This is
the main navigation page for Melvin Lindquist's EARLY WORKS.
Click on the photos for larger images, and click DETAILS for
individual pages which give descriptions, additional photos,
and in some cases, prices for each piece. |
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Occasionally, there will be a group of woodturnings
from an earlier time period available for viewing on the web. That resource may
become of special historical interest, however, the work presented is either in museum
collections or private collections. The works you see here are actual works from the
Lindquist Studios Collection which are for sale. These are
genuine untouched original pieces which have been packed away in boxes for as long as 20
years. Melvin and his son Mark selected significant and outstanding pieces
over the years from Melvin's output which was been a relatively steady stream of
consistently excellent works. The pieces on these pages are exceptional works from
an important period beginning in 1979 when Melvin and his wife Helen first moved to
Henniker, NH, to live near Mark and his family. Melvin worked in Mark's newly
renovated studio and had access to very special burls and spalted wood, and was able to
devote a lot of time to his work. The pieces shown here were chosen and saved in the
collection because either they were of beautiful and unusual woods, or they represented
important developments in technique or aesthetic concept. Key historical works are
vitally important as they document the evolution of an artist's work. These early
pieces from the Lindquists' collection are a little more expensive than current works,
however, it is a special opportunity for collectors to find works of this caliber and
historic significance.
Remember what it is that you are looking at.
Today there are literally thousands of woodturners who take the original concepts
that Melvin and Mark Lindquist invented for granted. These pieces comprise forms,
techniques and aesthetic ideologies which originally existed in wood only through the
works of Mark and Melvin Lindquist. These attributes have become so assimilated into
the field at large that the works you see here may seem at first simple, or
commonplace. However, when Melvin first showed these pieces and others like them,
collectors and woodworkers alike were shocked by the use of hitherto discarded materials
and the celebration of irregularities. These are some of the pieces which made
contemporary woodturning what it is today. Nowhere is there such a comprehensive,
inclusive collection which chronicles the development and evolution of one of America's
true birthright art forms. This is it.
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