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1-207-789-5188 | Info@WindsorChair.com
2596 Atlantic Highway on US Route 1 Lincolnville, Maine 04849
Jana was born in Portland, Oregon in 1963, and raised in Fayetteville, New York. As far back as she can remember she was always creating some type of visual art. Her first love was drawing but then she began working with watercolors and acrylics. The artist enjoyed the mediums so much that she continued to wider her interest in art and improve her technique. During her years in high school from 1978 -1981 at Fayetteville-Manlius she won numerous art awards for her work.In 1984 she enrolled in Munson Williams Proctor Arts Institute and Onondaga Community College in Utica, New York, where she majored in printmaking. Jana received an Associates Degree from Munson Williams Proctor Arts Institute in 1986. She then decided to continue her education by enrolling in the Maryland Institute College of Art where she pursued her Bachelors Degree in printmaking with a minor in painting. She received her BFA from MICI in 1989.After graduating she moved back to upstate New York and settled into the Finger Lakes region to continue her painting and printmaking career. In 1991 she had a one-person show at a gallery in Syracuse, New York which received rave reviews.During the summer of 1991, Jana visited an artist friend in Camden, Maine, and loved it so much that she decided to stay. She fell in love with the beautiful coastline and panoramic views of Penobscot Bay and the islands. Jana has painted a series of watercolors titled “Mussel Rocks” which won an award in the Huston Tuttle curried show in 1991.The artist now lives in Lincolnville, Maine, with her husband and two boys, where she paints, draws, cooks and enjoys the place she loves most…home.
John Bonning (1921-2010) was born in Buffalo, New York. He studied at the Art Institute of Buffalo and later at the Society of Arts and Crafts in Detroit, Michigan and at the Cranbrook Academy of Art in Michigan.
In the 1950s and the 1960s he worked as a commercial artist for the Ford Motor Company, Chrysler Corporation, and Burroughs Corporation.
Polly Elizabeth Ryel
I grew up in Fayetteville, New York, then the relatively quiet small-town suburbs of Syracuse. Being creative and making things was the cornerstone of my childhood, it was fostered, encouraged, and valued by both parents. My mother was a painter and my father had studied landscape architecture. I was fortunate to have had many nurturing
and inspiring art teachers all my years in public schools. Ellie O’Connell, the surrealist painter, was a close family friend and occasional teacher in her lovely studio/gallery made from a converted church.
I attended the Rhode Island School of Design intending to study painting and or illustration but instead declared Light Metals as my major at the end of freshman foundation, something I knew very little about. The difficulty of mastering the technical aspects of metalsmithing before being able to realize design was intriguing and the process was both frustrating and rewarding. In an attempt to add more color I experimented extensively in enameling. Many of my electives were taken in the glass department. I had some stained glass experience from high school which I was keen to expand on. Then I discovered the energy and immediacy of blowing glass and it opened
my world. It was amazing to just be around and witness the hot shop, I loved the scene. The popularity of glass as an art form was skyrocketing due in no small part to Dale Chihuly who was then the head of the Glass Dept and one of my professors. It was an exciting time, spending days working on metalsmithing and evenings in the glass department.
In the summer of my junior year, I took a job teaching jewelry making at a summer camp in the western mountains of Maine. I fell in love with the state and resolved to live here. I took a job as a goldsmith/designer with Camden Jewelry Co. the fall after graduation in 1984. My husband and I own and run it to this day. My passion is working on high
karat gold pieces and gemstones.
Over the years I have gone back to painting dabbling at times, but it wasn’t until a few years ago that a serious desire developed and now I’m becoming obsessed. I enjoy being outside in every season, walking, hiking, biking, skiing, swimming, paddling, and climbing in this incredibly beautiful state. My outdoor activities are enhanced now by the search and study of light, color, and composition. I work from photos and the memory and emotions from my journeys often rushing home to capture something before the mental image and feeling fade.
I live in Lincolnville on a few acres surrounded by woods where I enjoy gardening and raising fowl. I have two grown sons; one a musician and goldsmith, the other a college student, avid outdoorsman, and a chair maker at Windsor Chairmakers.
