As you travel throughout the countryside and towns of America, you can’t help but take notice of the various weathervanes and whirligigs that grace rooftops and gardens as well as those that have made their way into homes and museums as folk art objects for display. Over the past twenty three years, I have developed an increasing interest and passion for this type of folk art. I began collecting antique originals and then started researching folk art objects to handcraft weathervanes, whirligigs and trade signs in the true folk art tradition. Most of the wood used in my work is over one hundred-year-old heart pine salvaged from various 19th century barns and outbuildings in upstate NY. I also incorporate antique copper, tin and iron into my work. Various tools used to handcraft each piece include chisels, draw knives, handsaws and carving knives.
I want to continue this type of American folk art so that it lives on for many years to come. I hope you enjoy my work as much as I enjoy handcrafting each and every piece.
Andersen and Stauffer
At Andersen & Stauffer, we create authentic copies of 17th, 18th, and early 19th century American antiques. How do we accomplish this? By being exacting. And passionate and experienced. Founders Alan Andersen & Tom Stauffer have been working with wood for as long as they’ve been able to hold hammers. Together, our team develops and perfects techniques to construct classic pieces and simulate antique surfaces, as well as conserve and restore cherished pieces.
Our deep passion for the history of American furniture, and knowledge of both its form and function, is what drives our desire to painstakingly recreate timeless bench-made furniture.
We use only the best grade hardwood, employ mortise and tenon joinery, and use hand cut dovetails. We use no automated joinery techniques, and never, ever, any plywood. All carving is done by hand, and we have been sought out by clients around the country for our highly specialized hand-rubbed finishes. We can match the color and finish of an existing object, or create a unique blend to suit a client’s individual needs. Then, we finish with the highest quality brass hardware available, from Londonderry Brasses.
We have been recreating pieces for clients for more than 25 years, and are proud to label, sign and date each one. And that’s why we have continually been rated among the 200 Top Craftspeople in America by Early American Home Magazine. And are engaged by renowned museums like Winterthur Museum and Old Salem Museum and Gardens to partner in their replication projects. Our knowledge also makes us a trusted authentication resource for auction houses like Sotheby’s and Christie’s.
Ashley Garland Floor Cloths
As a young apprentice to my artist grandmother, I learned the process of creating floor cloths at the age of 13. While studying under my grandmother I was even mentioned in Country Living Magazine. I am very proud to be carrying on the tradition today. I love the process of putting an idea onto the canvas and seeing it come to life. I want my work to be enjoyed in your home as much as I enjoy creating it.
Barking Dog Jewelry Design Studio
As a specialist in hand forged and braided metal, I use a mixture of traditional silversmith, blacksmith, and goldsmith techniques and equipment to create historical wearable works of art. I am a native of North Carolina, trained in historical archaeology, with a subspecialty in metals. I am a trained jeweler and a self taught traditional silversmith.
I do all the work by hand, one piece at a time, from initial design to final polishing – no mass production. From time to time I teach this work to apprentices who also help me at art and craft shows while I demonstrate my techniques.
My knowledge base comes from period texts, paintings, etchings, and techniques which I’ve reverse engineered using methods learned in my training in archaeology and museum conservation and restoration. I spend hours in museums examining period paintings, etchings, prints, and sculptures attempting to tease out jewelry design and construction. Many of my patterns are based on archaeological research, published reports, texts, field notes, and interviews with curators at period archaeological sites. Two of my chain designs are based on artifacts recovered from period (1715) ship wrecks off the coast of Florida. The button designs are based on two period buttons (one pewter and one silver plated or gilded) excavated in Strasburg, Virginia. I also have fun creating some contemporary or art deco pieces.
As a result, my designs create some of the most accurate reproductions and examples of historic colonial style jewelry, especially with respect to my hand made chains, hand forging, weaving, repousse’, chasing, and embossing.
