I have always regarded Bob Stocksdale as the consummate craftsman, the epitome of old world craftsmanship in "the new world." During the time that the studio woodturning movement was developing within American craft, Bob was already long established as a highly successful and respected professional woodturner, in a league all his own. My professional relationship with Bob began in 1978 ... Read morewhen our work was exhibited, along with that of my father and Ed Moulthrop, in a show at the Renwick Gallery, the first exhibition of studio woodturning held by a major museum. The following year, I met Bob for the first time when The Elements Gallery in New York gave us a two-person show. It was an honor to show with him at that time as it is now to have my work appear alongside his in the collections of many museums. Bob was unphased by the new attention being focused on woodturning, and unswayed by the new generation's impatience with the traditions of craftsmanship. Throughout his long career, he maintained the same focus and pure vision, producing bowls whose form and grace hold their own against the backdrop of contemporary innovation and stylistic exploration. "I came to know Bob and Kay during the decade I was managing del Mano Gallery and my wife and I would drive up to visit them often. In the years since, I've found that the aesthetic embraced by Bob and his fellow pioneering woodturners has given way to works that are overly tricky and clever. Although I'm a fan of a lot of the sculptural work being created today, I feel that something has been lost in the move away from fine bowl forms in beautiful woods and believe that we'll see a "neo-classical" movement in the woodturning field in the future, that celebrates Bob's aesthetic and brings balance to the field." As far as I am concerned, Bob Stocksdale was the father of American woodturning. His work in bowl turning set a standard that all turners look up to today: Excellence is where you begin. Bob Stocksdale (1913-2002) is arguably the dean of American woodturners. His selection of material, masterful technique, and attention to detail set the gold standard for wood turning excellence from the early 1970's onward. An intimate look at the turner, his approach to wood turning, and his life long quest to turn the perfect bowl. A few weeks ago, I wrote about drawing inspiration for my woodturnings from the work of Bob Stocksdale, one of the most influential woodturning artisans of the past 50 years. No less a luminary than Sam Maloof says, "As far as I'm concerned, Bob Stocksdale was the father of American woodturning." A new book, scheduled to be published soon by Fox Chapel Publishing, offers up an in-depth view of Stocksdale, his work, and his approach to craft. To Turn the Perfect Wooden Bowl (paperback, $24.95), by Ron Roszkiewicz, is based largely on lengthy interviews the author taped with Stocksdale in 1987. Roszkiewicz writes that his objective "is to provide a snapshot of a few days in the studio of an American original and to hear him describe his life and work in that comfort zone." Born and raised in Indiana, Stocksdale turned his first bowl during WWII when, as a conscientious objector, he was detained in a work camp in Michigan. After the war he settled in Berkeley, California, where he lived and worked until he died in 2003. Among his first clients were Gump's, the legendary upscale San Francisco giftware store; Nieman Marcus, equally legendary and equally upscale; and Georg Jensen and Bonnier's, stores that did much to popularize Scandinavian design in this country after WWII. To Turn the Perfect Wooden Bowl reproduces letters to Stocksdale from those stores, and describes in considerable detail how Stocksdale chose his wood, roughed it out with chain saw and band saw, and how he worked at the lathe. But for me the most valuable part of the book is the photography
some 50 examples of his work. The "perfect" bowl of the title may not be among them, but you can quickly see what shapes and curves obviously captivated Stocksdale, because they occur repeatedly. What's also striking to me is how carefully Stocksdale shaped his bowls so that the wood grain and figure had maximum impact. That's no accident. Roszkiewicz writes: "Bob Stocksdale's approach to bowl making was workmanlike and efficient. Wiith each cut, new wood emerged and he often stopped to calculate the effect of continuing on the current path or altering the design." To Turn the Perfect Wooden Bowl won't teach you woodturning technique. But the inspiration and insight it does provide are worth it all.







































