When President John Quincy Adams had a billiard room set up in the White House in the 1820s he had two things in mind: his own "exercise and amusement" and "the diversion of his family and their guests." He purchased a used table from a local shop, had it restored, and stocked up on accessories. All for about $100.
While the price of setting up a home billiard room has increased dramatically since those days, the elements involved have remained virtually unchanged. Recently, billiards has enjoyed a renaissance, and the home billiard room, in turn, has experienced a rebirth. In part, it is because as homes get larger people have extra space to play with, and in part because entertainment is becoming increasingly home-oriented, what with home theaters and gyms. But it is also a matter of style, of wanting to turn what might otherwise be an ordinary space into a special room. "There's a definite shift back to traditional design in homes, and billiards fits perfectly with the current trends of cigars, fine wines, and brandy," says designer Lynne Prager.
From the design standpoint, what makes the billiard room a challenge is not, as one might suspect, matching the room's style to that of the table, as tables are now made in just about every material imaginable, from mahogany to brass. In fact, as far as the designers we spoke with see it, the billiard room has no style restraints; they have employed everything from wainscotting and stained glass to wooden wall paneling and pressed tin. Instead, the greatest challenge is creating the right space around the table.
Choosing The Right Room
"You have to start with a vision," says Chicago entrepreneur Art Frigo, a serious billiards player and the president of M.B. Walton, a company that produces consumer cleaning products. Frigo converted the 20 by 40-foot front room of his 12,000-square-foot pink granite home into a billiard room, incorporating a 1927 Brunswick mahogany billiard table to match the mahogany and cherry woodwork trim. "The table allowed me to divide the room into three areas," he says, "a chatting area near the front, the pool table, and an entertainment area [with big-screen television and surround-sound system] facing the fireplace. I didn't want a formal living room that people just sat in. It's actually more comfortable because of the pool table—it isn't tucked away in another room, like a basement or upstairs room. Groups can be sitting in the entertainment area while others are playing pool, and we can still interact."
Here are the three key things you should consider when setting up a billiard room.
• Is the room large enough? Experts universally agree that most homeowners underestimate the amount of space required. "People constantly want to add pieces where they simply don't fit," says Gary Kealey of Designs For Leisure, a manufacturer of custom tables and other furniture in Mount Kisco, New York. "Pool tables fill up a lot of space in a hurry." As a rule, pool tables are twice as long as they are wide, and come in lengths of seven, eight, and nine feet, the nine-foot table (four and a half feet wide) considered "professional," or "regulation," size. It has an actual playing area (from the edge of one cushion across the table to the edge of the opposite one) of 50 by 100 inches, and outer dimensions (measured from the outside edge of the table's top rail) of approximately 60 by 110 inches.
The key to determining the space required is to allow proper clearance for the cue during play. Since most cues are 58 inches long, that means a minimum of five feet of playing space from each rail. For example, a nine-foot table would require an area of approximately 14.5 by 19 feet, or 275.5 square feet. If space is limited, there are ways to get around it. "We're doing one room now in Greenwich, Connecticut, where we're compressing the space around the table, trying to get all the surrounding objects low enough so that they aren't going to obstruct the cue," says interior designer Ronald Bricke. His solutions have included designing a sofa with a lower-than-average back and loose pillows that can be taken off if a shot requires it.
Unlike other pieces of furniture, a billiard table cannot be repositioned. Tables come unassembled for convenience, and it takes a few experienced men several hours to assemble them. "Once a table is put together, you absolutely cannot move it without throwing off its delicate level and harming its performance," says interior designer Lyn Hutchings of Hutchings-Lyle.
• Is the floor strong enough? The weight of a pool table depends on its size and vintage. While most tables manufactured today weigh approximately 1,000 to 1,500 pounds, tables from the late 19th and early 20th centuries weigh from 2,000 to more than 3,000 pounds. That means that unless your upper floors have extra-strong support (which may not be the case in older houses), the table may have to be placed in the basement. "If you're doing it on the second or third floor, make sure you're not going to make the place sag. You have to be careful," says designer Marshall Watson. "Also, make sure the floor is level." But, with modern houses, says Bricke, it's not usually a problem. "It's like a piano: You can put it just about anyplace because it's a lot of weight spread over a large area. Most buildings can cover it."
