Monday, June 1, 2009

Canadian Fine Furniture by mlh (a few examples)

I have been asked to 'tell a little' about my fine furniture making days ... I suppose a good place to start this 'retrospective' would be to mention the 1996 publication by Carol Soucek King, 'Architects & Designer's Originals'. Frank Gehry, the architect, and I were the only Canadians asked to contribute. Carol was the Fashion Editor at the L.A. Times at the time, and she asked me to supply something for the 'bed' section ...

I had recently completed a commission of a series of children's beds that had hand-carved bed posts - owls & bears. I also did a carved frieze of butterflies & dragonflies for the little girl ...

The following image was one of my first forays into 'decoratively painted' furniture ... a Canadian goose on the back panel hovering over a 'nest of eggs'... Last heard, this piece is now in a collection in Portland, Oregan.

I was often asked to reproduce 'period items' to fit into existing decor. The next piece is 'Quebec' infleunced, and 'distressed' to lend a 'rustic' feel. The carving in the centre is unique. (Sorry for the lousy photo, but that's all I've got of this item now ... )

The next piece was one of my favourites. I use to spend a great deal of time up-north. That 'atmosphere' greatly influenced my choices about what I wanted to amplify in my constructions. The feathers on the drawers and the pine tree silhouette on the cupboard (and copper star insets) where inlaid into the oak using 'marquetry', a wood-working technique near extinction in North America today ... (Again, please excuse the crummy 'shaky' photo, but this is the only image I've got of the piece in it's 'unfinished' state.... )


As time went along I refined these 'natural motifs' and emphasized the intricate delicacy of the wood grain in conjunction with the power of the imagery. In the following instance, a bulrush bouquet highlights this tiger maple & rosewood 'Ladies Dresser' ... The 'Shaker-style' drawer pulls were turned in ebony.

Bigger & better commissions started to come in. The next image shows details from a 14 foot dining table (with 16 complimentary sabre leg dining chairs). The motif I choose for this commission was the trillium, provincial flower for Ontario. The mahogany edging on the table was carved in a recurring trillium pattern and the adjacent trillium marquetry inset was used on the back of all the chairs.

Then the coup de grace, 'The Four Canadian Fireside Chairs'. A fantastic commission, I had carte blanche to fulfill this clients ambitions of grace & grandeur. I focused on the native legend of Sedna, goddess of the North Seas, and imaginatively carved her into the walnut legs of each of the chairs. Then I designed intricate marquetry panels for the back of each chair to represent a season.

Copper was an early trading material from the North. I gilded the two armchairs in copper.

And covered the two side chairs in premium dear hide, retrieved from a hunter near Barrie ... This is the 'autumn chair'. Pheasant lifting off over cornfields under a setting sun ... beneath a recurring image of criss-crossed dear antlers ...



Next up, I had the opportunity to do some speculative work for a gallery show. What follows is the 'Wolf Settee Courting Bench'. A kind of whimsical piece, it sort of epitomizes to me, the EARLY stages of romance where 'space' is kind of critical to romantic evolution ... (The settee is 7 feet long ... ). The bracing beneath the seat is extensive and intricately turned. Beautiful Honduras mahogany, turns like butter ...


Note the wolf head on the settee arms ...

Likely my most ambitious piece, 'Thee Mirror', inspired by my many jaunts to the sea & the ever present majestic beauty of the natural world, I tried to fuse it all into one magnificient whole ... I must have done ok, cuz this piece won First Prize at the International Woodworking Show at the Canadian National Exhbition in 1989, beating out English, French and Italian works. I took home the ribbon with Karl Luber, who did the marquetry work on this item.

Another speculative piece, the following pedestals (one shown of a matching pair) were inspired by the Temagami Provincial Park area in north-eastern Ontario. There was ALOT of buzz at the time about the proposed 'clear cut' logging in the park area ... I wanted to create something that documented that 'DECISION' for future generations. I used maple cones as a recurring motif (see how they drop from the top) and then enfused the slanting sides with a kind of Elizabethan style 'relief' carving. There is something very 'in tune' with Nature that emerged in the Elizabethan period, that hasn't been replicated since. (The Georgian period, though CLOSE, lacked a sense of 'stillness'.) That's a very subjective interpretation I know, but it's how I both 'sense' and 'interpret' things ... . These pedestals were shaped from solid walnut, and now reside with a Toronto collector ...
Here's an example of an earlier piece, a drop-front CD player, using a signature triple-beaded edging detail of layered ebony & padauk ... The base wood is lovely pear and the inserts were made with mahogany 'flame' vaneer. This item was 'french polished' in the 'old school' manner ... thus that lovely patina. Complimentary sofa side tables were added to this commission at a later date.