Bob's life is a microcosm of the contemporary woodturning movement. In the early 1970s, he switched from making functional salad bowls to creating decorative bowls made from exotic woods. A similar trend was happening in the craft fair circuit, and indeed many woodturners were copying Bob's bowl designs. "In addition to being known for his turning excellence and his gift for finding the best wood, Bob had a wonderful work ethic and managed to balance his work and his personal life well. As Kay [Bob's wife] explained, 'Bob is very disciplined. He's there at 9 a.m. and out by 3:30 p.m. and he never works on the weekends. That's the way it has been." I met Bob in the early 1990s. He was from Indiana and while visiting family, he stopped by to say hello. It wasn't long before two very interesting chunks of wood made their way into Bob's hands. I had no doubt that he would do them proper justice. Bob could orient a bowl in a piece of wood better than anyone. He has few equals, even today. For everyone who is interested in turning a better bowl, this book is a must. Many consider Bob Stocksdale to be the father of American Woodturning, and this book is about his lifelong quest to turn the perfect bowl. Bob Stocksdale never wrote a "how to turn" book in his lifetime and was one of the few big name turners who never did. The only other contemporary turner in the same league with Stocksdale is David Ellsworth, who had never put his techniques and philosophies into book form until his recent publication. Bob Stocksdale's work was one of the first I was able to recognize by sight. His classical forms were perfectly executed and flawlessly finished, and they left no doubt as to who made the vessel. Working mostly by himself - there weren't a lot of other turners when he started - and using primarily exotic timbers, he helped lead the way to the woodworking and woodturning renaissance that was underway in the mid-1980s. I don't get a lot of time to just sit down and enjoy a book, and usually devote my Christmas holiday vacation time to doing just that. I buy different paperback and hardcover books during the year, and those that haven't been read come with me. I got this book just prior to my trip and was looking forward to reading it on the beaches of Jamaica. BOOK FORMAT The book is basically a series of interviews that the author had with Stocksdale, while following him for a few days in 1987. The book's objective was to "provide a snapshot of a few days with an American original, and to hear him describe his life and work in that comfort zone." The book was originally planned to be released in 1987; however, the sale and subsequent resale of the original publishing house doomed the book. The book sat on the author's shelf until it was pitched to its current publisher. The book starts out with a biography of Stocksdale and how began his woodworking career using a pocket knife at age six, to when and how he came to be a turner while in the Conscientious Objector (CO) camps during WW11. It follows his life from the time he was released from those CO camps at the end of the war, until 1987, when the material for this book was collected. Included in this chapter are various letters sent to Bob and different newspaper clippings that provide a bit of insight into his life. The next section is a 30+ page gallery of his work. Stocksdale made functional pieces from exotics and domestic hardwoods, and was one of the first turners I became aware of who made use of what came to be called "natural edge." The vessels are beautiful and chronicled a lifetime of work. Those photos alone are worth the price of the book. The next chapter, done in a question-and-answer format, covers Stocksdale's philosophies on his chosen medium. Included are his views on various topics, ranging from procuring wood to drying methods, fixing defects, wood selection, burls, and decorating his work. The next chapter is basically a tour through Stocksdale's shop. The different stationary tools he used are discussed and insights that led to the way his turning tools were developed are also given. He, along with Jerry Glaser, pioneered many of the tools and techniques we take for granted today. A short section on sharpening follows, before the reader is taken through Stocksdale's processes for turning both a bowl and a platter. Step-by-step photos are provided along with a description of the process from start to finish. This is followed by a section on sanding and finishing. The last section discusses the "business of woodturning" and how he developed his pricing system, packed the vessels, and how he cultivated sales to retail outlets and collectors. Also discussed is the influence that James Prestini had on Stocksdale's work. FINAL THOUGHTS I absolutely enjoyed the book. When I started woodturning, Stocksdale was one of the premier artists of the time, and a lot of turners emulated his style and forms. Though he didn't teach or write articles or books, he managed to influence an entire contingent of budding turners during the time turning was making its comeback - and I am one of those people. I'm disappointed that I was never able to include one of Stocksdale's peices in