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A collection of extraordinary objects from Kirk Albert Vintage Furnishings. A limited number of full-color hardback books are also available (6" x 9", 158 pages). They're each $48 (plus $6 shipping in the continental U.S.). To check on availability, call Kirk Albert Vintage Furnishings at 206.762.3899 or email [email protected]".
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PERFECT IMPERFECTIONS
A COLLECTION OF EXTRAORDINARY OBJECTS
FROM KIRK ALBERT VINTAGE FURNISHINGS01
PERFECT IMPERFECTIONS
The Relentless Pursuit of ImperfectionBy Kirk Albert (From Arcade Magazine 09.2010)
4
Long before opening Kirk Albert Vintage
Furnishings, my showroom in Georgetown,
I was drawn to what I describe as perfect
imperfections — artifacts that are
distinctive precisely because of their unique
flaws. I believe there is an extraordinary
quality to objects that have been handcrafted,
or aged over decades, that simply cannot be
replicated. I’ve never seen a faux finish that
can compete with Mother Nature—there is
simply no substitute for time and exposure to
the elements.
While I could never be accused of having
a highly organized approach to my work,
everything selected for the showroom goes
through three specific stages.
1. DISCOVER
During the first stage, my role is closer to that
of an archaeologist or curator than designer.
Finding those pieces that aren’t just imper-
fect, but perfectly imperfect is like searching
for the proverbial needle in a haystack (or
vintage over-sized calipers in a haystack, as
the case may be). Some objects are found
within driving distance of the showroom, but I
discover most pieces during my cross-country
buying expeditions.
I’m guided mainly by my intuition at this
stage, but there are several questions that I
find myself asking over and over:
Did this make me smile? It may sound silly or
trite but when the corners of my mouth start
to creep upwards uncontrollably, I’ll take a
closer look.
Will setting a drink on this surface add or
detract from its beauty or singularity? Will
the piece be made more or less compelling?
If the answer is less, then it’s not right for the
showroom.
Does it have a story to tell? Vintage artifacts
frequently have led rich and varied lives be-
fore we meet them. A century-old telephone
pole may not be beautiful in the traditional
sense, but if you think about its history: the
effort taken to create it, what it took to main-
tain and how it connected people over its
lifespan, it’s incredibly powerful. Putting that
telephone pole into a new context changes
its meaning once again. What was originally
created to be purely functional may now be
valued entirely for its decorative qualities.
5
2. DESIGN
During the second stage, I play the roles of
both art restorer and product designer.
A central theme running through all my work
is authenticity of materials. My goal is always
to capture or enhance what’s happened to a
surface before I selected it—never to age
or renew it. If I must alter an original finish
for functional reasons, whether removing
layers of loose dirt or applying a finish to
lock in the unique patina, the goal is always
to enhance the intrinsic flawed beauty of
the object. Flaws are celebrated rather than
masked—they are the signatures of a
one-of-a kind piece.
I then determine what function these items
will ultimately serve. Should that stack of
vintage gears be hung on a wall, displayed
on a table, or combined with a mercury glass
shade to form a one-of-a-kind light fixture?
I consider lighting to be the most important
design variable in a space, so if there’s an
opportunity to transform a found object into
something that’s artistic, functional and
luminescent, I usually jump at the chance.
There is also a practical element to this stage.
I want everything I offer to be take-home
ready. If it’s lighting, we rewire everything to
be UL certified. If it’s a stand-alone sculptural
piece (like the 7’ tall grinding wheel that’s
now in a construction executive’s board
room), we’ll create a custom display stand
for it. I’ll do whatever it takes in order for
something to be enjoyed immediately.
3. DISPLAY
Finally, I act as both merchandiser and
interior designer. For me, eclecticism rules,
and I’ve always said “The magic is in the mix.”
It’s why I compulsively redesign the entire
gallery every few days. There’s an ongoing
dialogue between varied objects, and I’m
always seeking to form unexpected connec-
tions and contradictions that surprise,
delight, or perhaps provoke.
The story doesn’t end here, however. Once
these pieces are purchased, they move on
to a new chapter in life. Whether they are
installed in a retail environment, made useful
in a new restaurant, an office or a residence,
I’m always thrilled when someone shares my
appreciation for perfect imperfections.
4. DOCUMENT
Since the article on the previous pages was
written, I’ve added a new, fourth step to
my process.
This book represents the start of an effort to
capture and catalog the many objects that
pass through my showroom every year.