Again, kind of a fun one, a copper diningroom table. The client was a frequent flyer & car racing enthusiast. He liked 'bolted' metal things ... I obliged with this copper studded copper hammered sheet metal table top ...


Spanning a 15 year period, from 1984 to 2000, I think I produced near 300 items. It was wonderful time, and I don't regret one bit of it. Though, truth be told, it is not a very efficient way to 'make a living'... especially at the level I was producing things ... Fun stuff though and feels like another era now. I do retain drawings of items I would LIKE to make ... like the Nunavut Sideboard, and the Caribou dining table ... but, sigh, I guess those exquisite items will just have to WAIT ...

I may add more items to this list as I find other photos ...

And, for the record, I LEARNED about the fundamentals of FINE wood-working from my late father, Luther Janna Holton. I apprenticed with him. And then, went out on my own ...


.... just found this above image taken at the Carnegie Gallery: me - plus some of dad's work including a very attractive mahogany drop-front desk replete with 'secret compartments', a true-to-form 'Chippendale' mirror with gilding highlights, & a Louis XIV style chair designed & made for 'larger North Americans' by my late father ... Luther Janna Holton, the second ...

.... Photo supplied by Willa W., in 2015. Taken sometime in the early 2000's. MLH perched on her 'Stargazer Garden Bench', designed and licensed to Canadian manufacturer in mid 1990s.  Made in the Philippines, of iroko wood, a dense water-resistant hardwood that changes to a warm gray over time ... Sold throughout North America. A popular item.

UPDATE: January 2017 - Well this is kind of fun. Was roaming around the net and stumbled on the desk & credenza that I designed for Kaufman Furniture of Collingwood, Canada, the 'Signature Series', several decades ago. It was selling on an obscure 'estate liquidation' site. Both sold for the grand sum of $630. Ouch, hurts, (after 43 bids, starting at $1!) - (What a STEAL!!! Seriously!) - Still, very interesting to view the images - and to remember that job. I used mahogany vaneer on solid maple, with 'shaker-style' ebony pulls. Kaufman did a good job crafting my design. It still looks pretty good: contemporary and kind of timeless ... if I say so myself.

Desk & Credenza, Designed by M.L.Holton. Built by Kaufman of Collingwood, Canada.

Details from Desk & Credenza designed by Margaret Lindsay.Holton, Canada






Substantiating paperwork, including 'Certificate of Authenticity', promo sample and letter from Prez of Kaufman.

(Website for that sale - Everything But the House - estate liquidators )
UPDATE: July 2017 - stumbled on this promotional piece that I designed for Dad when we were working together ... the red 'logo' beneath the chair, was, in fact, his signet ring. We did stamp a few of his better items with it.
Dad's promo, designed by yours truly :)
Interested to dive deeper?
Dive deeper into Canadian decorative arts and design via my second novel, The Gilded Beaver by Anonymous, re-released in 2020 to now include the author's true identity, me. This ebook Second Edition explains why the secrecy between designer & client, and includes a factual and fun discourse on the trials and tribulations of 'making something of value' for someone else ...
Get it here > https://www.amazon.com/gp/product/B089T7QJ5B/

'The Gilded Beaver by Anonymous'


Winner of the Hamilton Arts Council 'Best Fiction Award' in 1999, beating out other entries from Random House Canada, M&S, and Knopf Canada ...
‘THE GILDED BEAVER BY ANONYMOUS'

Critical Reviews:

" ... mystery surrounds this erotically charged novel ... the ABC's of Canadian fine furniture design and production ... " Ottawa Citizen

"... read this really extra-ordinary work with great interest ... this novel is very special ..." - Dr.B. Heinzius, Bertelsmann, AG, Munich

