HT 5

ofr G

t • tu til •·.c.~

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--
--
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 •

DOVER BOOKS ON ANTIQUES

AND FURNITURE
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THE CABINET-MAKER AND UPHOLSTERER's GUIDE, George Hepplewhite.
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CLASSIC WICKER FURNITURE: 1898-99 ILLUSTRATED CATALOG, Heywood
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With a new bibliography
by Adolf K. Placzek
IN PHOTOGRAPHS AND

MEASURED DRAWINGS

VERNA COOK SALOMONSKY

THIRD EDITION

DOVER PUBLICATIONS, INC. / NEW YORK

 Copyright © 1953, 1974 by Dover Publicatiom ,
Inc.
Copyright © 1931 by Periodical Publishing Com·
pany, Grand Rapids, Michigan.
All rights reserved under Pan Ameut.an and In·
ternational Copyright Comentions.

Published in Canada b} C.ene1al Publi~hing

Company, Ltd., 30 Lesmill Road , l>on ~1111\,
Toronto, Ontario.
Published in the United Kingdom "' C..on 1able
and Compan), Ltd., 10 Orange Mit"'· l..ondon
WC2.

This Dover edition, tint publishc.~d In 1955, 11 a

revised edition of the "orlr. ongmall) pubhthnl
by the Periotlital Pubhlhmg Compan} . Grand
Rapids, Michigan, in 1951 under the utle Maaln•
pieus of l "urr1iture DeJil''·
The third edition, lint publithcd by Doter in
1974, contains a new Prcbcr.
We are grateful to the followina mu.rum• lor
their kind aaist3ncr and pcrmillion to reptoducr
the photographs uroed in this bool Mct•GfOUWI
MUICWD of An, Bolloa Mu.rum of f l • Ana.
Rbodc bland School of Daip, I I IPCXPie
Hilpanic Society of A-aka.
 FORE\VORD
THE object of this collection of plates, made available through the <.Out tesy
o{ the museums previously mentioned, is to give furniLUre designers, deco-
rators, students, collectors and all others interested in fine furniture, a more
comprehensive knowledge of representative pieces of furniture, executed
in former centuries.
The pieces selected were made during the sixteenth, se' enteenth,
eighteenth and early years of the nineteenth centuries in the countries
most advanced in the art of cabinet making.
In choosing the specimens of furniture studied, an effort has been made
to select subjects that will serve best, both as sources o{ inspiration for
original designs, and as models for the manufacture o{ replicas.
In order that the reader may better understand the traditions and influ-
ences governing the form and character of these designs a short explanatory
text accompanies each plate. A photograph of the piece is also included, to
supply information which the line drawings are not competent to con\'cy.

