2010 AAW Educational Opportunity Grant (EOG) Auction

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$Lot # 001\nPeter Bloch - WoodGlow Table Lamp\n\nTranslucent Wood Lampshade with Wenge Base, 28" high x 15" d.\nI have been making translucent turned wood lampshades for 18 years, and been a turner for 25. Although I also make smaller accessory items, 90% of my business is based on the WoodGlow concept. See www.woodshades.com for more info.$ $Lot # 002\nKeith Burns - Exclamantion Point\n\nBuckeye Burl with Blackwood pedestal and finial both containing Buckeye Burl insets. Measures 3-1/2" x 7-1/2" and finished with brush on lacquer and buffed.\n\nI am a simple Tennessee Turner who enjoys turning a piece of wood into simple classic forms.$ $Lot # 003 - view 1\nMichael Kehs - Cave Vase\n\n3" dia. 4" tall. boxelder vase and fig bats\nMichael, from Bucks County, Pennsylvania, has exhibited in several US shows, including Challenge V: International Lathe Turned Objects Show, the National Speleological Society's Fine Art Salon and has a piece in the permanent collection of the Woodturning Center in Philadelphia. He turned an ornament for the Clinton White House during the Year of the Craft. Michael has won awards in many art shows and craft shows locally and nationally, including several Best of Show awards. He has also judged many wood carving shows and has written for the American Woodturner, the journal of the American Association of Woodturners. Active in both local and national turning and carving clubs, he also demonstrates and teaches both woodcarving and woodturning in his studio. Michael has been turning and carving since 1979 and is mostly self taught.$ $Lot # 003 - view 2\nMichael Kehs - Cave Vase\n\n3" dia. 4" tall. boxelder vase and fig bats\nMichael, from Bucks County, Pennsylvania, has exhibited in several US shows, including Challenge V: International Lathe Turned Objects Show, the National Speleological Society's Fine Art Salon and has a piece in the permanent collection of the Woodturning Center in Philadelphia. He turned an ornament for the Clinton White House during the Year of the Craft. Michael has won awards in many art shows and craft shows locally and nationally, including several Best of Show awards. He has also judged many wood carving shows and has written for the American Woodturner, the journal of the American Association of Woodturners. Active in both local and national turning and carving clubs, he also demonstrates and teaches both woodcarving and woodturning in his studio. Michael has been turning and carving since 1979 and is mostly self taught.$ $Lot # 004 - view 1\nThis is the dish that Palmer Sharpless gave me somewhere around 2002. It is cherry and 9" x 1 and 1/4". Donated by Pat Matranga.$ $Lot # 004 - view 2\nThis is the dish that Palmer Sharpless gave me somewhere around 2002. It is cherry and 9" x 1 and 1/4". Donated by Pat Matranga.$ $Lot # 005 - view 1\nJoshua Salesin - Cosmic Burst\n\nCosmic Burst combines detailed ornamental turning with the natural colors of exotic hardwood. The result is intricate, three-dimensional patterns that interplay with subtle variations of the wood grain. \nThe work embodies a combination of unique factors: It is created using an antique hand-powered rose engine lathe. The fine finished surface is a direct result of careful cutting without sanding, which requires an “end grain” orientation unusual for larger bowls. This necessitates specially milled wood from the finest section of a tree with straight grain, consistent color and no defects. The wood is carefully seasoned to prevent cracking and, if successful, ornamental patterning can begin. Each facet is then precisely cut to create the overall artistic plan.\nUsing antique machines and tools that date back to the early 1800s, including an antique ornamental lathe and rose engine lathe, he applies age-old techniques to create exquisitely detailed wood objects. \n\n"I have a fascination with merging the organic and the industrial, the natural and the machine-made. That's what sparks my passion for woodturning."$ $Lot # 005 - view 2\nJoshua Salesin - Cosmic Burst\n\nCosmic Burst combines detailed ornamental turning with the natural colors of exotic hardwood. The result is intricate, three-dimensional patterns that interplay with subtle variations of the wood grain. \nThe work embodies a combination of unique factors: It is created using an antique hand-powered rose engine lathe. The fine finished surface is a direct result of careful cutting without sanding, which requires an “end grain” orientation unusual for larger bowls. This necessitates specially milled wood from the finest section of a tree with straight grain, consistent color and no defects. The wood is carefully seasoned to prevent cracking and, if successful, ornamental patterning can begin. Each facet is then precisely cut to create the overall artistic plan.\nUsing antique machines and tools that date back to the early 1800s, including an antique ornamental lathe and rose engine lathe, he applies age-old techniques to create exquisitely detailed wood objects. \n\n"I have a fascination with merging the organic and the industrial, the natural and the machine-made. That's what sparks my passion for woodturning."$ $Lot # 006 - view 1\nJohn Wessels - Pendant, Silver Chain and Box\n\n34mm Pendant. Blackwood Burr [Acacia melanoxylon] and silver. Box: Blackwood top and Macassar Ebony box sides and bottom. The Stone Hippo comes with the pendant and box.$ $Lot # 006 - view 2\nJohn Wessels - Pendant, Silver Chain and Box\n\n34mm Pendant. Blackwood Burr [Acacia melanoxylon] and silver. Box: Blackwood top and Macassar Ebony box sides and bottom. The Stone Hippo comes with the pendant and box.$ $Lot # 006 - view 3\nJohn Wessels - Pendant, Silver Chain and Box\n\n34mm Pendant. Blackwood Burr [Acacia melanoxylon] and silver. Box: Blackwood top and Macassar Ebony box sides and bottom. The Stone Hippo comes with the pendant and box.$ $Lot # 007 - view 1\nJohn Wessels - Birth Again\n\n240mm diameter and 100mm deep. African Railtie wood and Red Ivory wood. Sheet Pewter embellishment.\nThis is a reproduction of the first piece I ever did with Pewter as an embellishment on a turning.$ $Lot # 007 - view 2\nJohn Wessels - Birth Again\n\n240mm diameter and 100mm deep. African Railtie wood and Red Ivory wood. Sheet Pewter embellishment.\nThis is a reproduction of the first piece I ever did with Pewter as an embellishment on a turning.$ $Lot # 007 - view 3\nJohn Wessels - Birth Again\n\n240mm diameter and 100mm deep. African Railtie wood and Red Ivory wood. Sheet Pewter embellishment.\nThis is a reproduction of the first piece I ever did with Pewter as an embellishment on a turning.$ $Lot 008 - view 1\nJoey Richardson - MaD\nDimensions: 7”H x 4.5” Diameter, materials: English Sycamore, acrylic paints$ $Lot 008 - view 2\nJoey Richardson - MaD\nDimensions: 7”H x 4.5” Diameter, materials: English Sycamore, acrylic paints$ $Lot 009 - view 1\nMalcolm Zander - Flowermouse\nMaple wood; acrylic paint; glass fibre whiskers, sterling silver earring. 