Thos. Moser
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[ Done well, a chair or table should bring together form, balance, and purpose with a clarity that enhances its environment. ]

arts & crafts for the 21st century

Fifty years after Commodore Perry sailed into Japan’s Uraga Bay in 1853, Western designers had confidently absorbed the lightness and strength of ancient Japanese forms. The seminal work of Frank Lloyd Wright and Gustav Stickley transformed the English Arts and Crafts design philosophy into the first cohesive body of American architecture and furniture.

The Bungalow-building boom of the early 1900s brought affordable craftsmanship to middle-class America. While small in scale, bungalow homes were warm and welcoming, with the hearth as the central focus. The craftsmanship of the furniture built for these homes was not duplicated in the half century that followed. At Thos. Moser, we have always deeply admired the craftsman aesthetic, with its celebration of natural materials and traditional joinery, as well as the kindred bungalow style.

Characterized by the telltale craftsman-style reverse tapered leg, the American Bungalow Collection has been a favorite with customers since its initial unveiling in 2002. As we developed the collection, we wanted to achieve a less-bulky appearance, while maintaining the Arts and Crafts aesthetic, so we slimmed down the legs and flat surfaces and streamlined the upholstered cushions. Each finished piece remains sturdy and masculine, yet graceful.

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[ We don’t believe there are any limits to creativity or boxes in which our talents should reside. ]


Upon close examination, you’ll see that the Aria Collection has much in common with the soft patterns etched by the sea on a sandy shore: gentle ridges and undulating crescents that tease the eye with familiarity—perfect companion pieces for any furniture with a more rectilinear form.

The shell-like back of the Aria Chair is methodically crafted with carved convex and concave curves. Unlike stacked and laminated furniture, the entire surface is seamless to the touch. The Aria Dining Table is charactertized by its curved, rolled edges and luxurious grain-matched surface, while curved legs and gentle angles echo the softer, refined lines of its companion pieces.

From any vantage point, the Aria Collection is an ode to the subtle and delicate refinement that can be coaxed from a block of wood. Fine craftsmanship at this level is a time consuming endeavor, and if you don’t love the process, you're in trouble. Luckily, we love what we do—which means innovation is never far behind.

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The Atlantic Chair and Atlantic Extension Table were designed with a classic, yet contemporary, context in mind and are intended to live comfortably in a range of environments. Formally influenced by the architecture of classic café chairs, the result is the product of several steam bent components crafted and assembled with a combination of machine and hand work. Both the chair and table provide evidence of our foremost commitment to quality through detail and precision craft, such as the hand-stitching at the backrest of the chair and the several moments of exposed joinery throughout each piece. Atlantic is deceptively strong and durable, despite occupying a small footprint and presenting a visual lightness.
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Tom Moser's celebration in natural materials intertwined with his most comfortable chair

Direct from Tom on his latest design:

In Florida this past year, while escaping the harsh Maine winter, I couldn’t escape my calling. My bones needed warmth, but my hands needed to make, and my soul needed that personal connection with craft, with Auburn, where I have built a life full of meaning. Just as the Shakers put their “hands to work and their hearts to God”, I too felt the necessity to contribute and to elevate my calling. Whether from my sense of responsibility, my curiosity or, perhaps closer to the truth, from my creative stubbornness, I was drawn back to the workbench, yet again, by a simple cafeteria chair of steel and plastic that Mary and I spotted on a ferry from Maine to Nova Scotia. What made it remarkably comfortable was its simple back that curved to support the lumbar in two directions at once; a geometric detail that I later discovered is called an anticlastic curve – like a potato chip.

Three iterations later, I believe I have achieved my most comfortable solid wood chair yet. I trust you, our customers, to be the judges. I have decided to call it Auburn, my new favorite chair.

