Journal
The Anticlastic Curve
In 2014, aboard a ferry from Portland, Maine, Thomas and Mary Moser headed 185 nautical miles northeast to Nova Scotia. On the morning they were due to disembark from the ferry, they sat down to enjoy a light breakfast. But it wasn’t the scenery that caught his eye; it was the simple cafeteria chair he was sitting in. The steel and plastic chair felt as though it molded to conform to Thomas’s back. “It wasn’t bad looking, but it was strictly industrial and not very well-made. However, it was incredibly comfortable, particularly in the way it captured my back. That was what impressed me,” recounts Thomas. Above: Mary Moser on their trip to Nova Scotia. The chair was incredibly comfortable, particulary in the way it captured my back. That was what impressed me. -Thomas Moser Above: Auburn Stool in cherry A Chair Inspired by Ferry Rides & Pringles Several months later, Thomas and Mary visited an exhibit at the Peabody Essex Museum, and Thomas noticed another chair featuring a similar curvature to the back. The shape, known as an anticlastic curve, is created when two curvatures move in opposite directions from a given point. The convex curve, which arches upwards, runs along the longitudinal plane. In contrast, the concave curve, which dips downward, runs along the perpendicular plane, creating a shape that moves from its center in opposite directions, horizontally and vertically. Thomas took time to thoroughly digest this extraordinary shape, especially when he noticed it in everyday items, from jewelry to architecture and even Pringles! He began sketching a design he hoped would ultimately transpire into a wooden chair offering the same flexible experience as the plastic cafeteria chair. When applied to the backrest of a chair, Thomas discovered that the anticlastic curve perfectly mirrors the curvature of the human back. Supporting the lumbar in two directions, the chair’s solid wood back sits below the shoulder blade and terminates just above the lower back, creating a chair that indeed mimics the flexibility Thomas found in the plastic chair. To create this shape from solid wood, three staves of wood are joined together, clamped in place, and allowed to cure overnight. From here, the rough form of the anticlastic curve begins to appear through refined handwork. When the chair's back has received its final touches, the craftsperson perfects the fit into the legs, creating a sweeping monolithic structure that appears as though it is sculpted from a single piece of wood. The Anticlastic Curve: Unexpected Inspiration. A Pringle may be the last thing that comes to mind when thinking of design inspiration. However, when popped from a can, the similarities are striking. It’s hard to pinpoint the true inspiration that would breathe life into the Auburn chair’s design and its anticlastic back— perhaps it was divine intervention, a lifetime of studying familiar shapes and forms, or the perfect lunchtime accompaniment. Beauty is in the eye of the beholder, which is what Thomas saw in the metal and plastic cafeteria chair. But, for a chair that Thomas designed in his eighties, he honed in on this vision and created perhaps, in his words, “My most comfortable solid wood chair yet.” Above: Auburn Chair, Eastward Table, & Wing Hall Table
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Building Beyond Time
“I was overwhelmed by the amount of tools he had,” Nate Blackwell, craftsman at Thos. Moser, since 2023, recalls. As he and his father unlatched the door to his grandfather’s woodshop, they discovered stacks of old woodworking books with dog-eared pages and scribbled notes. The walls were lined with an encyclopedic collection of perfectly placed hand tools. Power tools and machines stood frozen in place from the last time they had been used, and piles of rough-sawn lumber were stacked against the walls. Nate’s grandfather, a self-taught woodworker, was enamored with the Shaker style of furniture making. He loved the simplicity of the designs and prescribed to the Shaker notion of using local wood, often building pieces in apple wood, maple, or oak. “The more character, knots or wormholes, the wood had, the more likely my grandfather was to use it,” he says. His grandfather was a prolific furniture maker, building chairs, dressers, side tables, bookshelves, and the dining table for his home. It's about making something out of nothing... creating form out of raw materials. -Nate Blackwell During the early 1970s, his grandfather joined a local woodworking club that met in New Gloucester, Maine. The club would get together every month to have coffee and talk shop. It was in this group that Nate’s grandfather met Tom Moser. Tom’s business was still in its infancy at this point, and, ever the student, Tom saw the woodworking club as a place to learn new techniques and approaches to working with wood. Nate recalls a story his aunt shared with him, saying, “There was a trestle table that my grandfather was working on and just couldn’t get it right. He mentioned this project in the woodworking group, and Tom told him to bring it to the Grange Hall shop, and they would work together. As Tom had more space and tools, Nate’s grandfather happily accepted the offer, and they finished the table together.” Nate doesn’t recall the extent of Tom and his grandfather’s friendship, but knows that the few times he spent in the Grange Hall shop and those woodworking club meetings were meaningful to him. It's not just about the technique—its about the artistry in shaping it. Above: The Grange Hall Workshop in New Gloucester Nate’s journey into woodworking began in his grandfather’s workshop. “I grew up in my grandfather’s wood shop, mostly just bothering him,” Nate laughs. “I remember holding things while he clamped or did a glue-up, but I was mostly sneaking away from my parents to get an A&W Root Beer. We were never allowed to have a soda as children, but when I helped my grandfather, he would let us have a soda. The smell of root beer still brings me right back to my grandfather’s shop.” Above: Nate works on shaping the arm