" ... like good wine - rich, complex, pleasingly acerbic ... a dance of intellect & eros that expertly unfolds ... and closes with panache..." - Jim Bartley, Globe & Mail, Toronto

"... a psycho-sexual tug of war in the world of design" - Spring Book Review, Globe & Mail, Toronto

"... Novels about the relationship between two brothers, mothers and sons, husbands and wives, or fathers and daughters are common. But the relationship between a fine furniture designer and an imperious client can be just as fraught with tension, drama, comedy, incomprehension and hurt as any family relationship, and this novel proves it. ... Why the 'anonymity'? Because, quotes the author, 'This is a true story'..." - Toronto Star


ONLY 800 Numbered Copies printed in 1999 Collectors First Edition
'THE GILDED BEAVER BY ANONYMOUS'
ISBN: 0-96919362-2-6 Page Count: 218, soft cover
 
LIST: $79.95
(NOW SELLING, 10 years later via antiquarian book dealers @ $125!)


Send Int'l Money Order, including $10 for Shipping & Handling, to:
'The Gilded Beaver'
 ACORN PRESS CANADA
17 Main Street, P.O. Box 1425
Waterdown, Ontario, Canada
L0R 2H0

(Please allow 2 weeks for delivery -
FIRST COME, FIRST SERVED.
As of April,  2015 - Only 87 copies left! )









I'm in a 'Georgian Bay' kinda MOOD ...

... you know how it is ...
sometimes there are PLACES you just have to GET TO ...
These images were shot 35mm circa 1980.

Contact artist for purchase. All Rights Reserved.



















Saturday, May 2, 2009

'La Magia del Carnevale' at the Art Gallery of Hamilton, Ontario, Canada

'Reflections' , donated oil painting by mlh (SOLD)

Come celebrate a gala evening to benefit programming
at the Art Gallery of Hamilton ...


La Magia del Carnevale!
Dinner, dancing, masks & costumes,
LIVE auction & lotsa FUN!


May 30th, 2009, 6 pm to 1 am. Tickets: $300 each.

For more information link here.

Friday, May 1, 2009

Magnolia Madness !!

Every year we WAIT for the magnolia
to 'do its thing' for a week or two.
The blooms are just so luscious & lovely, I
gotta SHARE them with you ...














then it's DONE until next year ...
and we must WAIT again

Wednesday, April 1, 2009

Canadian eCopyright Forum 2009 - Submission by mlh


"First, I would like to thank the Canadian government for giving me the opportunity to both express my p.o.v., and also consider the p.o.v's of others within this engaging on-line forum. I regret that I am unable to attend any of the 'live' forums, or view the webcasts, (…I'm restricted to dial-up …), but hope that the following words may find a useful place within your on-going deliberations.

Who am I? I be a self-employed mid-career artist from Southern Ontario. Altogether I have 'licensed' 2 books (one fiction, one non-fiction);' licensed' 3 items of Canadian fine furniture for manufacture; co-produced & co-written one broadcast 'experimental documentary' (54 min); written & produced 3 additional titles under my own artists' imprint; painted over 400 oils in my signature 'naïve-surreal-folk-abstract' style, selling about a fifth; shot over 500 pinhole images, selling less then 100; designed & made over 300 works of Canadian fine furniture 'on commission' (but left that 'discipline' altogether in 2000 cuz few will pay for skilled labour in this country). I've done these 'things' over a 35 year period, exhibiting in over 50 private & public venues. All told, I've been 'relatively' successful, and yet I am poor by the median standard.

Recently, within the last two years, I've also taught my Self how to 'blog'. I now have two of those; one semi-anonymous, and the other an overt publicity tool for my pinhole & digital photographic & fine art works. I just started to 'twitter' a month ago, and haven't decided yet if it's worth my time & investment to bother. In other words, I am a 'work-in-progress' artist of Canadian origin who draws on my experience as a 'Canadian'. I am constantly contributing to the cultural fabric of this great & wonderful land, and yet, I live below the poverty line, seemingly by choice. Why? Cuz I love the freedom to do what I want to do.

Now here are my concerns:

In all instances of above 'licensing' I have been shocked, dismayed & disappointed by the behavior & dealings with commercial licensors, aka 'distributors'.