my collection. I recommend the book to anyone who is interested in the history of woodturning and wants to look into the daily life of one of the true masters of the lathe. I read a prepublication copy of the book and the price was unknown at the time. I am looking forward to its publication date, because this book with definately be added to my library. Perfect bowl forms have been Bob Stocksdale's quest and this small sized book is an understated introduction into his aims, methods and artistic achievements. Sam Maloof calls him the father of American woodturning and the author reveals that Stockdale's innate knowledge of the material are matched with simple but refined techniques. This book is 'a snapshot of a few days in the workshop'. Roszkiewicz documents in black and white images Stockdale's process as he turns a bowl and a platter. The accompanying text is in conversational question and answer type format. There are numerous colour images of Stockdale's work to enjoy. Recommended for the turner who is serious about the essence of good form. Roszkiewicz, Ron. To Turn the Perfect Wooden Bowl: The Lifelong Quest of Bob Stocksdale. Fox Chapel. 2009. c.160p. illus. ISBN 978-1-56523-388-1. pap. $24.95. ART INSTRUCTION Born on an Indiana dirt farm in 1913, Bob Stockdale was a pioneer in the art of fine wooden bowls, legendary for his exotic woods, unique shapes, and sumptuous finishes. Stockdale described his methods in a Q&A format to author Roszkiewicz before his death in 2003 at the age of 89. Valuable for those who make or love crafts. About the Author: Ron Roszkiewicz began his career in the woodworking industry 30 years ago with Woodcraft Supply. He became an integral figure in advancing woodturning in the United States by discovering and importing much of the innovative turning tools relied upon by woodturners today. He has also written The Woodturner's Companion and TheWoodturner's Art. About the Book: During the woodturning renaissance of the 1970s, one man emerged as the inspiration for scores of newwoodturners.His namewas Bob Stocksdale. Extraordinarily talented, Stocksdale began turning bowls in the 1940s andwas a master at finding the natural beauty in wood. This unique talent, combined with his gifted use of simple tools, became the trademark of his work. With pieces in the Smithsonian and the Metropolitan Museum of Art, he became an unassuming celebrity who set the standard for woodturning excellence. In 1987, author Ron Roszkiewicz had the once in-a-lifetime opportunity to spend a week in Stocksdale's homeworkshop to hear him describe his life and his work. With text transcribed directly from audiotapes and neverbefore- seen photographs, this book illustrates more than just how a turning legend shapes, sharpens and finishes- it's a snapshot of an American original. Roszkiewicz, an independent author, spent a week in 1987 with master woodturner Bob Stocksdale in order to document his life and work, and this illustrated volume was transcribed directly from the audiotapes of the original interviews. The author includes dozens of photographs to illustrate Stocksdale's methods for turning wooden bowls into unique works of art that have been shown in such places as the Smithsonian and the Metropolitan Museum of Art. Step-by-step instructions from the artist are designed to help woodworking novices and carpenters "find the natural beauty in the wood," and newspaper clippings and personal correspondence from the artist are also included. (Annotation 2009 Book News Inc. Portland, OR) I have always been a book kind of guy and on many subjects I would almost as soon read about it as do it. There are dozens of books in my home on many topics of interest, but as you can imagine, woodworking and turning are two of my favorites. I was cleaning out a few books a while back and came across an old favorite from some years ago. It was published by the National Geographic Society in 1975 as part of a series on many different topics. This one is called "The Craftsman in America" (now out of print) and as I thumbed back through it I realized that much of what I love to work on and really admire springs from this book. In the introduction, Gilbert M. Grosvenor captures what I think may be the feelings of every craftsman in the world: "Every morning when I dress for work, I smile smugly at the quiet, smooth way my chest of drawers opens and closes at a slight touch of a fingertip. The early sun's rays reflect the warm matched grain and the rich color of the wood. My pleasure goes beyond mere ownership, for I built that chest myself from teak I imported from Burma and carefully aged in my basement workshop for two years." I know exactly what he meant. I have a table I made at the back door, a lamp table in the den, a clock in the hall and another on the mantle, all of which I made with these two hands and enjoy every day. Bowls I make for sale sit in my dining room so I can see and touch them every day and sometimes I consider keeping all of them. Would you sell your children? In the National Geographic book from 1975, they featured Sam Maloof, who died only recently after a long career in woodworking. We should all be so good; that was 35 years ago and he was well known