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The Alan Peters
FURNITURE AWARD
2024
The Alan Peters
FURNITURE AWARD
​​​
​
2024
The winning entries​​ and ONLINE
EXHIBITION
The Alan Peters Furniture Award 2024
PRIZE WINNERS
£1,000 hand tools voucher
'The standard as always is very high, this is a highly contested and prestigious competition. Congratulations to Thomas Eddolls. The chest of drawers is a remarkably beautiful piece of furniture, beautifully designed and very well crafted. We look forward to helping him him choose how he is going to spend his £1,000 award'.
Matthew Platt, MD
Workshop Heaven
Judges Andrew Lawton and Jeremy Broun have tried out these high quality hand tools,
Andrew Lawton : Earlier in 2024 I had the pleasure of reviewing a set of Victorian Pattern bevel edge chisels, available only from Workshop Heaven. The steel is excellent, the chisels take and hold a keen edge, and the design handles, made them a delight to use. Excellent chisels and good value for money in my opinion
Matthew Platt, MD
Workshop Heaven
Judges Andrew Lawton and Jeremy Broun have tried out these high quality hand tools,
Andrew Lawton : Earlier in 2024 I had the pleasure of reviewing a set of Victorian Pattern bevel edge chisels, available only from Workshop Heaven. The steel is excellent, the chisels take and hold a keen edge, and the design handles, made them a delight to use. Excellent chisels and good value for money in my opinion
£500 power tools bundle
‘We are proud to sponsor this competition and offer the 2nd prize power tools bundle to Chris Pretlove for his outstanding chair design. Chris’s work impressed us with its focus on sustainability and craftsmanship. The use of fast-growing birch for the plywood structure and beautiful brown oak for wear surfaces reflects his thoughtful approach to materials. The level of creativity and craftsmanship displayed throughout the competition was truly remarkable, and we are honoured to support such a talented group of makers. We congratulate Chris on his exceptional work and look forward to seeing his future contributions to the woodworking community.
Tom Jackson
Affiliates and Earned Media Executive | Evolution Power Tools
The tools that make up the cordless power tool bundle have been suggested by award organizer Jeremy Broun, owned and used by him regularly.
Tom Jackson
Affiliates and Earned Media Executive | Evolution Power Tools
The tools that make up the cordless power tool bundle have been suggested by award organizer Jeremy Broun, owned and used by him regularly.
£300 Judges' cash prize
The judges
Jeremy Broun was discouraged from using his hands by an academic father but inspired by a brilliant woodwork teacher he followed in his footseps and trained at the legendary Shoreditch College (where Alan Peters spent a year) gaining a distinction. Alan spotted his furniture designs at High Wycombe Art College and invited him to exhibit alongside himself and John Makepeace at a major show in 1978. He exhibited with Alan for the next three decades. His awards include a Churchill Travel Scholarship and The Worshipful Company of Furniture Makers’ Ambrose Heal Award . He has exhibited in the USA and Finland. A seasoned author he has also taught at Rycotewood College and the Letterfrack Furniture School. He was invited to become an inspector for The British Accreditation Council. He is the award organizer.
After a false start studying to become a primary school teacher, Andrew found his true vocation and trained to be a furniture maker with his cabinet maker and teacher father (who was still making into his nineties) and at Chesterfield College of Art. He has been running his own workshop in the Peak District for four decades designing and making furniture for clients nationwide. He is the holder of four Bespoke Guild Marks (The Furniture Makers Company*) and is a Member of the Chartered Society of Designers. In 2005 he worked with Alan Peters on his final commission, He has been a visiting tutor at the Centre For Furniture Craftsmanship, Maine, USA. Andrew has worked closely with Jeremy Broun in keeping this important legacy alive.
Fernanda Nunez is the invited guest judge for the 2024 award. From Uruguay she studied at the Waters and Acland furniture school in the Lake District. She too was inspired by her father at an early age, crafting metal in his workshop. Having a varied career background she studied International Relations gaining a Bachelors’ degree,, has roasted coffee and worked as a barista. Her furniture designs draw from traditional practice combining with modern methods to create striking hand-made pieces. She has won several awards such as a Bespoke Guild Mark and the Timothy Claxton Stevens prize in 2022.