6" long x 5" high x 3.25" wide.$ $Lot 009 - view 2\nMalcolm Zander - Flowermouse\nMaple wood; acrylic paint; glass fibre whiskers, sterling silver earring. 6" long x 5" high x 3.25" wide.$ $Lot 009 - view 3\nMalcolm Zander - Flowermouse\nMaple wood; acrylic paint; glass fibre whiskers, sterling silver earring. 6" long x 5" high x 3.25" wide.$ $Lot # 010 - view 1\nBill Smith - Metamorphosis\nEbony & Pau Amarello 4" Diameter, 2½" high\n\nI find great challenge and appeal in the geometrical patterns afforded by wood segmented construction. I use simple shapes in much of my work so as not to detract from these patterns. I also like to modify the geometrical constructs with organic elements as in Metamorphosis where the organic elements of the pierced ebony panels contrast with the geometrical panels of pau amarello. This creates tensions that I find pleasing and unexpected. Rather than trying to make statements about myself or my world, I focus upon creating objects that are satisfying to hold, view and feel. If you enjoy looking at and holding my work then I have succeeded.$ $Lot # 010 - view 2\nBill Smith - Metamorphosis\nEbony & Pau Amarello 4" Diameter, 2½" high\n\nI find great challenge and appeal in the geometrical patterns afforded by wood segmented construction. I use simple shapes in much of my work so as not to detract from these patterns. I also like to modify the geometrical constructs with organic elements as in Metamorphosis where the organic elements of the pierced ebony panels contrast with the geometrical panels of pau amarello. This creates tensions that I find pleasing and unexpected. Rather than trying to make statements about myself or my world, I focus upon creating objects that are satisfying to hold, view and feel. If you enjoy looking at and holding my work then I have succeeded.$ $Lot # 010 - view 3\nBill Smith - Metamorphosis\nEbony & Pau Amarello 4" Diameter, 2½" high\n\nI find great challenge and appeal in the geometrical patterns afforded by wood segmented construction. I use simple shapes in much of my work so as not to detract from these patterns. I also like to modify the geometrical constructs with organic elements as in Metamorphosis where the organic elements of the pierced ebony panels contrast with the geometrical panels of pau amarello. This creates tensions that I find pleasing and unexpected. Rather than trying to make statements about myself or my world, I focus upon creating objects that are satisfying to hold, view and feel. If you enjoy looking at and holding my work then I have succeeded.$ $Lot 011\nAndi Wolfe - "When I let go of what I am, I become what I might be." - Lao Tzu - series\n\n4 inches diameter; redwood, turned, carved, sandblasted. Andi Wolfe finds inspiration from nature. Her work reflects her career as a botanist who spends a lot of time observing nature through the lens of a camera or eyepiece of a microscope.$ $Lot 012 - view 1\nJeffrey Greenwood - "It takes two..."\n\nEach original blank was laminated using 2 lengths of pau amarello and 2 of purpleheart, then turned to 3.5" round. From these a pair of spirals with 33 steps each. The steps are 3/16" high and 2 and 1/8" diameter turned on 16 offcenters. The height of each spiral is 6 and 5/16". I would like to emphasize that the spirals are turned from the blanks, not glued. \n\nI have been a professional machinist for 33 years. I am used to fine precision and detail. This is recognizable especially in my spiral pairs.\nI had a 1st and a 3rd prize at the Ottawa woodturning competition in my first entry and the year after 3 first prizes. I was published in the December 2009 and January 2010 issues of The UK's Woodturning magazine. I have been turning spirals, winged vessels, and pierced pieces for several years. My spirals in sets of two make a very definitive visual impact.$ $Lot 012 - view 2\nJeffrey Greenwood - "It takes two..."\n\nEach original blank was laminated using 2 lengths of pau amarello and 2 of purpleheart, then turned to 3.5" round. From these a pair of spirals with 33 steps each. The steps are 3/16" high and 2 and 1/8" diameter turned on 16 offcenters. The height of each spiral is 6 and 5/16". I would like to emphasize that the spirals are turned from the blanks, not glued. \n\nI have been a professional machinist for 33 years. I am used to fine precision and detail. This is recognizable especially in my spiral pairs.\nI had a 1st and a 3rd prize at the Ottawa woodturning competition in my first entry and the year after 3 first prizes. I was published in the December 2009 and January 2010 issues of The UK's Woodturning magazine. I have been turning spirals, winged vessels, and pierced pieces for several years. My spirals in sets of two make a very definitive visual impact.$ $Lot 012 - view 3\nJeffrey Greenwood - "It takes two..."\n\nEach original blank was laminated using 2 lengths of pau amarello and 2 of purpleheart, then turned to 3.5" round. From these a pair of spirals with 33 steps each. The steps are 3/16" high and 2 and 1/8" diameter turned on 16 offcenters. The height of each spiral is 6 and 5/16". I would like to emphasize that the spirals are turned from the blanks, not glued. \n\nI have been a professional machinist for 33 years. I am used to fine precision and detail. This is recognizable especially in my spiral pairs.\nI had a 1st and a 3rd prize at the Ottawa woodturning competition in my first entry and the year after 3 first prizes. I was published in the December 2009 and January 2010 issues of The UK's Woodturning magazine. I have been turning spirals, winged vessels, and pierced pieces for several years. My spirals in sets of two make a very definitive visual impact.$ $Lot 014\nWarren Carpenter - #12005 Cherry Burl\n\n20"w x 12"h x 10"d Cherry burl with 2 walnut slices.$ $Lot 015 - View 1\nBert Marsh\nSpalted Beech Vase, 6" high x 7" diameter$ $Lot 015 - View 2\nBert Marsh\nSpalted Beech Vase, 6" high x 7" diameter$ $Lot 015 - View 3\nBert Marsh\nSpalted Beech Vase, 6" high x 7" diameter$ $Lot 016\nKEITH TOMPKINS - "SKIPPIN' SCHOOL" #15\n6" DIAMETER, TURNED MAPLE, ACRYLIC AIRBRUSHED FINISH, EYES ARE TURNED HOLLY AND EBONY.\n\nKEITH HAS BEEN WORKING WITH WOOD PROFESSIONALLY SINCE THE EARLY 1970'S, AND IS KNOWN FOR HIS INNOVATIVE TURNINGS. TURNINGS FROM THIS SERIES HAVE APPEARED IN SEVERAL EXHIBITIONS, INCLUDING DEL MANO GALLERY'S "SMALL TREASURES", "TURNING TO THE FUTURE", GROVEWOOD GALLERY, "CRAFT USA" NATIONAL CRAFT TRIENNIAL, AND SOFA,NY. PIECES FROM THIS SERIES HAVE GARNERED SEVERAL AWARDS, INCLUDING NICHE AWARD FINALIST 2008, AND FIRST PLACE, NORTHEASTERN WOODWORKERS SHOWCASE, AND HAVE BEEN FEATURED IN SEVERAL PUBLICATIONS. THE AUCTION PIECE IS THE FINAL PIECE IN THE SERIES, AND WAS FEATURED ON HGTV'S "THAT'S CLEVER" PROGRAM.