1. George Nakashima, The Soul of a Tree: A Woodworker’s Reflections (Tokyo, New York, and San Francisco: Kodansha International Ltd., 1981); and Sam Maloof, Sam Maloof, Woodworker (New York: Kodansha, 1983). 2. Studio furniture makers are independent producers, either self-taught or academically trained, who work in small shops or studios. While these makers use machinery, and may employ assistants or specialists, they produce a limited number of works. Their work is often custom-made for commissions, or sold through galleries, specialized shows, and personal connections with buyers. For additional insight into the term and its historical development, see Edward S. Cooke, Jr., Gerald W. R. Ward, and Kelly H. L’Ecuyer, with the assistance of Pat Warner, The Maker’s Hand: American Studio Furniture, 1940–1990 (Boston: MFA Publications, 2003). See Zachary Gaulkin, “The Many Sides of Thomas Moser,” Fine Woodworking, no. 128 (January/February 1998): 70–73. A 1984 small, largely black-and-white catalogue available at the Cumberland Avenue store in Portland, Maine, asserted that all Moser furniture was made with historical joinery and that “there is no mass production in our workshop. Each item of furniture is built entirely by one or by small groups working together and orders are filled, each in their turn.” 3. See David Pye, The Nature and Art of Workmanship (1968; reprint, New York: Van Nostrand Reinhold, 1971).