even then. Of course there were many other craftsmen in the book, among them, Bob Stocksdale, wood turner extraordinaire. In fact, in the picture of Maloof's furniture, the bowls on the table were by Bob Stocksdale, taken in trade for some Maloof furniture. What a deal on either side of that exchange! I bought a book at Highland last week about Bob Stocksdale and it is quite well done. The title is Turn the Perfect Wooden Bowl, the Lifelong Quest of Bob Stocksdale by Ron Roszkiewicz. It is a perfectly delightful little book, full of color photos of bowls plus many other photos of Stocksdale at work. Apparently he was not always a very social fellow; he just wanted to work in his shop and not be bothered by guests, students or writers. He collected wood from all around the world and when he passed away a few years ago, his shop was filled with literally tons of wood. Some of it was good and some of it was not and some of it was good firewood. That didn't bother him, because as he explained, he had two fireplaces. I like that. Another book I really enjoy is Ellsworth on Woodturning, subtitled "How a Craftsman Creates Bowls, Pots & Vessels" by David Ellsworth. This is a big glossy book by another master of the craft. Ellsworth is the inventor of the eponymous Ellsworth Signature Gouge, which is one tool I have not managed to purchase yet, but I admit I am intrigued by it after reading this book. This is more a reference book than some you see, and I intend to make this a step-by-step instruction book on hollow forms - the next step in my turning education. Besides that, how can you pass up a book with a whole chapter on proper exercises before beginning work? Ellsworth starts his turning classes with everyone stretched out flat on their backs on the floor. He also has a small trapeze in the ceiling of his shop which he uses to hang by his hands several times a day to keep loose and flexible when he is working at the lathe. And I don't think I have ever seen instruction on how to plant your feet versus your elbows and hands while holding the tool at the lathe. Who would've thought? I think the main thing I get out of books like these is "possibility." Somehow I can fool myself into thinking that if those guys can do it, then I can do it. Seeing it broken down into steps and watching someone do it just opens up all those possibilities to me, and I am empowered to start. Once started, I find that I can usually get better and then off I go. I promise not to buy a book on brain surgery. This book is based on the story of Bob Stocksdale who emerged as the inspirational figure for many new woodturners during the woodturning renaissance of the 1970s. Stocksdale became known for his wooden bowls and was a master at finding the natural beauty in wood. The book, written by Ron Roszkiewicz was written following a one week stay in Stocksdale's home workshop. It describes his life and works, and also features never-before-seen photographs and interviews. Another great feature of To Turn the Perfect Wooden Bowl is the step-by-step instructions supplied by Bob Stocksdale and his excellent advice on how best to turn a bowl and platter, as well as sharpening tools, sanding and finishing tips. This is a very unusual book and is perfect if you are looking to learn more about Bob Stocksdale himself. When I picked this book for the book review this month I wasn't sure what I was going find. I don't do much on a lathe (pens and mice, actually) and I have never attempted to make a bowl. I wasn't 100% sure that this was going to be a great book for me. What a pleasant surprise I received! Right from the start the author had my interest - and I mean from the start! The foreword, the behind the book story, was just as fascinating as the book itself. Once I started reading I simply didn't want to put it down. To Turn the Perfect Wooden Bowl is basically an interview with Bob Stocksdale, one of the bowl-turning gurus of all times. Within the pages of the book, we get to know Bob almost on a personal level. We are painted the picture of his childhood, his relationship with wood, and, for those bowl-turners out there, his tips and tricks to turn that perfect bowl. In one of the quotes, Mr. Stocksdale says that he tries to bring out the inner beauty of the wood. Perhaps this is what makes him an exceptional artist. Throughout the pages of the book, we see one example after another where he seems to be connected with the wood, knowing what lies within the outer layers. As I read the book I was reminded of Michelangelo saying that, with his statue of David, he just chipped away anything that wasn't David! That special connection that an artist has with the material he is working with takes a beautiful piece of work and makes it exceptional. Here at LumberJocks.com our members share their personal journeys of attaining this level of connection with wood. Some of us may never reach that pinnacle but will definitely enjoy the journey, especially when we are inspired by such work as that of Bob Stocksdale and books such as To Turn the Perfect Wooden Bowl. My Ratings of The Book Layout and Appearance: Wonderful balance of photographs, interview questions, and quotes from letters and news clippings. Thumbs