Vern a Cook Salomonsky

New York, December, 1930.
 PREFA CE TO T H E THIRD (1974) EDITIO~

Scholarship in the evaluation of furniture has

35. The pice~ is no longer in the tallt•< tiou ol II
made g reat advances in· recent years. Attribution McLropoluau ~ I u\cum of An. tc
a nd dating by experts ha'e become far more 37. The ch airl> arc iu the St}le ol Ouw- J•t
precise and accurate than they were formerly. It 38. Tl I . . . -..all I II
1e c 1<11r 1s 111 the style of Dunc.m PI 1 ,
is not surprising, therefore, that some of the in- 44. The l:l ble is da Led as c. 1700. l) t •
formatiou in the 1953 edition of this book h as 45. The La ble is dated as c. 1700.
been revealed as iucorrect by r ecent work in the 46. The table is dated as c. 1725.
field. Changes in possession, as well as changes of 51. The
~
piece• is no longer in the collection ol lie 1
~~1 CLropo 11tan Museum of .\n.
fact as reflected by curre nt schola rship, are listed
below, according to plate number. 52. T he card table is now dated as 1770-1780
56. The table is English. ·
57. The table is now dated as e.trly nintttcnLh
2. This piece is no longer in the collection of the century.
Brooklyn ;\luseum. 58. The table is now described as a card tablt,
5. The chair dates from the firs t half of the dating from c. 1800.
seventeenth century. 60. The piece is no longer in the collection of tht
5. The chair is now described as being in the Metropolitan Museum of Art.
style of Charles II. 62. The table is no longer auributed to Dune2 11
6. The chair, no longer in the collection of the Phyfe .
.Metropolitan Museum of Art, is dated as c. 67. The table is defini tely from Baltimore.
1690. 68. The chest dates from the first half ol ti ll'
7. The chair is no longer in the collection of the sixteenth ce ntury.
.Metropolitan Museum of Art. 69. The cu pboard dates from the late fi£tccntlt
8. The chair, which is actually of m a ple, is now CCIItury. ,
identified as Americau, 1700-1725, and is not 71. The piece is now described as a chest with
in the style of Charles J J. three drawer~.
9. The piece is now described as a couch or 72. The piece is American, and dates from 175!>-
daybed. 1795.
II. The chair dates from 1650-1700. 74. The piece has birch verneer rather than satin·
12. The arm chairs are American. wood inlay.
15. Ash is used in the upper side stretchers. 75. The commode is American.
14. The arm chair, now dated as 1715-1720, is 78. The piece is no longe r in the collection of the
in· the early Georgian style. l\Jetropoli ta n l\fuseum of Art.
11. The piece is now described as an early Georg- 85. The piece is of mahogany and satinwood.
ian 10fa. 84. The piece dates from the se,·enteenth century.
The piece is now described as a daybed (lit 85. The piece, no longer in the collection of the
• rwp01)# and is dated as 1750-1775. Metropolitan Museum o( Art, datel from the
IDfa it Engliah. early eighteenth century.
it Enpiah. 87. The secretary is no longer a ttributed to John
• Joaaer in the collection of the Goddard, and dates from 1760-1775.
llvreu• of An, dates &om 88. The piece is no longer in the coll«tion of
the Metropolitan Museum of An.
89. The secretary wa1 built by William Applelao.
90. The piece is no longer in the collection of die
Meuopolican Museum of An.
agel
The pie« it elated U 1700 J~720.M
The piece ia dared aa I
Tbe dre•i• ..... it
Tile ......... - ia die altl:d• .t
11-GfAIL
LIST OF PLATES
CHAI RS AND SETTEES
I'LATE

1.Italian Side Chair

2.Italian Arm Chair
3.Italian XVI Century Chair
4.Spanish Chair
5.Cr omwellian Type Arm Chair
6.American L eather Covered Chair
7. Flemish XVII Century Chair
8. Charles II Side Chair
9. Am erican C haise L ongue
10. Banister Back C hair
11 . L ou is XIV Arm Chair
12. ·windsor Arm C hair
13. Spla t-Back Side Chair
14. Arm Chair, style of Queen Anne
15. Queen Anne Settee
16. Ameri<:an Easy C hair
17. Portuguese Chair
18. Louis XV Arm Chair
19. Louis XV Chaise Longue
20. Double Chair, style of Chippendale
21. Stool, style of Chippendale
22. Chippendale Style Chair
23. Chippendale Style Chair
24. Chippendale Style Chair
25. Chippendale Style Sofa
26. Chintz Covered Chair
27. Hepplewhite Style Chair
28. Heppiewhite Style Chair
29. Window Seat, style of Hepplewhitc
50. Settee, style of Adam-Hcpplcwhitc
51. Sheraton Style Chair
32. Sheraton Style Chair
SJ. Sheraton Style Chair
M. Sheraton Settee
a Style Arm aw...
 37. Duncan Phyfe Chair
38. Lyre Back Duncan Ph yfc Chair

TABLES
I'LATE
39. Italian Table
40. Jacobean Oak Table
41. Jacobean Oak Bench
42. Flemish Table
43. American Maple Table
44. American Tilt-Top Table
45. American Butterfly T able
46. American Drop Leaf Table
47 a Tripod Table
47 b Queen Anne Stool
48. American Card Table
49. Chamber Dressing Table
50. Chippendale Style Card T able
51. Louis XV Table
52. Hepplewhite Card Table
53. Hepplewhite Side Table
54. Hepplewhite Dressing Table
55. Beau-Brummel Dressing Table
56. Pembroke Table
57. Pembroke Table
58. Folding Table, style of Sheraton
59. Sheraton Breakfast Table
60. One of a Nest of Tables
61. Duncan Phyfe Drop Leaf Table
62. Duncan Phyfe Dining Table •