of the Thos. Moser Continuous Arm Chair After spending a decade in agriculture, Nate decided to carve out a new career. He still wanted a job that allowed him to work with his hands, and when the opportunity at Thos. Moser arose; he knew he had to take it. As an integral part of the chair department, Nate creates the iconic arms of the Thos. Moser Continuous Arm Chair, in addition to building a vast catalog of chairs and benches. “It’s almost like sculpture,” he says, drawing from his background in 3D art. “There’s something incredibly satisfying about working with your hands to bring out a shape in the wood. You take a raw material, something square, and turn it into something graceful and functional. It’s not just about the technique—it’s about the artistry in shaping it.” Above: Photographs of his grandfather's furniture. When his grandfather passed, Nate salvaged much of the wood and hand tools from his shop, storing them away for a future he could barely imagine. “I never would have guessed I’d end up using his tools like this,” he says, “But here I am, using them to make furniture in the same style that inspired my grandfather’s work.” Above: A small collection of his grandfather's tools. The tools, the furniture, the techniques—they all carry a piece of him, and I want to keep that alive. -Nate Blackwell While it’s clear Nate is passionate about his craft, his emotional connection to his grandfather's tools runs deep. “Using his tools, it feels like he’s right there with me,” Nate shares. “They’re not just tools—they’re part of his legacy. When I look at the furniture I’m making now, I can’t help but think about how proud he’d be.” That feeling of connection extends beyond the tools themselves. For Nate, the idea of heirlooms has taken on a new meaning. “I’ve got pieces of his furniture in my home. My parents have more,” Nate says. “It’s not just furniture—it’s history. It’s his history, and now it’s my history.” Every piece I build, I think about how it might one day be passed down. Its about leaving a lasting mark—just like my grandfather did. For Nate, working at Thomas Moser isn’t just a job; it’s a continuation of a family tradition. “I’m building furniture that’s going to last,” he says with a smile. “And I’m doing it with the same tools my grandfather used. It’s like we’re building together, even though he’s been gone for years.” That sense of a family legacy is not lost on him. “When I signed my first piece of furniture here, it felt amazing,” he says. “Not just because I was proud of the work, but because my name is now on something that could last generations—just like the pieces my grandfather made.” Above: Nate's Grandmother and Grandfather.
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The Thos. Moser Continuous Arm Chair
When Tom Moser embraced furniture making, he revived the Windsor chair with a modern design that became iconic for Thos. Moser.
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The Harpswell Chair
Tom and Mary Moser didn’t fall in love with Maine the typical way. Before the arrival of their second son, they packed themselves, a tent, and a few provisions into their car for a long weekend. Being unfamiliar with the area and exhausted from a day of driving, they pulled over for the night and pitched their tent. Much to their chagrin, they awoke to a man’s voice saying they were blocking his driveway. Instead of being curt, the gracious man helped them move their tent aside and invited them to stay. They stayed for four days, and nearly thirty years later, they planted their roots on a spit of land not far from where they landed on that first trip to Maine. Above: Table Minimus - Oval & Harpswell Arm Chair with Back. Developing A Classic Around 1990, Tom strolled down the driveway to his Harpswell workshop and began working on a new chair design. He created a round chair with a quarter-round back, but he wasn’t happy with the initial result. After a bit more tinkering, the rounded seat became a U-shaped seat. “Eventually, I added a curve and tapered back leg,” Tom recalls. “And one day, I discovered that the round cafeteria chair I began making in my shop a few years before had morphed into this very pleasing piece.” The new design’s most magnificent appeal was an exuberant back carved from a solid piece of wood that intentionally displays the wood's natural beauty, where no two are alike, revealing the mark of an heirloom. Eventually, the chair would incorporate an upholstered slip seat that rests directly in the chair’s frame and an often-requested upholstered back. Above: Tom Moser in his workshop. From Humble Beginnings to Dignified Design Aptly named after the location of his home studio, the Harpswell Chair was introduced in 1992 and became an instant classic. Its modest cafe chair design and refined details bring quiet distinction to any space. The versatility of the durable Harpswell Chair has made it a favored choice for countless family dining rooms, community colleges, and Ivy League libraries. In 2008, the Harpswell Arm Chair would be selected as Papal seating and chosen as the signature piece to grace the George W. Bush Presidential Center in 2013, where, during the dedication, five living presidents would be comfortably seated. Above: The Harpswell Chair at the opening of the Presidential Library and the chair for the Papal visit. Incorporated in 1758, the town of Harpswell boasts the longest coastline of any town in Maine. This rugged coastline, purchased with a pound of tobacco and a gallon of rum, has cultivated generations of self-sufficient families who worked with their hands; fishers, farmers, shipwrights, and now, a furniture maker. From the humble beginnings of a simple cafe chair to a dignified design sought after by Popes and Presidents, the Harpswell Chair is a natural fit for every home and any occasion. The expressed growth rings found in the crest celebrate the weathered-tested years of a strong tree and embody the spirit of a community nestled along this section of granite coastline known as Harpswell. Tom and Mary Moser at their home in Harpswell.
