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A N 


EXEMPLAR 

of 

ANTIQUE FURNITURE 

DESIGN; 


A COLLECTION OF MEASURED 
DRAWINGS OF FURNITURE IN 
THE METROPOLITAN MUSEUM 
OF ART ACCOMPANIED WITH 
PHOTOGRAPHS AND TEXT 

I 

By 

EDGAR & VERNA COOK SALOMONSKY 


GRAND RAPIDS 

PERIODICAL PUBLISHING COMPANY 

MCMXXIII 








\\1 K 2- E. \ 5 
, Vj 6 S'S 


COPYRIGHT 1923 

PERIODICAL PUBLISHING COMPANY 

GRAND RAPIDS, MICHIGAN 


©Cl A711190(^ 


\ 

JUL14 73 


FOREWORD 



HROUGH the courtesy of the Metropolitan 


-L Museum ot Art this selection of plates has been 
made with an attempt to give to the furniture designer 
and decorator of today a fuller and more comprehen¬ 
sive knowledge of a few representative pieces of furni¬ 
ture, made in different countries, from the sixteenth 
to the early years of the nineteenth century. Only 
such examples as were considered applicable to modern 
uses and to the prevailing methods of construction 
are included. 

Without variation these designs were either the 
outgrowth of a previous or prevailing style or have 
taken their inspiration directly from ancient traditions, 
and we therefore present this material in this manner 
with the hope that it may be used as a basis of design 
for contemporary furniture. 

To give to the user of these plates a clearer under¬ 
standing of the spirit in which they were designed and 
executed, a short explanatory text accompanies each 
plate, and the photograph of the actual piece is added 
to supply knowledge which is difficult to obtain from 
a line drawing. 


Edgar and \Trna Cook Salomonsky. 


New York, November, 1922. 



LIST OF PLATES 


PLATE 

1. Cromwellian Type Arm Chair. 

2. Charles II Side Chair. 

3. Banister Back Chair. 

4. American Easy Chair. 

5. Chippendale Chair. 

6. Hepplewhite Style Chair. 

7. Sheraton Settee. 

8. Flemish XVII Century Chair. 

9. Italian XVI Century Chair. 

10. Louis XIV Arm Chair. 

11. Butterfly Table. 

12. Tilt-top Table. 

13. Tripod Table and Queen Anne Stool. 

14. Hepplewhite Card Table. 

15. Hepplewhite Side Table. 

16. Hepplewhite Dressing Table. 

17. Pembroke Table. 

18. Duncan Phyfe Drop-leaf Table. 

19. Louis XV Table. 

20. Fire Screen, Style of Chippendale. 

21. Connecticut Chest. 

22. Chest of Drawers. 

23. Painted Highboy. 

24. American Highboy. 

25. Miniature Tall Clock. 



CROMWELLIAN 
TYPE ARM CHAIR 

About 1660 


D uring the reign of Charles I of England the 
so-called Cromwellian style came into vogue, 
following on the heels of the Jacobean. The chairs of 
this period, made of hard wood, were of rather heavy 
character, although lighter than those of the previous 
style, with a square half-back and seat upholstered in 
leather or an Oriental fabric. An invariable feature of 
these chairs was the turned or twisted legs and stretch¬ 
ers which made their appearance at this time and 
persisted for several centuries afterwards. 

This particular arm-chair is made of walnut. The 
twisting and turnings are both easy and graceful. The 
square ends of the arms terminate in turned rosettes 
of excellent design. 

The quaint charm, due in some measure to the 
squareness and sturdiness of its proportions, is height¬ 
ened by an unusually attractive upholstery of petit 
point, with a design of bright flowers in tones of yellow 
on a blue-green field. This material, however, is 
undoubtedly of later date than the chair. The uphol¬ 
stery on the back is not cushioned but stretched and 
tacked to a heavy framework, exposed from the rear. 

Side chairs of this style employ the same design 
but with the arms omitted. 


