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Fred's unique perspective was cultivated through years of association with renowned artist/sculptor Wendell Castle. Upon graduation from the Wendell Castle School, he served as an artisan in Castle's studio. Fred approaches his contemporary works from a sculptural perspective first. He fulfills commissions for residential, commercial, and public installations. A notable public installation is an eight-foot tall sculptural clock for the Christa McAuliffe Planetarium in Concord NH. Fred has received grants from National Endowment for the Arts through the NH State Council on the Arts and has exhibited in art galleries throughout the country. His works have been published in books and magazines. Fred also designs for a commercial furniture company and currently has furniture designs in prominent retailer, Crate & Barrel. Fred is a member of the American Society of Furniture Designers, Industrial Design Society of America, the Sharon Arts Center and a juried member of League of NH Craftsmen.

This very tall clock was a very personal project for me. As a child, I always dreamed of space exploration. I also had an elementary teacher that inspired me and peaked my curiosity about space. Therefore I was very profoundly inspired and affected by Christa McAuliffe's opportunity to become the first civilian traveler in space. I was so moved by Christa's life and the legacy that she has left behind that I felt determined to share something with children, in her honor. The construction of the Christa McAuliffe Planetarium in Concord, NH afforded me that opportunity. The story of my project for the Christa McAuliffe Planetarium is featured on this Furniture Masters' web site and is called, "Patience and Perseverance .

The credenza has some drawers within the cabinet. And the top of the speaker's podium is removable allowing it to be placed at the end of the conference table if so desired.

In addition to the visual activity within these pieces, the stools possess a very interesting engineering feature. The piece seems to be a three-legged stool that needs only "one stretcher". Since the middle leg "crosses" the outside legs when viewed from the side, the center rod acts as the sole stretcher that "connects" the legs at that intersection or pivot point. Along with the leg connection at the seat, this central stretcher keeps the stool from collapsing. This is very similar to a putting a pair of scissors up on their points. The center pivot point provides much of the strength. For added strength, the legs are joined at the floor with members that continue the motif of continuous and intersecting "lines". These intersecting "lines" are also inlaid with special materials to create yet another series of continuous intersecting lines. The seat is made up of individual slats arranged in a ?ray? pattern and are fastened to the frame with ebony pins.

This hall table was inspired by the book Jonathon Livingston Seagull and is to resemble the gull wings of a bird in flight. The piece contains extremely dense and curly maple. The focal point of the top retains a 23k gold leaf stem on which is mounted a real pearl. The table also contains two drawers that pull out at an angle. The center front hinges down to reveal another storage compartment.

This piece was inspired by spending many years as an amateur athlete attempting to make the U.S. National/Olympic Rowing team. (See article within this web site called, "Olympic Effort" ). The piece is extremely lightweight and strong since it is built in the traditional boat building techniques used for rowing shells. The mahogany frame symbolizes a boat, bent in space, to create a chair. The base symbolizes the outriggers of a rowing shell that are also bent, down and under the chair and then across each other to form the legs of the chair. The stainless tubing of the base is in fact, cut and welded together to form an extremely strong and lightweight base. At the ends of the out riggers are authentic antique brass oarlocks courtesy of Dartmouth Rowing Club where I spent much of my training days. The seat upholstery is leather. The mahogany chair is cut-off in the front, and cross-sectional ends are capped off with hand-soldered brass ferrule tips. I felt it would be more visually interesting if the "skin" of the boat chair were left off revealing the active interior framework.

This one-of-kind piece is still available. It is my hope that a university or organization may purchase the piece for display possibly as a trophy for a prestigious race such as the Head of the Charles regatta in Boston.

Inspired by the memory and gestures of Fred Astaire.

This shape of an isosceles tetrahedron can be orientated in two different positions; vertically with two legs or horizontally with 3 legs. The Visitors' (occasional) Tables derive their name first, from their obvious resemblance to alien creatures and secondly for their expanded use as "nesting" tables when visitors arrive at your house and you suddenly need more serving area. The tables "nest" together to form a growing variety of asymmetric shapes with each additional table while providing an ever increasing surface area with which to assist in serving your guests' needs. The finish is a textured gesso surface, painted, and topped with a durable clear coat.

This table was designed to be a decorative and sculptural piece first, and a table second. When the leaves are in the up position, (and not deployed as a table), it becomes a piece of sculptural, a screen or area divider. This is a folding table that does not get put into a closet out of sight, when not in use as a table. The table is a literal interpretation of a "drop-leaf" table since the leaves "drop" to create the table (unlike historical tables where the leafs are lifted into position). As the leafs drop into horizontal position, engineered "struts" automatically appear and slide into place to support the leafs, on both sides. One of the decorative balls at the top of the piece turns to engage a custom catch which holds both leafs securely in the up position. The surfaces pictured are a durable and decorative designer laminate. Castors provide functional mobility and ease of use.