Baskets in Nantucket Tradition: Jane Theobald
I began experimenting with Nantucket basket construction about 35 years ago after seeing a small broken one at an antique show. I have been a hands on creator forever, jumping from sewing stain glass window making, weaving, knitting etc. I dabbled in shaker baskets at first but once I saw the Nantucket that was it. I still have my first basket with its handle made from a large twig from a tree in my back yard. My basket growth has been all on my own since in the early 1980s there was nothing available without being on the island. The third edition of the Seeler book in 1981 was my teacher. It however left out a number of salient facts which had to be learned by trial and error if you weren’t out on the island with a teacher. One of the greatest joys of my development as a basket maker has been that when faced with a technical obstacle and no teacher I consistently seem to have solved it the same way the old guys on the island did many years ago. Over the years I have participated in many lovely folk art shows and have been privileged to be included in Early American Life magazine of Outstanding Artists as well as being featured in Country Living. In addition I have had a nest of small baskets included in a show of miniatures at the Nantucket Basket Museum on the island. My baskets are in many personal collections both here and abroad. I have done all my work myself from the beginning. This includes molds, rims, handles, and for the last several years scrimshaw. Much of my work now is custom one of a kind baskets and historical reproductions woven of old cane, sometimes with baleen embellishments. In addition I do restoration of treasured antique baskets in private collections. I still learn from every project and enjoy it as much now as I did with my first homely attempt.
In 1979, Cheryl Mihills discovered the miniature punchneedle. This changed the direction of her work forever. She was intrigued by the unique textures, relief and unlimited creative possibilities she could achieve using just one strand of thread. Cheryl has been exploring the art and creativity of the punchneedle ever since.
Cheryl describes her work as drawing and painting with threads. She begins each piece with a basic pencil sketch of her idea. The design progresses as she works. It takes from three to six hours to complete a square inch, depending on the detail. There are approximately 1,200 stitches per square inch.
She has produced many commission works over the years. Her most recent challenges have been to punch “Old Acre”, a beautiful brick home in Waterford, VA and her largest piece, a 1700s stone home. Commissioned pieces usually take 12 to 24 months to complete.
Cheryl’s background is in fine arts. She studied art & design at Rochester Institute of Technology in Rochester, NY.
“I should warn you, that I think in color, not in words.” This was fair warning to my future husband in the first five minutes of our first date.
That date, and my whole life, unfolded alongside the Hudson River – except for a six-year hippie hiatus on a farm in Maine. A Parsons trained designer, I have had a long career in graphic design, but felt it was time to return to my first love of painting, and quickly found pastels.
I enjoy painting everyday objects, hoping to recognize what is personal in the common items we all encounter. vintage tools, teacups, piles of fresh market produce, piles of anything really, because I relish repetition. I can’t help it, I like to punctuate all of my work with a sneaky dash of periwinkle, it’s my color, so I use it. On the other hand, I have had a bitter feud with red for decades; but this past summer, at the urging of a bumper crop of tomatoes, called an emotional truce and began a cascade of red musings that, in hindsight, mystify me. What blindness led to such an awakening? Words fail, colors don’t.
Daniel Bellow Porcelain
Made by hand on the potter’s wheel, one piece at a time, Daniel Bellow Porcelain is non-toxic, and dishwasher safe, and with proper care should last for hundreds of years. There’s a lot of iron in the new glaze and it will not go over well to have them smoke in someone’s microwave. Things that are made by hand have a life of their own, a spirit, that machine made objects, no matter how well designed, cannot hope to match
I measure the pots with my fingers and adjust the kiln according to the sound of the burners and the color of the flame, so some variation in size, shape and color is to be expected and valued for its is is the whole point of handmade pottery in a machine world where everyone agrees the highest and best use of silica is in the manufacture of microchips for computers.
The clay I use comes from ancient mountaintops washed down into stream beds over millions of years of rainy days. When my bones have crumbled to dust and this website is forgotten, archaeologists yet unborn will excavate my studio and find pieces of pottery with my stamp on them.
I decided that if Paul Gauguin could quit his job to become an artist at 37, so could I. But instead of leaving my wife, two small children and two large dogs and going off to Tahiti to drink myself to death, we all moved back to the Berkshires and established the Daniel Bellow Pottery in Great Barrington in 2002.
My work is sold in finer galleries and in Anthropologie stores from coast to coast. I teach at the Great Barrington Waldorf High School and IS183 Art School of the Berkshires. In the summertime, I fire wood kilns with my friends here in the North Carolina of the North.