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CHARLES II 
SIDE CHAIR 

16 JO—1680 



A new style of furniture was introduced in England 
during the reign of Charles II, the predominat¬ 
ing note of which was the influence of fashions imported 
from the countries of Europe. The changes in propor¬ 
tion, garnishment and contour are faithfully shown in 
the chairs of this period. 

The back of the Flemish Stuart chair illustrated is 
high and narrow, and, as was the custom after 1660, 
has panelwork of cane between the broad, carved up¬ 
rights of the splat. The main supports of the back are 
of turned wood, this treatment also extending to the 
front legs which terminate in scroll feet turning out¬ 
ward, a feature borrowed from the Flemish. The 
broad, horizontal rails uniting the back at the top and 
bottom of the splat effect and also the front under¬ 
stretcher are ornamented with an elaborate and 
pretentious design in carved and pierced work. The 
carved scroll and floral pattern, the latter usually 
representing a Tudor rose, was imported from Holland 
and used universally by the English artisans of this 
time. 

Although this period is sometimes called the 
“Walnut Period” other woods including maple, beech 
and oak were employed. This particular chair is made 
of beech. 



F I N I A L 


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BANISTER 
BACK CHAIR 

lyoo—1725 


Plate No. j 



D uring the reign of Queen Anne, in the early 
18th century, the banister back chair was 
developed from earlier and more simple types. The 
characteristics of this chair are found in the straight 
and high backs which was frequently adorned with a 
carved head piece of scroll design. The legs and 
uprights were turned and the seats were of woven rush. 
The most interesting feature of this type of chair and 
the one from which it derives its name is the banister 
back, made of four upright spindles, each one-half a 
banister, with the smooth, flat side toward the front 
and the back rounded. 

The spacious chair shown here is of unusually fine 
proportions, with flat, broad seat and slender, graceful 
arms resting upon turned uprights of good design. The 
broad, fluted foot with a slight turn outward is of 
Spanish origin, a feature borrowed from the Spanish 
Stuart chair, which preceded this style. The bulbous 
turning of the underbracing is another feature to be 
found in this type. 

The wood used is maple, which has been stained to 
a walnut color. 

The workmanship on these chairs was not brought 
to the fine finish of the later pieces but suggests a true 
and simpler craftsmanship. 


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AMERICAN 
EASY CHAIR 

1725 —^750 



T his chair of portly dimensions is of the type 
known as “Grandfather’s Chair,” “Easy Chair” 
and “Saddlecheck Chair.” Chairs of this description 
were made during the 18 th century in various styles, 
with Dutch, Chippendale and Hepplewhite legs. They 
were heavily upholstered with deep, broad, cushioned 
seat and low arms. The backs were high with ears or 
wings extending forward at the sides as a protection 
against draughts, since these chairs were generally 
used near the fireside. 

The illustration shows an easy chair with short 
cabriole legs and the claw and ball foot of the Chippen¬ 
dale style, with heads of the American eagle carved in 
low relief upon the knees. Both the legs and the strong 
braces are of mahogany. The front of the arms are 
finished in both a horizontal and vertical scroll, a 
feature of the early form of this kind of chair. 

The upholstering is of leather fastened at all edges 
with brass-headed nails very closely spaced. It was not 
uncommon, however, for these chairs to be covered 
with chintz, with a deep flounce or ruffle nearly hiding 
the feet. 


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CHIPPENDALE 

CHAIR 

1 260 — 12 JO 



T he style inaugurated by Thomas Chippendale in 
the middle of the 18 th century in England and 
which persisted for over thirty years is reflected 
in some of the best Georgian furniture. His chairs 
retained during this period similar characteristics, 
namely, the flat, broad, upholstered seat, the chair- 
back slightly narrower at the bottom than at the top, 
and the intricately pierced and carved splat back. The 
first type of Chippendale chairs retained the Dutch 
cabriole leg which was borrowed and perfected from the 
preceding style. This was followed by a type incor¬ 
porating certain Louis XV features, mainly in the form 
and carving of the splat. Then came the ladder back 
chair, and finally a style employing Chinese and Gothic 
features in which the lower part of the chair took on 
lines more nearly square while the influence of the 
Dutch and French, as well as those of Gothic and 
Chinese became mixed in the design of the back. 