$ $Lot 017\n\nAlain Mailland - "Waves"\nPistachio, 37cm (14.57") x 21cm (8.27") x 12cm (4.72")$ $Lot 18 - view 1\nJerry Kermode - Silver maple natural edge modified calabash with walnut stitches and spalted rim, 9" x 9 1/4" x 8".\n\nI feel strongly that my responsibility in being given a beautiful piece of wood is to perform as a display artist, finding the shape that most celebrates the soul of the tree. Wood is meant to look like wood, and the form must maintain that belief of mine. Whether turning bowls or building furniture or even cabinets, this has always been true for me. The grain of the wood comes first, my design flows from that. My fascination with form grew out of a love of the sea; waves and wind are a constant source of inspiration, and my joy in turning is in my never-ending search for the "perfect" shape married to the grain and character of the wood. \n\nEach piece is hand-carved on a lathe, using the grain of the wood and its character traits as guides. The vessel is rough turned to 1/2" thick, allowed to air dry for many months and then finish-turned to a thickness appropriate to the design. A stitching technique I developed is used when appropriate to the function and the form, and the bark is reinforced with glue. After I sand to 1200 grit and apply a coat of Danish oil, Deborah burnishes with steel wool and carnauba wax.\n\nWe both have a love affair with trees; their continued growth is as important as the joy of turning. I search out recycled trees and logs from sustainable harvesting operations. This silver maple came from a city park in Santa Rosa, California.$ $Lot 18 - view 2\nJerry Kermode - Silver maple natural edge modified calabash with walnut stitches and spalted rim, 9" x 9 1/4" x 8".\n\nI feel strongly that my responsibility in being given a beautiful piece of wood is to perform as a display artist, finding the shape that most celebrates the soul of the tree. Wood is meant to look like wood, and the form must maintain that belief of mine. Whether turning bowls or building furniture or even cabinets, this has always been true for me. The grain of the wood comes first, my design flows from that. My fascination with form grew out of a love of the sea; waves and wind are a constant source of inspiration, and my joy in turning is in my never-ending search for the "perfect" shape married to the grain and character of the wood. \n\nEach piece is hand-carved on a lathe, using the grain of the wood and its character traits as guides. The vessel is rough turned to 1/2" thick, allowed to air dry for many months and then finish-turned to a thickness appropriate to the design. A stitching technique I developed is used when appropriate to the function and the form, and the bark is reinforced with glue. After I sand to 1200 grit and apply a coat of Danish oil, Deborah burnishes with steel wool and carnauba wax.\n\nWe both have a love affair with trees; their continued growth is as important as the joy of turning. I search out recycled trees and logs from sustainable harvesting operations. This silver maple came from a city park in Santa Rosa, California.$ $Lot 19 - view 1\nCarole Floate - "Red Moon"\n\n13.5"H x 8"W x 2.75"D, maple and acrylic paint$ $Lot 19 - view 2\nCarole Floate - "Red Moon"\n\n13.5"H x 8"W x 2.75"D, maple and acrylic paint$ $Lot 19 - view 3\nCarole Floate - "Red Moon"\n\n13.5"H x 8"W x 2.75"D, maple and acrylic paint$ $Lot # 020 - view 1\nJohn Jordan - Silver Maple Burl Vessel 2010\n\n6" x 6" turned, carved, textured, dyed Silver Maple Burl$ $Lot # 020 - view 2\nJohn Jordan - Silver Maple Burl Vessel 2010\n\n6" x 6" turned, carved, textured, dyed Silver Maple Burl$ $Lot # 020 - view 3\nJohn Jordan - Silver Maple Burl Vessel 2010\n\n6" x 6" turned, carved, textured, dyed Silver Maple Burl$ $Lot 021 - view 1\nLonnie Combs - "Peppercorn and Sea salt"\n\n"Peppercorn" is 16 inches tall and less than three inches in diameter. "Sea Salt" is 13 inches tall and slightly less in diameter. Both are functional pieces that were made from various species of maple wood with burbinga finials sheiled with natural sea shells. \n \nI consider myself a naturalist wood turner. I try harder each day to exploit natural features of wood.$ $Lot 021 - view 2\nLonnie Combs - "Peppercorn and Sea salt"\n\n"Peppercorn" is 16 inches tall and less than three inches in diameter. "Sea Salt" is 13 inches tall and slightly less in diameter. Both are functional pieces that were made from various species of maple wood with burbinga finials sheiled with natural sea shells. \n \nI consider myself a naturalist wood turner. I try harder each day to exploit natural features of wood.$ $Lot 021 - view 3\nLonnie Combs - "Peppercorn and Sea salt"\n\n"Peppercorn" is 16 inches tall and less than three inches in diameter. "Sea Salt" is 13 inches tall and slightly less in diameter. Both are functional pieces that were made from various species of maple wood with burbinga finials sheiled with natural sea shells. \n \nI consider myself a naturalist wood turner. I try harder each day to exploit natural features of wood.$ $Lot 022 - view 1\nAlan Carter - Ring Suspened Vessel\n\nJatoba, wenge, maple, sycamore, rosewood, brass pins 12"H x 7"W x 4"D. The finial lifts off to reveal a small removable container.\n\nAfter 25 years as a painter of the urban environment and a decade designing contemporary furniture, I’ve turned my attention, so to speak, to sculpture featuring turned elements. There’s a ceremonial aspect to much of my work, with non-turned supporting structures an integral part of the design. Many of my pieces also contain reliquaries and hidden surprises. Painting taught me design and color; furniture construction taught me spatial relationships and form. Combining the best of these 2D and 3D disciplines is fundamental to my growth as a sculptural artist.$ $Lot 022 - view 2\nAlan Carter - Ring Suspened Vessel\n\nJatoba, wenge, maple, sycamore, rosewood, brass pins 12"H x 7"W x 4"D. The finial lifts off to reveal a small removable container.\n\nAfter 25 years as a painter of the urban environment and a decade designing contemporary furniture, I’ve turned my attention, so to speak, to sculpture featuring turned elements. There’s a ceremonial aspect to much of my work, with non-turned supporting structures an integral part of the design. Many of my pieces also contain reliquaries and hidden surprises. Painting taught me design and color; furniture construction taught me spatial relationships and form. Combining the best of these 2D and 3D disciplines is fundamental to my growth as a sculptural artist.$ $Lot 022 - view 3\nAlan Carter - Ring Suspened Vessel\n\nJatoba, wenge, maple, sycamore, rosewood, brass pins 12"H x 7"W x 4"D. The finial lifts off to reveal a small removable container.\n\nAfter 25 years as a painter of the urban environment and a decade designing contemporary furniture, I’ve turned my attention, so to speak, to sculpture featuring turned elements. There’s a ceremonial aspect to much of my work, with non-turned supporting structures an integral part of the design. Many of my pieces also contain reliquaries and hidden surprises. Painting taught me design and color; furniture construction taught me spatial relationships and form. Combining the best of these 2D and 3D disciplines is fundamental to my growth as a sculptural artist.