• Are humidity levels adequate and temperature consistent? Just as humidity affects art and antiques, so does it affect pool tables. "You have to treat a billiard table the same way you treat other pieces of fine furniture," says Mark Stellinga, owner of Flyin' Lion and an expert in antique table restoration. "It's probably worse to have the room too dry than too humid. The dryness could affect the wood or laminates over time." Joe Newell, another expert restorer, agrees: "If a room is too dry, the wood will contract a little, which means the rails will get loose. That's why I suggest people have the table checked for level and rail tightness after about a year. By then, the table has adjusted to the conditions." In particular, he cautions against putting the table in a room with a fireplace. "Fireplaces tend to dry out the room.If you have to put the table in the same room, don't position it right next to the fireplace, or too close to a heat register."
Too much humidity, on the other hand, is not good either. "In terms of playability," says former nine-ball world champion Ewa Laurance, "humidity makes the cushions a little livelier; however, the moisture tends to make the cloth a little slower." Ideally, the room should have a consistent humidity level at around 60 percent. And to make sure that cues don't warp and tables don't crack, room temperature should remain consistently at 68 to 75 degrees. Virtually all cue-makers, for this reason, warn against mounting a cue rack on an outside wall, since dramatic temperature shifts caused by cold air seeping in can damage the wood. Instead, many suggest you store two-piece cues vertically in cue cases, horizontally in a drawer (making sure the stick is uniformly supported), or hanging with special joint protectors (see On Cue).
"I have worked with one particular client over an eleven-year period whose interiors have changed from contemporary to very traditional," says Lynne Prager. "I've placed three different pool tables—contemporary, Biedermeier, and antique Victorian—in this client's home. It's possible to fit billiard tables into any environment."
When it comes to choosing a table, you have three choices: antique, new "off the rack," or custom-made. New tables come in a wide selection of styles and materials, from mahogany and exotic woods to brass and even marble. Prager once designed a billiard room in a Tuxedo Park, New York, home patterned after a Loire Valley château. "There was a beautiful sun room, all glass, with slate floors and an 18th-century limestone fireplace," says Prager. "In that room I installed a very contemporary, stainless-steel pool table. It looked fabulous."
The ladder of quality here is much as you'd expect: new "off the rack" tables on the lowest rung, with custom-made and antique tables being successive steps up. The virtues of a new table are price (good ones start at $6,000-$12,000, and you can buy a terrific one for $20,000), availability, and often the convenience of a built-in automatic ball-return system.
A custom-made table allows you great latitude in design—you can have one made that looks antique, for instance—and gives you a high level of craftsmanship. When planning your custom-made table, states Ron Blatt of Blatt Billiards in New York (see Table Land), "looking at antique models can serve as a process of elimination—then we can narrow the choices down by color, style, and material."
Quality antique tables, which cost $25,000-$70,000 and in some cases even exceed $200,000, are the zenith of billiard craftsmanship. They can include cabinetry with marquetried panels depicting floral motifs and delicately spoon-carved legs, and normally employ a variety of woods: mahogany, ebony, California laurel, burl ash, bird's-eye maple, tulipwood, French walnut, rosewood—even Italian olive and Circassian walnut, a rare wood from Russia.
According to Newell, whose client list includes Arnold Schwarzenegger, better-made antique tables play better than most contemporary models. "Some of it is in the weight, most in the construction," he says. "The cabinet and legs of the tables in the old days were tongued-and-grooved, and were perfectly fitted together with dowels. You can't do that today. After a table is completely restored we put it back together and play a few games. You can hear the difference when you roll the ball the length of the table. That's solid construction." But antique tables are not necessarily a solid investment. A Brunswick Monarch from 1874 that originally cost $325 is now worth approximately $40,000, an average growth of only four percent per year. (Brunswick, started in 1845, was the first table manufacturer in the United States.)
Blatt, like most other experts cited here, restores antique tables by taking them down piece-by-piece over a period of four months to one year. Each piece is hand-stripped, sanded, and rubbed with five or more coats of finish until the table reaches its original state, inside and out. "There's so much more depth in hand-rubbed, one-hundred-year-old wood," states Newell. "The grain and coloring are just so rich."
Regardless of whether the table is old or new, there are four common features to look for:
• Slate On quality tables the "bed," or playing surface beneath the cloth, is made of three pieces of slate bolted to the table's cabinet. For more than 150 years table-makers have chosen slate because it is heavy, easy to machine, and very hard—all qualities that ensure it will not warp over time. Most top-quality modern tables use one-inch-thick slate—the minimum required according to experts—but many antiques feature two- or even three-inch slate. "Weight is important," says Ewa Laurance. "A table has to be stable enough to take a pounding if it gets played a lot. And heavier tables just seem to sit better and look better." In fact, the thicker the slate, the more stable the table. "A table with thicker slate stays level longer and plays quieter," says Nick Varner, five-time world pocket billiards champion.