It was under this latter influence that the accom¬ 
panying chair was made. The square, straight legs 
with their shaped brackets denote the Chinese influence, 
the form and carvings of the back are Gothic and 
French, whereas the idea of the splat itself is Dutch. 

This chair is executed in a fine-grain, rich-toned 
mahogany, which came into vogue about this time. 






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HEPPLEWHITE 
STYLE CHAIR 

17S5—1795 



T his Amerkan-made chair with its pleasing lines 
and well placed decoration combines many of the 
chief features of the Hepplewhite style of rather late 
date. The shield-back, a device originally taken from 
the Crusader’s shield and adopted by Hepplewhite and 
his contemporaries, is one of the most prominent of his 
motifs. The delicately pierced splat is of classic design 
with its scrolls and central ornament in the form of an 
inlaid medallion of painted satinwood, a feature favored 
by him and other designers of this period including the 
brothers Adam. The carved ears of wheat with pendent 
bell flowers are both forms of ornament very frequently 
used in this style. The daintily modelled legs which 
are straight, square and tapered, as well as the contour 
of the seat with its serpentine swell are characteristic 
of the later Hepplewhite influence. 

Great attention was paid at this time to the sup¬ 
ports connecting the chair back with the rear legs, 
these supports being gracefully carved above the plane 
of the upholstered seat. 

The style of Hepplewhite was one of simplicity. 
Gracefulness of line and restrained ornamentation, 
whether carved or inlaid, make the chairs of this 
period (which are considered Hepplewhite’s forte) 
exceedingly distinguished. 



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SHERATON 

SETTEE 

ijcjo—iSoo 



T he elegant settees made under the influence of 
the late Sheraton style are of delicate but strong 
construction. The exposed framework of the model 
here shown is of satinwood of an exceedingly decora¬ 
tive grain. The narrow band of wood which forms the 
back and arms follows subtle curves, (a form greatly 
favored by Sheraton.) The settee legs are straight and 
tapered with tasteful turnings and reeded ornamenta¬ 
tion. The arm supports repeat the outline and decora¬ 
tion of the legs and are carried back to the solid arm 
with an easy curve. The legs, arm supports and band 
capping the framework are of rosewood. A band of 
satinwood inlay is inserted in the front legs at the 
height of the seat. 

At the time that this settee was executed Sheraton 
introduced an intricate design of inlaid diagonal strips 
of wood, which appears in this particular piece of furni¬ 
ture in the vertical strips behind the arm supports. 
Very narrow bands of ebony and holly inlay border 
both sides of the back and arm framework immediately 
above the upholstery. 

Delicacy and grace of modelling and mastery of 
line are predominating features of this Sheraton settee. 







SHERATON SETTEE 

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FLEMISH XVII 
CENTURY CHAIR 


Plate No. S 


T his high backed side chair executed in Flanders 
in the 17th century is of walnut, a wood then used 
as the principal alternative of oak. The low seat of 
ample proportions is upholstered in petit point—the 
French were at this time keen patrons of the art of 
tapestry weaving—which is fixed to the frame with 
large brass-headed tacks. The raked uprights of the 
back are tapered to the top where they terminate in a 
simple cut-out design. These back supports are con¬ 
nected by three broad horizontal rails, slightly curved 
in plan, and of an interesting cut-out pattern of reversed 
curves. The front legs and underbracing are turned in 
a full, sturdy pattern of the vase, ring and bulb with a 
hnial of characteristic turnings surmounting the middle 
of the central stretcher. 

The contrast between the easy flowing lines of the 
horizontal splats of the back and the close, full turnings 
of the legs and braces gives to this chair a quaint charm. 
But, in spite of its simplicity of line it is quite elegant 
in style and enriched with a tapestry of an over-all 
floral pattern of rich and mellow tones. 



