Category Archives: Writing

Harris Lebus and a lovely coincidence

In 1995 I came across a gorgeous book by English author Lorrie Mack, The Art of Home Conversion: Transforming Uncommon Properties into Stylish Homes (Cassell, 1993). It’s a compilation of stories about homes created from structures as diverse as a flour mill, water tower, stables, various types of factories and shops, and several less uncommon yet equally breathtaking churches and barns. The buildings themselves were amazing, but most compelling to me was a piece of furniture—a hallstand shot through a doorway in the entrance to a former fruit and vegetable shop. A vision in aged oak and beaten copper, it married gothic and Golders Green. I hoped I’d have a chance to make one like it someday.

Photo courtesy of Art Furniture, London

In 2002, during a slow patch in the shop, I bought a curly white oak log from a local sawyer and built a version of the hallstand modified for contemporary use. A feature about the piece was published in Fine Woodworking[1]. Eventually I sold the hallstand to a pair of English professors who had the perfect space for it in the entryway of their Tudor Revival home.

A few years later, while visiting an acquaintance who had amassed an enviable collection of Arts and Crafts furnishings and decorative objects, I fell in love with a breathtaking sideboard. Would he mind if I made a reproduction? Business being slow (translation: being effectively broke), I made my version using plain sawn red oak—a lot more affordable than fancy quarter sawn white. (The original had not been made of quarter sawn either, though its old-growth brown oak was far more elegant than my fat-ringed red.) Instead of copper panels I used art glass with copper foil[2], and I had door and drawer pulls fabricated by a local sculptor[3].

The dealer who’d sold the sideboard was under the impression that it had been made for Liberty. The piece itself had no identifiable maker’s mark. But the owner’s curiosity was piqued by my interest, and he made some inquiries that revealed the sideboard had been produced by a company called Harris Lebus.

You can read all about this in the Summer 2010 issue of American Bungalow magazine. But what you won’t find there is the tale of coincidence that follows.

I had never tried to identify the original hallstand’s maker. There wasn’t so much as a hint in Lorrie Mack’s book. After my article appeared in Fine Woodworking, a reader had contacted me to say she owned one of the original hallstands, but she said nothing about who had made it. Now that I thought about it, there were some strong similarities between the hallstand’s architecture and that of the sideboard. I wished I could contact that reader, but her message and email address had been lost in a laptop fatality.

American Bungalow agreed to publish a story about Harris Lebus. My former employer, Roy (“It’s all problems”), a longtime friend, generously offered to pay my airfare and put me up in his home near London so I could do some further research. In the limited time available I visited the Bruce Castle Museum, whose staff were extremely helpful in providing photocopied documents, including an informal history of the Lebus company written by a family member; walked with Lebus researcher Paul Collier around the Ferry Lane Estate, site of Lebus’s Tottenham works; found some excellent leads at the Geffrye Museum in Hackney; and pored through many packets of late-nineteenth- and early-twentieth-century catalogs and other documents at the Westminster Archive. I would later follow up these leads with further research into genealogy and the turn-of-the-century context in which Lebus operated.

Though identifying the hallstand’s maker was not an official goal of the research trip, I was  hoping to satisfy my curiosity. Surely in all these documents I would come across a picture of the hallstand. But I didn’t.

One day, while using a public computer at a visitors’ center in Kingston, I typed in yet another search for “arts and crafts hallstand,” just for the hell of it. This time, unaccountably, I found what I was looking for. The hallstand had indeed been a Lebus product.

It was a thrilling discovery. At that point I had made only five major spec pieces in a cabinetmaking career spanning 28 years. What were the odds that two of those five should turn out to have been based on original pieces made by the same British manufacturer—one whose name I hadn’t even heard of before finding its wares so lovely that I wanted to make my own versions?




Another four-letter word

“Blog.” My new all-purpose four-letter word. Perfect for replacing those other unmentionables. You know—clap, slit, damp, hall, and duck.

But Nancy, you say, reaching a caring hand across the imaginary cyberspace table, Why the animus toward blogging, an innocuous activity if ever there was one? Well, precisely because of the activity’s apparent inconsequentiality. The blogosphere is so clogged with entries (WordPress boasts “200,000,000 Posts…and Counting”) that you have to wonder whether any of those posts are actually being read—other than by their writers. If a blog is posted in the blogosphere and no one reads it, was a blog posted? If everyone is blogging, who the *blog* gives a *blog*?

So what has moved me to join the fray? Three evenings ago I was reading in bed with my significant other—I, consumed by my fourth reading of a lovely book originally published in 1966[1] and he, immersed in a recent issue of Atlantic Monthly (the one dramatically portending “the end of men”).[2] Turning the page, he suddenly remarked, “Oh wow. You’ll want to read this. ‘Our Houses, Our Selves.’”

Want to read it, my *blog*. In fact I spent the night in a blur of insomnia with the term “also ran” flashing endlessly through my consciousness.

The article Mark was reading—a characteristically sharp and entertaining piece by Sandra Tsing Loh—reviews three recently published books, one of which appears to deal with the very topic in which I have invested myself over the past year—home, and particularly its meanings to women of our time.


My manuscript, ripe fruit of some fifteen years of thinking, research, and writing, sits poised at the brink of delivery to the Indiana University Press, with publication scheduled for the autumn of 2011.

So perhaps what this blogging thing is best for is venting. Now that I have set up my own means of global publishing, I can yell and scream to my heart’s desire, enjoying the illusion that someone, somewhere may understand my frustration. And if no one reads the post, no harm done.

Vent–another four-letter word.

[1] Rachel Peden’s The Land, The People, published originally by Alfred Knopf and republished by Indiana University Press.

[2] The Atlantic Monthly, July/August 2010.