Journal
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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A Golden Guide to Interior Design
The Golden Ratio, often seen as the 60/30/10 rule, guides interior design to create balanced, cohesive, and inviting spaces.
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How to Clean Your Hardwood Furniture
We asked Marc LaBonte, head of furniture maintenance, for expert tips on caring for and cleaning our hardwood furniture.
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Living With Intention
For Anne and George, home has always been more than a place to live—it’s a reflection of their values: a space shaped by experience, intentional design, and appreciation for craftsmanship. Their journey with Thomas Moser began in 2005, almost accidentally, when Anne stepped into the Georgetown showroom, drawn to a Vita Chair she saw in the window. Until that day, she had associated the brand with traditional Windsor styles—“Beautiful, but not quite my style,” she admits. But this chair was different: sculptural, graceful, quietly strong. “I was smitten,” Anne recalls, “This was not just a piece of furniture, but a work of art.” She wasn’t expecting to find the centerpiece of their future home that day—but sometimes, the most meaningful connections are the ones we don’t plan. "The interior finish is a vessel to showcse the owner's carefully curated art and furniture." -Charlie Moore, Moore Architects, PC. As with the Vita Chair, their home began with a chance encounter. One day, while out for a drive at the height of the pandemic, the couple spotted a modest property for sale near the Potomac River. The location was prime, and the original house was charming, but it was cramped, dark, and outdated. Enter Charlie Moore of Moore Architects PC. Together with the owners, the team of architects, designers, and builders assembled by Moore Architects set out to create a new home that would do justice to the lot and the owners’ intentions. The goals were to design a dwelling that was large enough without intruding on the neighborhood; to combine modern forms with traditional local styling; and to provide interior spaces for the owners’ sizable art and furniture collections. The resulting collaboration gave birth to an award-winning 4800 square-foot house that serves as the perfect stage for those collections—and for their Thos. Moser furniture, in particular. Above: The open dining area and kitchen feature the Aria Chairs, Oval Ring Dining Table, and Coal Shovel Stools. Below: A custom Crescent Side Hutch in figured maple, Coal Shovel Stools, and an Edo Studio Chair in cherry. “Their favorite Moser piece? “That’s tough,” says Anne. “We really love them all, but for sheer elegance, I’d say the Aria chairs. They’re exquisite.” Primary Bedroom: Vita Bed and Vita Side Cube in cherry. Working with the Georgetown showroom, the couple gradually filled the new house with a remarkable collection of Thos. Moser furniture. Here, old and new Moser pieces blend seamlessly with family heirlooms and with what Anne refers to as “souvenirs” from their years abroad. “I wanted furniture that would stand up to our art and the Moore-designed interiors, without overwhelming or feeling trendy,” says Anne. "What I love about Thos. Moser: I love the beautiful materials, the craftsmanship—the joinery! It’s all about making good things that last." The living room, grounded by rich walnut tones, is warm and invites conversation. In the dining room, a pair of antique French candlesticks feels right at home on the walnut Oval Ring table. A custom-figured maple case sits casually below an early twentieth-century Hawaiian aquatint and across the room from an old family cedar chest. The loft, once just extra space, is now a sanctuary, filled with a Vita Three Place Sofa, Element Credenza, and Cumberland Chair, NYPL Branch Swivel Chair, and the iconic Chaise. In the small spare bedroom, Anne’s mother’s portrait gazes down on the Studio Bed in cherry. The overall effect is interiors that are meaningful, harmonious, and quietly elegant. When asked what guided their furniture selections, Anne explained that her initial criterion was mainly cosmetic: Does it look good? Does it fit the space? “It’s a curse,” she confesses, referring to her connoisseur’s eye. She spent her formative years in Europe, where, as a child, she accompanied her parents to countless galleries, palaces, cathedrals, and gardens. “Too many,” she says. “My mother was a great enthusiast of art and architecture!” “Once you buy your first Thomas Moser piece, it becomes nearly impossible to turn back. The quality, the design, the philosophy behind each creation—it all becomes an essential part of how you experience your home,” says Anne. Above: Custom Crescent Dresser in figured maple. The furniture also had to meet the couple’s high standards of quality and comfort–plus pass the “legacy” test: Would their daughter want the furniture someday? This past fall, they had the chance to answer that question when they offered their original dining table and chairs to their daughter and son-in-law. “What a pleasure it was to sit with them this past Thanksgiving at the very same Moser table and chairs that our daughter grew up with,” says Anne. What’s next for the couple? Nothing too ambitious, they say. They hope to travel and see more of their family and friends, who are scattered here and abroad. “But it’s so nice to have a place to come home to, filled with the things you love.” Including, of course, that first Vita Chair.
