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A native of Wales, Terry Moore left school at fifteen with only a year of formal craft training. He joined a London-based rock musical production which, in 1973-74, toured in the United States before disbanding. Moore stayed, settling in Newport. Since 1977 he has had his own shop doing cabinetwork, architectural woodwork, acoustic guitar construction, and making one-of-a-kind furniture pieces. Moore is a member of the Guild of New Hampshire Woodworkers and the League of New Hampshire Craftsmen. Over the past decade at the League's annual crafts fair, he has been awarded Best in Show, the Designer's Award, Best in Wood, and Best Contemporary Work.

Curly maple and ebony
29" high x 36" wide x 16" deep

This small table is made from highly figured curly maple with ebony inlays and detailing. The top features a fan composed of matched veneers and is the focal point of the piece. The radius which the fan produces in the front of the table is carried through to the apron. The front curve is actually a drawer. The table has fluted legs and a high gloss lacquer finish.

Walnut, curly walnut and maple inlay
47 1/2" high x 81" wide by 84" long

This bed is made from highly figured fiddleback walnut, which is quite rare. It also incorporates both turning and fluting in the corner posts. The headboard has two book-matched panels that follow the curve of the headboard and it is also inlaid with curly maple stringing.

Brazilian rosewood with maple accents
30" high x 58" wide x 28" deep

I consider this desk to be the quintessential Terry Moore style. It incorporates all the details that have become the hallmarks of my work. The string inlay and edge binding, the indented curved center drawer, the hand dovetails and fluted legs work together to produce what I feel is a very pleasing and functional piece.

Mahogany with ebony detailing 21" high x 28" diameter Figured fiddleback

We all need small occasional tables in our homes. They make wonderful use of space between a couch and a chair in the living room, or as an accent piece beside a chair in the study. We usually see a profusion of hall tables or coffee tables, but rarely a round occasional table. This piece is delicately proportioned with simple, yet elegant, lines.

Mahogany with bird's-eye maple and rosewood inlay 44" high x 40" wide x 19" deep

This dresser was inspired by early Portsmouth furniture. However, it is not a reproduction piece. It has sufficient elements in the design and construction to place it in the contemporary market. This piece reflects my strong commitment to combining traditional construction techniques with contemporary elements in the design process. Technically, this was a very difficult piece to make, but its classic proportions and elegant details made it an exciting piece for me.

Figured cherry with ebony detailing Desk: 30" high x 54" wide x 24" deep
Chair: 40" high x 18" wide x 18" deep

This piece is a variation on a theme. It is slightly smaller than my rosewood desk featured in the 1997 furniture masters exhibition and 7 auction. In the evolution of this desk's design, I felt that the details were successful and solid, so I decided to experiment with the proportions of the piece. The result is a smaller, more finely proportioned piece which is suited to a living room or small office. The chair details match the desk. However, its crest rail was inspired by a Portsmouth cabinet, which I feel anchors the somewhat art deco feel of the piecefirmly in New Hampshire.

Fiddleback mahogany and ebony
18" high x 24" wide x 48" long

This table was designed to complement my occasional table from last year's exhibition and auction. Its shape is a pleasing oval using highly figured mahogany with ebony inlays and detailing. Fluted legs connect to the oval apron and the cross stretcher supports an oval shelf below the highly polished table top.

Fiqured makore, satinwood, and rosewood
50" high x 40" wide x 18" deep

This chest of drawers has a slight serpentine shape to the front which, together with the fiddleback figure of the makore, gives the design a pleasing movement. The perimeter of the drawers and top have cross banding of satinwood and rosewood inlay and cock bead. Above the main drawers is a gallery of smaller drawers and shelves for pocket change, miscellaneous items, and display.

48" high x 30" wide x 16" deep Brazilian rosewood

This piece was commissioned as a stand for a new handmade two-volume Bible. The drawer would house one volume, while the other is on display. The space between the podium's slanted surface and the drawer is also a display area. Though this piece is a very specific commission, it could also be used as a stand-up desk or lectern.