De Mon Jardin
De Mon Jardin is of French origin and was established in 1994. My business is a combination of my two passions: art and gardening. I was born and raised in the south of France and my work is deeply influenced by the artistic traditions of the Provence. I grow most of the flowers and herbs I use in my garden, and recently designed a fern garden that has ferns from all around the world.
Deluca Windsor Furniture
DFW and Kami Watson Studio
A nomadic past with a focus on environmental conservation and humanitarian services has exposed me to global influences in design and culture, and a desire to create functional art with an ecological sensitivity.
As a second generation fiber artist with little to no structured training, I freely explore the traditional art of wet felting, the fusing of raw fibers into a textile form with soap, water, and agitation, as well as the contemporary technique of nuno (fabric) felting, continuously experimenting and pushing my personal creative boundaries in style and technique.
I combine renewable natural fiber resources, castoff antique silk saris, thrifted clothing fabric, and my own hand dyed fabrics and fibers to organically create each of my wearable works of art. I allow the materials I use, and influences and experiences in my life, past and present, to guide me instinctively in color and design.
I work in porcelain for its suppleness, delicacy and strength. Porcelain’s willingness to be transformed, both in form and texture, makes it a perfect medium for exploring the iconic meaning of dress and the concept of shelter.
My fine art training was at St. Martin’s School of Art, London and Pratt Institute, Brooklyn. I began working in clay at Silvermine Guild of Artists in New Canaan, CT, where I became a Guild Member in 2002.
From 2005 to December 2010 I leased a studio at the Torpedo Factory Art Center in Alexandria, VA. I remain an Associate Member of the Torpedo Factory, but now work out of my home studio in Woodbury, Connecticut.
My pieces are in private collections in the United States, Canada, Europe and Australia.
Fascinated by American Indian beadwork, Faith Fellows studied the earliest forms of bead and quill work and the various tribal influences at the American Indian Museum in New York. Today she incorporates artistic influences from many indigenous cultures into her bags. Each motif is meticulously embroidered on a field of richly colored velvet or suede set into the leather of the bag, creating one-of-a-kind American treasures. She works in South Royalton, Vermont.
Fire Crow Handwovens
I love sharing my joy through weaving. I draw inspiration from nature and the magical world around us to design and create beautiful, functional scarves, shawls and home goods that enhance one’s home or lifestyle. Specialties are my original “Story Scarves” and “Story Shawls” that share tales and life experiences woven into fabric with vibrant colors and rich textures. I often incorporate novelty yarns and contrasting fibers into the same piece. I weave mostly on an 8-harness cherry Norwood loom and enjoy demonstrating on my portable 4-harness Harrisville. . I spent two years artistically crocheting and selling original scarves; spent a year studying the centuries-old craft of basket weaving with reed, adding found materials collected in the woods; and traveled to the tiny villages outside Oaxaca, Mexico to experience indigenous handweavers’ craft and culture. Traveling provides an endless source of inspiration for me and I look forward to many more adventures!
Heidi Howard, Maker & Painter
Heidi began to paint historic reproductions of trade and tavern signs when her interest in early American country painted antiques collided with her artistic background. After graduating from Rhode Island School of Design with a degree in Fine Art, Heidi went through a natural progression of nomad, waitress, seamstress, hatter, mother, and, ultimately, historic trade & tavern sign painter. What a wonderful culmination of a life-long interest in art and antiques and the actual (gasp!) use of one’s college degree! Her attraction to weathered surfaces and crusty paint began early though, having spent her childhood in rural Vermont, surrounded by barns, rusty farm equipment, and other glimpses of history. Heidi continues to be inspired by her New England surroundings.
Helen Howard, Painter
You may have read something about Helen in one of a variety of publications, including Country Living, Yankee, Early American Life/Homes, or the New England Antiques Journal. Further, what you read may have been something about Helen the antiques dealer, or Helen the wall muralist, or Helen the floor-cloth designer and painter, or about Helen the prolific watercolorist. All of these topics have been addressed in various articles about Helen over the last four decades. As a result, her artwork is displayed proudly on walls and floors of beautiful homes throughout the country. Many of Helen’s clients come to her again and again with a new request, a new space in mind.