SIDEBOARDS
I'LA"Ut
63. Jacobean Sideboard
64. Sideboard. style of Hepplewhite
65. SmaJJ Sideboard, style of Hepplewhiac
66. Sideboard. style of Shaatoa
&. MixingTable
~ . ...."1 ' OJ'
 ,
71. Paneled Chest
72. Low Chest of Drawers
73. Chest of Drawers
74. Chest of Drawers
75. English Bow-Front Commode
76. Chest of Drawers
77. Cabinet, style of Adam
78. Desk Box on Frame
79. William and Mary ·writing Cabinet
80. Slant Top Desk
81. Knee-Hole Desk
82. Tambour Desk
83. Desk, style of Sheraton
84. Varguen o

SECRETARIES
I'LA I E

85. Queen An ne Secretary

86. American Secretary
87. Block-front Secretary
88. Sher aton style Bookcase·top Dc~k
89. Straight-fron t Secretary

HIGHBOYS
I'LA IE
90. P ain ted Highboy
9 1. \ Valnut High boy
92. Lacquered H ighboy
93. Mahogan y Highboy

BEDS
l' l.ATE
!H. Bed with Tester R ails
95. Field Bedstead
96. Louis XVI Bedstead
•

MISCELLANEOUS
I'LA r E
97. Knife Box, style of H e pplewhite
98. Dressing Glass
99. Mirror
I 00. Fire-screen
101. Miniature Tall Clock
•
•

PLATES
Plate No.1
SIDE CHAIR
Italian XVI Century
THE creative ability of the Italians during the 16th
century is reflected in the designing and fashioning
of furniture, as well as in the other arts. England
and France received much inspiration from this
period of the Italian Renaissance.
The dominant characteristics of this furniture
were a strongly developed architectural character
of outline, the absence of luxurious comfort which
we find iD many of the succeeding styles, and the
feeling of dignity attained by well balanced con-
•uaiaa and richly ornamented surfaces, contrast-
wkb ltrUCtulal frames of simple designs.
C'OD'GI" af tbia piece is characteristic of 16th
Tbe deeply tenoned stretch-
a ataundmess to its
models lies in the broad stretcher between the fore
legs which is decoratively scrolled and pierced. In
addition, the underpart of the side strctchen art
shaped.
The unpadded back. and the padded seat arc
covered with leather and held in place by rows ol
brass headed nails. The intricate design on the bad
leather is exquisitely tooled in gold.
The acanthus finials, terminating the bad ·~
ports, are typical of this period. In this im«•ncc,
they are gilded and it is quite probable that dlil
gilding bas been applied over a COil of red. IIIP
impoeed on a mat of white.
The abort &inFarouad the luwer . . of ...
aeat aproa and at tbe bouom of die t.l il 4
dull peen aiJk.
 Piau No. 1

S C A L t
....
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• ' OOit.O
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•

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I C .,. I A. 0 I 0
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•

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FII..ONT
SlOE

D ET A I L ~
F ll.. O NT STil..ET C.HE il..