• The Furniture Makers Company was previously named The Worshipful Company of Furniture Makers.
After a false start studying to become a primary school teacher, Andrew found his true vocation and trained to be a furniture maker with his cabinet maker and teacher father (who was still making into his nineties) and at Chesterfield College of Art. He has been running his own workshop in the Peak District for four decades designing and making furniture for clients nationwide. He is the holder of four Bespoke Guild Marks (The Furniture Makers Company*) and is a Member of the Chartered Society of Designers. In 2005 he worked with Alan Peters on his final commission, He has been a visiting tutor at the Centre For Furniture Craftsmanship, Maine, USA. Andrew has worked closely with Jeremy Broun in keeping this important legacy alive.
Fernanda Nunez is the invited guest judge for the 2024 award. From Uruguay she studied at the Waters and Acland furniture school in the Lake District. She too was inspired by her father at an early age, crafting metal in his workshop. Having a varied career background she studied International Relations gaining a Bachelors’ degree,, has roasted coffee and worked as a barista. Her furniture designs draw from traditional practice combining with modern methods to create striking hand-made pieces. She has won several awards such as a Bespoke Guild Mark and the Timothy Claxton Stevens prize in 2022.
• The Furniture Makers Company was previously named The Worshipful Company of Furniture Makers.
sponsors judges
The prize winners will be announced in a video here on13 September together with an online exhibition of selected entries
Thanks for the support of our
main promotional partner
Patrons include Woodland Heritage, David Barron & Joe O'Brien
2024 Entries
Slideshow of entries with judges' combined comment
2024 exhibition
Thomas Eddolls
Thomas Eddolls - 'Raise' Chest of Drawers
Brown oak, rippled sycamore
1200mm × 800mm × 500mm
Judges' comment
A magnificent well proportioned chest of drawers designed to ‘emulate the power of light over the darkness. Bright suns against the dark voided vaults of time and space’. It has echoes of Arts & Crafts in the carcass and Art Deco in the drawer fronts. Particularly noteworthy are the integrated handles, sculpted into the design to ensure nothing disrupts the grand motif of the central carving. The shaping of the drawer fronts lift this piece onto a plane of its own. Finely made and fitted drawers - an outstanding piece of work all round.
Meet the maker
I was apprenticed to a local cabinetmakers after leaving school and completed my training at Warwickshire colleges Leamington spa campus attaining my City and Guilds qualifications with distinction. This allowed me to go on to work for some of the country’s most highly respected workshops including Robin Furlong Furniture and Waywood Furniture Creation. During a 15 year professional career I have worked in many different sectors of the industry, not afraid to go out looking for work and eventually there came a point where I was to venture out on my own. Six years ago I realised my ambition by founding my own business which after a lot of hard work and struggle is still ticking away supported by a growing clientele list.
Maker's statement
Inspired by the suns of the universe prevailant light over darkness incorporating traditional Arts and Crafts exposed joinery using skills handed down by Alan Peters himself via one of his former craftsmen. I have emulated the universe's grandest gesture as indeed the craftsmen of old used to look at the natural world in their carvings and depictions. A fine handmade chest of drawers incorporating exposed hand cut Arts and Crafts carcass through dovetail and wedged tenon joinery, housing a bank of five hand cut dovetailed traditionally hand fitted draws. The frontage is hand shaped into a radial scalloped sunburst achieved with antique wooden moulding planes and has undercut finger pull handles shaped into the ends of each drawer. The drawers work inside a maple and birch ply framed dust board system which has been carefully housed into the carcass to allow for long to short grain movement issues.
The piece was developed from the sketch book to drawing board from an initial moment of inspiration in the mind’s eye and whilst possessing both Arts and Crafts and Art Deco stylistic features still retains a contemporary air.
The chest was hand finished with Osmo Polyx oil.
1200mm × 800mm × 500mm
Judges' comment
A magnificent well proportioned chest of drawers designed to ‘emulate the power of light over the darkness. Bright suns against the dark voided vaults of time and space’. It has echoes of Arts & Crafts in the carcass and Art Deco in the drawer fronts. Particularly noteworthy are the integrated handles, sculpted into the design to ensure nothing disrupts the grand motif of the central carving. The shaping of the drawer fronts lift this piece onto a plane of its own. Finely made and fitted drawers - an outstanding piece of work all round.