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[ Well-made objects crafted with a clarity of purpose are never out of date and always welcome improvisation. ]

the curved form fascinates mankind

The Crescent series of bedroom cases was originally inspired by a customer who desired a curved adaptation of our standard dresser. We’ve refined the design, extending it into a collection of pieces adaptable to several highly useful combinations.

Most cases are designed with straight lines for a reason—they’re much easier to build. The curves of the Crescent Collection of cases and occasional tables are a challenge, even for the most experienced cabinetmakers. The doors of the Crescent Sideboard are angled differently on each side to match the curved front. The Crescent Hutch contains three separate display compartments behind glass-paneled cabinet doors, as well as two glass shelves in each compartment which lend an airy openness to the interior. All of the Crescent cases feature post-and-panel construction with dovetailed joinery and solid brass hinges. Available with cherry or ebonized drawer pulls standard, or customize with drawer pulls to match your own style and decor.

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Best of Year Winner GOOD DESIGN Award winner

Cumberland has been recognized with a Best of Year award from Interior Design magazine and a GOOD DESIGN™ award as awarded by The Chicago Athenaeum: Museum of Architecture and Design.

The Cumberland Collection embodies our enduring commitment to simplicity. Though inspired by Danish Modern forms, this collection has its own perspective and is a uniquely artistic interpretation of its historical antecedents.


Just as the Shaker style served as an appropriate creative spark in many classic Moser pieces, Danish Modern acts here as a vehicle, identified and chosen because of its compatible philosophies, such as; a foremost dedication to quality, a dedication to functionally driven objects, formal simplicity, the characteristic elimination of ornament, use and celebration of traditional materials, and an emphasis on craftsmanship. These characteristics are not only compatible, but exemplary of what the Thos. Moser brand has come to stand for, and this collection is yet another iteration of Moser quality.

As design at Thos. Moser evolves, additional perspectives are being embraced. While the commitment remains to the hallmark design ideals as established and exemplified by the philosophy and design of Tom Moser, and subsequently by David Moser, the aesthetic bandwidth will be broadened through the lenses of new designers. Partnering with designers whose approaches are compatible with that of the Thos. Moser brand, but who freely interpret the ideals, will yield a progressive aesthetic, while respecting and acknowledging the company's design constitution.

Cumberland, designed by Adam Rogers, represents this recent foray. As Director of Design at Thos. Moser, Adam is responsible for advancing the design-partnership strategy while balancing outside efforts with internal design ownership to ensure that the aesthetic progress is an evolution rather than a change.

For the collection bearing the name of the town of his current residence, Adam employed his characteristic minimal aesthetic, focusing an overall emphasis on the details – which act as evidence of the making process and mark of the maker – in this case the hallmark detail being the finger joint, serving to amplify the precision craftsmanship while visually uniting each piece in the collection.

Click below for details about each piece in the Cumberland Collection, and to place your order today.
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[ Curves and planes combine with exposed joinery and spare lines to create a highly crafted look. ]

the classic enables the modern

In the early days at Thos. Moser, the initial shaping of seat blanks into their finished forms was truly an exercise in rough sculpture, accomplished with a chain saw and a strong back. Today, machine routers cut seats to their rough shape with greater safety, then an experienced cabinetmaker uses a handheld grinding tool to contour the seat into its finished form.

Shaping the crisp, straight lines of the Eastward seats requires a steady hand and exacting skill. One slip and the vibrating grinding tool will scallop the edge, sending the piece to the scrap pile. Each wedged chair leg must be delicately sanded smooth without grinding away too much of the seat. The result is an object of subtle beauty and remarkable comfort that will surely stand the test of time.

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[ A confluence of craftsmanship with the graphic elements of modern design. ]

simplicity holds no conceit

With a distinct nod to the East, the Edo Collection marks the rejuvenation of primitive forms. Open lines and simple shapes belie the deliberateness of the furniture’s design—much like the master designer, nature. The collection is both modern and ageless, effectively bringing the outdoors in to create a harmonious flow between nature and craft.