• a • ••

D£T AIL
'?L
CA P... V EO TOP
• I I•

SIDE F-..o. T

SIDE CHAIR.
S'..£ac.<'n. xv1 ~x, (1'~)
• o w ... TM• MIT"-O.OLITA • ••• , •• O• A~T
Platt No.2
ITALIAN ARM CHAIR
XVI Century
THE interion of Italian palaces in the early Ren-
aiuance were graced by but few pieces of furniture.
Chats, benches, stools and chain, beds and tables
were usually considered all that was necessary.
Walnut waa the wood most generally used.
Thia particular chair waa built in the 16th cen-
&urJ, tbe period of the "High R.enaiuance." Crafts-
- a& tbat time blew the eflicient uae and com-
of m•teriala. They were fully aware of
• be obtained by relieving the severity
tbe mtroduction of rich
... .,....
...
...... Their ability
Thick leather, tacked to the back po&U. is with-
out support except by one aou rail at the lOp
of the back. The leather forming the teal il at·
tached only to the side rails and is tacked 10 lhr
four leg memben. The .eat is without fnpww!)lt
at front and rear.
The anDI are paf«tty boriuual willa
ing tDfl which rewm lbarply M dlcir ~
with the back JMIIIL Thil • die lap _.
the anna rolla Oft!' at tbe froaL
AD opdal iDIIIiaa il ....... ., 1111
............
 Piau 'o. 2
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(L[\'ATION Of ELEVATION Of
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• .... • ••

I T A L J AN A RM C H A I R.
l vi fCcn'1vr~. (?Ya<17l'V'l)
NOW IN THE MUSlUM OF lHl &"-OOKLYN INSTITUT£ OJ AI.TS. SC.Il•Ctl
Plate No.3
ITALIAN XVI CENTURY CHAIR
THE furniture of the Italian Renaissance did not
attain the degree of luxury nor comfort which was
10 milked in both France and England.
TIUa unall aide chair-presumably made for a
rectanplar in form with the back slightly
abe .....t c:oa•mencing at the seat line. The
turning, rise above the level
DOt covered by the upholstery.
. . . d
tla"'•natmg m exa:e -
by upper and
cresting and lower rail, which are joined b) lhon.
delicately turned spindles.
The seat, which tapers slightly toward the blel~l
is covered with \ehct brocade of a rich, rtd (Oiar
and finished at the lower edge with a aar..,.j
fringe of the same color. Small, tuaued buli
recalling the designs of the larga' I'OICUCI •
bad rails, conczal the hndJ of the woodc• pep
the legs and back aupports.
The aall aide cham tuft abe . -
aad tbe jMII!Qil IUCIDifully ....ft c:Mill ..
..... ltai.J
Plate N o. 4

SPANISH CHAIR
XVII Century

THE few items of Spanish furniture which were The Spanish were excellent leather aaf-.
in common use during the 17th century were those their products creating admiration ~
dictated by necessity. Of importance were chairs Europe. At this time, as well as in the 1... cas
which in structural form resembled those of Italian tury, decorative leathen were u.ed ia .,
origin. They were prevailingly rectilinear and of cabinet makers for the c:overiDp ol _.
robust contour. Walnut was the material most fre- w••
of chain. These were held in p i "!' bJ fll
quently employed, although pine, oak and otlter brass-headed tacb, · aa . - . 1
woods were used to a lesser extent. ing at chair rails and at t.d. auppci& Ia ....
In the specimen shown here, knob and baluster- pie a Sowing daip ........
like turnings decorate the rectangular framework the broad leather...--
of back and leg supports. The mntour of the rear
1ep, howewr, both in form and scale from
the& of tbe fiUDt lep. Of particular interest is tbe
tllaped atretdler, caned in bold relief.
 Piau No.4
•

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CHAIIt.. SEAT
 Plat~ No. 5

CROMWELLIAN TYPE ARM C HAIR

English About I 66o

AFTER the reign of Charles I of England, the so-
called Cromwellian style came into vogue, follow-
ing 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 of an Oriental fabric. An
inwuiable feature of these chairs was the turned
« lep and atretchen, which made their
at thit time and persisted for several
1111erwardt. ' but stretched and tacked to a
II'JD.chair is made of walnut.
A'o. 4'UY and grace-
ful. The square ends of the arms terminate ill
turned rosettes of excellent design.
The quaint charm, due in some measure 10 die
squareness and sturdiness of its propordo"' II
heightened by an unusually attractiwe upballlllr
of petit point, with a design of bright . . _ Ia
tones of yellow on a blue-g~een field. '1bil
however, is undoubtedly of later date .._
chair. The upholstery on the back is lila(
exposed from the rear.
Side chain Qf thjl ~Je
 Plate No. 5
.-
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..
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CROMWELLIAN TYPE AR-M CHAIR.
tf~Zt'l'4 &!>o-r.t.'E lli60 ('llla:l-n.u!&)
N0 W IN T H E M E T lL 0 P 0 L I T A N M U S E U M OF .iU T
Plat~ 1\"o. 6