Fiddleback mahogany, ebony
35" high x 42" wide x 18" deep

The traditional commode was usually a demi-lune or half circle. Mine is actually half of an ellipse. This makes the piece longer but shallower in its depth and is a delicate, much less imposing form. This commode draws heavily on the classical elements of traditional styling, although not a strict reproduction of a period piece. The wood is fiddleback mahogany with ebony detailing. The center section is a bank of graduated drawers, with a door on either side. Behind the doors are two adjustable shelves, and the top has a sunburst pattern bordered by ebony inlays.

Curly maple
48" high x 36" wide x 15 " deep

Inspired by Picasso's "Harlequin", this fall-front desk features a marquetry pattern of blue and lemon diamonds. This striking pattern, together with the intense figure of curly maple, makes a very bold visual statement. On the inside is a curly maple writing surface and a three-compartment gallery. The shelves in the gallery are sized to house standard-sized paper. Behind the door in the center are two adjustable shelves, and below the shelves are small drawers. The cabinet of the desk sits on an elegant stand of curly maple. This is a serious new departure from my normally restrained designs. The usually flat surfaces are now bulged out and the color contrast and pattern in the panels have been both a technical and design challenge for me.

Bubinga, Brazilian rosewood
22" deep x 65" wide x 39" high

This large-case piece is a contemporary interpretation of a traditional sideboard. The curved center section has three drawers, while behind the outside doors are compartments with adjustable shelves. Crafted from Bubinga, the color is a pleasing salmon brown, while sapwood on the edges creates contrast.

Crotch mahogany, Brazilian rosewood
16" deep x 45" wide x 32" high

This console table is equally at home in the living room or the hallway. Its fine proportions and detailing, along with the incredible pattern and natural beauty of the crotch mahogany, makes it an elegant, stately, yet understated piece.

Price Range: $5,000 - $8,000

Curly maple, birdseye maple, Brazilian rosewood 16" deep x 45" wide x 32" high

This console table, although similar to its mahogany sister, makes a completely different statement. The contrast between the light curly maple and the dark Brazilian rosewood produces a lively juxtaposition. The spider-web pattern of the inlays and the slight contrast between the curly and birdseye maples produces a pleasing and interesting design.

Price Range: $5,000 - $8,000

Figured French walnut, ebony
22" deep x 65" wide x 39" high

A flitch of beautifully figured French walnut was the inspiration for this sideboard. The classic proportions and contrasting rosewood inlays, along with the rosewood knobs, lend it a wonderful sense of movement.

Fiddleback mahogany, Macassar ebony
28" diameter x 30" high

Whilst the specific function and general form of this table were obviously inspired by historic examples, the contrast of the ebony with the fiddleback mahogany makes it a simple, elegant contemporary piece.

African padauk, quilted maple
28" deep x 30" wide x 24" high
accompanying stool not shown

This year, our auction will include the sale of pieces from two collections, and the importance of this secondary market for our works cannot be overstated. It is an essential truth that great works of art, during their long lifetimes, change owners for various reasons, and a secondary auction offers our patrons the assurance that a ready market exists for any and all works purchased from NHFMA artists. It is our expectation and fondest wish that in future years our auction of secondary works is equal to that of our primary works.

The vanity table and stool by Terry Moore, offered by the Currier Museum of Art, have been part of the museum’s collection for over a decade. This elegant and functional jewelry and cosmetic table and stool successfully combine the practicality of contemporary furniture design with gracefully curving lines inspired by eighteenth- and nineteenth-century Korean furniture. The tabletop flips up to reveal a large dressing mirror and an intricate series of trays and storage compartments. The interior elements are constructed with hand-cut dovetails and are lined with velvet. (This vanity table and stool appeared in Fine Woodworking, November/December 1990, pp. 68–72.)