Truthfully, a lot of this work is done for my
own benefit. I select these items because they
speak to me—but they’re only temporarily in
my possession before they move on. I like to
be able to revisit them from time to time.
It’s also an attempt to celebrate and share
these unique items and the concept of per-
fect imperfections with a broader audience.
A limited number of people will make it to
my showroom, and even fewer will ever own
one of these pieces, but their images can be
enjoyed by everyone.
So on that note, let’s get started.
A New Step
Carnival sign that directed people
to the midway. 1950s, Texas. 7
Right George Washington on
velvet. Early 20th Century,
Washington.
Following Pages
Handcrafted carnival sign
(detail). 1950s, Ohio.8
This Page: Three foot
diameter clock from the San
Francisco Bay Bridge.
Early 20th Century, California.
Left: Clock detail.
Following Pages Gas line meter
(detail). 19th Century, Texas. 13
Previous Pages Solitary
confinement cell door
(detail). 1930s, Louisiana.
Left Female Mannequin Bust.
1940s, USA.
Following Pages
Georgetown showroom
featuring Triple-Cage,
Pendant lights constructed
from early 20th Century
components. 19
24
Previous Pages Metal
fabrication shop sign. 1960s,
Washington.
Above Georgetown
showroom featuring custom
steel dining table using
vintage ship hull plate.
Right Architectural element.
Early 20th Century, Oregon.
Following Pages Trailer park
sign. Early 20th Century,
Washington.
Previous Pages Vintage Auto
Sign. 1940-50, Midwest USA
Left Melted Stromberg-
Carlson phone (artist unknown).
1940s, USA.
This Page Blasting Machine.
1920s, Oregon. 31
32
Right Georgetown showroom
featuring collection of lab
beakers. Early 20th Century,
Washington.
Following Pages George-
town showroom featuring
Mid-20th Century sign.
Previous Pages Custom
designed articulated
lighting. Oddfellows Cafe +
Bar. Seattle, Washington.
Right Haberdashery
trade sign. 1920s, Bogota,
Colombia.
Following Pages Paramount
Theatre sign (detail of “R”).
1920s, Washington.38
44
Previous Pages Painting of
Mt. Baker. 1860s (detail),
Canada.
45
Above Forest Fire Painting
(artist unknown). Late 19th
Century, Oregon.
46
Above Showroom
featuring cut nail sculpture.
19th Century, USA.
Right: Re purposed
hardware store display
(detail). 1920s, Washington.
Following Pages Steel
spheres spun from
Boeing machine shop
patterns. Early 20th
Century, Washington.
Georgetown Showroom Featuring
Previous Pages Warning Sign.
1930s, Texas.
Left Neon Sign. 1940s,
Washington.
Following Pages Georgetown
showroom. 53
58
59
Previous Pages Custom-
designed floor lamp (detail)
integrating vintage closet
rod. Early 1920s, Washington.
Above: Incandescent arrow.
1940s, USA.
Following Pages
Handpainted schoolhouse
fire extinguisher sign (detail).
1950s, Washington.
In-store display. 1950s, USA.62
64
65
No trespassing signs.
1960s, New Mexico.
Right: Pair of nine foot tall
intercontinental ballistic missile
tips. 1940s, New Mexico.
Following Pages Vintage medical
light (detail). 1920s, New Orleans.
66
67
Previous Pages Georgetown
showroom featuring
custom lighting created from
industrial casting patterns.
Left Bronze bodybuilder
trophy. 1920s, Georgia.
Above In-store display
(rotating) for hernia support
truss. 1930s, Texas. 73
74
Georgetown showroom
featuring Mitchell Lonas
incised aluminum panel with
oil finishes.
76
Right 10k gold church
pendant (detail). 1920s, USA.
Following Pages
Boy Scout storage box lid.
1930s, Oregon.
Previous Page Custom designed
articulated lighting. Oddfellows
Cafe + Bar. Seattle, Washington.
This Page Sputnik-Style
Pendant. 1950s-60s, Texas.
Left Wooden cherub with
articulated arms and white glass
eyes. Early 19th Century, Italy. 83
Previous Pages Fort Lewis
industrial globe pendants.
1930-40s Washington.
Left Hand-incised cardinal
next in aluminum and steel
with oil polishes by Mitchell
Lonas. North Carolina.
This Page Sparrow’s nest.
2000, Tennessee. 87
88
Georgetown showroom with
scale model (rotating) of
lunar satellite. 1950s, Idaho.
90
Pump organ pedals. Early
20th Century, Washington.
