Speaking of Furniture

Conversations with 14 American Masters

  • Edited by Bebe Pritam Johnson

  • Includes essays by Edward S. Cooke, Jr. and Roger Holmes

  • Published by The Artist Book Foundation in New York, London, and Hong Kong

Timothy S. Philbrick

  • Birth: Providence, Rhode Island, 1952

  • Education: Trained by John C. Northup, expert in restoring and reproducing antiques

    • Apprenticeship: Four years with Northup; focused on American period furniture

    • Studied at Boston University’s Program in Artisanry (Graduated 1978)

Philbrick's Design Philosophy

  • Draws on historical period sources for furniture designs, contrasting with contemporaries

  • Mastery in proportion and historical knowledge aids in creating original forms rather than mere reproductions

  • Influence of Louis Majorelle: Admired the French Art Nouveau furniture designer

Achievements and Exhibitions

  • Exhibited across major galleries and museums in the U.S.:

    • Renwick Gallery, Smithsonian American Art Museum

    • Museum of Fine Arts, Boston

    • Mint Museum of Craft + Design

    • Collections in various prestigious museums and institutions such as Brown University and the Philadelphia Museum of Art

  • Commissions for significant clients, including NationsBank and the Museum of Fine Arts.

Awards and Publications

  • Received notable accolades:

    • PeIl Award (2002)

    • Rhode Island State Council on the Arts Fellowships

    • National Endowment for the Arts Fellowship (1988)

  • Featured in several prominent publications including New York Times, Art & Antiques, and American Craft magazine.

Early Life and Influences

  • Grew up in a creative family environment filled with artists and academics:

    • Father: English professor and poet

    • Influences from both grandmothers, who were painters

  • Engaged in creative activities from a young age including ceramic classes and projects with hand tools

  • Early exposure to craftsmanship led to a passion for furniture restoration rather than just antiques.

Entrepreneurial Spirit

  • Opened an antique store, "Mt. Ararat Antiques," focusing on vintage finds and refurbishing furniture

  • Learned the intricacies of furniture repair and restoration through hands-on projects

  • Reinforced passion for craftsmanship while handling various challenges in furniture design and restoration

Furniture Making and Design Development

  • Apprenticed under Johnny Northup, gaining insight into traditional furniture making and repair techniques

  • Exposure to various furniture styles deepened knowledge of aesthetics and function in design

  • Influenced by different philosophies and artistic movements throughout education, including Eastern thought and mysticism, shaping a holistic approach to life and art

Transition to Artisanry and Education

  • Accepted into BU’s Program in Artisanry on the strength of prior hands-on experience

  • Experience helped navigate academic challenges and different design philosophies

  • Professors encouraged exploration beyond historicalist perspectives, leading to broader artistic influences

Proportions in Furniture Design

  • Proportion: Considered essential in furniture, often viewed similarly to rhythm in music

  • Design process starts with sketching, using intuitive, rough mathematical relationships for proportion rather than rigid formulas

  • The use of mockups aids in visualizing and achieving the desired proportions in physical form

  • Relies on tactile feedback for refinement and detail

Contemporary Perspectives in Craftsmanship

  • Preference for traditional hand tools over modern machinery for shaping and finishing wood

  • Views art furniture as a personal expression, rather than just reflecting contemporary societal trends

  • Continuously seeking growth and learning through material exploration, including experimenting with ivory

Future Aspirations

  • Maintains optimism about future work and its reception despite market uncertainties

  • Focused on expanding appreciation for contemporary furniture craftsmanship

  • Belief in the vitality and lasting quality of studio furniture as an art form, drawing from long histories of beauty and functionality

Afterword and Reflection

  • Emphasizes consistency in approach over decades despite evolving methods and materials

  • Inspired to bridge historical beauty with personal artistic expression in furniture design

  • Ongoing commitment to creating functional beauty, navigating the complexities of artistic relevance in current times.