The Edo period in Japan lasted more than 250 years, between 1601 and 1867 AD. It was a peaceable and stable time; a time when samurais laid down their weapons and began educating themselves in philosophy and art. It was an era when the practical merged with the esoteric. The pieces on this page might have been as at home on the set of The Last Samurai or Memoirs of a Geisha as they are in a contemporary living space.

Drawing upon his own studies, David Moser found inspiration in the diverse influences of Edo and the Japanese concept of wabi sabi, Scandinavian and Shaker design, George Nakashima, and our own American Bungalow collection. He then brought his imagination to bear on the untamed nature of wood. The result is the Edo collection—unique, understated, and undeniably Thos. Moser.

A master craftsman makes complicated work appear effortless. The quality of our furniture derives from simple, organic, and undeniable truths. When you come across objects possessing this quality, you know it instinctively. It is what we strive for in all of our work at Thos. Moser, and what we hope we’ve achieved with the Edo collection.

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[ Element honors the Thos. Moser principals of good, clean design and honest construction. ]

practical details make all the difference

Of all the objectives we can pursue as furniture designers, simplicity may well be the most challenging to attain. When working with the most basic elements—proportion, scale and mass—the design process leaves no room to hide. Every choice, from materials to joinery to finishes, must perform an essential role. And when the process is complete, each choice will be judged by how well it unified with the whole.

Designed by Thos. Moser director of design and product development Adam Rogers, Element honors classic Thos. Moser principals of good design. The Thos. Moser devotion to modern design and quality craftsmanship including clean simple lines, discreet integration of functional components, utilization of traditional joinery techniques, and bringing out the essence of the wood, were core to Rogers’ approach.

"Relying on the basic elements of design such as point, line, and plane provide a foundation for the approach to these designs," said Rogers. "My objective is to amplify subtlety, while celebrating the beauty of natural materials. Each piece must respect the honesty of the making process."

The Element Collection is currently comprised of a desk/table, credenza/filing cabinet, and bookcase in two sizes. The award-winning credenza incorporates a fascia of premium grade leather and may be specified as a free-standing credenza, filing cabinet, or return - attached to the table/desk. Element demonstrates our passion for the strength and beauty inherent in solid hardwood, and the results that arise when the finest materials are handled with precision. The joinery of Element exemplifies this belief; each feathered miter joint is both a beautiful visual moment and a celebration of honest construction.
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[ We have always been students of simplicity - and simplicity is the very essence of Ellipse. ]

finding beauty in restraint

When we crafted the Ellipse Collection, we were particularly mindful of a desire to do more with less. The result? Gently tapered legs that finish in airy suspended joints. Smooth, uninterrupted tops with subtly curved edges. Handcrafted mortise-and-tenon joinery providing strength and durability without the bulk of stretchers under the seats. And gently curving lines with unadorned upholstery creating a look that’s as beautiful as it is comfortable.

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Foreside is a bed and a mirror. These complementary pieces revisit our familiar spindle architecture, this time in a bedroom setting.

As always through the lens of the Thos. Moser aesthetic, Foreside aims to celebrate our craft capabilities and define visible joinery in a new and evolutionary way. A pinned through tenon employed at each end of the row of vertical spindles on the bed comprise Foreside’s hallmark joint; a detail that is recalled on the mirror.

Click on the thumbnails below for more photos and details of each of these new pieces...

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[ Classic or contemporary—the look of these masterful pieces can vary creatively depending on your dining chair choice. ]

beauty and practicality

Our Georgetown family of tables features grain-matched hardwood legs which are individually shaped to create eight facets that uniquely capture light and shadow. Each leg is reinforced with triangular wooden splines that are wedged into the mitered joints, while an elegant brass bracket, designed specifically for these tables, reinforces the structural integrity of the triangular leg joints. The result is a distinguished family of tables of uncommon strength and stability.