• Cushions "The whole game is based on the way object balls and cue balls rebound off the cushions," says Laurance, referring to the rubber, cloth-covered inner border of the table. "That's why the cushions are the most important part of the billiard table." They should be properly shaped and fastened, the beveled edge set slightly higher than the center of the ball. "Cushions set too low allow the balls to jump a bit," explains Varner, "and that means you don't have control." If the cushions are too low the ball will leave the surface after contact; if they're too high it won't rebound properly.
• Rails The frame of the playing surface, the rails anchor the cushions. Blatt Billiards in New York City is the only company still making tables that feature "T-rail" construction: rails fitted by a T-rail bolt that runs parallel to the bed, through the rail, and directly into the side of the slate. It was the standard for tables built prior to 1935. According to restorers like Newell and Blatt, T-rail construction can be done only by hand and makes for a stronger table. "When a bolt is threaded through the side of the rail construction and into the slate," says Blatt, "it becomes one piece, part and parcel. The ball rebounds off the cushion better because the torque on the rail is in toward the surface of the table, not downward." Other companies employ a different system, top-rail construction, in which the rail sits on top of a slightly oversized piece of slate with a bolt screwed down from above. "It's just not as strong," says Blatt.
The most important thing about the rails is that they fit tightly to the slate. And while many tables come with five-inch-wide rails, according to Laurance six-and-a-half-inch-wide rails are better. "They allow more room for your bridge [front] hand when you are shooting off the rail," she says. "Plus, I think wider top rails look richer."
• Cloth The playing surface is not made of felt, as many think, but rather a mixture of wool and synthetic fibers, better cloths containing at least 70 percent wool. Many table-makers use woolens made from short fibers combed from wool, but these are known to pill and shed over time, affecting the roll of the balls. Instead, the finest tables are outfitted with a worsted wool cloth, whose long, tight threads are twisted together to create a perfectly flat, tough material that never pills. Only three companies make worsted billiard cloths: Simonis and Granito, both in Belgium; and Milliken, in the United Kingdom. Cloth comes in a variety of shades, though most people prefer traditional green. The cloth, according to experts, should be replaced every two years (cost: $200), and in the interim they suggest rolling, not dropping, the balls on the table to preserve the nap. Incidentally, you can also use table cloth for wall covering. "In a more contemporary room, I often use the same billiard cloth on the walls as on the table," says Lynne Prager. "The monochromatic effect is very dramatic and highlights the importance of the playing surface." To maintain the cloth, brush it frequently using a standard horsehair billiard table brush, and vacuum occasionally with a handheld model lacking agitating bristles.
The Final Elements
Finishing off the room is a matter of getting the right accessories, from cue sticks and balls to cue racks and chalk. However, as far as designers are concerned, the most important element is lighting. It is critical to the game, and it determines the atmosphere—cozy or publike, elegant or athletic.
"It is essential to have an evenly illuminated playing surface for the billiard table, best accomplished with a suspended downlight fixture," says Prager. "The other areas of the room should reflect a low level of lighting to provide a relaxing atmosphere."
The billiard lamp traditionally includes three or four shades and hangs above the center of the table, so the playing surface is evenly illuminated. On average, antique billiard lamps can start around $2,000 and new ones at $900. And while some people opt for entirely different lighting fixtures—Frigo, for example, settled for a brass chandelier in his home because "the room required two matching lights and a billiard light over the entertainment area just wasn't going to work"—designers seem to agree that the traditional approach works best, even when it comes to color.
"I've learned the hard way by installing fixtures incorrectly," Watson admits. "You always see fixtures above the tables with green in them. Of course, being a designer, I said, 'Well, why do you have to do that?' So I installed a fixture that had clear glass. Then I started playing pool and was virtually blinded by it." Watson tried many different colors (amber, red, frosted, white), but none seemed to work. Eventually he resigned himself: "I don't mean to be uncreative, but dark green seems to give this wonderful, cool light on the table. You really want the surface to glow, and don't want to see the light bulbs above you."
