightness of the grain seems to suggest a species other than sapele – although I have yet to figure out what it might be.

But the aspect of the humidor that is most special to me is the purfling banding that is inlaid into the faces. This banding was tucked away in my father’s shop for years, because I remember seeing it around since I was a boy – so its been around forever. Over time it has developed an almost luminescent patina with age.

There has always been something special and familiar about this purfling, but I could never figure out what it was until a couple of years ago when I purchased a book called “A Marquetry Odyssey”, by Silas Kopf.

In the early part of the book Silas writes about travelling to Toronto in the 1970s to visit the shop of an old German marquetry master by the name of Ernest Oppenheim. Reading that triggered a boyhood memory of me making similar trips with my father to the same shop – and I’d forgotten about the place until Silas wrote about it in his book.

Therefore, it’s quite likely the purfling was purchased from Mr. Oppenheim by my father, way back when.

That being said, every time I open my humidor to select a cigar I am reminded of my father and a boyhood spent around his workshop. And considering that both my grandfathers were cigar smokers, I should also point out that the ritual of smoking a stogie reminds me of them as well.

In the grand scheme of things there is much good to come out of having a core stash, and for me it is a tether to memories of the past.