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ITALIAN XVI 
CENTURY CHAIR 


T he furniture of the Italian Renaissance did not 
attain the degree of luxury nor comfort which 
was so marked in both France and England. 

This small side chair—presumably made lor a 
child—is rectangular in form with the back slightly 
raked, the slant commencing at the seat line. The front 
legs, of delicate turning, rise above the level of the seat 
but are not covered by the upholstery. The uprights 
of the back, terminating in exceedingly delicate finials, 
are connected by upper and lower horizontal rails 
shaped in a scrolled pattern, strongly influenced by the 
Baroque. Large decorative rosettes are carved in the 
center of both the cresting and lower rail, which are 
joined by short, delicately turned spindles. 

The seat, which tapers slightly toward the back, 
is covered with velvet brocade of a rich, red color, 
and finished at the lower edge with a narrow fringe 
of the same color. Small, turned buttons, recalling 
the designs of the larger rosettes on the back rails, 
conceal the heads of the wooden pegs on the legs and 
back supports. 

The small side chairs were the most pleasing and 
the most successfully designed chairs of this time in 
Italy. 



F FL O N T 





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LOUIS XIV 
ARM CHAIR 

1643^1713 



U NDER the patronage of Louis XIV the arts ot 
France were carried to magnificent luxury. It 
is to the credit of this monarch that the decorative 
arts were put on a plane with painting, architecture 
and sculpture, from which resulted the fine art of 
furniture making in France and the perfection ol its 
workmanship. 

The decorative treatment of the furniture of this 
period was based upon the combination ot the straight 
line and the curve. The general proportions gave a feel¬ 
ing of strength and breadth. In the chair on the opposite 
page the supports and arms of walnut are in the form 
of large, sweeping scrolls with the outer surfaces carved 
in low relief with shells, ample scrolls, and acanthus 
leaves in restrained and graceful patterns. The under¬ 
framing, an adaptation of the X form, is composed of 
reversed curves, enriched with carving. 

The impetus given to the art of cabinet making 
under Louis XIV was also extended to that of tapestry 
weaving. Upholstery was greatly in favor and was 
therefore almost invariably used on the fauteuils or 
arm chairs of this period. Frequently gold and silver 
headed nails held the tapestry in place. 



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1 



BUTTERFLY 

TABLE 

About I/OO 


T his wel) designed and naive example of the 
Butterfly table is of early American craftsmanship, 
showing in its ample strength and sturdy lines both the 
Dutch and English influence. The slender legs are 
slightly raked and are gracefully turned in the baluster 
pattern. Plain stretchers, rounded at the top, brace 
the legs near the floor, and in the center of the longer 
stretchers are pivoted the large wings, whose flaring 
form give the name of “Butterfly” to this type of 
table. The oval top is divided into three sections, the 
fixed central portion and the two ends which form 
drop leaves which are supported, when extended, upon 
the outspread wings. When closed these wings, which 
are also pivoted to the overhang of the table top, 
swing against the framework and allow the leaves to 
cover them. 

This table is provided with one drawer running the 
full depth of the horizontal apron. A small thumb 
mould borders the drawer face and overlaps the frame. 
A wooden knob serves as drawer pull. 

The wood from which this table is fashioned is 
maple, left unfinished. This table is unusually low, 
measuring only a little over two feet from floor to table 
top. 




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TILT-TOP 

TABLE 

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P/dte No. 12 


T he gate-leg table was very popular in the colonies 
during the last half of the 17th century and the 
first half of the 18th. The tilt-top table here shown, or 
folding-table, as it was sometimes called, is of the gate- 
leg type. It is constructed with two leg-frames, one of 
which swings and folds against the other. The top is 
fastened with hinges to the fixed frame and drops into 
a vertical position when the gate swings. In a folded 
position the table cannot stand. The gate and top 
swing on metal pivots concealed in the uprights and 
stretchers. 