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Originally launched in Fall 2015 as a single armchair with a cotton shaker tape seat, Hancock has been revisited and now includes a side chair with the option of a vegetable tanned leather strap seat and accompanying Hancock Trestle Table. Reference to traditional furniture form has long been a practice of Thos. Moser. Here, the vehicle is the ladder back, a form made popular by, and typically associated with, the Shakers of the 18th and 19th centuries. So named after the Hancock Shaker Village, the chair offers a contemporary take on an historic furniture form.
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[ Inspired by nature. ]

artistry in wood

Harpswell is Tom and Mary’s hometown in midcoast Maine. Since the Harpswell Chair was developed in Tom’s workshop on the island we thought it fitting to name it “Harpswell.” The design heritage is strictly European and reflects an architecture found in the 1950s. What sets our chair apart is its spare lines and exuberant back crest, which is carved from a solid piece of cherry and shows the wonderful symmetry of growth rings that only wood can give.

With its graceful arcs crowned by a broad back crest, the Harpswell Chair expresses the singular warmth and beauty of American black cherry. This contemporary classic offers comfort that invites you to tarry long after the table is cleared. Available with a padded back, in a variety of fine fabrics or leathers. We can assist you with upholstery selections and send you swatches for review.

SPECIAL NOTE: The Harpswell Chair has been selected for Pope Francis to use during the Pope's visit to Philadelphia on September 26-27, 2015. CLICK HERE for details.

The Harpswell Chair was also specified as a signature piece in the George W. Bush Presidential Center in Dallas, Texas. Click here for details.

We were previously honored on April 16, 2008 when President Bush and Pope Benedict XVI sat side-by-side in Harpswell Chairs with Back in Walnut during the official White House welcoming ceremony for the Pope. For that complete story, click here.

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The Hartford Collection has been honored with a 2016 GOOD DESIGN Award, as awarded by The Chicago Athenaeum: Museum of Architecture and Design. CLICK HERE for details on this exciting news.

The Hartford Collection has won an Architizer A+ Jury Award in the Furniture - Residential category.

Now in its fourth year, the Architizer A+ Awards is the largest awards program focused on promoting and celebrating the year’s best architecture and products. Its mission is to nurture the appreciation of meaningful architecture in the world and champion its potential for a positive impact on everyday life.

As an Architizer A+ Jury Award Winner, the Hartford Collection was selected by an illustrious jury, comprising equal parts architects+designers, cultural thought leaders and developers, from amongst hundreds of entries from around the world in each category.

Read on to learn more about the Hartford Collection, and click here to learn more about the Architizer A+ Awards and see photos from the awards gala held in New York on May 12, 2016.

[ Evolving the Moser aesthetic while remaining true to the ideals that Tom Moser himself established in the beginning ]

an unwavering commitment to excellence

A follow up to last fall's dining collection launch of Cumberland, Hartford is a living collection. Like Cumberland, the intention of the design is to embody and magnify all things Thos. Moser; a dedication to functionally driven objects, formal simplicity, the characteristic elimination of ornament, use and celebration of traditional materials and woodworking techniques-all with an emphasis on craftsmanship.

Our advanced technology and machining capabilities have elevated what is possible in craft. The design of this collection aims to embrace these capabilities and define 'visible joinery' in a new way with the collection's hallmark joint. The joint occurs at many intersections throughout the collection and is the result of a solid or steam bent piece being turned and mortised on the 5 axis CNC machine - a part otherwise difficult and inefficient to create. The hairline reveal serves to amplify the subtly of the joint and draw attention to the intersection itself.

The Hartford Living Collection is comprised of a sofa, a lounge chair, a media case, a side table and a coffee table. Aiming to fit in a context that feels simple and modern, the opportunity to influence a wide variety of environments seems achievable. The collections name, Hartford, comes from the town of the little-known Hartford, Maine. While Cumberland was named after the town that designer Adam Rogers calls home, the follow up collection takes its name from the hometown of Adam's partner in design and prototyping, Warren Shaw.