$ $Lot 023 - view 1\n\nRudolph Lopez - "Palma por Mi Amor ( Palm for My Love)"\n16"H X 10"Dia. Sable Palm and Walnut Hollowform\n\nI have always had a love of natural objects and the environment in which those objects flourish, and with that I guess, came my love of wood. I spent most of my time growing up on my uncle’s cattle ranch in Lutz, Florida. I grew to love the out-of-doors, trees, water, and all things relating to nature. To this day, my greatest pleasures come from mountain biking, kayaking, hiking, hunting and fishing, and just being in the woods. I love everything about wood, rough or smooth it possesses a warm welcome feel. \n\nAlthough I am a relatively new artist in woodturning, I began working with my hands at a very young age and began to develop my creative eye through photography, my first artistic pursuit. With an education in drafting and design, and drawing inspiration from the surroundings of my youth, I began my relationship with wood as a craftsman of fine furniture and cabinetry. Woodturning has given me another way to bring out the beauty of wood that is sometimes hidden for others to enjoy.$ $Lot 023 - view 2\n\nRudolph Lopez - "Palma por Mi Amor ( Palm for My Love)"\n16"H X 10"Dia. Sable Palm and Walnut Hollowform\n\nI have always had a love of natural objects and the environment in which those objects flourish, and with that I guess, came my love of wood. I spent most of my time growing up on my uncle’s cattle ranch in Lutz, Florida. I grew to love the out-of-doors, trees, water, and all things relating to nature. To this day, my greatest pleasures come from mountain biking, kayaking, hiking, hunting and fishing, and just being in the woods. I love everything about wood, rough or smooth it possesses a warm welcome feel. \n\nAlthough I am a relatively new artist in woodturning, I began working with my hands at a very young age and began to develop my creative eye through photography, my first artistic pursuit. With an education in drafting and design, and drawing inspiration from the surroundings of my youth, I began my relationship with wood as a craftsman of fine furniture and cabinetry. Woodturning has given me another way to bring out the beauty of wood that is sometimes hidden for others to enjoy.$ $Lot 023 - view 3\n\nRudolph Lopez - "Palma por Mi Amor ( Palm for My Love)"\n16"H X 10"Dia. Sable Palm and Walnut Hollowform\n\nI have always had a love of natural objects and the environment in which those objects flourish, and with that I guess, came my love of wood. I spent most of my time growing up on my uncle’s cattle ranch in Lutz, Florida. I grew to love the out-of-doors, trees, water, and all things relating to nature. To this day, my greatest pleasures come from mountain biking, kayaking, hiking, hunting and fishing, and just being in the woods. I love everything about wood, rough or smooth it possesses a warm welcome feel. \n\nAlthough I am a relatively new artist in woodturning, I began working with my hands at a very young age and began to develop my creative eye through photography, my first artistic pursuit. With an education in drafting and design, and drawing inspiration from the surroundings of my youth, I began my relationship with wood as a craftsman of fine furniture and cabinetry. Woodturning has given me another way to bring out the beauty of wood that is sometimes hidden for others to enjoy.$ $Lot 024\n\nJohn H. Williams - Untitled\n6"H x 3-1/2"D Maple hollow form, pyrography pattern and texture, air brushed acrylic paints. You must rotate this piece in your hands to fully appreciate the texture and patterns. Look for hidden images.$ $Lot 025 - view 1\n\nArt Liestman - Tower of Common Sense\n15" x 5 3/4" x 4", big leaf maple, turned and hollowed on the lathe, surface broken and burned.\n\nThe tower form is evocative of ancient ruins from various cultures. I'm intrigued by these remnants of old buildings such as ancient fortifications, towers, walls, houses, chimneys, cliff dwellings. The texture and form also remind me of formations of weathered, eroded rock.$ $Lot 025 - view 2\n\nArt Liestman - Tower of Common Sense\n15" x 5 3/4" x 4", big leaf maple, turned and hollowed on the lathe, surface broken and burned.\n\nThe tower form is evocative of ancient ruins from various cultures. I'm intrigued by these remnants of old buildings such as ancient fortifications, towers, walls, houses, chimneys, cliff dwellings. The texture and form also remind me of formations of weathered, eroded rock.$ $Lot 026 - view 1\n\nGary Sanders - Suspended Box\n3' x 8" x 5" Cocobolo& Box Elder Burl\nI am a fire fighter in Greenville TX I have been turning for 18 years.$ $Lot 026 - view 2\n\nGary Sanders - Suspended Box\n3' x 8" x 5" Cocobolo& Box Elder Burl\nI am a fire fighter in Greenville TX I have been turning for 18 years.$ $Lot 027 - view 1 (front)\n\nRick Crawford - "Shell Mandala"\n10.5"H x 9.25"W x 2.5"D, Box Elder, Ambrosia Maple, Rodeo Cove beach gravel, Baker Beach eroded shell. Mandala turned front and back with concentric beads, wire brushed. Stand turned on 2 axes, hammer textured with small bur on Dremel shaft..\n\nI am a self-taught sculptural woodturner, working primarily with found and recycled materials. I often create pieces in a series, where ideas developed in the process of creating one piece flow over into the next piece.$ $Lot 027 - view 2\n\nRick Crawford - "Shell Mandala"\n10.5"H x 9.25"W x 2.5"D, Box Elder, Ambrosia Maple, Rodeo Cove beach gravel, Baker Beach eroded shell. Mandala turned front and back with concentric beads, wire brushed. Stand turned on 2 axes, hammer textured with small bur on Dremel shaft..\n\nI am a self-taught sculptural woodturner, working primarily with found and recycled materials. I often create pieces in a series, where ideas developed in the process of creating one piece flow over into the next piece.$ $Lot 027 - view 3 (back)\n\nRick Crawford - "Shell Mandala"\n10.5"H x 9.25"W x 2.5"D, Box Elder, Ambrosia Maple, Rodeo Cove beach gravel, Baker Beach eroded shell. Mandala turned front and back with concentric beads, wire brushed. Stand turned on 2 axes, hammer textured with small bur on Dremel shaft..\n\nI am a self-taught sculptural woodturner, working primarily with found and recycled materials. I often create pieces in a series, where ideas developed in the process of creating one piece flow over into the next piece.$ $Lot 028 - view 1\n\nCliff Guard and Jason Silva - "Collaboration I"\n10" x 5 1/2" mahogany, gabon ebony, macassar ebony.\n\nCliff Guard and i worked on this together. Cliff turned the vessel and the finial. I did the carving on the vessel. This was a truly enjoyable project. Its our first collaboration but definitely not our last.