Alan Peters:  Dining suite:- elm dining table, the rectangular top with rounded ends, on curved open
Lot 27
A twelve piece elm dining suite by Alan Peters, circa 1987, in the Cotswold tradition, and of Japanese influence
Sold for £4,320 (US$ 6,711) inc. premium

Lot Details
A twelve piece elm dining suite by Alan Peters, circa 1987, in the Cotswold tradition, and of Japanese influence
Comprising: a refectory type dining table, the rectangular top with rounded ends, on curved and open trestle end supports, a serving table, fitted with three frieze drawers, on four angled block legs, united by stretchers, and a set of ten chairs with high ash splat backs, padded brown leather seats, on four angled legs, variously stamped '... Alan Peters',
the dining table 275 x 95cm, 74cm high, the serving table 198 x 55cm, 97cm high. (12)

Footnotes

  • See illustration

    Sold with a signed copy of Peters (Alan): Cabinetmaking, The Professional Approach, 1st ed., publ. 1984, and a small 'Alan Peters: Furniture Maker' Exhibition catalogue from Cheltenham Museum and Art Gallery 1985/86.

    Alan Peters, OBE, furniture designer, maker and teacher, born 1933, died 2009, served seven years apprenticeship in the workshop of Edward Barnsley. He was an exponent of the 1970s British furniture craft revival. His work was traditional and showed a deep understanding and respect for materials.

    He was strongly influenced by his father, who was a precision engineer. He became fascinated by wood through a love of the countryside. Having worked with Edward Barnsley from the age of 16, he was introduced to a direct link to the Arts and Crafts movement.

    He was born in Petersfield, Hampshire, in 1933. In the 1950s he moved to London to study teacher training. After gaining his diploma at Shoreditch Teacher Training College in Egham, Surrey, he won a scholarship to the Central School of Arts and Crafts in London to study interior design.

    He set up his own workshop in Hindhead, Surrey, in 1962, where he gradually established a reputation for elegant designs mainly in solid wood. In addition, he began to develop ways of designing and making that responded to the nature of the material, and in ways that traditional designs had failed to take account. In particular, he responded to the way in which wood moves over time, developing joints and techniques that also became part of the design of each piece.

    In 1973 he moved his workshop to Kentisbeare, Devon, and in 1975 was awarded a Crafts Council bursary, which he used to travel to Japan. The simple forms in Japanese vernacular architecture and furniture reinforced his background in the Arts and Crafts movement. He began to enjoy and explore the unpredictable and beautiful figure of wood as an important part of the design but continued to make more humble pieces appropriate to production in numbers.

    His work featured in various Crafts Council national and touring exhibitions from 1973 onwards, and was displayed at the V&A and in museums in Cheltenham, Bath, Bristol, Leicester, Plymouth and Portsmouth, amongst others. He designed the seating for the Earth Gallery in the Gallery of Modern Art in Glasgow in 1996; his work can also be seen at the Fitzwilliam Museum in Cambridge. He was a Fellow of the Society of Designer Craftsmen, and an Honorary Fellow of the Somerset Guild of Craftsmen. He was appointed OBE in 1990 for his contribution to furniture making, and in the same year established a new workshop in Minehead, Somerset.
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