In particular, Watson likes the lamps from Howard Kaplan Antiques in Manhattan. "It has some of the most spectacular pool fixtures you've ever seen. Ones that can pull down and up so you can adjust the lighting, ones with huge, long fringes seven inches long. The great thing about the fringes is they can diffuse the light, and you can bump into them with your head and it doesn't hurt." He and others also cite lamps from Blatt Billiards and Ann-Morris, another New York City antiques dealer. "Morris has one with green, box-pleated, flared shades that suspend from a brass fixture," says Watson. "It's wonderful."
The general rule is that the bottom of the lamp shade should be 36 inches above the playing surface. For a nine-foot table, a fixture with four 100-watt bulbs along a 65- to 72-inch span produces even illumination over the entire table. "We suggest G-40 bulbs that are five inches in diameter," says Mike Chavez of C.W. Choice lighting company, which manufacturers a variety of brass and chrome billiard fixtures. "The larger bulbs run cool. They can be on for ten hours and they're still cool to the touch. And never use halogen. It's far too hot in any encased setting." When ceiling height (less than eight feet) doesn't allow for hanging fixtures, recessed lighting can be used. While not the optimum choice, four recessed lighting fixtures approximately one foot in from each corner pocket will fully cover the playing surface with minimal shadows.
As for natural light, the jury's still out. According to some pros, direct sunlight can damage the billiard table by discoloring the cloth or drying out the wood. They recommend putting ultraviolet glass in windows to diffuse it.
However, the designers we spoke to—as might be expected—love it. "The first billiard room we designed, in Alpine, New Jersey, was across a stream, in the middle of the woods," says Bricke. "It had glass walls on all four sides, so you could watch the stream go by underneath." By day the table was illuminated by natural light; by night, recessed lighting in the ceiling. "It was a very contemporary space."
Unless you have an expert eye for billiard collectibles, you would never guess that the 1865 Brunswick table in the window of Blatt Billiards in Manhattan retails for $135,000. "The price of a billiard table depends on how rare it is and how much work or restoration is involved," says owner Ron Blatt, whose clientele has included Bill Gates, Michael Douglas, and Sting. Ron's grandfather, Sam, emigrated from Russia in 1913 and started off repairing cue sticks and turning ivory balls. Today Blatt Billiards is the only remaining billiard table manufacturing company in New York. According to many in the billiard world, it is the best in the nation. "Blatt's phenomenal," says designer Marshall Watson. "It's old-world, but old-world coming into new."
Next-door to the showroom is Blatt's six-story custom workshop, crammed with hundreds of tables and billiard chairs. Here 40 master craftsmen from countries as diverse as Russia, Cuba, and South Africa construct wooden cue racks, sew leather table pockets, and repair table rails, which are then wrapped in patchwork quilts for protection.
On the third floor 15 men restore antique billiard tables and create new ones. They each work on a single table for an average of five weeks at a time, chiseling out intricate floral motifs and applying highly decorative inlays while making sure that, as director of marketing Barry Dubow says, "it plays like a precision instrument." (The slate beds, he notes, are kept in the basement because the floor could never hold the immense weight.)
"Sometimes we make original carvings, other times replicas," says artisan Simon Kaplan, a Moscow native who attended one of Russia's best crafts colleges. "Mostly we carve by hand. Blatt is one of the only places in the United States where this is still done."
Blatt Billiards tables range from about $10,000 to over $225,000. Shown are three tables the company sells. (If you want a classic 1890s Brunswick Jewel, Blatt has that, too, for a mere $45,000.) —Travis Neighbor
On The Ball
In the 1800s billiard balls were commonly made of ivory. However, the material has numerous drawbacks. It has always been extremely expensive, and is now legally impossible to obtain as a result of conservation measures designed to protect ivory-bearing animals. Moreover, it is difficult to shape into a sphere and is easily affected by temperature changes. Today top pros choose Super Aramith Pro balls ($200 per set), which are made of phenolic resins, a durable, dense plastic, and are produced solely by the Saluc S.A. Company in Belgium. There are less expensive balls on the market, made of a polyester that mimics phenolic resins, but they lose their roundness easily, even with moderate play. Other top choices in balls: Premier ($125-$150 per set) and Centennial ($200 per set).
To illuminate the table evenly, a billiard lamp should be 36 inches above the playing surface. An antique replica ($8,950) from Howard Kaplan Antiques, with silk shades and a brass base, has been cited by designers as one of the best. Its seven-inch fringes, says Marshall Watson, diffuse light well, and you can bump into them with your head without getting hurt.