$ $Lot 028 - view 2\n\nCliff Guard and Jason Silva - "Collaboration I"\n10" x 5 1/2" mahogany, gabon ebony, macassar ebony.\n\nCliff Guard and i worked on this together. Cliff turned the vessel and the finial. I did the carving on the vessel. This was a truly enjoyable project. Its our first collaboration but definitely not our last.$ $Lot 028 - view 3\n\nCliff Guard and Jason Silva - "Collaboration I"\n10" x 5 1/2" mahogany, gabon ebony, macassar ebony.\n\nCliff Guard and i worked on this together. Cliff turned the vessel and the finial. I did the carving on the vessel. This was a truly enjoyable project. Its our first collaboration but definitely not our last.$ $Lot 029 - view 1\n\nJim Christiansen - "The Last Hominid?"\nOf the many hominids documented in the fossil record, only modern man remains. All others became extinct because they could not survive changing conditions. Now our world is being altered in dramatic unpredictable ways. Will we adapt or survive? The bowl is turned, carved and painted. In and around the piece are placed carved representations of extinct hominid species, One carving is of a modern human skull. Are we like the others, destined to exist only as fossils? Maple and tupelo 14"W x 13"W.\n\nIn my work, I primarily focus on message pieces. I am intrigued by design and the challenges it presents.$ $Lot 029 - view 2\n\nJim Christiansen - "The Last Hominid?"\nOf the many hominids documented in the fossil record, only modern man remains. All others became extinct because they could not survive changing conditions. Now our world is being altered in dramatic unpredictable ways. Will we adapt or survive? The bowl is turned, carved and painted. In and around the piece are placed carved representations of extinct hominid species, One carving is of a modern human skull. Are we like the others, destined to exist only as fossils? Maple and tupelo 14"W x 13"W.\n\nIn my work, I primarily focus on message pieces. I am intrigued by design and the challenges it presents.$ $Lot 030\n\nPeter Hromek - "Double Box"\nThreaded box made of boxwood. 6 3/8" long, 1 4/5" dia.$ $Lot 031\n\nJohn Lucas - "Maple Burl hand mirror"\nMaple Burl hand mirror. 12" x 5 1/2"\n\nI am a full time photographer for Tenn. Tech University. I am a very active amateur turner and have been turning for more than 25 years. I turn a little of just about everything but hand mirrors are my staple item.$ $Lot 033\n\nEd Kelle - "Portal"\n19" x 15" bleached maple torus. Fir uprights, hammered, enameled, stained and dyed. Steel supports.$ $Lot 034\n\nHans Weissflog - "Stars"\nBowl, turned around with 13 different centers, Cocobolo, H 2 5/8" x dia.11".$ $Lot 035 - view 1\n\nPierre Deletraz- "Always Together"\nThis piece is the image of Yin and Yang, but showing as well that married life must cancel actual differences and drive towards mutual closeness. The crack varnish reveals some dark parts on the clear surface and vice versa, showing that clear and dark are mixed in each of us. Secrets box made of sycamore maple wood and crack varnish max box diameter 90mm (3.54"), height box 180mm (7.09"), support diameter 280mm (11.02").$ $Lot 035 - view 2\n\nPierre Deletraz- "Always Together"\nThis piece is the image of Yin and Yang, but showing as well that married life must cancel actual differences and drive towards mutual closeness. The crack varnish reveals some dark parts on the clear surface and vice versa, showing that clear and dark are mixed in each of us. Secrets box made of sycamore maple wood and crack varnish max box diameter 90mm (3.54"), height box 180mm (7.09"), support diameter 280mm (11.02").$ $Lot 035 - view 3\n\nPierre Deletraz- "Always Together"\nThis piece is the image of Yin and Yang, but showing as well that married life must cancel actual differences and drive towards mutual closeness. The crack varnish reveals some dark parts on the clear surface and vice versa, showing that clear and dark are mixed in each of us. Secrets box made of sycamore maple wood and crack varnish max box diameter 90mm (3.54"), height box 180mm (7.09"), support diameter 280mm (11.02").$ $Lot 036 - view 1\n\nNigel Howe - Maple Burl Bowl\nMaple Burl bowl with a inside curlded over rim, 14" x 5"$ $Lot 036 - view 2\n\nNigel Howe - Maple Burl Bowl\nMaple Burl bowl with a inside curlded over rim, 14" x 5"$ $Lot 037\n\nSteve Sinner - "Pulser" (S/N 1489)\nSugar Maple, 7" high x 2 3/4" diameter x 0.021" thick, with cotton thread and epoxy inlay in ribs for strength.\nProfessional wood artist for thirteen years, specializing in deep hollow forms and these extremely thin 'spools'.$ $Lot # 038\n\nDouglas J Fisher - A Passage Through Time\nBig leaf maple wall sculpture, 14.75 x 2.5 inches, turned, carved and dyed.\n\nDouglas J Fisher is a full-time artist living on Vancouver Island, Canada. Since 1992 he has been involved almost exclusively in creating some form of art, including painting, stained glass, photography, pen and ink drawing, and woodturning. Wood sculptures, primarily made using a lathe, have been the focus of his work since 1997. When not in his studio, Douglas can often be seen performing in theatre productions. \n\nPrior to becoming a full-time artist, he taught skiing and sailing, was an ironworker, a driller and blaster in several underground gold mines, and delivered sailboats in the Pacific Northwest, the Caribbean, and across the Atlantic Ocean.\n\nCreating thought provoking and inspiring works of art by combining artistic vision with superb craftsmanship is something Douglas has been doing for some time. \n\nDouglas is known internationally for his unique style of wood turned sculptures. His works are in private collections around the world.$ $Lot 039\n\nJoan Kelly - "Rapture"\nThis piece is a reassembled turning made from purpleheart. It is 9.5 inches x 4.5 inches x 3.5 inches. The base portion is textured with a wire brush and the interior is embellished with gold colored metal leaf.\n\nI get great satisfaction from the process of turning wood. I am especially fascinated with designs that begin on the lathe but are then altered to create new forms. My ideas often come from spiritual musings and I hope to incorporate a mysterious or ceremonial element into the work.$ $Lot 040 - view 1\n\nMalcolm Tibbetts - "Acceptance"\nThis was created using curly maple and Macassar ebony. The donut is 16" in diameter. The inspiration came from the expression, "You can’t put a square peg into a round hole." Who says?\n\nFull-time studio artist specializing in "segmented" woodturning living at Lake Tahoe, CA.$ $Lot 040 - view 2\n\nMalcolm Tibbetts - "Acceptance"\nThis was created using curly maple and Macassar ebony. The donut is 16" in diameter. The inspiration came from the expression, "You can’t put a square peg into a round hole." Who says?\n\nFull-time studio artist specializing in "segmented" woodturning living at Lake Tahoe, CA.