In the book dept, I signed with 2 different mid-size publishers. Neither gave 'advances' or a 'signing fee' and both promised a royalty of less then 15%. In both instances, my books sold out but I never saw the full royalties. The first Toronto publisher re-structured under bankruptcy protection. The other didn't, they just failed in the early 90's and slid into obscurity. So, as an author, I kinda did those books 'for free' over a five year period …

In the fine furniture realm, I signed with 2 local manufacturers. One modified my design within 3 years of signing without consultation to me, and went bankrupt after 5. The other paid me a 'retainer' of $500 on signing, reported royalties haphazardly for 5 years and then also went bankrupt after 10. Again, I ended up kinda doing those works 'for free' … The third was in Italy, (who I met while at a trade show in New York).. No advance, royalties set at 7%. I've never received royalties or sales statements of any kind – even though I know they used my design in prototypes at international trade shows & retain my original drawings …

In the instance of the typeface design, I signed in 1980 with a reputable graphic house giant, Letraset, in England. After 29 years, they've 'lost' my original drawings, digitized my design without my knowledge or consent, deliberately engaged in third-party dealings without remittance, restructured at least twice and absolved themselves of continued record keeping when I finally managed to 'catch up' in 1991. My design, 'Lindsay', "escaped" from their 'protection' and is now available for sale via vendors who claim the Rights to their digital data but do not honor or compensate me for the Original Design. One distributor, URW++ in Germany, even produced 5 'knock off' versions under my name (2007), ie. 'Lindsay'. So, again, that 'licensing' venture was a bit of a bust. (URW also went bust, then 'resurrected' as URW++, an apparently common 'commercial' tactical maneuver to get out of financial obligations …)

Cumulatively, all licensors have treated me & my work like 'sheat' after the 'honeymoon period' was over. And that, surely, is not right. To be sure, I could have 'hired' better lawyers to 'negotiate' better terms, who'd fight for my Copy Rights nationally & internationally … but, I am self-employed, and was, during that time frame, 'coming up' thru the ranks. I was 'learning'.

As an older & much wiser artist, I am now loathe to 'sign' with any prospective licensor aka distributor. I just do not trust the whole business anymore. I have no confidence any longer in 'fair & equitable' dealings. I've just seen & experienced too much to believe in any of it.

Rather, I now manage everything and have become an 'artspeneur'. I create each art object from scratch. I do my own sales, distribution, and collect 100% of the revenue. To be sure, all in all, it can be an exhausting business … But until such time that I can feel confident (again) that the licensors (aka distributing 'copiers') will honor the Terms of our Agreements, and consistently pay me my fair due, I doubt I will ever 're-engage' with the existing 'commercial world'. And, that, my fellow canajuns, is a problem for Canada.

When 'cultural producers' have neither the trust nor confidence that their works will be 'protected', they lose faith altogether in 'the system'. Again, that is not good for Canada.

The digital economy, focused around the 'internet', is primarily a publicity tool. I personally have not achieved any direct sales thru my new blogs, (yet), though I have garnered some 'visibility' and 'credibility' because I am now 'on-line'. I don't know how long I can keep it up though, cuz, frankly, I'd rather be working on my art.

I detest that my 'role' within the 'digital community' is now classified and reduced to that of 'content producer' and that, at present, any can 'copy' my presented works on-line regardless of any measures that I may take ( like watermarks, reduced file sizes, or 'copywrite' logos) to protect my efforts. I'm just not so enamored by the beastie as are many other 'free-for-all' advocates. There are only so many hours in the day. And again, I'd rather be working on my art.

That said, I do recognize that the internet is an invaluable resource for both educators, and private use. I just detest the 'free for use' bullies who disrespect & rip-off from genuine creators. They are the scum of the earth. They glorify & justify their 'heists' in the name of 'freedom'. It's utter B.S. They have neither conscience or sense of 'fair play', and frankly, really don't give a damn. Many of them have been very vocal on this forum.

All in all, what I've gleaned from this enlightening event is that there are very different markets and very different creators. I think it expedient to suggest at this time that the actual definition of 'creator' be closely & carefully re-examined, and, re-defined.

An author, for example, who works 2-3 years researching & writing a book cannot 'equal' a photographer who shoots 400 digital pics in an afternoon, uploads same by dusk and is selling them thru stock agencies by the next day. There is just no correlation.