Meet the maker
I was apprenticed to a local cabinetmakers after leaving school and completed my training at Warwickshire colleges Leamington spa campus attaining my City and Guilds qualifications with distinction. This allowed me to go on to work for some of the country’s most highly respected workshops including Robin Furlong Furniture and Waywood Furniture Creation. During a 15 year professional career I have worked in many different sectors of the industry, not afraid to go out looking for work and eventually there came a point where I was to venture out on my own. Six years ago I realised my ambition by founding my own business which after a lot of hard work and struggle is still ticking away supported by a growing clientele list.
Maker's statement
Inspired by the suns of the universe prevailant light over darkness incorporating traditional Arts and Crafts exposed joinery using skills handed down by Alan Peters himself via one of his former craftsmen. I have emulated the universe's grandest gesture as indeed the craftsmen of old used to look at the natural world in their carvings and depictions. A fine handmade chest of drawers incorporating exposed hand cut Arts and Crafts carcass through dovetail and wedged tenon joinery, housing a bank of five hand cut dovetailed traditionally hand fitted draws. The frontage is hand shaped into a radial scalloped sunburst achieved with antique wooden moulding planes and has undercut finger pull handles shaped into the ends of each drawer. The drawers work inside a maple and birch ply framed dust board system which has been carefully housed into the carcass to allow for long to short grain movement issues.
The piece was developed from the sketch book to drawing board from an initial moment of inspiration in the mind’s eye and whilst possessing both Arts and Crafts and Art Deco stylistic features still retains a contemporary air.
The chest was hand finished with Osmo Polyx oil.
Christopher Pretlove
Christopher Pretlove - chair
Birch plywood, brown oak. Finish - Danish oil
552 x 457 x 880
Judges' comment
Chairs are not easy to design but this piece shows an intelligent use of materials with simple visuals and the construction looks sound. The award encourages batch-produced furniture as a balance to the predominant ‘one-off’ market and although this is a prototype the design appears to be well resolved and the chair well made. The use of plywood in furniture which still raises some eyebrows would have been encouraged by Alan Peters in celebrating its edges without hiding them. Perhaps the oak veneered edges could be slightly bevelled to protect them from chipping. The shallow vee-grooved construction gives integrated strength with the seat and back members offering adequate comfort.
Meet the maker
A second generation cabinet maker with 29 years in the woodworking industry, the last 25 of those exclusively making one off pieces, of nearly every style imaginable, Gothic, Victorian, Modernist, Arts and Crafts, yacht interiors, etc. Influenced in my work by the early modernist movement, Japanese woodworking - simplicity of line and using geometric forms to provide strength.
Setting up my own workshop ten years ago allowed me to explore my idea of using birch ply to create fine furniture. I experiment with new techniques and aim to expand the possibilities of this fascinating material, making best use of its unidirectional strength and stability, huge uninterrupted veneers and interesting edge grain. My design style is intrinsically linked with my workshop experimentation as well as the geometry and structural loading lessons of my A-level engineering drawing. Moving forward, I aim to develop a range of sustainable, functional, long-lasting designs.
Maker's statement
A chair designed with sustainability at the forefront, using plywood made up of fast growing birch for the structure and the economical use of beautiful brown oak on the wear surfaces. Designed to last many decades the chevron seat is connected to the legs with robust glued, sliding dovetails. It bestows both comfortable, supportive, versatile seating and structural integrity. The design aims to minimize visual and rectilinear elements, to provide interest and calm simplicity. The laminated, hollow form legs reduce weight and the chevron seat shape resists the rotational forces applied to the leg braces by the cantilever design. The Danish oil finish is intended to make maintenance feasible for the layman. The underlying design philosophy is to create timeless modernist furniture using renewable resources.
Jennifer Seastone
Jennifer Seastone - The Event Ash Table
American ash
700 x 378 x 324
Judges' comment
A quirky, articulate adventure in space with room to place a book or newspaper within it maybe. The rounded drawer box is a clever morphing of a traditional rectangular construction, working well with the radiused through dovetails that echo the same dovetails on the drawer. This gives the effect of lap dovetails with the added drawer front. The sculpted shape shows off the bold grain of the ash in a pleasing way and the table/cabinet has a tactile appeal offering many practical uses. The use of several jigs to acquire the shape and the countless hours spent finessing the forms highlight the soft and square angles of the top. The high level of craftsmanship is evident, and under the touch of light, the impeccable finish is revealed.