L EATHE R-COVE R ED CHAIR

American I625-I675

THIS chair of American Colonial execution is simi-
lar in type to that shown on the precef}ing plate.
It is of the severe and angular construction favored
at this paiod and reftects a spirit of honest and
cnftamanahip.
Rat and squat back panels
In leather held in place by rows of
.ad in a like material
of tbe IUppol"ll.
. . . . . developed
and in our colonies, and occasionally the n~o mcth
ods, knob-turning and spiral-turning, were no
ployed in the same frame.
Although English prototypes of thi1 cumpk
were generally constructed of oak, walnut and o&bcr
local woods were also used in their ColoDial
tatiooa. Witneu the maple uted in ahil
chair.
In lldditioa to lhe employnw:at of ._.. •

- ....., _.._ ........ ..........

........,. Tuib)wr~~t m d i11e .....
 Piau o 6

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F N T R.O..... s DE I
• • • s

LEATHER. COVER.ED CHAIR.

[;1/m~T"rca'D. 162S-1~7S ( .-A/11pN & 011L)
H 0 W
IN THE MET"-OPOLITAN MUSI•M Of
Plate No. 7

FLEMISH XVII CENTURY CHAIR

THIS high backed side chair executed in Flanders front legs and underbracing are turned in a f
in the 17th century is of walnut, a wood then used sturdy pattern of the vase, ring and bulb wath •
as the principal alternative of oak. The low seat of finial of characteristic turning surmounu• c.br
ample proportions is upholstered in petit point- middle of the ttntral stretcber.
the French were at this time keen patrons of the
The contrast between the diJ ~
art of tapestry weaving-which is fixed to the
frame with large brass-headed tacb. The raked up- *
the horizontal splau ol the II ad aacl diJ Jr.
dlil •zr
rights of the back are tapered to the top where turnings of the lep .,., kii'U 1D '
a quaint cbanL Baa. ia lp'W af Ill ........,
they taminate in a simple cut-out design. These
t.ck ue monected by three broad hori-
aJiahdJ cua ucd in plan. and of an
line. it is quite ele•
a tafCIIit al•
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NOW Ill THE MET~OPOLITA'N MUIIVM Of A.T
Plate No.8

C H A RLES II SIDE CH AIR

English I6 JO-I68o

A NEW style of furniture was introduced in Eng-
land during the reign of Chatles II, the predomi-
nating note of which was the influence of fashions
imported from the countries of Europe. The
changes in proportion, 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, hu panelwork of cane between the broad,
carved uprights of the splat. The main supports
of tbe back are of turned wood, this treatment also
•read1ag to the front 1ep which terminate in
feet turning outward, a feature borrowed
from the Flemish. The broad, horizontal rails unit-
ing the back at the top and bottom of the splat
effect and also the front understretcher are oma·
mented with an elaborate and pretentiow design
in carved and pierced work. The carved scroll and
floral pattern, the latter usually representing a
Tudor rose, was imported from Holland and ••d
universally by the English artisans of this time
Although this period is sometiJ!MIJ ailed die
"Walnut Period," other woods includinc ..-pic.
beech and oak were empl~ Tbil ,.......
chair is made of beech.
Plate No. 9

C HAISE LO N GU E
American Late X V II Century

DETAILS introduced from Flanders under the
reign of William and Mary were boldly reflected
in both the turning and carving of the furniture
of early America.
In this maple Carolean chaise longue or day-bed,
an article of furniture then in common use, are
incorporated SOJDe of the typical Flemish and
rococo motifs so much in favor at this time. This
ia emphatically evidenced by the use of the so-
miJed Flemish IICI'OlJ. or S-saoll, elaborately if
lither crudely, carved in the openwork aesting rail
- dla llletchen, •nd aleo by the turnings of
tbelr ltUrdy inteapreratioa of
nated by ball shaped feet, while the main bid
supports, topped at the aesting rail with waned
finials of urn derivation, are indicatiwe of a c:al-
umn of classic proportions.
From this period date many chain aad ~
in which cane was n.,.,t for the 1e1111 aad ._... •
practice that was introduad in Enrupe 11.- .....
They were fint called Cane or lnd•• dlaill.
Day-beds such • thM _...
....
tended to be piNXd ....... a .......