Fiddleback, mahogany, ebony
22" deep x 61" wide x 32" high

A table usually consists of four legs and an apron, which supports the top. The size and shape of these members, and how they are constructed, can radically change the piece. The intent of this design was about paring away all non-essential bulk, leaving a light but structurally sound and elegant design.

Macassar ebony, curly maple
15" deep x 24 1/2" wide x 63" high

This two-door cabinet on stand returns to the Harlequin theme that I used in a desk in 2000, which was inspired by Picasso’s Harlequin series. The stark contrast between the Macassar ebony and curly maple accentuates the diamond pattern, and the sides of the cabinet and doors are actually hand-shaped bulges that protrude from the flat plane of the profile, much like a violin top or back. The inside is fitted with an arrangement of drawers and shelves, with a hidden velvet-lined compartment.

mahogany, fiddleback mahogany, fiddleback maple
16" deep x 27" wide x 65" high

This cabinet is another in my harlequin series. The first of this series was a desk inspired by Picasso's harlequin paintings. When Picasso landed on a theme, he would paint a series using that theme until he had gotten it out of his system and onto canvas. I feel this same desire. The harlequin still excites me, and I keep returning to it, adapting it to new designs. The harlequin pattern is very bold and striking, and every couple of years I feel the need to incorporate this theme into a new design in my series, using the wood as my canvas.

"From the coal mine to the Currier...I grew up in Wales and worked in a coal mine with my Dad and now 30 years later, with no formal education or training, I feel very privileged that one of my desks resides in the Currier Museum...and in the next room hangs a painting by Pablo Picasso."

figured Santos rosewood with curly maple accents
28" deep x 60" wide x 36" high

Every few years I like to build a special desk, my preference being an intimate, elegant table desk that is perfect for personal correspondence. This desk is another step in the evolution of my signature desk, similar to the one in the Currier Museum of Art collection. This new design takes the same well-proportioned details of a signature piece and makes it a more inviting and personal space.

A serpentine curved lid graces each of the desktop storage compartments on either side of a center gallery. The curve of the gallery echoes the curve at the front of the desktop, which is infinitely more inviting than the hard edge of a straight desktop. Curly maple inlays and accents frame the beautiful, rare rosewood.

"An elegant desk is not a mere utilitarian office accessory, but an extremely intimate and personal piece of furniture, a place where lasting memories are made."

Ways to work with a New Hampshire Furniture Master

• Replicate a treasured antique to use now and pass down in your family.
• Design a modern piece of furniture.
• Become a patron and advance the art of custom furniture making.
• Purchase a portfolio item for your home or office.

The New Hampshire Furniture Masters Association was organized in 1996 by 13 New Hampshire Furniture makers with the objective of rejuvenating the tradition of custom furniture making. During the 18th and 19th century if you needed furniture you hired a cabinetmaker and New Hampshire had some of the finest. Samuel Dunlap, Langley Boardman and Judkins and Senter all came from the Granite State. But, with the dawn of the Industrial REvolution and the mass productions of furniture, cabinetmaking dwindled. With its roots in tradition, the New Hampshire Furniture Masters decided to bring their work public in an unusual way: An Auction of Juried Patroned Furniture.

Each year the New Hampshire Furniture Masters auction off a collection of partoned work. The patron underwrites the cost of the work and if it is sold at the auction they receive a replacement peice for the original price. The patron enjoys supporting the artist and perhaps the thrill of seeing run away bidding on their piece. The patron's investment appreciates in value and the artist's work gains broader recognition. It was the concept of patronage that fueled the artistic talent and imagination of the Renaissance and it is the catalyst for the new golden age of furniture making in New Hampshire..

New Hampshire Furniture Masters now have 26 members with work that spans all styles of furniture including: Period, Early American, Shaker, Classic, Contemporary and Art Furniture. Each of our members work individually and are juried into the Association. You can choose to work with them on a variety of levels. You can purchase a design from their portfolio, have them design a custom peice for your home or office, have them replicate an antique, or become their patron for the auction. No matter what your needs, you are sure to find exceptional quality.