Meet the maker
I have lived in New York City my whole life until relocating in September to the Lake District to learn at Waters & Acland. Previously I worked in rougher carpentry, making crates for art shipping. I also made my own wood sculptures and conceptual art. Prior to that I was an actress. These seemingly disparate careers have shaped my aesthetic entirely. Each piece has its own life hidden inside the grain, its own story, they all have their own gait, their own tone of voice. In my sculptures, I used reclaimed wood and direct carving to reveal the hidden (and untranslatable) stories of the wood’s past lives. These pieces all were touchable and approachable. I bring that to my pieces now; except that they are made to be used. And there is craft present; a history of all the craftspeople who have come before me embedded in each dovetail.
Maker's statement
The title, the 'Even-Ash Side Table' comes from folklore; ash being a tree of strength and power, of protection and healing. Leaves from the tree that have an even number of leaflets on them are considered lucky. My design process flows from pencil drawings to Sketchup (design & layout) and 1:1 scale drawings. Hand Fabrication: hand dovetailing, extensive custom jigs, comprehensive hand shaping. Machine fabrication: routing (table & hand), spindle moulder, Domino jointing. Additional refinement techniques to ensure precision and design: using shadow gaps, piston fitting drawer, adding blocks and grain matching.
700 x 378 x 324
Judges' comment
A quirky, articulate adventure in space with room to place a book or newspaper within it maybe. The rounded drawer box is a clever morphing of a traditional rectangular construction, working well with the radiused through dovetails that echo the same dovetails on the drawer. This gives the effect of lap dovetails with the added drawer front. The sculpted shape shows off the bold grain of the ash in a pleasing way and the table/cabinet has a tactile appeal offering many practical uses. The use of several jigs to acquire the shape and the countless hours spent finessing the forms highlight the soft and square angles of the top. The high level of craftsmanship is evident, and under the touch of light, the impeccable finish is revealed.
Meet the maker
I have lived in New York City my whole life until relocating in September to the Lake District to learn at Waters & Acland. Previously I worked in rougher carpentry, making crates for art shipping. I also made my own wood sculptures and conceptual art. Prior to that I was an actress. These seemingly disparate careers have shaped my aesthetic entirely. Each piece has its own life hidden inside the grain, its own story, they all have their own gait, their own tone of voice. In my sculptures, I used reclaimed wood and direct carving to reveal the hidden (and untranslatable) stories of the wood’s past lives. These pieces all were touchable and approachable. I bring that to my pieces now; except that they are made to be used. And there is craft present; a history of all the craftspeople who have come before me embedded in each dovetail.
Maker's statement
The title, the 'Even-Ash Side Table' comes from folklore; ash being a tree of strength and power, of protection and healing. Leaves from the tree that have an even number of leaflets on them are considered lucky. My design process flows from pencil drawings to Sketchup (design & layout) and 1:1 scale drawings. Hand Fabrication: hand dovetailing, extensive custom jigs, comprehensive hand shaping. Machine fabrication: routing (table & hand), spindle moulder, Domino jointing. Additional refinement techniques to ensure precision and design: using shadow gaps, piston fitting drawer, adding blocks and grain matching.
Richard Crossley
Richard Crossley - Isaac cabinet
Judges' comment
This striking yet understated piece brings various elements of cabinetry together with its tightly fitting drawers, immaculately cut dovetails and beautiful sunburst veneered doors. The splayed legs gives a retro mid-century look which is fashionable today. The originality is in the door marquetry. What lets this cabinet down is a very slight but noticeable tapered gap between the doors. The drawers are a piston fit and the handles akthough delightfully understated seem a touch too small and might be difficult to grip. It is interesting that the maker has lacquered the drawer lap dovetails to the shoulder line, not something that Alan Peters would have done, but is common practice in some of the private furniture schools. It would be good to know what large objects are intended for the interior space.