A few words from the designer...

At Thos. Moser, I consider the design process an exercise in assigning form to a philosophy or an established set of ideals. The furniture then is grounded by those ideals while satisfying the imperatives of function, comfort and delight.

My challenge is to create objects that are respectful of wood as a precious resource, communicative of our capabilities in craft through thoughtful detailing, and whose existence is evidence of our talented craftsmen’s unwavering commitment to quality.

With Hartford, my intention was to continue evolving the Moser aesthetic while remaining faithful to the ideals that Tom Moser himself established in the beginning.

As a follow up to my last collection, Cumberland, the town where I live, Hartford takes its name from the town of Warren Shaw. Warren is my partner in the prototyping of new products and a man without whom these ideas would remain just that.

- Adam Rogers, director of design
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[ At home in any environment. ]


For those who have wished for the pleasures of a recliner but winced at their appearances, the Lolling Chair provides an ideal solution. Ergonomically shaped to support the curvature of your back and cushioned in thick leather-covered padding, it is the ideal resting place for hours of reading, listening to music, movie marathons, or just plain lolling.

Shaped to support the curvature of your back, the tufted leather-covered padding of the Lolling Chair strikes just the right balance between firm support and cushioning. A simple shift of the five-position back transforms the angle from upright to reclined. The removable headrest is also adjustable. Curved armrests with our hand-rubbed finish provide tactile richness. The matching ottoman allows you to stretch out for maximum relaxation and adds informal seating. The occasional tables feature handsome wedged-tenon joints for each leg, similar to the Lolling Chair armrests.

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[ The intent was to build pieces with edges and joints that literally flow, and sculptural surfaces that encourage the eye to roam. ]

a sculptor's art

Often, the more original the design, the longer the experimental process. It is our respect for this discipline that allowed David Moser the freedom to build and rebuild our new Pasadena designs until he knew they were right. David began exploring the nuances of the chair form using hand tools in combination with state-of-the-art technology to see what kind of movement he could coax out of solid wood. His intent was to build a quintessentially functional Moser piece with edges and joints that literally flow, and sculptural surfaces that encourage the eye to roam. From that genesis, the entire Pasadena Collection evolved into its sculpted state.

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[ With seamless, sculptural lines, our Rockport Collection is an exercise in purity, minimalism and structural simplicity.]


Each piece is crafted to celebrate the inherent beauty of wood, and explores the line between art and function. To achieve the airiness of Rockport’s elemental forms, we relied on everything we learned as designers and craftsmen, and then developed new techniques to achieve our objective — a form that allows no room to hide.

When there are no constraints on mass or aesthetics, it’s relatively simple to construct durable wooden furniture. But true craft lies in achieving durability without sacrificing lightness and grace. The Rockport Collection arrives at that balance by being both impossibly delicate and uncompromisingly durable. Rockport’s seamless, minimalist forms celebrate the purity of wood, the artistry of fine design and the accumulated skill of master craftsmen.

This collection is the latest example of David Moser's intention to raise the bar for, and challenge the limits of craftsmanship; to explore what is possible in woodworking, and from wood as a material. It is in this spirit that the definition of 'traditional joinery' is confronted. What is today experimental, while fundamentally sound, may tomorrow be traditional.
The joinery in this chair consists of a double compound miter with a floating tenon at the front legs, fasteners and our once experimental but now traditional knee at the back legs, and tried and true mortise and tenon joints at the crest to back leg joints.

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Homage to an antecedent

A number of years ago, a long time admirer of Thos. Moser and fan of Tom’s Continuous Arm Chair (TMC), asked of son David Moser the following question: “As an accomplished designer and maker in your own right at Thos. Moser, one with a more contemporary aesthetic yet iterative sensibility, what would your take on Tom’s TMC look like? After all, if the TMC is interprets a classical Windsor, what could its Sequel be in the hands of a next generation Moser?”