Hooked by Lynn
Lynn Hazelton has been hooking rugs for over 20 years. Her experience as a water color painter has provided a keen sense of color and design which shows in the beautiful rugs she has created. Her rugs are truly unique. They are expertly made using wool strips on a linen backing which makes then very durable. Each rug is original so that no two of them are the same although some basic designs are utilized with different color schemes.
Hooked Rugs, Peggy Teich
Fiber artist Peggy Teich’s collectible wool hooked rugs in the American Primitive style are created with hand-dyed wool, and hooked on burlap. Teich’s rugs, which are primarily used as wall hangings, have been featured on the 1999 White House Christmas tree, Country Living Magazine, Country Home Magazine, and other fine publications. She makes her home in Wisconsin.
Jayne Marie Ollin
Born Janja Marie Oczkowski to first and second generation Polish émigré’s, Jayne Ollin
gravitated early to the worlds of visual and three dimensional art, nature, and healing.
Jayne studied fine art at the Boston Museum School and printmaking and painting at the Glassell School of Fine Arts in Houston in the early 70’s. After the birth of her children she balanced painting with her research and practice in botanical medicine, homeopathy and Jungian psychology and holds Master Degrees in Psychology, Science and the Humanities.
Jayne has worked with many mediums, but prefers those that lend themselves to layering, to achieve subtle and complex fields of color or dramatic statements of overlapping form. Her latest series of work using wooden bowls as the canvas and the limited palate of traditional milk paint reflects her passion for exploring the limits of the medium in synch with the spontaneity that washes and brushwork allow. Her passion for what the natural world has to offer us, for the beauty of abstract form in nature, and for the magic of symbol, come to life in her work.
Jason Curtis Glass
Trained at RIT’s School of the American Craftsmen, Jason Curtis’ passion for glass art originated at Buck’s Rock in New Milford. His work ranges from exquisite perfume bottles with fanciful stoppers that are totally original to one of his unique hand-blown table lamps in the “feeling of Tiffany art lamps” of the early 20th century, now updated.
There are large colorful paperweights, glass plates and decorative contemporary vases. Each piece will capture your imagination. No two pieces can ever be a like.
“Breaking away from the traditional styles of glass blowing using whimsical characteristics” is how Curtis described his recent work. It is a “symmetrical line influenced by the fluidity of glass, shaped with skill and motion when it is hot and malleable.”
The glass is worked at temperatures so hot that artists do not create it during the summer months. Often working in teams, it is intriguing to watch the glass being shaped by the artisan and partner as they build the object layer by layer with each immersion into the “glory hole.”
Glass artists use the most primitive of tools — a long metal pipe, a wooden paddle, a bucket of water and wet newspaper, and a metal table with a seat. They use four basic elements of the earth: Air, water, sand, and fire.
Mr. Curtis has been working at the hot shops at Bucks County Community College near New Hope, Pa.
Jeffrey Palmer Designs
Since 1984 Master Craftsman, Jeffrey Palmer continues to create one–of-a-kind, custom furniture from his small work shop in Central Massachusetts. Inspired by the Shakers, Jeff is a proponent of simple, functional furniture crafted with quality materials, integrity and pride.
Jeff takes special pride in hand selecting the wood for every design; a time consuming task of placement and matching of the grains and the color. Traditional Joinery is a major component of his furniture including dovetail, mortise and tenon which hasn’t changed since the 18th century.
We believe that every piece of furniture interacts with the space around it. Color, form, size, shape and texture contribute to the quality of the furniture and the way it impacts the space it owns and the human senses. Complete customer satisfaction through hard work and commitment to quality is our primary goal in bringing fine hand-crafted furniture to your home.
Josh Axelrod Photography
Photography originates with light. Pattern is the form, the symmetry, the composition. Motion is an expression of time… I consider these the essential elements of photography. They are the pieces of the puzzle that is the creation. How and where I choose to place these pieces, a combination of my perspective and integrating elements to form the whole, is where I depend on intuition. This is where my art is born.