The sturdy turnings of the legs and the round 
Dutch feet would seem to indicate Dutch influence. At 
this time there was comparatively little diffierence 
between the furniture designs and construction of the 
Dutch and English colonists. Among the Dutch were 
excellent artisans and it was in a large measure due to 
them that their craftsmanship was infused into the 
then prevailing style. 

The wood is maple, which has been stained to 
represent mahogany and given a waxed finish. 

This simple table was evidently designed as to 
utility as it practically takes up no room when folded 
and yet presents a comparatively roomy top when 
extended. 




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TRIPOD TABLE 

1755—1770 

QUEEN ANNE 
STOOL 

About i/io 



T he handsomest ot the tripod tables were made 
about 1750 in England in the style ol Chippendale. 
Mahogany was the popular wood of this time and the 
wood from which the accompanying example is made. 
The shaft, a cluster of columns quatrefoil in plan, is 
supported upon a bulbous form which rests upon three 
cabriole legs. Carving has been restricted in this table 
to the knee of the leg, where it appears in anglicized 
French character, and to the main swell of the shaft 
support and to the scalloped edge of the table top. 

The character of the raised moulded rim of the 
latter gives to these tables the name of “Pie-crust.” 

T his stool, made during the reign of Queen Anne, 
is of walnut, the wood almost exclusively used 
during this period. The undulating lines of the cab¬ 
riole legs, a feature introduced under this regime, is 
here used with the greatest simplicity, which, together 
with the lack of ornamentation shows off the beauty 
and figures of the wood. The gracefully curved legs 
terminate in round Dutch feet. 

The seat is built upon a separate removable frame, 
upholstered in needlepoint of a bold, all-over pattern, 
of red and blue flowers on a buff field. 


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HEPPLEWHITE 
CARD TABLE 


1770—1790 



T he refined, dignified tables of the style ofHepple- 
white show the influence of a cultured people. The 
carving and inlay with which they were enriched were 
so delicate in character and workmanship and so 
admirably designed that these pieces ot furniture give 
the elfiect of simplicity, 

A popular form of small table in the 18th century 
was the card table, since it was equally useful when 
closed and placed against the wall as when fulfilling 
its main function. Great skill on the part of the cabinet¬ 
maker is demanded in its execution. The second flap 
of the example illustrated here forms the top of the 
table in repose, the moulding underneath with its bead 
carved cyma and fillets, form the top when extended. 
The serpentine front and sides curve gracefully into 
square legs, capped with carved leaves in flat relief, 
and terminate in slender feet, ornamented with leaves 
and a guilloche pattern. The raised rosettes in the 
frieze above the front legs are set off with a narrow 
band of inlay. 

The hinged flap lifts so as to form a table top 
covered with green baize, bordered with a band of 
mahogany. This is supported by the left hand rear leg 
which swings on an arm attached to the center of the 
back. 

Panels and borders of very narrow inlay of boxwood 
enliven the dark mahogany. 









• 



HEPPLEWHITE CAKD TABLE 

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HEPPLEWHITE 
SIDE TABLE 

IjSo - TJCJO 



T his handsomely decorated satinwood table is one 
of a pair, each half serving as a console table when 
used separately, or, when used together, the whole 
forming an oval topped table. 

The use of inlay, which was one of the most strik¬ 
ing features of the later years of the Hepplewhite 
influence has been here treated in an exceedingly 
skilful and adroit manner. The table top, like many 
examples of this period, is beautifully inlaid in colored 
woods of sycamore, commonly known as harewood, 
satinwood, rosewood, holly and tulip-wood. The inlaid 
medallions spaced at intervals around the table top and 
the flower motifs at each leg are etched in black, whereas 
the half-oval fan at the center of the top is both etched 
and painted. 

The usual carved flutes on the square, tapered legs 
of Hepplewhite furniture are here represented by flutes 
of inlay, the panels of the apron being similarly treated. 
The legs are edged with narrow bands of ebony. A 
high French polish tends to accentuate the subtle 
coloring of the inlaid designs. 

Simplicity of line and grace of ornament make this 
table one of the most elegant of its kind. 