Thae lep are taJDi.

 Piau No. 9

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Zlm~rrcan Za'lc. /T'd C4r~ 1~'11 UIJ1urL lft4p'te.j
N0 W IN T H f. M E T Jt..O p 0 L I T A N M US f U M 0 A ll
Plate No. JO
BAN ISTE R BAC K C H AIR
A merican
DURING the reign of Queen Anne, in the early
18th century, the banister back chair was developed
from earlier and more simple types. The charac-
teristics of this chair are found in the straight and
high bach which was frequently adorned with a
carved head piece of scroll design. The legs and
uprigbta were turned and the seats were of woven
ru~. The most interesting feature of this type of
ch"r and the one from which it derives its name is
the Nniater baclr, made of four upright spindles.
ac:h oae-Nif a Nnister. with the smooth, flat side
lrJWnl the &Gilt and the 'wk rounded.
Tile IJ*ioua chair lhown here ia of unusually
IJOO- I J25
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fine proportions, with flat, broad M!at and slender,
graceful arms resting upon turned uprighu of good
design. The broad, fluted foot with a slight tum
outward is of Spanish origin, a feature borrow~
from the Spanish Stuart chair, which p~ th~
style. The bulbous turning of the uodcrbraang II
another feature to be found in this type.
The wood used is maple, which has been saained
to a walnut color.
The workmanship on rhne chain waa -
brought to the fine finish of the later p iece• ba&
:ali a true ancl Ampler a;wfrpopnship.
 / Plate No.JO
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NOW IN THE M ETI\.OPOLITAN M el lA 0• AA.T
Plate No.ll
LOUIS XIV ARM CHAIR
French I643-I7 I5
UNDER the patronage of Louis XIV the arts of
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 fur-
niture making in France and the perfection of its
workmanship.
The decorative treatment of the furniture of
this period was baaed upon the combination of the
straight line and the curve. The general propor-
tioDI gave a feeling of strength and breadth. In
the chair abown on these pages the supports and
uma of walnut are in the form of large, sweeping
scrolls with the outer surfaces caned in low rdid
with shells, ample scrolls, and acanthu1 Jea,o
restrained and graceful patterm. The undcrfram
ing, an adaptation of the X for111, is compoeed of
reversed curves, enriched with carving.
The impetus given to the an of cabioet m•••..
under Louis XIV was alto estmded co •baa of
tapestry weaving. Upbobf.ery was peady ia ......
and was therefore almmt iDYUiably aiDI • *
fauteuib 01' arm ch•in of this period fae.;c I •'Y
gold and silftl' be d ed naih lleld die •
place.
 1'/atr No. 11
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::71"&72 o7l :16 4 a- 171S (Co.-rve7l 711ta7nu1)
NOW IN THE MET~OPOLITAN MUSEU-" OF AII..T
Plate No. 12
WINDSOR ARM CHAIR
English I775 -I8oo
THE Windsor or "turned" chair, whose popularity
has remained unabated to the present time, was
developed during the reign of Queen Anne. Grace·
ful simplicity of line and elimination of detail
together with sincere and staunch construction are
no doubt responsible for the favoritism shown this
type of chair. Particularly is this true of its adop-
tion in the colonies, where ease o£ production, com-
bined with its durable and pleasant character,
caused it to develop to a greater degaee than in
England.
There were many types of Windsor chain, among
them being the fan and com~back and the bow or
hooped-bad, to which latter group this sperionen
belongs. Practically every member of a Wi""IDI'
chair is turned, and in this case, the spindlel at
the back and also the legs and stretdlcn are of
bamboo turnings. The scat is hollowed out iato •
saddle form, a feature almost inuriably ...,.t •
the fashioning of these "turned" types.
Local woods such as ash, oak, hidorJ ... , _
were combined in different parts. Hidory. • m_.,
2
of its strength, was often uted to fui die
turned spindles of the bad,
Originally this llJie of chaw WT 7 7 t .. •
out of dool, and . . iD 11 ~ .....
wirhanct the wurhcs. ~ pq _. . . .
wae the •an fa. .ed od •• 611.....,., . , -
in • alai of red.
 Plate No.12