From the back woods of Vermont, to the western shores of Washington; high in the Andes of Peru and deep into the wild of Alaska, I find inspiration in what is often overlooked- the simple things that blanket the earth. Magic lives everywhere; the feathered blade of golden grass blowing in the wind, the current rippling in a mountainside stream and the ever-changing light defining the voice of those moments.
I am fascinated by how we perceive reality and how that perception determines what we see. I seek the poetry of our landscape; the imagery I hope to convey. The sacred moments where light, sound, color and texture harmonize make me smile…. This moment will never be seen quite the same again.
Selinda Kennedy opened her studio in 1986. She designs and makes redware pottery using designs inspired by early folk art found in museums and private collections.
Lakonia Greek Products
The story of our company originates in the region of Lakonía, which lies at the southeast end of the Peloponnese peninsula. Lakonía’s warm rocky hillsides along the Aegean Sea provide optimal conditions for growing olive trees. Home to the ancient Spartans, olive cultivation in this area can be traced back to 1500 BC, and has been a vital part of Greek culture as well as the Mediterranean diet.
Our story begins centuries later. Daphne Contraros Rioux, founder of Lakonía Greek Products, grew up in a small agricultural village of Stefania. Although Daphne has lived most of her life in the U.S., she rediscovered her roots in the late 1980’s while visiting relatives in her homeland. It was then that Daphne encountered Lakonía’s exceptional olive oil, and became intrigued with its high quality and smooth, rich taste. She realized that this locally produced oil was far superior to any available in the U.S. In 1998, Daphne acquired a parcel of land covered with olive trees located on the outskirts of a small fisherman’s village called Gythio. Her first harvests produced a small amount of extra virgin olive oil and Kalamata olives that she shared with family and friends. With time, demand grew and soon Daphne acquired additional land and planted many more olive trees.
In 2006, Daphne began selling her products at the local farmers’ market in Saco, Maine. In 2007, her daughter Melissa graduated from college, and was given the opportunity to start the business. Since then, she has dedicated herself to growing the family business. We now proudly offer our selection of Lakonia’s finest from our family to yours.
Artist Leo Ortiz of Redding, Connecticut is both a sculptor and photographer, whose subject matter is as wide as nature itself. Like bonsai, his wire sculptures capture the essence of the tree.
Love is Kind Design
Unlike some craftspeople who are simply designers with a factory here or abroad, and a warehouse of stock waiting to ship, Tom and I design and MAKE each piece that comes out of our workshop. Our simplest piece, the humble cheese knife, takes 11 steps, but most require 20 steps to complete.
Come to a show to get first dibs on our newest inventions and our one-of-a-kind work.
No big factory, no outsourcing, no crowds of employees. Just us. Meb and Tom. And a few friends from time to time. So we DON’T keep masses of product (all the same) ready for purchase. When you want something, maybe we’ll find the one you want waiting here in the workshop. But most likely we’ll make you one, out of the type of wood you want, with special requests (use your imagination) sprinkled in for good measure.
Mills and Zoldak Pottery
Maureen Mills finished her undergraduate degree in Chemistry while continuing to explore her love of clay and continued to pursue art through her MFA degree from University of Nebraska-Lincoln. With her husband Steven Zoldak they moved to Portsmouth NH in 1987 to operate a studio on the grounds of Strawbery Banke Museum. Her experience, like Steve’s, demonstrating at the studio at Silver Dollar City in Branson Missouri under Harvey Bufford laid a solid groundwork for working with the public while continuing to work in clay.
As an author, a recent Arts Council Fellow and a recipient of the Artist Advancement Grant, Maureen has continued to pursue work fired in a wood burning kiln. She creates layers of imagery and patterns on her work, using the dramatic results of the firings to accent color and pattern. She is also the author of Surface Decoration for Ceramics, a Lark publication and is the Chair of Ceramics at the New Hampshire Institute of Art, where she has been faculty since 2001.
