At the heart of the League and the Masters groups are their three-person juries. Currently, Moore and Jere Osgood serve on both juries, exerting a unified force on studio furniture making in the state. The juries are strict but supportive. Applicants who fall short on their first try are deferred, not failed, and are given specific pointers for future success. According to Moore, deferred woodworkers often are invited to bring pieces to a jury member's shop for informal mentoring.
Pieces are graded on a one-to-five scale for originality or for execution of a traditional design, for artistic decisions such as clarity of intent and integration of elements, for command of the medium, for attention to details and for functionality. In
THE HOTHOUSE EFFECT: NEW HAMPSHIRE'S CROSS-POLLINATION
The founding members of the New Hampshire Furniture Masters Association created an environment in which the states' best could inspire each other to new heights. Members' influence on each other is evident in this year's auction catalog. The hothouse effect is strong but subtle, always stopping short of imitation and allowing a wide range of design voices to coexist.
Contrasting edge detail marks the group's work. Subtle varieties of this motif have spread from the work of founding members Terry Moore (demilune commode in fid-dleback mahogany with ebony detail) to newer members like Wayne Marcoux (sofa-hall table in cherry with bloodwood detail). Two tables by David Lamb, another founding member, employ contrasting edge beading. His center table has crotch and mottled mahogany veneers and raised beading in cocobolo; his demilune table is made of mahogany with stone top, feet and apron detail.
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