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HEPPLEWHITE 
DRESSING TABLE 

17 (JO—-iSoo 



A mong the numerous types of tables designed by 
Hepplewhite and copied by his contemporaries 
was the dressing table, an excellent example of which is 
illustrated on the opposite page. This table, of mahog¬ 
any, made by American artisans remains to tell us of 
the keen judgment and discernment of the designers of 
that period. The front is swelled, the legs slender and 
the otherwise severe simplicity of contour is relieved 
by the introduction of a semi-ellipse at the lower line 
of the frame and by carved brackets of charming 
design. The drawers are ornamented with satinwood 
panels of interesting grain and bordered with minutely 
and intricately inlaid bands of ebony and holly. 

Strings of tapered husks top the front legs, and 
near the foot the inlay takes the form of the Greek 
fret—a classic pattern used extensively by Hepplewhite. 

Of the four drawers only the smaller, center one is 
fitted with compartments, and this one with three 
compartments at each side, leaving an open space 
through the center. 

The brass drawer pulls are handsomely ornamented 
adding a final note of richness to this graciously adorned 
but unpretentious piece of furniture. 

In accordance with the custom of the time a high 
French polish was applied to this table. 




F Pv, O N T 


END 






HEPPLE WHITE DRESSING TABLE 

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THE metropolitan museum of art 


NOW IN 




























































































































































































































PEMBROKE 

TABLE 

I//J—iSoo 



A mong the variations of the Sheraton style was 
the “Pembroke” table, so-called in honor of Lady 
Pembroke from whom the first commission came. This 
name is applied to a type of table with drop leaves 
which are supported, when extended, by two brackets 
which swing under the top. When closed these brackets 
fold in pockets against the table and allow the drop 
leaves to fall in a vertical position. 

The charming Pembroke table illustrated is of curly 
sycamore veneer on mahogany. The legs are straight 
and tapering, edged with lines of holly and ornamented 
at the top with inlaid medallions of etched leaves. The 
top is cut in serpentine curves around which runs a 
band of tulip-wood. Three large oval designs of inlaid 
leaves in conventionalized pattern set offi with brush 
work and etching decorate the top and drop leaves. 
Although both ends are provided with turned wooden 
drawer pulls there is but one drawer and that running 
the entire depth. The drawer faces are slightly curved 
and veneered with a panel of sycamore. 

Since these tables were usually designed for break¬ 
fast tables they were consequently small. 


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DUNCAN PHYFE 
DROP LEAF TABLE 

/SOO -/cV/D 



T o DUNCAN PHYFE, the New York cabinet 
maker, is credited some of the most beautiful 
furniture of American craftsmanship. At first his work 
shows inspiration from both Hepplewhite and Sheraton, 
but this was combined, in the early years of the 19th 
century, with certain features of Directoire and 
Empire origin. 

The illustrated example is of that period of his 
work which embodies elements of the Sheraton style. 
This mahogany drop-leaf table is supported at the ends 
by coupled colonnettes, resting upon concave legs, 
sweeping outward and terminating in brass lion’s feet. 
The legs are in the characteristic form with acanthus 
leaves and reeding carved on the surfaces. The same 
decorative treatment is applied to the colonnettes. 
Delicate grooving ornaments the edge of the table and 
also the drop leaves, which are supported, when 
extended, by two shaped brackets. A narrow beading 
finishes the drawers. The long stretchers connecting 
the legs are formed by double spindles of excellent 
turning and ornamented with a band of reeding at 
the center. 

An unobtrusive band of mahogany inlay follows 
the outer line of the table top and is repeated on the 
drawer faces and on the vertical block immediately 
under the coupled colonnettes. 



DUNCA>] PHYFE DR.OP-LEAF TABLE 

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LOUIS XV 
TABLE 

iSth Ccntuf'y 


Plate No. ]Q 


T he style of Louis XV was one of gayety, of 
luxury, not without charm, and one that was 
typically French in spirit. The straight lines of the 
preceding reign had given way to curves and the 
decoration became daintily florid. 