Meet the maker
'I worked as a carpenter for over a decade before focusing my skills and interests within fine furniture making. I trained at the renowned woodworking school Rowden Atelier from 2021 to 2022 and now combine traditional and modern techniques to create contemporary furniture from my workshop in North Devon. My work focuses on classical proportions and the characteristics of the material itself rather than expensive distractions and unconscious flourishes. My furniture is born from a lifelong relationship with exploring how the refining of practical techniques facilitates the creation of the unique'.
Makers' statement
I was originally inspired by the straw marquetry of Jean-Michel Frank, I wanted to create a piece that uses light to engage the eye as you move around it. I intended the solid wood carcass to be a picture frame for the doors, purposefully keeping it simple with a bevelled front edge that angles inwards combined with a slight lift in the front rail to draw the viewer to the doors.
The door veneers are divided into 4 sections, these were flipped for each door so the grain on each section juxtaposes to catch the light differently. The result is an experience of contrasting exposure of light as you move around the cabinet.
The piston fit dovetailed drawers are made of sycamore and cedar of Lebanon. As the exterior is walnut, I wanted a burst of light when opening the drawer and for the rich scent to trigger the senses beyond visual.
Taidgh Browne
Taidgh Browne - Dynamic Seasons
Maple
350 x 500 x 1030
Judges' comment
This design is an ode to the English countryside that feels like peering through a small window into a timeless cherished landscape of rolling fields and stone walls. Technically it is challenging with its three piston-fit drawers and hand-cut dovetails, this playful piece boasts originality, functionality and immaculate craftsmanship. The undulating front surface created by using slats is a clever touch. It isn’t clear how this shaping was carried out, but if it was by CNC, it is an inventive application of this technology. Made of maple (a favourite of one of the judges) it is not the most forgiving of timbers and any discrepancy shows. The finishing of the slats wold have been a marathon task. One observation – on opening the drawers some handle ends are razor sharp and vulnerable. It was difficult ranking this outstanding piece but winning pieces should echo the Alan Peters ethos which includes understated form. This cabinet is a little busy and over crafted. The ranking of the pieces apart from the 1st prize has been a very close call.
Meet the maker
Inspired by my carpenter/builder father I was always fascinated in making, breaking, fixing, and creating anything and everything I could get access to.
Having worked in the construction industry as an engineer for the last 10 years I decided to pursue furniture making by attending the Waters and Acland furniture school. This past year at the school has given me incredible insight and understanding into hand tool skills and furniture making
Maker's statement
The Dynamic Seasons Chest is conceived as a standalone statement piece designed to adapt and transform with the changing light throughout the day and across seasons. Inspired by the rhythmic patterns of farmed fields in the countryside, the chest reflects the geometric shapes and parallel lines created across the landscape.
This chest on a stand is intended for important documents, folders, etc. The design combines functionality with a sculptural quality, ensuring it serves both practical and aesthetic purposes.
Constructed entirely from maple, it was a pleasure to work with and I feel to best suited to allow the full visual impact of the piece to be achieved.
The mitred carcass houses three piston fit drawers. Hand cut half blind dovetails on each drawer. Routed grooves on the drawer fronts house the 36 no. shaped fins. The fins were routed on a hand shaped jig and refined by hand also.
350 x 500 x 1030
Judges' comment
This design is an ode to the English countryside that feels like peering through a small window into a timeless cherished landscape of rolling fields and stone walls. Technically it is challenging with its three piston-fit drawers and hand-cut dovetails, this playful piece boasts originality, functionality and immaculate craftsmanship. The undulating front surface created by using slats is a clever touch. It isn’t clear how this shaping was carried out, but if it was by CNC, it is an inventive application of this technology. Made of maple (a favourite of one of the judges) it is not the most forgiving of timbers and any discrepancy shows. The finishing of the slats wold have been a marathon task. One observation – on opening the drawers some handle ends are razor sharp and vulnerable. It was difficult ranking this outstanding piece but winning pieces should echo the Alan Peters ethos which includes understated form. This cabinet is a little busy and over crafted. The ranking of the pieces apart from the 1st prize has been a very close call.
Meet the maker
Inspired by my carpenter/builder father I was always fascinated in making, breaking, fixing, and creating anything and everything I could get access to.