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NOW IN THE MET~OPOLITAN MUS£UM OF AA.T

•
Plate No.J3

SPLAT -BACK SIDE CHAIR

Am.erican I725-I750

THE 18th century ushered into the American except that in the present irutance (hnt0 ut • ...,.
Colonies this type of side chair. It is a combination for fashioning the front legs and sueuLn. M
of Queen Anne and Dutch styles with a solid, vase- added variety spruce iJ employed ia tbe Uff'll' till
shaped splat back, frequently called "fiddle-back,"
and with curved cresting rail and rush seat. The
stretchen.
The Dutch style played an imf*lln« . . ia
work of the early ColoniA due iD .0 .........,
*
back supports are moulded from a few inches below
the seat and terminate in graceful curves to em· to the many spleodid anin 111 lk .....
brace the aesting motif. Spanish feet support the .eulen. This in8DCwr, ,.,_e •
wi* ~
two &ont lep, which, in their turnings of baluster liam aod Mary aad Are;, - ~
fmm, demonatrate the manner of decorating rec- until tbe mjddle of die 1M ...., ....
tanplar joinery moat characteristic of this pel iod. pmueiiJ...,......., ..... •..rr
The aelection of maple follows prevailing custom, ad
 Plate No. 13

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Plate No.14
ARM CHAIR, STYLE OF Q.UEEN ANNE
English I702-I7 I4
THE principal characteristics of the style of furni·
ture known as "Queen Anne" are the cabriole leg,
sturdy, ample proportions and undulating lines,
with surfaces for the most part plain and de,·oid of
garnishment and the grain of the wood relied upon
to give enrichment. Walnut was the wood most
generally employed. When ornament was wed it
was generally confined to various interpretations
of the shell.
The idea of comfort is pmlominant in this fur.
niture. itself panicularly in ronocJed
mmen and broad ample teats co'aed with up-
The Ulll chejr DIUIII'Ued • 'MM: two J11111
is of English origin and an excellent nampk oi
the early Queen Anne style with ita hip hooped
back whose side frames form incomp~ S4aolll.
and with the cabriole leg which, in the t'Miy 1...
:entury in England. reached the mmt pafoed . .
of its development. A boldly c.arwd lhdl aa . . .
scallo.- demraaa the k~ of the abriale lq vt s •
w minaaa in the pbia dub or .-s 1oo1. apedllr
ch.,actcristic of the earlier pa111011 of 1h• . . . . .
Jar rei&n- The laond caual ..... • af die ....,
.-w:•a •m the •w ue ~ ...... ill •
bari. .ral CUIUC !Ed lllf'P'II ... ., •llflllk ....
........... ~--
 Plat~ No. 14

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N0 W IN THE M E T R..O P 0 L I T A N M U S [. U M OF A a..T
Plate No.JS