Steve has been involved in the arts since studying Graphic Design and Painting in college. His love of clay continued through college, apprenticing at the pottery studio at Silver Dollar City in Branson Missouri with Harvey Bufford. Since 1987 he and Maureen have been operating their studio on the grounds of Strawbery Banke Museum where his teaching skills excel in daily demonstrations to museum visitors while developing his own pottery style.
Continuing in the slip trailing traditions, Steve has developed a line of stoneware work that bridges Old World traditions with a contemporary sensibility. His functional and decorative forms have an elegant calligraphic style that is uniquely his own. From stately urns to serving platters, his inspirations come from a melding of cultures and a personal design aesthetic to create work that is beautiful to use and to look at.
Nine Patch Studio
Kathie Ratcliffe interprets 19th century quilts in miniature using historically accurate fabrics and authentic color combinations. Her quilts evoke the regional idioms and fabric trends of the most dynamic period in quilt history. Her work reflects the change in style from early chintz quilts to the bold graphics of the late 19th century. The vibrant colors and patterns recall the best traditions of American quilt art. “As I work, I sense a connection with the women who made those early quilts, with their creative choices as well as their lives and their historical context. In my miniature pieces I hope to preserve and validate these singular, deeply personal works of artistic expression.” Kathie’s intricate, signed pieces are offered in handgrained frames with archival mounting.
Nod Hill Soap
Nod Hill Soap products are made by hand, in small batches, using the finest quality, all-natural ingredients. My recipes for soaps, lip butters and lotions include pure olive oil, shea butter, cocoa butter and many other soothing and beneficial ingredients for smooth, soft skin.
I am often asked why I started making soap. The answer is simple really – I love everything there is about soap – from fine french milled soap to rustic country soap – I am completely drawn to it….by the texture, the smell, the appearance, even the packaging!!
In 2009 I started Nod Hill Soap and embarked on my soapmaking journey. With no knowledge of how soap was made or even made from, I set out to learn how to make this alluring substance. Researching ingredients and techniques I began to create the soap of my dreams – a soap to nourish my body and soul – with a luxurious, creamy lather, gorgeous scents, light, fluffy bubbles, amazing skin loving properties and beautiful packaging. The entire experience resonated deeply with my creative spirit – from the artistry of designing the soap to the art of creating the packaging, I found pure joy.
In 2012 I took my soapmaking out of the kitchen and opened my shop in Wilton, CT where I both create my soapy masterpieces and also display them for sale in a lovely European-style inspired, tiny boutique full of light, soothing music and amazing scents. It’s the perfect place to come shop for that last minute hostess gift or special birthday present (knowing it was made right in the next room). In addition to soap, I make wonderfully luscious lotions and lip butters, refreshing rose water facial toners, soothing bath salts, rejuvenating salt and sugar scrubs, lovely scented sachets and room sprays to freshen up your home and so much more. I also offer elegant custom guest soaps, party favors and gift baskets perfect for bridal showers, hostess gifts, teachers’ gifts, corporate gifts, holiday parties or any special occasion.
The old sailors’ valentines are coveted by collectors and demand very high prices at auction. The rest are in museums and prized. Today there are but a few of us who are recreating these treasures in the traditional style.
I saw my first Valentine in a museum on Cape Cod as a child and have always been fascinated by them. Several years ago I tried to purchase one but it was too costly. A friend suggested that I create one. It has become my passion and will be tomorrow’s heirlooms.
A local craftsman makes all the octagon boxes and then I faux finish them to look like the 19th Century ones. My mosaic works are all original designs but they too are modeled after the 19th Century valentines.
Sally Frank is a printmaker whose images are drawn from acute observations of the natural world, visual memories, time and space associations, and a deep sense of connection with the earth. She began making etchings and aquatints over 40 years ago and today works primarily in woodcuts, linocuts and monotypes. She has a particular interest in making images of trees for which she finds ample inspiration for her work in Fairfield and Westchester counties.