Having worked in the construction industry as an engineer for the last 10 years I decided to pursue furniture making by attending the Waters and Acland furniture school. This past year at the school has given me incredible insight and understanding into hand tool skills and furniture making
Maker's statement
The Dynamic Seasons Chest is conceived as a standalone statement piece designed to adapt and transform with the changing light throughout the day and across seasons. Inspired by the rhythmic patterns of farmed fields in the countryside, the chest reflects the geometric shapes and parallel lines created across the landscape.
This chest on a stand is intended for important documents, folders, etc. The design combines functionality with a sculptural quality, ensuring it serves both practical and aesthetic purposes.
Constructed entirely from maple, it was a pleasure to work with and I feel to best suited to allow the full visual impact of the piece to be achieved.
The mitred carcass houses three piston fit drawers. Hand cut half blind dovetails on each drawer. Routed grooves on the drawer fronts house the 36 no. shaped fins. The fins were routed on a hand shaped jig and refined by hand also.
Richard Crossley
Crisp craftsmanship. What looked like a gap above the piston fit drawers is a bevel!
Nicholas Fortier
Nicholas Fortier - Standing lamp
American black walnut, white oak internal components, brass mesh, Tosa Washi Japanese rice paper.
430 x 365 x 1093
Judges' comment
This Japanese lantern inspired standing lamp has a modern, sleek look that is visually appealing and will complement various interior styles. The use of materials and the choice of colours contribute to a cohesive and elegant look. The mitred frames have a restrained elegance with the drawers adding to its practicality. Will the delicate paper stand the test of time? Now this is a standing lamp but you have to crouch down on the floor to operate the old-fashioned cable switch. It seems a missed opportunity not to integrate a wooden push switch into the structure (operating a standard electrical on/off push switch.) There is no mention of the lighting technology used (LED?).
430 x 365 x 1093
Judges' comment
This Japanese lantern inspired standing lamp has a modern, sleek look that is visually appealing and will complement various interior styles. The use of materials and the choice of colours contribute to a cohesive and elegant look. The mitred frames have a restrained elegance with the drawers adding to its practicality. Will the delicate paper stand the test of time? Now this is a standing lamp but you have to crouch down on the floor to operate the old-fashioned cable switch. It seems a missed opportunity not to integrate a wooden push switch into the structure (operating a standard electrical on/off push switch.) There is no mention of the lighting technology used (LED?).
Kered Winder - Jewelry Box
Swirling Triangle Jewelry Box
Birch Ply core, Burr Elm, Ebony, Ash,
330 X W 240 X 135
This jewelry casket possesses a charm as a desirable object. It demonstrates a well considered combination of woods and is well made, except for a slightly messy mitre joint on the top (which prevented this piece from ranking higher). Wide mitres on small objects, especially in a pale wood such as sycamore in this case, are always a challenge! The box has two trays and involves a lot of intricate jointing. Looking at the closed box what is interesting is that the 3D Escher effect, apparent from just one particular viewing angle, was not intended by the designer or noticed by all the judges. Often a design can accidentally reveal something else - in the same way a tool is designed for a specific purpose but can do so much more (eg a router that one of the judges wrote a pioneer book on!).
Birch Ply core, Burr Elm, Ebony, Ash,
330 X W 240 X 135
This jewelry casket possesses a charm as a desirable object. It demonstrates a well considered combination of woods and is well made, except for a slightly messy mitre joint on the top (which prevented this piece from ranking higher). Wide mitres on small objects, especially in a pale wood such as sycamore in this case, are always a challenge! The box has two trays and involves a lot of intricate jointing. Looking at the closed box what is interesting is that the 3D Escher effect, apparent from just one particular viewing angle, was not intended by the designer or noticed by all the judges. Often a design can accidentally reveal something else - in the same way a tool is designed for a specific purpose but can do so much more (eg a router that one of the judges wrote a pioneer book on!).
Kered Winder - jewelry box
Jarrad Belton
Jarrad Belton - Homage to nature (2nd Ballad)
English walnut
820mm x 400mm x 490mm
This is a skilfully made striking looking piece which although derived from Nature is original in its interpretation. For some it will evoke a sense of peace and harmony and for others a slightly awkward feel as though it is an alien creature poised to pounce. It is technically articulate apart from the jointing of the single leg into the top where short-grain is further weakened by large dowel joints. The configuration of the veneered walnut top is immaculately executed.