$ $Lot 041 - view 1\n\nAndy Cole - "Macadamia in three part hamony"\nThis is a three piece nested natural edge Macadamia wood bowl set. The largest piece measures 6" wide x 5" high. One of the greatest joys is finding the natural beauty inside on an ordinary tree and making it sing! Coring nested sets from a unique piece of wood magnifies that song.$ $Lot 041 - view 2\n\nAndy Cole - "Macadamia in three part hamony"\nThis is a three piece nested natural edge Macadamia wood bowl set. The largest piece measures 6" wide x 5" high. One of the greatest joys is finding the natural beauty inside on an ordinary tree and making it sing! Coring nested sets from a unique piece of wood magnifies that song.$ $Lot 041 - view 3\n\nAndy Cole - "Macadamia in three part hamony"\nThis is a three piece nested natural edge Macadamia wood bowl set. The largest piece measures 6" wide x 5" high. One of the greatest joys is finding the natural beauty inside on an ordinary tree and making it sing! Coring nested sets from a unique piece of wood magnifies that song.$ $Lot 042 - view 1\n\nDavid Belser - "Gear Box"\nA locking mechanical box. Materials: Mahogany, Ebony, Pink Ivory, Cherry, copper leaf. Size: 3 3/4" D x 4 1/4" H. The box consists of three parts, a cover that protects the locking mechanism, the locking lid and the box itself. The lid consists of 3 planetary gears that engage the ring gear of the box. Each has a lock tumbler that prevents the gear from turning unless unlocked. The sun gear is attached to the handle which you twirl (after unlocking the gears) to open the box. This causes the lid to rotate around and unscrew from the thread (below the ring gear inside the box). The box is made up of 44 wooden parts.\n\nThis box is a follow-on to "Safe Box", where I first used this locking mechanism. I have been fascinated by small intricate mechanical devices since I was a kid. What I love about these boxes is the action and sound when turning the dials and the contrast of the engineered complexity yet wooden construction.$ $Lot 042 - view 2\n\nDavid Belser - "Gear Box"\nA locking mechanical box. Materials: Mahogany, Ebony, Pink Ivory, Cherry, copper leaf. Size: 3 3/4" D x 4 1/4" H. The box consists of three parts, a cover that protects the locking mechanism, the locking lid and the box itself. The lid consists of 3 planetary gears that engage the ring gear of the box. Each has a lock tumbler that prevents the gear from turning unless unlocked. The sun gear is attached to the handle which you twirl (after unlocking the gears) to open the box. This causes the lid to rotate around and unscrew from the thread (below the ring gear inside the box). The box is made up of 44 wooden parts.\n\nThis box is a follow-on to "Safe Box", where I first used this locking mechanism. I have been fascinated by small intricate mechanical devices since I was a kid. What I love about these boxes is the action and sound when turning the dials and the contrast of the engineered complexity yet wooden construction.$ $Lot 042 - view 3\n\nDavid Belser - "Gear Box"\nA locking mechanical box. Materials: Mahogany, Ebony, Pink Ivory, Cherry, copper leaf. Size: 3 3/4" D x 4 1/4" H. The box consists of three parts, a cover that protects the locking mechanism, the locking lid and the box itself. The lid consists of 3 planetary gears that engage the ring gear of the box. Each has a lock tumbler that prevents the gear from turning unless unlocked. The sun gear is attached to the handle which you twirl (after unlocking the gears) to open the box. This causes the lid to rotate around and unscrew from the thread (below the ring gear inside the box). The box is made up of 44 wooden parts.\n\nThis box is a follow-on to "Safe Box", where I first used this locking mechanism. I have been fascinated by small intricate mechanical devices since I was a kid. What I love about these boxes is the action and sound when turning the dials and the contrast of the engineered complexity yet wooden construction.$ $Lot 043 - view 1\n\nMichael Allison - "Pierced Ash Hollow Form"\n14" h x 8"w, made from local white ash, pierced, finished with dyes, acrylics and high gloss varnish.\n\nAs a studio wood turner, my artistic goal is to expand the visual impact of wood as a medium. I produce vessels from log sections of locally "found" hardwoods. Each piece of wood contributes unique qualities to the finished creation. The hallmark of my work is to combine the natural properties of wood with vibrant, transparent dyes and high gloss finishes. I also use a variety of other surface treatments including airbrushing, leafing, piercing, texturing and carving.$ $Lot 043 - view 2\n\nMichael Allison - "Pierced Ash Hollow Form"\n14" h x 8"w, made from local white ash, pierced, finished with dyes, acrylics and high gloss varnish.\n\nAs a studio wood turner, my artistic goal is to expand the visual impact of wood as a medium. I produce vessels from log sections of locally "found" hardwoods. Each piece of wood contributes unique qualities to the finished creation. The hallmark of my work is to combine the natural properties of wood with vibrant, transparent dyes and high gloss finishes. I also use a variety of other surface treatments including airbrushing, leafing, piercing, texturing and carving.$ $Lot 044\n\nChristian Burchard - "Spherical Vessel"\n12" dia Carved Maple Burl '04$ $Lot 045 - view 1\n\nBernie Hrytzak - "Gravy Train"\nA whimsical depiction of the bridges to musical success in the industry. Some of the paths are uphill, some are indirect smaller segments and other paths are more direct. Whatever the direction, all of these roadways eventually can lead to an outpouring of success in the chosen field, hence the "gravy train". Constucted of 568 individual pieces of maple, purpleheart and ebony with bronze strings, the segments are cut, glued, and turned. The iterm was then sectioned and reglued into an elliptical 10" x 4" x 3.5" shape, finished in poly.\n\nBernie Hrytzak is a woodturning artist working primarily in segmented turning and creates his own whimsical designs for musical instruments or themes.$ $Lot 045 - view 2\n\nBernie Hrytzak - "Gravy Train"\nA whimsical depiction of the bridges to musical success in the industry. Some of the paths are uphill, some are indirect smaller segments and other paths are more direct. Whatever the direction, all of these roadways eventually can lead to an outpouring of success in the chosen field, hence the "gravy train". Constucted of 568 individual pieces of maple, purpleheart and ebony with bronze strings, the segments are cut, glued, and turned. The iterm was then sectioned and reglued into an elliptical 10" x 4" x 3.5" shape, finished in poly.\n\nBernie Hrytzak is a woodturning artist working primarily in segmented turning and creates his own whimsical designs for musical instruments or themes.$ $Lot 046 - view 1\n\nRay Key - "Black Rimmed Vessel"\nRippled White Ash with Black Rim & Ebony Insert with Chatter Work. 8" High, 5" Dia, Weight 302 Grams.\n\n37 years Full Time Professional Studio Turner from the UK. Life Member of AAW & AWGB, for contribution to Woodturning.