Originally from Chester County, PA, Sally Frank began printmaking at Simon’s Rock College in Great Barrington, MA. She earned a Master’s degree in printmaking at CW Post College in New York. Frank lived in Sao Paulo, Brazil and Palm Beach, Florida before returning to the Northeast. Eventually she came to serve on their Board of Directors of the Center for Contemporary Printmaking in Norwalk, CT. Frank was awarded an “artist in residency” by the Weir Farm Arts Center in Wilton, Connecticut in 2009. Her work has been included in exhibitions at Weir Farm National Historic Site, the Audubon Society Center of Greenwich, CT, the Center for Contemporary Printmaking in Norwalk, CT, the Katonah Museum of Art in Katonah, NY and area galleries. Her studio is located in North Salem, New York.
I have been interested in type and printing since I was a girl; my father worked for Mergenthaler Linotype. Growing up I assumed everyone’s dad pointed out good and bad examples of typography. My love for the printed word was always in the background of my life. Raising a family and investing in my home and garden in Connecticut left little room for other pursuits except for watercolor. Now my three daughters are grown and I finally have the most precious gift of time. I started taking letterpress classes. Once I got my feet wet and my hands inky, I was hooked. Slowly and steadily I turned my basement into a Print Shop. So here I am, enjoying a new phase of my life. You could say it all started with watercolor. I love to paint flowers and little still lifes. That led to creating cards and invitations for friends, and that led to Saltbox Press!
Sergio grew up in the Italian Alps when beauty and function were still part of life. After moving to Rome and an early retirement from a University position as Professor of Surgical Pathology, he moved to Warren, Connecticut. From Rome, the Eternal City, to the woods of Connecticut he has tried to revive the simplicity of alpine life, while not forgetting the classical beauty of Rome and its artifacts. His goal is to craft objects that are beautiful on their own and also functional. From bowls to vases, lidded boxes or Christmas decorations, salt and pepper mills, they must be beautiful but also functional.The forms of the vases are inspired by Greek and Roman pottery, or by classic Chinese art. All his objects are hand turned in his small shop and finished by him with food safe oils and waxes. He uses mostly local woods and occasionally exotic woods for accent and decoration. Some items are lightly embellished with a pyrography pen and/or natural non toxic pigments and inks.
Sergio believes that his best artistic statement will be made by his turnings themselves and by the people who will look at and hold them and cherish them.“I strive to bring out the hidden beauty of the wood with finely executed curves and accents in order to create bowls, vases, and other items with pleasing visual and tactile qualities.”
Spring House Peddler
Kay has been making Redware for 30 years and is largely self-taught in both the artistic talents and technical aspects of her craft. The early challenge of making food-safe Redware for her family’s use turned into a career with over 19,000 pieces produced to date…and yes, Kay numbers and records each piece she lovingly creates. In addition to her hump molded plates, chargers, trenchers, Kay has lately been creating a variety of animals, including bird whistles, lions, dogs and goats.
For the last decade, Bob has been making upright Redware pieces, some thrown on a potter’s wheel (mugs, pitchers, pots and bowls) and slab-build pieced (canisters, canteens, coin banks, book flasks, face jugs and table lamps). Most of their Redware is decorated using the sgraffito method and tends to be very colorful.
Sue Brown Gordon
Nature is my primary inspiration. The tides and salt marshes of the Long Island Sound have been an area of contrast for me. Though it provides a sense of permanence, there is always growth and change happening. The sense of energy and freshness completes me, simple marsh grasses swaying skyward toward light.
I create organic textures with my jewelry and my painting. The work is sculptural and emotional, conveying a spirit of Zen-like calmness.
The Art Tramp
From early childhood David Schump had a passion for all forms of art and creativity. His grandmother taught him how to sew, needlepoint, cross-stitch, embroider and do crewel work. He also learned to weave Shaker baskets, paint and draw, sculpt and eventually found himself in a design career for over 3 decades.
When he saw his first piece of Tramp Art he knew he had found something special. He took the time to research and study the history of this art form. The level of details, the simple tools and the materials used by the craftsmen who made these pieces of “Tramp Art” intrigued him.
Each piece he studied seemed to have a soul, a story to tell and a warmth that only comes from something made by one’s hands. While he has always loved creating things with his hands he had never attempted to work with wood, after all, he had no training. It was also very important to him that he stay as true as possible to the origins of Tramp Art in its materials and simplicity.