As the only American makers showing at the Scandinavian Furniture Fair in the mid-1980s, Tom and Mary witnessed something they already knew to be true: that the best design is often incremental, building over time on work from the past. Years later, David himself confirmed, “Though we are innovators, the Moser aesthetic is iterative and almost always evolutionary, owing deference to antecedent form.”That iteration then was the challenge, and Sequel is the result. Tom’s Shaker round stand, a long-standing, easy favorite for its simplicity and grace, is also represented here by David, completing the pairing and its contemporary evolution.

That iteration then was the challenge, and Sequel is the result. Tom’s Shaker round stand, a long-standing, easy favorite for its simplicity and grace, is also represented here by David, completing the pairing and its contemporary evolution.

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[ The means of achieving our consistently high quality has resided in the spirit of those who create and the environment in which they work. ]

comfort and composure

Sofia’s intricate joinery took countless prototypes and more than a year to perfect. The corner joint recreates an ingenious 1,500-year-old architectural design from Constantinople. Under the patronage of Emperor Justinian, craftsmen devised triangular, vaulted wedges called pendentives to cradle the massive circular dome of the Hagia Sophia church on its square foundation.

Our design integrates the sweeping curves of the side and rear panels to frame the corner assembly. A conical wedge is cut with exceptional precision to fit flush between the sloping halves of the back legs. For strength, each leg member is mortised to hold the tenoned joints of the panels. Since cherry expands and contracts with the seasons, the panels are fitted into grooves in the frame so they can shift slightly without warping or cracking.

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[ Our Vita Collection evokes the past and mingles with the present. ]

a tribute to modernism

In the mid-20th century, the developed world was having a love affair with the art of the “new.” Radical technologies and manufacturing techniques were pumping out plastics and synthetics in every conceivable form. Simultaneously, a group of furniture craftsmen broke away from 20th-century industrialization, reaching back to the fine workmanship and hand techniques of previous centuries to realize their vision. Their designs were inspired by the spare, primitive elements of early cultures. These artisans were the forerunners of minimalism.

Similarly, with our Vita Collection, we have consciously evoked the past and mingled it with our own sensibilities to create something largely different. The Vita Collection pays tribute to master architect Mies van der Rohe - originator of the term "less is more" - and represents the confluence of our craftsmanship with the bold, graphic elements of modern design. Whether your taste leans more towards the traditional or the contemporary, the Vita Collection should be at home most anywhere.

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[ Well-made objects crafted with a clarity of purpose are never out of date and always welcome improvisation. ]

joinery as ornamentation

We strive to create forms that are pleasing in themselves—forms that achieve grace through proportion and simplicity, rather than embellishment. The ornamentation in our work derives from the exposed architecture of the furniture, such as the hierarchy created in our Windward pieces by the division of space between vertical and horizontal lines.

Limited to available wood in short lengths, Asian craftsmen became masters of geometric patterns. The geometry of each Windward sofa back requires 26 separate pieces and 42 precisely fitted mortise-and-tenon joints. The weight-bearing bottom rails, which span the full length of the piece, are strengthened by vertical stiles that serve as I-beams while maintaining visual continuity.

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[ Fine craftsmanship at this level is time-consuming, and if you don’t love the process, you're in trouble. ]

taking flight

Over the years, we’ve built wood furniture that’s comfortable, despite the fact that solid wood has a reputation for being somewhat tough on the backside. There are no hard or flat lines to be found in our Wing Collection.

Curved arms are sculpted from blocks of solid cherry, carved and sanded to their full expression. The arms cascade down the sides into the legs—interrupted only by a subtle shadow where they attach to the stretchers—each element aligning with the others in consummate balance and comfort.

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Foreside Bed
A pinned through tenon employed at each end of the row of vertical spindles on the bed comprise Foreside’s hallmark joint View this Item