820mm x 400mm x 490mm
This is a skilfully made striking looking piece which although derived from Nature is original in its interpretation. For some it will evoke a sense of peace and harmony and for others a slightly awkward feel as though it is an alien creature poised to pounce. It is technically articulate apart from the jointing of the single leg into the top where short-grain is further weakened by large dowel joints. The configuration of the veneered walnut top is immaculately executed.
Matthew Webb - Wunderkammer Display Cabinet
American Cherry, Brass, Pig suede, Linseed Oil
550 x 300 x1450
This glass fronted display cabinet features a minimalist and elegant form combined with high practicality, with its shelves, drawers and trays for accommodating a multitude of objects. It is a celebration of craftsmanship but let down by slightly messy tray soft linings and a few protruding screwheads in a door frame. It is a pleasing piece that would sit well in new or old homes. It is James Krenov inspired but with little fresh thinking as the maker declares. Whereas the handles follow the shape of the cabinet front, the judges felt they would be rather cold to the touch and would need lacquering to prevent tarnishing.
Jennifer Seastone
Jennifer Seastone - The Even-Ash Chair
American Ash
700 x 378 x 324
The complex design lines of this chair transform it from a functional object into a piece of art, making it aesthetically a focal point in any space. Beyond its aesthetic function attention has been given to comfort in the lumbar support but it raises the question after all the craftsmanship involved, why the seat isn’t sculpted. Mass-produced Ercol chairs are and this hand- made chair should have, in the opinion of two of the judges, been similarly shaped. The triangulated structure of this chair adds great strength. As a one-off this chair has individuality but at the risk of being too busy visually. Its not clear if it is a dining chair.
700 x 378 x 324
The complex design lines of this chair transform it from a functional object into a piece of art, making it aesthetically a focal point in any space. Beyond its aesthetic function attention has been given to comfort in the lumbar support but it raises the question after all the craftsmanship involved, why the seat isn’t sculpted. Mass-produced Ercol chairs are and this hand- made chair should have, in the opinion of two of the judges, been similarly shaped. The triangulated structure of this chair adds great strength. As a one-off this chair has individuality but at the risk of being too busy visually. Its not clear if it is a dining chair.
Paul Husselbee - Cosmos
Blue Atlas Cedar, cherry and burr walnut veneer
550mm x 550mm x 750mm
A visually appealing design in the theme of Nature with a nice contrast of woods. The question is how stable is it especially on a carpet and when in use? Its footprint seems very narrow. The leg members could have been spaced out even if compromising the visuals a little at the stem of the table. What is the intended us of the table: to support a lamp, potted plant, glass of wine? There is potential for timber movement on the solid top that would be better veneered. How timber behaves and over time is a strong consideration in Alan Peters’ furniture.
550mm x 550mm x 750mm
A visually appealing design in the theme of Nature with a nice contrast of woods. The question is how stable is it especially on a carpet and when in use? Its footprint seems very narrow. The leg members could have been spaced out even if compromising the visuals a little at the stem of the table. What is the intended us of the table: to support a lamp, potted plant, glass of wine? There is potential for timber movement on the solid top that would be better veneered. How timber behaves and over time is a strong consideration in Alan Peters’ furniture.
Paul Husselbee
James Brabner
James Brabner - Kalah Table
French Oak, English Walnut, Maple, Sapele, Ebony
812 diameter x 357mm high
Circular tables are appealing for their adaptable functionality. This table with its wild somewhat coarse grained top does not quite fit with the other woods used for the legs. The proportions of the legs compared to the top seem spindly. . Its solid wood top could cause timber movement problems over time with the laminated rim.
812 diameter x 357mm high
Circular tables are appealing for their adaptable functionality. This table with its wild somewhat coarse grained top does not quite fit with the other woods used for the legs. The proportions of the legs compared to the top seem spindly. . Its solid wood top could cause timber movement problems over time with the laminated rim.
2022 award winners
Exhibition held at Axminster Power Tools Nuneaton store
previous winners