$ $Lot 046 - view 2\n\nRay Key - "Black Rimmed Vessel"\nRippled White Ash with Black Rim & Ebony Insert with Chatter Work. 8" High, 5" Dia, Weight 302 Grams.\n\n37 years Full Time Professional Studio Turner from the UK. Life Member of AAW & AWGB, for contribution to Woodturning.$ $Lot 046 - view 3\n\nRay Key - "Black Rimmed Vessel"\nRippled White Ash with Black Rim & Ebony Insert with Chatter Work. 8" High, 5" Dia, Weight 302 Grams.\n\n37 years Full Time Professional Studio Turner from the UK. Life Member of AAW & AWGB, for contribution to Woodturning.$ $Lot 047 - view 1\n\nBill Luce - "Skeleton Tube Series #2"\nDouglas fir: turned, sandcarved, 20 1/2 inches tall, 5 1/4 inches wide.\n\nMy passion is the exploration of the power of simple forms - including studying the impact of manipulations of the visual elements in the wood. \n\nThis columnar form allows for a very focused display of the energy of the internal elements of the wood -- which is further affected by the angle at which the piece asserts itself in it's space.$ $Lot 047 - view 2\n\nBill Luce - "Skeleton Tube Series #2"\nDouglas fir: turned, sandcarved, 20 1/2 inches tall, 5 1/4 inches wide.\n\nMy passion is the exploration of the power of simple forms - including studying the impact of manipulations of the visual elements in the wood. \n\nThis columnar form allows for a very focused display of the energy of the internal elements of the wood -- which is further affected by the angle at which the piece asserts itself in it's space.$ $Lot 047 - view 3\n\nBill Luce - "Skeleton Tube Series #2"\nDouglas fir: turned, sandcarved, 20 1/2 inches tall, 5 1/4 inches wide.\n\nMy passion is the exploration of the power of simple forms - including studying the impact of manipulations of the visual elements in the wood. \n\nThis columnar form allows for a very focused display of the energy of the internal elements of the wood -- which is further affected by the angle at which the piece asserts itself in it's space.$ $Lot 048 - view 1\n\nSharon Doughtie - "Love Comes Through"\nNorfolk Island Pine, turned, carved, textured, burned.$ $Lot 048 - view 2\n\nSharon Doughtie - "Love Comes Through"\nNorfolk Island Pine, turned, carved, textured, burned.$ $Lot 048 - view 3\n\nSharon Doughtie - "Love Comes Through"\nNorfolk Island Pine, turned, carved, textured, burned.$ $Lot 049 - view 1\n\nAndy DiPietro - "Pinstriped Vessel"\nThis piece was turned from a half log section of Sassafras. It is 11 1/2" High x 8" Diameter and weighs 12 ounces. The surface was sandblasted, dyed, limed and waxed. \n\nAndy DiPietro is an artist who combines his technical background with artistic skill to create colorful vessels with impact. Woodturning is a way of life for Andy, and a journey filled with passion, hard work and joy.$ $Lot 049 - view 2\n\nAndy DiPietro - "Pinstriped Vessel"\nThis piece was turned from a half log section of Sassafras. It is 11 1/2" High x 8" Diameter and weighs 12 ounces. The surface was sandblasted, dyed, limed and waxed. \n\nAndy DiPietro is an artist who combines his technical background with artistic skill to create colorful vessels with impact. Woodturning is a way of life for Andy, and a journey filled with passion, hard work and joy.$ $Lot 049 - view 3\n\nAndy DiPietro - "Pinstriped Vessel"\nThis piece was turned from a half log section of Sassafras. It is 11 1/2" High x 8" Diameter and weighs 12 ounces. The surface was sandblasted, dyed, limed and waxed. \n\nAndy DiPietro is an artist who combines his technical background with artistic skill to create colorful vessels with impact. Woodturning is a way of life for Andy, and a journey filled with passion, hard work and joy.$ $Lot 050 - view 1\n\nJoyce McCullough - "quilted cosy"\n3" x 5" x 5" - figured walnut teapot with a quilt square embellishment that was burned and bleached. Along with a maple 'quilted cosy' turned, carved, bleached, textured and painted with acrylics. \n\nA wildlife wood sculptor enjoying the possibilities of combining carving and turning.$ $Lot 050 - view 2\n\nJoyce McCullough - "quilted cosy"\n3" x 5" x 5" - figured walnut teapot with a quilt square embellishment that was burned and bleached. Along with a maple 'quilted cosy' turned, carved, bleached, textured and painted with acrylics. \n\nA wildlife wood sculptor enjoying the possibilities of combining carving and turning.$ $Lot 050 - view 3\n\nJoyce McCullough - "quilted cosy"\n3" x 5" x 5" - figured walnut teapot with a quilt square embellishment that was burned and bleached. Along with a maple 'quilted cosy' turned, carved, bleached, textured and painted with acrylics. \n\nA wildlife wood sculptor enjoying the possibilities of combining carving and turning.$ $Lot 051 - view 1\n\nPat Kramer - "Kolohala Critter In Blossom"\nEnd-grained natural-edged turning from Kolohala (Pheasant Wood). 11-1/2" Wide x 7" Tall. Turned and carved with rubbed oil finish.$ $Lot 051 - view 2\n\nPat Kramer - "Kolohala Critter In Blossom"\nEnd-grained natural-edged turning from Kolohala (Pheasant Wood). 11-1/2" Wide x 7" Tall. Turned and carved with rubbed oil finish.$ $Lot 051 - view 3\n\nPat Kramer - "Kolohala Critter In Blossom"\nEnd-grained natural-edged turning from Kolohala (Pheasant Wood). 11-1/2" Wide x 7" Tall. Turned and carved with rubbed oil finish.$ $Lot 052\n\nJean Francois Escoulen\nMaterials: birch, ebony. Height is 400 mm (15.74").$ $Lot 053 - view 1\n\nMarilyn Campbell - "Horizon 2010"\nDimensions: 11 3/4" square x 1" deep. Materials: walnut, dye, pink ivory, M3 metal composite, pigmented epoxy.$ $Lot 053 - view 2\n\nMarilyn Campbell - "Horizon 2010"\nDimensions: 11 3/4" square x 1" deep. Materials: walnut, dye, pink ivory, M3 metal composite, pigmented epoxy.$ $Lot 054 - view 1\n\nGiles Gilson & Kurt Hertzog collaboration - "eggKnight"\nA pierced and painted goose egg astride a Blackwood stand. The egg and base stand 6 inches tall with the feathers adding another 4 inches.$ $Lot 054 - view 2\n\nGiles Gilson & Kurt Hertzog collaboration - "eggKnight"\nA pierced and painted goose egg astride a Blackwood stand. The egg and base stand 6 inches tall with the feathers adding another 4 inches.$ $Lot 055 - view 1\n\nAlan Carter - "A Delicate Balance"\nThis is one of a current series of suspended vessels. The intent is to showcase the turned elements of the piece while placing an emphasis on the ceremonial aspects of the presentation. The graceful curves of the vessel are counterbalanced by the more angular tension present in the supporting structure. The small open segemented recepticle under the vessel with its captured ovoid form reinforce the underlying complexity of the composition. The vessel also holds a small reliquary, revealed when the top finial is removed. The crrushed rock in the base provides a contrasting counterbalance to the wood. Materials are figured maple, sapele, maple, Indian rosewood, crushed rock, and brass pins. It's 16"W x 14"H x 7 1/2"D.