Likewise, a 'software programmer' who builds code on existing code is very different from a solitary painter or sculptor who shapes something from nothing using the learned coordinating skill of their eyes & hands. These two 'groups' are just not of the same 'species'.

It is increasingly apparent to me that 'Copyright' rules must be written, and applied, very differently for each. Terms of use, for example, for an solitary author must be different then for that of a photographer or 'new media' artists. Obviously,

What I propose/suggest/wonder about is a system of differentiation between 'traditional' cultural art makers from those who are digitally dependent and continuously re-cloning or re-cycling on-line, like broadcasters/film-makers/mashup DJ's etc. As a continued example, most photographers are 'taking' photographs of existing reality, in much the same way that software developers are 'building' on existing code. They can replicate their efforts ad infinitum with a push of a button, (unlike 'traditional artists' who painstakingly create 'one offs'). Perhaps it would be best if their works were 'sanctioned' under 'patent' protection, or some other 'digi' license instead of copyright'ed as original individual efforts.

And yes, I am 'just' a wondering, questioning & questing multi-disciplined artist, not a LAWYER.

It would help a great deal if you, the government of Canada, provided clear 'classes' of eligibility for copyright, patent and IP protection. Also, it would be great if you provided a subsidized 'legal bureau' (with international teeth) where copyright issues can be addressed by independents who don't have the clout or finances of 'corporations' or 'organizations', and finally, please legally support the Creators of our very own unique Canadian Culture.

Oh, I am also for retaining the existing copyright term of 50 years after death. My work is my legacy. I want my family to potentially benefit tomorrow from what I am making today. I am investing in this country, crafting our material culture.

And, I also believe that 'copying' aka 'file sharing' should be strictly limited & enforced to 'private use'.

That's it.

Just remember that when the Power DOES Go Out (by accident or design), we'll be right back at the beginning using 'traditional' arts to communicate – like singing around a smoldering campfire, telling wild 'n scary stories to our kids, acting out comical skits to our friends & families, and drawing out our wildest dreams & schemes in the dirt at the feet of our peers …

… if we remember how.

Good luck. Best to you all.

Margaret Lindsay Holton
Artist & Author"

CONTRASTS: Hand Processed & Digital Photography @ The Sunrise Gallery, Hamilton, Canada - April, 2009

'View of Skyway Bridge & Niagara Escarpment, Hamilton, Canada
c. Margaret Lindsay Holton

Hand-processed gum-bichromatic photo images by Rainer Wenzl will highlight this 'alternative photography' exhibition. My 'digital photo-collage' works will stand in 'CONTRAST'. Other members of this innovative art co-op will be exhibiting thought-provoking & complimentary photo images. All in all, it's meant to be a bit 'different' ... so, please do come check out our latest efforts ...

At: THE SUNRISE GALLERY
765 Beach Blvd, Hamilton, Ontario, Canada
1000 metres from the Skyway Bridge
Phone: 905-549-5888

Opening Reception:
April 11th, Saturday, 2-5 pm

LAUNCH:


Gallery Hours: Thursday, Friday, Saturday
& Sunday: 1-5 pm

Show runs until May 3rd, 2009
Map & Sunrise Gallery Link here

Sample of MLH 'Digital Collages' featured:

'... going home ... '


'Pastoral Seen' - ( SOLD )

***SPECIAL EVENT***
Artist will be 'ON-LINE'
from 2 to 3pm, Friday, April 24th,
to take your questions

in the COMMENT section of this post.


Friday, March 13, 2009

Visions 2009: Reach for the Stars! Art Gallery of Grimsby, Canada

A Fundraising AUCTION
for the trendy & vibrant
Art Gallery of Grimsby ...
Event Happening:
Saturday, March 28th, 2009 - 7 pm.

For more info and map, click
here.

Tickets for the Auction & Gala Event are only $25.
Call th
e gallery at 905-945-3246.
I've donated one of my pinhole photographs,'The Garden Party'
(3/3, Signed & Dated par moi on Reverse)
List Price: $750 Cdn. Reserve bid: $250.
Come on folks ... that's a real STEAL !!

Come out & play.
Support the art 'seen' in Grimsby!

Sunday, March 1, 2009