Up! Instructions: Lots of tidbits of information tucked away in the interview. Thumbs Up! Inspiration: "in leaps and bounds". Thumbs Up! Overall: Thumbs Up! This book shares the life and work of Bob Stocksdale, an artist who led a quiet revolution in the field of contemporary craft. The impact the artist has had on tile field of contemporary woodturning is undeniable and this small volume will undoubtedly make his approach accessible to future generations of woodtuners. The home and srudio Stocksdale shared with his wife, fibre artist Kay Sekimachi, was a testament to both his work ethic and embrace of a modest lifestyle. Every morning, following breakfast, the two would "go to work" - she to her light-filled loft and he to his basement workshop, with catacomblike areas stacked with chunks of trees, rough turned bowls and planks of wood on which to display his completed works. The small format of To Tum the Perfect Wooden Bowl, which measures 8" square, perfectly reflects Bob Stocksdale's humble approach. Radler than striving to promote the artist with flashy reproductions, presented in a weighty coffee-table book, it remains faithful to who Stocksdale was as a man and an artist. His approach was straightforward and consistent - creating simple bowl forms which best displayed the natural beauty of a particular piece or variety of timber. Purposely limited to simple bowl and platter forms, his works showcased subtle differences - a slight variation in the bowl's foot or in tlle curve of a bowl's profile, combined with a wide range of both domestic and exotic woods, led to an impressively varied body of work. The majority of the artist's works were modest in scale but had a quiet beauty, much like the book. Stocksdale was a connoisseur on the subject of wood and his bowls always featured, along with his signature and date, the variety of timber and where the tree grew. When collectors visited his studio, they would be told the stories of the pieces of raw material stacked behind and in his workshop. He would share the characteristics of a particular timber, where it had grown and often the history of how it came to grow in that area. Most importantly, Stocksdale knew what was within a seemingly unimpressive slab of wood and how to bring it out. In some respects, the book seems to have come from another time, from the use of the almost archaic term "wooden" in the title, to the black-and-white process photos. There are two reasons for this. The first is that the interview and photographs date back to 1987, when the idea for the book was greenlighted by Scribner's, only to have that firm bought by Macmillan, a company that in turn experienced a hostile business takeover and restructuring which left the book project in limbo. Perhaps more importantly, by 1987, Stocksdale was already an "old school" craftsman, and the field of woodturning was expanding rapidly into mixed media and sculptural approaches. Yet, the artist's approach is timeless and a number of practitioners have chosen to follow a similar path today, showing promise of a neo-traditionalist movement in woodturning which Stocksdale would have surely appreciated. To Tum the Perfect Wooden Bowl is a book that will be of value to collectors and curators, as it shares the artist's story through biographical details, copies of letters and memorabilia. Yet, the book is largely designed for the growing market of amateur woodturners who can learn from Stockdale's techniques for turning bowls and sharpening tools, as well as his marketing savvy. It also provides a continuum in the field of contemporary craft, celebrating those who came before. The Foreword by Sam Maloof, who is considered the dean of woodworking in the US and was Stocksdale's best friend, is touching. The fact that Maloof died earlier this year underlies the sense that this is a book from another time - one generation reaching out to the future and sharing its passion and vision. TO TURN THE PERFECT WOODEN BOWL: THE LIFELONG QUEST OF BOB STOCKSDALE, by Ron Roszkiewicz, is a unique look at the life of the late Bob Stocksdale, a pioneer in the wood art movement. Using never-before-seen photographs and interviews transcribed from audiotape, the author gives us a glimpse into the life and work of a man many consider the father of woodturning and the person who helped elevate woodturning to an art form. Using an interview-style question-and-answer format, Stocksdale explains how he stored and selected wood, shares techniques, and much more. For the carvers among you that like to dabble with turning, then take a look at this book, based on the story of Bob Stocksdale who emerged as the inspirational figure for many new woodturners during the 1970s. Stocksdale became known for his wooden bowls,and was a master at finding the natural beauty in wood. The pages reveal an in-depth look at the life and works of this great artist, with neverbefore-seen photographs and interviews; plus step-by-step instruction and excellent advice on how best to turn a bowl and platter, as well as how to sharpen tools, sanding and finishing tips. This is a very unusual publication and is perfect if you are looking to learn more about the Father of American woodturning. Show Less