In this charming small table, which is characteristic 
of the best of the period not an abrupt angle is to be 
found. The legs bow outward with an easy grace, the 
outer and inner lines flowing in long curves into the 
framework of the table. The elegant pattern carved 
on the skirt differs on each face. Symmetry of orna¬ 
mental detail was not in accord with the delicious 
abandon of these times. On one face the carved spray 
of flowers falls naturalistically from a central shell 
motif over the panelling and the carved scrolls of the 
skirt. Other motifs such as the C curve, the flame-like 
pattern and various kinds of flowers are placed at will. 
The relief of the carving is delicate but varied and 
energetic. Opposing curves give a balance to the 
decoration of each face, a daring principle of design, 
which is admirably applied in this particular piece of 
furniture. 







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XV TABLE 

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CHIPPENDALE 
EIRE SCREEN 


Ij c) I^ So 


VLite No. 20 


T his very fine example of Pole-screen was made in 
America when Thomas Chippendale was turning 
out his best tripod tables and firescreens in England. 
The ancient form of the tripod was adapted to modern 
uses and carried to its greatest excellence by this 
master. In this American-made piece of furniture are 
many of the most characteristic features of the Chip¬ 
pendale style, such as the bulbous but delicate turnings 
at the base of the pole, and the graceful legs with claws 
and feet gripping the ball. The shaft base is carved 
with spiral headings and shell pattern and a well 
designed finial terminates the pole. 

The rectangular screen consists of a frame on which 
needlepoint is stretched on the outer side and on the 
inside a geometrical patchwork made of satin, silks 
and velvets. The sliding frame is guided at the bottom 
by a metal ring and is held in place by a wide brass 
band at the top, equipped with screw and button. 

This fire-screen was executed in mahogany, as were 
most of the fine small pieces of the Chippendale period, 
the strength of this wood lending itself to these slender 
and delicate contours. 





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CONNECTICUT 

CHEST 

1675 - 1700 



T he accompanying illustration is a fine example 
of a two-drawer chest of the well known “Con¬ 
necticut” or “Sun-flower” pattern. Several early chests 
of this and similar designs were found in Connecticut. 

The top is of a single plank of pine slightly over¬ 
hanging at the front and back, and fastened to moulded 
oak cleats at the ends to guide the top and prevent 
warping. The panelling, of a bold and interesting 
design, is enriched with round and egg-shaped turtle 
bosses on the drawer faces and on the upper panel of 
the ends. Split spindles in various sizes and turnings 
are applied to the stiles. A horizontal grooved band, 
frequently found on the chests of this date, decorates 
the top of the chest between the stiles and appears 
again between the lower panels of the end. 

The carving of the upper panels is in very shallow 
relief and of a rather crude type—what is known as 
peasant carving. The central panel represents, it is 
supposed, three asters, while the outer panels are of a 
conventionalized tulip. 

The woods used in the execution of this chest are 
both oak and pine. Like most of the similar American- 
made chests of this date, the top, bottom and backs of 
both chest and drawers are of pine, the rest of oak. 

The bosses, half-spindles, grooves and the main 
horizontal mouldings are painted black. 




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CHEST OF DRAWERS 

I/(JO—iSoo 


Plate No. 22 



T his low chest of drawers with swell front derives 
its style and traits from Hepplewhite. The lines 
are chaste, yet not severe, and the main decoration 
relies upon the rich grain of the inlay and upon the 
decorative brass handles. The chest rests upon feet 
of the long French bracket type, a form favored by 
this designer. The graceful lines of the lower edge join 
the legs in uninterrupted curves. The framework, of 
mahogany veneer, contains four drawers, each with two 
long and one short panel of satinwood inlay, a rec¬ 
tangular panel also being inserted at the skirt. Around 
the edge of each drawer is a fine bead moulding, a 
custom made popular by Hepplewhite. 