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East Meets West
Our Eastward collection honors George Nakashima, whose clean designs revealed wood's raw beauty and deeply shaped our design ethos.
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Why We Choose Solid Wood
Choose solid wood furniture for lasting beauty, durability, and eco-friendly appeal. Discover why it’s the smart choice for your home.
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The Mower That Moved Us
In a field along Cobb’s Hill Road, across from the old vestry that served as Thos. Moser’s first showroom rests a rusted 1800s sickle bar mower. Frozen in place, it harkens back to a sweltering day in late August when a farmer sat upon its cast-iron seat, guiding a team of plow horses to harvest his final crop of hay. Throughout New Gloucester, country roads are dotted with these snapshots into the past. A glass gallon jar that once held haymaker's punch sits propped against the wheel of the tractor. Along these roads, we catch a glimpse of history when men and women worked the land, developing communities of self-sufficient farmers and craftspeople who settled into this landscape. Incorporated in 1774, New Gloucester, Maine, was a town comprised mostly of early settlers from Gloucester, Mass. Hence the name “New” Gloucester. Drawn to the rich soil, New Gloucester developed into a prosperous farming community. Resplendent with orchards, gardens, and wide-spreading elms, the early settlers utilized the land and its natural resources to support a growing population—including six sawmills, two tanneries, and gristmills. The Rise of "Working Comfortably." In the 1850s, as New Gloucester began to grow from its initial sixty inhabitants to nearly thirty times its size, the Industrial Revolution was taking shape, making significant advancements in technology for the farming community. Until the mid-1800s, farmers were still manually harvesting hay with sickles and scythes. The advent of the sickle bar mower was the first step in making the hot and dusty work of haying by hand less brutal, more efficient, more productive, and even more comfortable. Lending to these newfound machines’ comfort and productivity was a flat wooden board for a seat. In the mid-1850s, manufacturers began adding cast-iron supports to the wooden board, and by the 1860s, almost all tractors had seats made entirely of cast iron. The earliest version of the cast iron seat was solid— meaning they held water during inclement weather and became blistering hot as the tractor sat in the mid-day sun. Born from necessity, tractor companies began designing seats with holes for drainage and ventilation— creating a form of agrarian art. Artisans created the seat by first carving the shape and design in solid wood, and then, from that wooden mold, the seat was cast in iron. Over 100 years later, the purity and austerity of the traditional handwork in these iron seats captivated Tom Moser. In 1978, Tom began carving the first iteration of the High Stool, which he called the “studio stool.” Made from two or three, twelve-quarter blocks, the seat, cut from the same log to ensure color and grain match, reflects the old tractor seats and western saddles’ defining characteristics. The hand-sculpted seat features a rounded cantle, the back edge of the seat, and a gentle and smooth pommel to cradle the occupant. Unlike its industrial cousins, the High Stool makes no use of metal screws or bolts to hold the seat in place—the old iron seats would be attached to the tractor using a metal bolt and washer placed through the middle of the seat! In the High Stool, tapered ash legs, used for their tensile strength, pierce through the bottom of the seat and join the top with a wedged tenon made from either cherry or walnut, creating a conscious design moment. Once the tenon has dried, it is sanded to match the seat’s grade; the beautiful joinery creates a secure hold and unimpeded seat. The sculpted movement on the top of the stool travels over the rounded edges to the seat’s underside, where an inverted cut in front highlights the dramatic rise of the pommel. There is an inherent beauty to old farm machinery. Perhaps it’s the way the sunlight strikes the rusty hay rake and iron seat resting unmoved for decades in an open field. It’s a reminder of days long gone, when agriculture and hand-crafted items dominated the economy, and families made their living from the fertile land. In many ways, we have come back to celebrate this way of life that honors the local community and its farmers and values the sustainable beauty of a handmade piece of furniture that gets better with time and is made to be used for generations.
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Great-Grandpa Joe's Bookshelf
Joseph Moser’s bookshelf, simple in design, stands as a cherished heirloom symbolizing four generations of family history and love.
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