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The Aging Process of Cherry
Cherry furniture deepens from light salmon to rich reddish-brown within months, its unique finish inviting a tactile connection through time and touch.
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Natural Variations Found in North American Hardwood
Discover the natural variations in North American hardwood—aging color, grain patterns, and mineral deposits—that make each Thos. Moser piece unique.
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Coastal Cottage Offers Modern Retreat
Owners: Chantal and Michael Jennings Size: 1200 square feet Architect: Elizabeth Jennings Location: Schoodic Peninsula, Maine Interior Design: Chantal and Michael Jennings Furniture: Thos. Moser The moment you turn down the nearly half-mile private driveway to the Jennings cottage, you know you are about to experience something magical. Cut through old–growth forests, the driveway winds through coastal pines draped in usnea. The harsh coastal weather has stunted and twisted the jack pines into looking like meticulously pruned and trained bonsai. The forest floor is covered in lush green mosses, and massive granite boulders left behind from receding glaciers dot the landscape. The drive ends on a ledge of pink granite with sweeping views of the Atlantic Ocean and the protected entrance to the harbor. The Jennings have left this unique property as intact as the day they purchased it, over 40 years ago. Above: Auburn Stools and Continuous Arm Bench. Finding an Artist Colony in Down East Maine The property was once owned by California watercolor artist Barse Miller. Drawn by the rugged shores that occupy this area, Mr. Miller established his small summer artist colony, Rangemark. Here, he hosted numerous watercolor workshops until he died in 1973. This place offered solace, beauty, fair winds for sailing, and an opportunity to paint en plein air. When the Jennings purchased the property in 1983, the land and views were breathtaking, but the buildings were nothing more than a dilapidated main house, a tiny bunkhouse, and a horse shed. Years later, they found themselves with the arduous task of demolition and hauling away the all–but–abandoned property before they could begin breaking ground on the new site for the cottage. A Daughter’s Designs Elizabeth Jennings’s goal was to create the small escape her parents envisioned. Her initial design had clean, modern lines. She wanted to create a minimalist home that retained much of the “New England” charm without competing with the land. Her design included cedar shakes, copper flashing, and a standing seam copper roof. Elizabeth added weather-related adaptations: overhangs, a covered entryway, and a slate-floored entrance that would accommodate muddy boots and wet paws. Above: Auburn Stools and Vita Lounge Chair and Ottoman The open layout of the interior invites intimate dinner parties. The large southern-facing windows provide plenty of ambient light. When it came time to set Elizabeth’s design into motion, her parents turned to Bensonwood in New Hampshire. From day one, Chantal and Michael were involved in every aspect of the cottage's construction and finish details. They chose the house site, guided construction trucks up and down the driveway, hauled rocks for the foundation and landscaping, chose fixtures, assisted the finish carpenter, and designed custom cabinets. An Interior Inspired by Thos. Moser Furniture To the far left of the cottage are the master bedroom and bath. Here, the early morning light greets each day with a view of the entrance to the harbor and the ocean. The furniture in the bedroom includes one of the first Pencil Post Bed designs from Moser. Chantal wanted an uncluttered and calming bedroom. On either side of the bed, the nightstands are simple Minimus Tables built by Chantal at a Customer-In-Residence program. In the corner of the room sits an Aria Chair Michael completed during his Thos. Moser Customer-In-Residence program. The Jennings chose the light salmon upholstery to reflect the color of the granite boulders and shoreline. The primary bath, set behind the bedroom, features custom cabinetry, a compact washer and dryer, and a beautiful river stone shower. The main living space is unobstructed by walls and creates a welcoming space for guests. There is even a secret loft for their grandchildren, complete with a porthole. A Harvest Table accompanied by six early Fanback Chairs, a predecessor to our Catena chairs, were Chantal and Michael’s first Moser purchases in 1981. Chantal points out, “I wouldn’t trade the table or chairs for anything. I raised my children at that table, and we’ve shared many meals and conversations here. That table is a part of our family’s history.” Above: Auburn Stools The beautiful antique Marblehead pond yacht was a housewarming gift from Mary and Tom Moser. The vintage yacht, hanging on the wall over the fireplace, links land and sea. The floors and ceilings, inspired by Moser, are crafted of ash. Michael recalls, “When the Mosers had their first showroom in Portland, Maine, the floors were ash.” He remembers how he loved the way the cherry furniture stood out on the light ash floors. Chantal and Michael wanted to incorporate this warmth into the interior of the new cottage. The Jennings find the cottage liberating. Its small size and beautiful furnishings free up time to enjoy the surrounding area. Elizabeth is delighted that her parents are so happy with their little coastal retreat. “The furniture is a testament to good design; it looks as stylish and modern today as the day we bought it.” Chantal says, “It showcases the versatility of Moser’s designs. An upholstered sofa pairs beautifully with the Vita Chairs, Harvest Table, and Auburn Stools in the same room. The designs go with anything, and each piece has a timeless quality.“
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More Than Ink on Wood
Mason Faucher’s eight-year journey at Thos. Moser, starting in 2015, showcases his evolution from a woodworking graduate to a skilled, versatile craftsman.
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