This piece was done as an "exploration" for the Christa McAuliffe Planetarium clock project called; "One Moment in Time"

A sculptural tall clock consisting of turned components. The head and base are Ebonized mahogany. The body is solid maple, gesso and painted with multiple colors and layers of acrylic paint. The face is brushed steel and contains a quartz movement for accuracy and easy maintenance.

Sam, a thirty-five year veteran of the US Air Force, now rests within Arlington National Cemetery. The birdseye Maple in this urn was bleached white, and then the "dots" of the birdeye were connected to make faux constellations on all four sides. The plaque reads; "Sam returns to the heavens from whence he came". The 4 solid brass balls screw down to lock the top in position. The removable copper dome reveals a secret place to conceal a special memento. The family included a picture of themselves beneath the dome that now accompanies Sam at Arlington.

The slightly more modern chair with traditional influences is juxtaposed against this rustic table. The chairs have a very unique and innovative choice of upholstered back "slip covers". A consumer can order the chair with just the wooden "X" in the back, or her choice of "T" or "V" back upholstery and/or any combination thereof.

The "T" back looks somewhat like a T-shirt from the front of the chair as it hangs from the top outside corners of the chair and has an "open" back, which allows the wooden X to show against the fabric from behind. The "V-back" pulls fully over the back like a pillowcase and has a V-shaped piece of fabric, which hangs down and ends in a color coordinated tassel. Both V and T backs are held on with Velcro enclosures and can be removed and put on in seconds. This allows the occasion-minded hostess to mix & match or tailor her set for special occasions. They also facilitate easy cleaning. The upholstered backs have "pouches" that hold "contoured" foam pieces within which provide comforting lumbar support.

The collection was listed in the "Best of Market" category in Furniture Today Magazine for Oct. 2001.

The design concept responded to the recent emergence of Asian influences in many areas of our society. Although containing some Asian influence, the designs sought out a more transitional flavor to transcend the larger trend of eclectic styling within today?s modern home.

The particular challenge of this group centered on the many diverse tabletop materials to be used on one base design. One base design utilizes a more traditional method of supporting tabletops made of wood, porcelain and Corian, whereas the marble and glass tops are supported by a creative "garden trellis" solution. The comfortable #38 chair with is concave, semi-upholstered back compliments the tables.

The porcelain tabletop has an interesting tile pattern called "Garden Path". This innovative asymmetric design emerges after inverting tiles with a single similar arc-ing cut. This is a cost effective way of producing a serpentine line, which makes up the "meandering" path across the table. Even though the pattern is asymmetrical and off-center, the composition is pleasing to the eye as it employs the techniques of visual mass which juxtaposition large light areas against small dark ones. The consumer has the choice of various colored porcelains to compose his or her own unique and personal dining set.

The buffet case design draws upon architectural influences and is highlighted by its interesting use of "water-falling" overhangs and step-offs, and is supported by its dramatic "plinth" base. The case also, supports tops of wood, marble, porcelain and Corian.

The Crescent base can be expanded to accommodate various size tables like this "Sof-tangle" which is a top shape that has arcs cut into all four sides. It is neither a rectangle nor an oval, yet is always inviting to your guests.
The #26 chairs are particularly curvaceous and offer maximum comfort with their concave backs, lumbar support and fully upholstered foam back.
The mitered corners of the upper back offer a prominent design detail. Chair offered in arms and sides.

The bent plywood top and tapering columns harkens back to an ancient Torch ere. The resulting concave space provides the consumer with a unique space or vessel in which to have fun with. And it becomes a focal point of conversation when viewed through the beveled glass top. For instance, different items can be substituted within the space, reflecting the changing of the seasons or some special occasion.

The Camelot Collection consisted of 4 tables, each named after the prominent characters of the legend; Arthur, Guinevere, Lancelot and Merlin. The design concept centered on very large and dramatic legs, made of cost effective materials and custom painted bases for dramatic presentation. The solid maple tops were a full one-inch thick with solid brass leaf pins offering the consumer a true value. The table tops and bases could be color customized through the variety of stains and paints available to the consumer. A redesigned version of the Guinevere table continues to sell through the national retailer Crate & Barrel.

"Stitch in Time" Tall Clock
Mahogany, maple
6' high; 15" diameter at base of clock

This sculptural tall clock consists of turned components. The head and base are ebonized mahogany. The body is solid maple, gesso and painted with multiple colors and layers of acrylic paint. The face is brushed steel and contains a quartz movement.

"Shall We II" Sculptural Mantle Clock
Mahogany, maple, and copper
21" high x 8" long x 6" wide

The body of the clock is carved mahogany, ebonized and painted. The base is copper-clad maple. The head is spun copper concealing a quartz movement.

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.