BALANCE POINT The point on a cue stick where its weight is evenly distributed, 16 to 20 inches from the butt.
BILLIARDS Any cue game played on a billiard table.
BUTT Larger end of a cue.
CAROM BILLIARDS Played on a pocketless table; points scored by making the cue ball contact two or more object balls.
DROP POCKETS Those on a pocket billiard table without an automatic ball return.
FERRULE Protective sleeve at the top of the cue, upon which the tip is mounted.
FOOT The end of the pocket billiard table where balls are racked.
GRIP Placement of the back hand on the butt end of the cue.
GULLEY TABLE One with channels beneath the rails that automatically return pocketed balls to a box at the foot end.
JAW Angled portion of the cushion, at the mouth of a pocket.
OBJECT BALL Any ball other than the cue ball.
POCKET BILLIARDS Called pool in the United States. Played on a table with six pockets, 16 object balls, and one cue ball.
RAILS Top outside ledges of a pocket billiard table, from which the cushions extend.
SHAFT Tapered end of a cue stick, to which the tip is affixed.
TRIANGLE Rack used for arranging object balls at start of game.
Custom, or "exotic," cues from top cue-makers feature intricate designs and unusual materials, such as cocobolo, abalone, zebrawood, and malachite. Prices range from $400 to more than $75,000. Alaskan cue-maker Thomas Wayne retails his for $1,200 to $23,000 on average, but recently sold The Celtic Prince—which took nearly a year to complete and had over 1,500 inlays of antique elephant and mastodon ivory, Gabon ebony, and gold—for $103,000.
"The cost isn't really attributable to the rarity of the materials," says Wayne. "The expense is in the time invested. People are paying for attention to detail."
However, as the photos below show, "detail" is relative to the amateur eye. The Longoni Araldo, bearing a herald (bottom) may seem more elaborate than the Richard Black Silver Crown, yet retails for $1,300, whereas the Silver Crown sells for $8,000. And, Wayne adds, there's a limited number of cues custom-makers can produce in a lifetime. "I make about a hundred cues a year. Some production cue-makers crank out two thousand a month."
The question is, does a custom cue play better than a high-end, $1,000 production cue from a big company like Viking? Some, including Universal Studios president Ron Meyer, who bought a cue from Wayne, say yes. "For me, a custom cue has the right combination of weight and balance. It feels more comfortable than a mass-produced cue," Meyer says.
Yet, once you take away the intricate design, all high-end cues are virtually identical. They must be straight and sound, produce a solid hit on the cue ball, and meet certain standards: tip diameter of 13 millimeters (half-inch), butt (forearm, grip, and sleeve) diameter slightly over one inch, and weight of 19.5 ounces. Top-quality cues are made of two cylindrical, tapered pieces of wood, 55 to 64 inches long, joined by a threaded pin. The joint is reinforced with a metal, synthetic, or ivory ring. The shaft (the front half) is almost always made of dried, hard-rock maple. The tip is leather, mounted to a hollow sleeve—called a ferrule—and glued to the shaft. Most inlay and carving on custom cues is on the butt.
But, no matter which cue you pick, there are three things to keep in mind.
• The joint. "Implex joints are the choice of most pros," says John Delaveau, head referee of the Pro Billiard Tour. "They give you a solid hit with a soft feel. Stainless-steel joints don't do that."
• The wrap on the grip. "Leather and cork wraps may look more elegant and hide dirt better," says Nick Varner, five-time world pocket billiards champion, "but if your hand gets sweaty, those grips are too sticky." A much better choice is Irish linen, which absorbs moisture.
• Joint protectors. To keep two-piece cues in top condition, some people advise using joint protectors, though, says Wayne, they're not necessary. If you do opt for one, try Samsara. "It makes one in the shape of an hourglass that allows you to hang each piece separately," explains Wayne. "That's the optimum storage solution—no weight is being put on any part of the cue, so it won't warp."
Are there any rules when it comes to decorating a billiard room? Do you have to limit it to billiard-related objects? We asked six designers who have created home billiard rooms what they would put in their own ideal room, had they no limit to budget or space. Here's what they said.
Ronald Bricke, Ronald Bricke & Associates
333 East 69th Street, New York, NY 10021; 212-472-9006. "I love reading. I'd like a cozy place to escape to on rainy days." That's why his room—aside from soft lighting, a fireplace, and wing chairs with drop-leaf center table—would include lots of books. And "a piece of sculpture—something like a Noguchi."