91
93
Left Custom rise and fall
lights featuring vintage
Mercury housings. 1930s,
Washington.
Following Pages
Georgetown showroom
featuring red industrial
factory pattern. Early 20th
Century, Texas.
Gold Retail store jewelry
display tree. 1940s,
Washington.
Column from pavilion at
Lewis & Clark Exposition
(1st West Coast world’s fair).
1905, Oregon.
Following Pages Georgetown
showroom.
This Page Woolly Mammoth
jawbone with intact molars.
Found in Alaska. Estimated
to be 12,000 years old.
Right Woolly Mammoth
jawbone (detail).98
101
Left Georgetown showroom
Above Nightclub sign. 1940s,
Louisiana.
Following Pages
Handcrafted carnival sign
(detail). 1950s, Ohio.
Previous Pages “Select-
A-Spring” hardware store
display (detail). 1950s, USA.
Left Georgetown showroom
featuring handmade pedal
car. 1920s, France.
This Page Automotive
diagnostic system. 1940s,
Seattle. 107
108
Right & Following Pages
Handmade theatre
production angel wings.
1940s, Michigan.
113
Doll factory painting plates.
Early 20th Century,
New York.
114
Right Himalayan tribal mask.
17th Century, India.
Following Pages
Georgetown showroom.
118
Above & Right Trade Sign.
1930s, San Francisco.
121
Left Custom chandelier
featuring 19th Century rosary
beads. By Shannon Coszyk,
Washington.
Above Chalk ware Madonna
(detail). 1920s, Washington.
Following Pages
Headless Man Sculpture.
Late 20th Century, USA
(artist unknown).
125
Foosball table (detail). Early
20th Century, Holland.
126
Articulated light fixture
fabricated from 1920s
telephone extension
arm with copper and
mercury housing.
127
129
Left Ceramic table lamp.
Late 20th Century, North
Carolina.
Following Pages
Hotel sign. Mid-20th Century,
Washington.
133
Raven screen-printed on
canvas (artist unknown).
1960s, England.
This Page Military locker
salvaged from the USS Long
Island, an aircraft carrier used
in WWII. 1940s, USA.
Right Georgetown show-
room featuring photo of
Kasper Nordsby and his stunt
plane. 1929, Washington.134
Left Giant store display
micrometer (fully-function-
ing). 1900, USA.
Above 1900 Queen Anne
sofa reupholstered in 1960s
carnival tent fabric. 137
138
Right Pop art, hand painted
on flour sack (detail). Late
20th Century.
Following Pages Fire hose
box (detail). 1940s, Missouri.
Neon Sign (detail).
1940s, Washington. 143
Left Burl maple bust by Louise
Tucker. 1983, USA.
This Page Carnival sign. 1950s,
San Francisco. 145
Cast aluminum factory
pattern for painted tin
fighter plane toys (detail).
1950-60s, USA. 147
This Page Georgetown
showroom featuring
watchmaker trade sign.
19th Century, France.
Right Casting Pattern for an
Industrial Six-Spoke Wheel.
Mid-20 Century, USA148
Steel car for carnival monkey.
1930s, Washington.150
Flexible stop sign from
Sure-Stop Traffic Sign Co.
1928, USA.152
Kirk Albert is the founder and proprietor of Kirk Albert
Vintage Furnishings (formerly Great Stuff), one of
the nation’s premier sources for found objects, vintage
furniture and lighting, art and accessories. Albert’s
revolving collection of “perfect imperfections” has
been widely recognized and his showroom in
Seattle’s industrial Georgetown neighborhood is now a
destination for many of the nations’ leading retail buyers
who are searching for distinctive, one-of-a-kind objects.
Additional information is available at kirkalbert.com
About the Author
155
DESIGN
MODULOR
Jeff Culver
Email: [email protected]
Web: modulorllc.com
PHOTOGRAPHY
ANITA JOY HOLLAND
Cover
BECKI FRESTEDT
Pages: 28, 29
BUILD LLC
Email: [email protected]
Web: buildllc.com
Pages 22, 23, 37, 38, 39
HANNAH MARIE PHOTOGRAPHY
Hannah Marie Schmale
Email: [email protected]
Web: hannahmariephoto.com
Pages 9, 14, 15, 32, 43, 48, 68, 92, 100, 104, 106, 111, 120, 121, 124
All other photos by Jeff Culver and Kirk Albert
Credits
156
KirkAlbert.Com / KirkAlbert.1stdibs.Com
5517 Airport Way S. Seattle, Wa 98101