\n\nAfter 25 years as a painter of the urban environment and a decade designing contemporary furniture, I’ve turned my attention, so to speak, to sculpture featuring turned elements. There’s a ceremonial aspect to much of my work, with non-turned supporting structures an integral part of the design. Many of my pieces also contain reliquaries and hidden surprises. Painting taught me design and color; furniture construction taught me spatial relationships and form. Combining the best of these 2D and 3D disciplines is fundamental to my growth as a sculptural artist.$ $Lot 055 - view 2\n\nAlan Carter - "A Delicate Balance"\nThis is one of a current series of suspended vessels. The intent is to showcase the turned elements of the piece while placing an emphasis on the ceremonial aspects of the presentation. The graceful curves of the vessel are counterbalanced by the more angular tension present in the supporting structure. The small open segemented recepticle under the vessel with its captured ovoid form reinforce the underlying complexity of the composition. The vessel also holds a small reliquary, revealed when the top finial is removed. The crrushed rock in the base provides a contrasting counterbalance to the wood. Materials are figured maple, sapele, maple, Indian rosewood, crushed rock, and brass pins. It's 16"W x 14"H x 7 1/2"D.\n\nAfter 25 years as a painter of the urban environment and a decade designing contemporary furniture, I’ve turned my attention, so to speak, to sculpture featuring turned elements. There’s a ceremonial aspect to much of my work, with non-turned supporting structures an integral part of the design. Many of my pieces also contain reliquaries and hidden surprises. Painting taught me design and color; furniture construction taught me spatial relationships and form. Combining the best of these 2D and 3D disciplines is fundamental to my growth as a sculptural artist.$ $Lot 056\n\nCassandra T. Speier - "Lacewood Lidded Dish"\n7" x 5" lacewood lidded dish with ebony finial and pedestal.$ $Lot 057\n\nDale Larson and Cassandra Speier collaboration - "Madrone Sphere with finial"\n5" lidded sphere of Madrone burl decorated with eccentric beads, cocobolo finial and pedestal.$ $Lot 058\n\nJerry Bennett - "What Knot"\nSegmented art form, Mahogany, Maple base, brass feet. Woodturner since 2001.$ $Lot 059 - view 1\n\nBinh Pho - "Sinus Amoris Cup" (It’s should be a set with my tea pot)\nDimensions: 5.5"H x 5.5"W x 5.5"D. Materials: Box elder, Maple, Acrylic paint.$ $Lot 059 - view 2\n\nBinh Pho - "Sinus Amoris Cup" (It’s should be a set with my tea pot)\nDimensions: 5.5"H x 5.5"W x 5.5"D. Materials: Box elder, Maple, Acrylic paint.$ $Lot 059 - view 3\n\nBinh Pho - "Sinus Amoris Cup" (It’s should be a set with my tea pot)\nDimensions: 5.5"H x 5.5"W x 5.5"D. Materials: Box elder, Maple, Acrylic paint.$ $Lot 060 - view 1\n\nJoe Landon - "Summer Dream"\nHollow form vessel turned from end grain, fiddle back maple. It measures approximately 6.5 inches tall by 5 inches wide. It is finished with aniline dyes and wipe-on poly.\n\nMy most recent body of work consists of hollow form vessels. They are turned from native hardwoods that have been saved from landfills or firewood piles. Part of the thrill of working with this medium is discovering the beauty that has been hidden for centuries deep inside a tree. The true character of wood, like people, lies deep within the soul. I believe in form over function. My vessels stand up proud, as if they have just inhaled new life. They typically have small feet, somehow defying gravity with perfect balance – like a ballet dancer en pointe. Strong and bold, yet dainty and fragile; each piece marries complete opposites into an exercise of controlled passion. Color is an important aspect of my work. Used as an enhancement, it brings to the fore the stored energy and character of each unique wood grain. I hand rub each vessel in layers, providing incredible depth while the color remains transparent. My inspiration comes from the universe in which we live. From the finite details often overlooked in nature, to the infinite abstracts of deep space. My vessels strike us all differently, hopefully in some meaningful manner.$ $Lot 060 - view 2\n\nJoe Landon - "Summer Dream"\nHollow form vessel turned from end grain, fiddle back maple. It measures approximately 6.5 inches tall by 5 inches wide. It is finished with aniline dyes and wipe-on poly.\n\nMy most recent body of work consists of hollow form vessels. They are turned from native hardwoods that have been saved from landfills or firewood piles. Part of the thrill of working with this medium is discovering the beauty that has been hidden for centuries deep inside a tree. The true character of wood, like people, lies deep within the soul. I believe in form over function. My vessels stand up proud, as if they have just inhaled new life. They typically have small feet, somehow defying gravity with perfect balance – like a ballet dancer en pointe. Strong and bold, yet dainty and fragile; each piece marries complete opposites into an exercise of controlled passion. Color is an important aspect of my work. Used as an enhancement, it brings to the fore the stored energy and character of each unique wood grain. I hand rub each vessel in layers, providing incredible depth while the color remains transparent. My inspiration comes from the universe in which we live. From the finite details often overlooked in nature, to the infinite abstracts of deep space. My vessels strike us all differently, hopefully in some meaningful manner.$ $Lot 060 - view 3\n\nJoe Landon - "Summer Dream"\nHollow form vessel turned from end grain, fiddle back maple. It measures approximately 6.5 inches tall by 5 inches wide. It is finished with aniline dyes and wipe-on poly.\n\nMy most recent body of work consists of hollow form vessels. They are turned from native hardwoods that have been saved from landfills or firewood piles. Part of the thrill of working with this medium is discovering the beauty that has been hidden for centuries deep inside a tree. The true character of wood, like people, lies deep within the soul. I believe in form over function. My vessels stand up proud, as if they have just inhaled new life. They typically have small feet, somehow defying gravity with perfect balance – like a ballet dancer en pointe. Strong and bold, yet dainty and fragile; each piece marries complete opposites into an exercise of controlled passion. Color is an important aspect of my work. Used as an enhancement, it brings to the fore the stored energy and character of each unique wood grain. I hand rub each vessel in layers, providing incredible depth while the color remains transparent. My inspiration comes from the universe in which we live. From the finite details often overlooked in nature, to the infinite abstracts of deep space. My vessels strike us all differently, hopefully in some meaningful manner.$

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