Colors may not be accurate on all computer or mobile device screens. Dye lots are subject to variations in tone. Flame stitch tape adds $40 to chair price. Rattan is available in Natural color only and is wet woven around a five ply cardboard core in a herringbone pattern. Rattan adds 100.00 to base price of standard tape seat chairs. Solid color and multi-stripe tape is available in 5/8″. 5/8″ is woven in herringbone pattern. 7/8″ flame stitch tape is also woven in herringbone pattern. Solid colors are available in 1″ widths and woven in a basket weave pattern.
Tiger maple seat. Light Cranberry finish
Tiger maple seat. Cranberry finish.
Pine seat Pitch Black over Mustard milk paint, crackled and worn.
Pine seat with Pitch Black over Barn Red milk paint, crackled and worn.
Lexington Green over Marigold milk paint, crackled and lightly worn.
Pine seat, Federal Blue over Federal Blue/ Snow White milk paint. Worn, no crackle.
Pine seat, Cranberry finish with heavy highlight and distress.
Pine seat with Black/Green over Black/Green milk paint, crackled and worn.
Pine seat Cream over Buttermilk milk paint. Crackled finish, light to medium wear and distress.
Pine seat. Mustard over mustard milk paint. Crackled finish with medium wear and distress.
Cherry seat. Patina finish on saddle. Pitch Black over Barn Red milk paint, crackled in the body of the chair.
Cherry seat with natural (clear) finish.
Ash seat. Black Currant saddle with Pitch Black milk paint on body of chair.
Tiger maple seat. Molasses finish.
Tiger maple seat. Honey finish.
Tiger maple seat. Cinnamon finish.
Tiger maple seat. Chestnut finish on saddle. Pitch Black over Federal Blue milk paint, crackled on the body of the chair.
Tiger maple seat. Black Currant saddle with Pitch Black over Salem Red milk paint, crackled.
Cherry Seat with Natural (clear) finish.
Pine seat. Sea Green over Barn Red milk paint, crackled finish.
Pine seat with Pitch Black milk paint, lightly worn.
Pine seat, Pitch Black over Marigold milk paint, crackled and worn.
Pine seat pitch. Black over Soldier Blue milk paint, crackled finish.
Pine seat Golden, Honey finish.
Pine seat. Barn Red over Mustard milk paint, crackled and worn.
Cherry Seat, Cranberry-Marmalade finish.
Ash seat, Nutmeg finish.
We offer tables in square, rectangular. round, and oval shapes. We also offer what we call squarish or rectangularish shapes. These are softened versions of square and rectangular tables. We also offer live edge tables in rectangular or square shapes using the natural shape of the raw lumber as the edge on two sides of the table
To determine the overall size of your table, it is best to start with the size of the space it will be going into. Measure length and width of the space then subtract 60″ from those measurements in both directions, this is allowing for a minimum of 30″ of space around the table in all directions. If you have more than 30″ it is even better. 34″ to 36″ is ideal. Allow 22″ for each side chair.
Step Radius Corner
Square Corner, Square Edge, Cherry, Natural Finish
Incised Corner, Cove And Thumb Edge On Cherry, Cranberry Finish
Live Edge, Cherry, Cranberry Marmalade Finish
Incised Corner, Cove And Thumb Edge On Tiger Maple. Toast Finish
Small Radius Corner, Fillet Edge, Tiger Maple, Honey Finish
Small Radius, Roundover, Chestnut
Square Corner, Square Edge, Tiger Maple, Light Honey Finish
Small Radius Corner, Fillet Edge, Cherry, Cranberry Finish
Stepped Radius Square Edge Cherry Hairloom Red
Porringer Corner With Cove And Thumb Edge. Cherry, Raisin Finish
Medium Radius Square Edge
Usually three of the eight back spindles, and on arm chairs, one of the front arm supports are left a bit “proud” above the surface of the bow, about 1/16”. The edges a chamfered with a chisel and the sanded. This gives the impression of a chair that has aged with time and wear through years of seasonal shrinking and expanding. Many antique Windsor chairs have proud spindles.
Flush spindles which are filed and sanded flush with the top of the bow and arms.