Lyn Hutchings, Hutchings-Lyle, Inc.
255 East 72nd Street, New York, NY 10021; 212-288-2729. "I'd like a clublike setting, but with something to give the room whimsy and take away from the seriousness." So, as well as traditional green and leather, she'd add carpeting "to unify the room and make it appear larger and more inviting," and a 1950s jukebox.
Noel Jeffrey, Noel Jeffrey, Inc.
215 East 58th Street, New York, NY 10022; 212-935-7775. "It should be an intimate room, quite dark with a lot of light on the table itself." His theme: mahogany and mohair. Dark-green flannel walls with green-fringed sconces, mahogany paneling and Venetian blinds, overstuffed mohair sofas and draperies. "And antique photos of New York City, around the year 1900."
Gary Kealey, Designs For Leisure
41 Kensico Drive, Mount Kisco, NY 10549; 914-241-4500."My son and I are really into basketball," says Kealey, which is why his room would include not only mahogany walls, forest-green upholstered chairs, video games, and a backgammon-chess table but a pro hoop.
Lynne Prager, Lynne M. Prager Interiors
19 Queen Anne Drive, Deal, NJ 07723; 732-531-0460. "I like natural light and want a room with a light feeling." Her "game room in a living room setting" would incorporate medium tones, sycamore walls, large windows, and sheer drapery. "And a Picasso, because it has very strong movement."
Marshall Watson, Marshall Watson Interiors
105 West 72nd Street, Suite 9B, New York, NY 10023; 212-664-8094. "I like darkness in a pool room, and Scottish baronial. They always seem to go well together." Watson envisions his billiard room—part of a magnificent English countryside estate—with stone walls, a two-story, peaked wooden ceiling, and bay windows overlooking 255 acres of virgin meadows cascading down to the ocean. Plus, he says, "there'd be an enormous stone Tudoresque fireplace—the kind that you could walk into."—T.N.
As Barry Dubow of Blatt Billiards says, "You hope that you're good enough that your opponent has to sit watching you play the entire game." The seat of spectator chairs is normally 28 inches above the top of the pool table so that the action on it can be easily observed, and often features an attached, 15-inch-high foot stool. Blatt Billiards is famous for designing chairs to match antique tables, such as a replica ($1,750) of a ca. 1923 Brunswick arcade chair made of mahogany, bird's-eye maple, and rosewood.
A.E. Schmidt Company Tables and Accessories, New and Custom-Made. 314-534-7665
Blatt Billiards Tables and Accessories, New and Antique, Restored and Custom-Made. 212-674-8855
Brunswick Billiards Tables and Accessories, New and Antique. 414-857-7374
Flyin' Lion Antique Tables and Accessories, Sold and Restored. Cash Only. 319-354-7287
Newell &Amp; Company Antique Tables and Accessories, Sold and Restored. Cash Only. 785-926-3953
Olhausen Billiards Tables and Accessories, New and Custom-Made. 619-486-0761
Proline Tables By Altamonte Billiard Factory Tables, New and Custom-Made. Cash Only. 407-339-8700
Renaissance Tables, New and Custom-Made. Cash Only. 800-325-0087
Time After Time Tables and Accessories, New and Antique, Sold and Restored. 203-743-2801.
Richard Black Cash Only. 281-852-5025
Ginacue Cash Only.818-509-0454
Longoni (D&Amp;R Championship) Cash Only. 800-323-2852
Samsara Cash Only. 603-883-7686
Tad Cues At Best Billiards 714-543-5700
Thomas Wayne Cash Only. 907-349-3743.
Mcdermott Cash Only. 800-666-2283
Viking Cash Only. 800-397-0122.
Ann-Morris Antiques Billiard Lamps. Cash Only. 212-755-3308
C.W. Choice Co. Lamps, Cue Racks. Cash Only. 213-581-6178
Dufferin Accessories, Simonis Billiard Cloth. 847-244-4762
Gorina Trading Granito Billiard Cloth. 773-775-6850
Howard Kaplan Antiques Billiard Lamps. 212-674-1000
Mayfield Leather Co. Custom-Made Leather and Fabric Chairs, Sofas, and Ottomans. Cash Only. 800-342-7729
Renaissance Wood Products Spectator Chairs, Cue Racks. Cash Only. 502-964-4636.
Michael E. Panozzo, new to Departures magazine, is the publisher of Billiards Digest.