The handles with oval plates which enrich this chest 
are in the usual form of this period. The plates are of 
pressed brass handsomely embossed with delicately 
modelled urns decorated with rams heads, with handles 
of bails fastened to the outer edge of the posts. 

x'\s is the rule with the furniture of the Hepplewhite 
school this chest or bureau combines grace and sim¬ 
plicity of line and ornament with the advantage of 
being “generally serviceable in genteel life” as Hepple¬ 
white, himself, has said in reference to his own designs. 



HOFLIZONTAL 
S E CT I O N S 

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BICASS DR-AWEP^ PULL 



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CHEST OF DRAWER.S 

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PAINTED 

HIGHBOY 

16 So—ijoo 


Plate No. 2J 



A TYPE of the earliest development of the Ameri¬ 
can highboy, a combination of the chest of drawers 
and table, is shown on the opposite page. The six legs are 
elaborately turned, the four at the front in a cup-shaped 
pattern while the two back legs are of more slender form. 
They are braced near the floor on the front and sides 
with a thin, broad stretcher, slightly curved inwards, 
and across the back with a stretcher placed vertically 
and cut in a quaint design of large scallops. 

This piece of furniture is constructed in two sec¬ 
tions, the lower containing two panelled drawers. In 
the upper portion are five drawers of varying widths 
which operate on side runners, while the two drawers 
beneath have one runner at the side and another at 
the bottom. A single arch moulding, common to high¬ 
boys of this early period, finishes the frame about the 
upper set of drawers and is repeated on the stiles of 
the lower section. The stiles and rails of the frame are 
mortised and tenoned. 

The main body of the highboy is painted black, 
relieved by bands of red, a very striking combination. 
The large raised panels of the ends are picked out in red. 

The brass drawer pulls are of the drop style with 
engraved plates, of charming design. The brass key 
escutcheons are of a cut-out pattern. 






ALL KErHOLES 
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AMERICAN 

HIGHBOY 

IJOO -//^J 


VIlife No. 24 



A n interesting japanned high chest of draw¬ 
ers is shown here. In the last years of the 17th 
century the art of japanning, imported from the 
Orient became exceedingly popular in Europe, and the 
fad consequently extended to the American colonies. 
At times the decoration was in color, but as is shown 
in this example the general custom was to build up the 
decoration with plaster and apply gilding. The designs 
on the drawers are in the Oriental character with 
flowers, houses, figures and animals freely scattered 
but invariably forming a well balanced composition. 
A large shell fills the circular recess in the lower, central 
drawer and is flanked with raised columns. 

In the early 18th century the American highboy 
followed the popular fashion and adopted the bandy or 
cabriole leg. The cutting of the skirt is typical of the 
period, as is the narrow beading about the drawers of 
both the upper and lower portions. 

The brass handles belong to a later type of high¬ 
boy. They consist of a bail handle fastened to an 
exquisitely engraved plate. The key escutcheons are 
of different designs but similar in character. 



AMERICAN HIGHBOY 

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THE METP-OPOLITAN MUSEUM OF AR-T 


NOW IN 



























































































































































































MINIATURE 
TALL CLOCK 

1730-—1749 



I N THE last years of the 17th century the tall clock 
was imported to New England, and from that time 
their local manufacture became popular in the Colonies. 
Among the many excellent clock makers of this time 
and the one to whom the mahogany bonnet-top clock 
shown is attributed, was Thomas Claggett of New¬ 
port, R. I. 

It was the fashion of this time to make miniature 
or bijou cased clocks along the lines of the taller clocks 
and with works of brass. These were often called 
“Grandmother Clocks.” The example shown follows 
this fashion, standing approximately five feet high. 

A common feature of the 18th century tall clock 
is the scroll top and the broken arch surmounted with 
wooden balls. In this particular case the inner ends of 
the scrolls are finished with turned rosettes and the 
wooden balls have the upper half carved and are 
surmounted with a delicately carved finial of spiral 
flame-like pattern. The fluted columns at the corners 
of the hood case are of Chippendale inspiration. 

Mahogany as a fashionable wood was introduced 
a few years previous to the execution of this clock 
and is the wood used in this example. 



miniature tall clock 

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