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 Philip Moulthrop  (1947 - )

About: Philip Moulthrop
 

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Lived/Active: Georgia      Known for: wood-turned vessels, photography

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An example of work by Philip Moulthrop
Artwork images are copyright of the artist or assignee
Biography from Bentley Gallery:
Initially drawn to photography, Philip Moulthrop became an award-winning photographer before entering law school in Georgia. After graduating from law school, Philip worked as an attorney by day, and in the wood studio at night. When he began turning, he ceased doing photography, in favor of studying with his father, Ed Moulthrop, and developing his own turning skills.  In 1997 Philip gave up law to follow his heart and become a full-time wood turner.  

Philip Moulthrop is known for his classic wooden vessels which have simple, elegant forms that highlight the subtle grain patterns and colors in the wood.  One of the most dramatic woods he uses is the Ash Leaf Maple (or Box Elder) which has streaks of bright red color that run through the wood.  He only uses woods that are native to the Southeastern United States, such as Red Maples, Wild Cherry, Pine and Mimosa.  All of his woods are purchased from tree cutters who have had to cut the tree down due to storm damage or disease.

Philip is also known for his signature Mosaic bowls.  In 1993, he developed a
completely unique style of vessel that involves setting cross sections of wood in an epoxy resin and sawdust mixture.  The entire piece is then turned on the lathe in the same manner as a solid block of wood.  The resulting vessel is a mosaic of small wooden discs set in a black resin.

BIBLIOGRAPHY

American Craft Museum. 40 th Anniversary Report and Exhibition Catalog (New York:  July, 1996), p.  4 - 5
 
Antiques & Auction News.  “White House Collection of Crafts” (Mount Joy, Pa:  April, 1995), pp. 1 - 2
 
Atlanta Magazine. ”Turned Wood”, (Atlanta, GA: October, 2001), p. 190
 
Design House Publications.  Nouvel Object (Seoul, South Korea:  1996), pp.  140 - 141
 
Elliott, Iona. Woodturning - “Like Father Like Sons...”, Guild of Master Craftsman Publications Ltd.   (East Sussex, England:  November, 2002),  pp. 7 - 10
 
Flanders, Danny C. “Southern Accents – Family Trees”, (Tampa, FL: November – December, 2003), pp. 86 – 90
 
Interior Design. “Talents”, (North Hollywood, CA: March 2004) p. 56
 
Jacobson, Edward. The Art of Turned-Wood Bowls (New York:  E.P. Dutton, 1985), pp. 57 - 58
 
Jepson, Barbara. The Wall Street Journal - “American Crafts Shine, in White House or out” (New York:  July 6, 1995), p. A6
 
LeCoff, Albert. Challenge V:  International Lathe-Turned Objects (Philadelphia: Wood Turning Center, 1993), p. 53
 
LeCoff, Albert. American Woodworker Magazine - “Designing beyond the Lathe” (Pennsylvania:  June, 1994), pp. 62 - 63
 
Leier, Ray, Jan Peters, Kevin Wallace.  Contemporary Turned Wood (Madison, WI:  Hand Books Press, 1999), pp. 66, 67
 
Lineberry, Heather. American Woodturner (Shoreview, Mn.:  June, 1993), pp. 12, 14
 
McCoy, J.J.  The Washington Post – Home – “Bowled Over” (Washington D.C.:  March 14, 2002) p. H3
 
Monroe, Michael. The White House Collection of American Crafts (New York:  Harry N. Abrams, 1995), pp.  frontispiece, 106, 121 - 122
 
Monroe, Michael. Sky Magazine - “Capital Crafts” (Greensboro, N.C.:  August, 1995), pp. 124 - 125
 
National Museum of American Art, Renwick Gallery.  “Skilled Work”  (Washington, D.C.: 1998) p. 171
 
Oakland Museum of Art. Expressions in Wood, Masterworks from The Wornick Collection (Oakland, Ca.:  Marquand Books, Inc., 1996), pp. 124 - 125
 
Paley, Fred. Taos Magazine - “Excellence, Diversity, Surprise” (Taos, N.M.:  September, 1992), pp.  29 - 30 
 
Reif, Rita.  The New York Times (New York:  May, 7, 1995), p.  H39
 
Reif, Rita.  The New York Times (New York:  February 13, 2000), pp. 38 – 39
 
Ross, Charles L. Veranda Magazine - “Artistic Expression” (Atlanta,Ga.:  Summer, 1990)
 
Scarborough, Carolyn A.  The Ritz Carlton Magazine - “What Makes it Great” (Phoenix, Az.: Winter/Spring, 1998), p. 19
 
Simons, Thomas W. Jr., and Margaret Q.   Art In The American Ambassador’s Residence, Islamabad, Pakistan (1996), unpaginated
 
Smithsonian. “At the Renwick” (New York, NY.: March 2002),   p. 40
 
Spielman, Patrick.   The Art Of The Lathe (New York:  Sterling Publishing Co., Inc., 1996), p.  140
 
Ulmer, Sean M.. Nature Transformed: Wood Art from the Bohlen Collection, (Manchester, Vermont: October, 2003), p. 43
 
Wasserman, Sue. Style Magazine - “Carving a niche” (Atlanta, Ga.:  May/June, 1998), pp.24, 25, 26, 73
 
Where Magazine. “Wood Vessels” (Washington D.C.: May, 1995), p.  9
 
Wood Turning Center & Yale University Art Gallery – Wood Turning in North America Since 1930” (New Haven, Connecticutt:  2001), p. 95, 172
 
Wornick, Ronald C. Southwest Art - “Expressions in Wood” (Houston, Texas:  December, 1997), pp.  33 - 38
 
Worth, Lynn. Taos Magazine - “The Essential Beauty of Wood” (Taos, N.M.:  August, 1996), p.  40

 

Submitted by Betsy Rosenmiller, art professional

Biography from a third party submitted on 11/26/2010:
A second generation wood-turner, Philip Moulthrop sets a new standard for this ancient craft, continuing the innovation exemplified by his father, Edward Moulthrop, one of the pioneering wood-turners of the twentieth century.  Using wood native to the southeastern United States, Moulthrop creates works that display a richness of grain and warmth of finish.  He eschews carvings or surface embellishments, focusing all attention on the natural material.

Born in Atlanta, Georgia, Moulthrop's college experience was interrupted by the Vietnam War.  After enlisting in the United States Navy, he was assigned to active duty as a language instructor in Saigon.  Following military service, Moulthrop completed his undergraduate degree, and then studied and practiced law before pursuing an artistic career. 

His work is included in such important public collections as the American Craft Museum, New York Museum of Art, Smithsonian American Art Museum, and White House Collection of American Crafts.

This essay is copyrighted by the Charleston Renaissance Gallery and may not be reproduced or transmitted without written permission from the Hicklin Galleries, LLC.

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