In 2012, David decided to follow his dream of becoming a folk artist and turned his focus from graphic design to Tramp Art. Making each of his pieces is a labor of love. His work can contain as many as 200-300 individually cut and carved pieces of wood.
Three Point Design
We are a design studio located in Virginia Beach, Virginia and we specialize in creating custom one of a kind art using primarily wood, metal and paint as our mediums. Our focus remains mostly in the realm of traditional folk art, however we can custom create anything from scratch as long as you have an idea.
Time Goes By
For as long as I can remember, I have loved art and used my hands to express myself. I studied art extensively in college and originally focused my attention on woodworking and weaving on a loom. When I discovered basketry more than 35 years ago, I found a passion that artistically combined my love of weaving and woodworking.
After college, I interned with Martha Wetherbee for five summers to learn to work with ash in the Shaker style. I also took classes with Alice Ogden and JoAnn Kelly Catsos, who, like Martha, are nationally known basket makers from New England. Their combined expertise and knowledge have helped me to develop my craft and hone my weaving skills.
Working over wooden molds, in the methods of the Shakers, my baskets are traditional in shape and materials. I weave both Shaker reproductions in ash and traditional, utilitarian baskets of reed. Native hardwoods such as ash and oak are used to make the rims and handles, and all my baskets are lashed using ash. Each basket takes on its own character as it is woven in a quatrefoil, twill or fancy lace pattern to appeal to both eye and touch.
Tiny Teacups is dedicated to building and creating beautiful, custom-made dollhouses for miniature enthusiasts young and old. You choose the house you would like, and we work with you to customize it by choosing paint and trim colors as well as interior features such as wallpapers, flooring and crown molding. Our houses are handcrafted with loving care and meticulous attention to detail. They are of a sturdy construction and heirloom quality. Each dollhouse is a work of art that will last for generations. They are ideal for displaying your miniature collection or to give as a special gift that will be treasured for a lifetime.
Truffles and James
Raised in Connecticut among peony beds, wildflower meadows and underneath maple trees, I developed a respect for nature early on. After graduating from Boston College, I went on to a career in luxury goods at Coach, Carelle and Van Cleef and Arpels where I nurtured an appreciation for style, color and composition. I complemented my love for beauty through courses at the New York Botanical Gardens. Meanwhile my heart belonged to flowers and I continued to pursue this love through opening my own boutique floral design studio, Truffles and James. Named after my two childhood pets, Truffles and James is based in Connecticut and services Fairfield County, Westchester, and the New York Metropolitan area. We offer custom florals for weddings, showers and all of life’s important events.
Vaillancourt Folk Art
When Gary Vaillancourt gave his wife, Judi, a gift of three antique chocolate molds in 1984, neither of them knew it would signal the start of a new family business of “made in America.” In the years since, Judi’s collection has grown to over 3,000 vintage molds — one of the largest collections in the world. She uses her molds to make hand-painted collectible chalkware figures for all major holidays — especially Christmas. Today, Vaillancourt Folk Art (VFA) is one of America’s last remaining Christmas ornament and collectibles makers. Unlike most Christmas collectibles, which are manufactured overseas, Vaillancourt chalkware figures are still made by hand at the VFA studio in Sutton, Massachusetts. Visitors can tour behind-the-scenes as artists hand-paint different variations of chalkware Santas, Father Christmas, Belsnickles, and non-Christmas figurines.
Born to Scottish and Irish parents and raised in Wellesley Ma. and Wilton Ct., William Morrison developed a deep appreciation for early American furniture, with its balance of elegance and strength.
However, when asked about his first foray into chairbuilding and woodworking, William Morrison often refers back to his early college days. Not as a student of fine woodworking, but as an industrious room mate who found ways to repair the steady stream of broken dorm furniture without the luxury of a fully equipped woodworking shop.
Somewhat disenchanted with the limits of academia, William went on find a mentor in the nationally renowned Master Chair Builder David Sawyer of Woodbury Vermont. In the Art of chairbuilding, William found expression for his sense of aesthetics, industry and his understanding of the versatility of wood. Twenty five years, 5000 turnings, and 800 chairs later, William continues to balance Art with Craft through his chairbuilding and furniture making.