Q_UEEN ANNE SE'fTEE

English I? IO-I? 20

DURING the Queen Anne period settees were held those of wood.
in much esteem and a high order of craftsmanship In this English example the .cat rn
was displayed in their execution by the cabinet with rounded corners and '4ilh an artKt u~oo~Jll"!ti
makers of that time. Their settees were remarkable seat. The outward flaring, hapcd arm-\,
for their comfort and yet extremely graceful. This upon a C$0"011 supf>OTl au.adJed to 'u0t'1
grace was obtained with a very sparing use of the seat frame, are indJC;atnc of th l
ornamentation. also the daw.and·ball foot '4htC.h a
The framework of the model selected rests upon nence during the later )ean of th • pcnod.
six legs. These are of the cabriole type. This t)pical The contour of the hagh upbo .u:rtd
leg treatment, brought from the East by the Dutch, i) lightl) tilled is foe nled ln rw n nn'"
was perfected under the reign of Queen Anne and rise to embrace a central cu"'!: of CUll"'...
remained in favor for about one hundred )ean. The cyma cun-e wat contatlm ted
Stretchen connecting the legs were generally dis- of furniture duri~ 11111 rap. At
carded in the early yean of the 18th century. At chair t.ds and .eau wac
this time, also. wooden arms were again UJed and needkwock. an dama'\' td11't'U _.
in conjunction with upholstered backs as well as Qintt 1121 uKd 1D me lal pUE nt• II
Plate No.16
AMERICAN EASY CHAIR
IJ25-IJ50
THIS 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 18th 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 aides ai a protection against draughts, since
these chain were generally used near the fireside.
The illuatration shows an euy chair with short
cabriole lep and the claw and ball foot of the
Queen Anne style, with heads of the American
eagle carved in low relief upon the knees. Both the
legs and the strong braces are of mahogany. Tile
fronts of the arms are finished in both a horizontal
and vertical scroll, a feature of the early fot m o(
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 chain tD
be covered with chintz. with a deep &ounc:e «
rutile nearly hiding the feet.
 Plate No. 16

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Plate N o.17

PORTUGUESE CHAIR

AN elegant version of a Portuguese adaptation of which terminate in the hooped top.

the Queen Anne vogue is this side chair with its The common motif of carved cJecoratiOD of _.
fiddle-splatted back of high hooped design and its period, the cockle-shell, has been unspariallf :
use of the cabriole leg. Following the custom of the on this chair on the juncture of the kp ~
time and true to its prototypes, the ample seat is rail, and abo at the upper pol tioo ol die
flaring with rounded comers at the front and is splaL The framework memben ol die a.l -
provided with a rebated seat covered in upholstery richly moulded in a manDft' ••wiiM ~..
and fitted into a rail of shaped outline. The four usual conception. Tbe .-aoooNed • fll
cabriole legs end in a form of foot most typical of Ctaoll is •lao an inhcacot fll
•
the earlier years of the Queen Anne period. that of hii-eL
the ..Dutch" or dub type. The back is spooned in
profile with the uprighta breaking a ahon distancr
above the aeat frame and for...ing concave c:una
btbe . of,....., ...
ID CGDUadidima to die ~-

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r tutc . _ , u. 10
LOUIS XV ARM CHAIR
French IJ23-I774
THE general trend of furniture design during the
reign of Louis XV (1715-1774) was toward com-
fort, luxury and abandon. This, of all periods, was
the most characteristically French. To charm the
society of that time it was necessary that the furni-
ture designs should reflect the graciousness, seduc-
tiveness and exuberance of the court life of that
pleasure loving monarch.
The supremacy of the curvilinear over the
straight lines of the preceding style is pronounced;
in fact, wherever possible, the construction is curved
with serpentine or swelling fronts and with graceful
lines swinging into opposing curves. Balance was
generally obtained, not through symmetry, but by
the disposition of curves and ornamentation.
Shells, ftowen, scrolls, foliage and flame motifs
were among the most characteristic forms of dewra·
tion. These were used at random with the mo.t
audacious freedom. The decoration of this period
was typically rococo.
Comfort and ease governed the proponions of
the chairs, this particular piece of furniture being
the index of the Louis XV style. The seau and
backs were broad and broken into curves. "'be kp
were generally of the cabriole type enriched with
carving and terminating at the foot in a ..,..u
scroll, leaf or dolphin·s head. Luxurious aad iacn-
cate carving ornamented the teat raill. bact &a.-
and arms of these chain. Caning as wdl • •
holstery was wed on the badcs aM te-11, aach •
iJ seen in the example illusttared.
Plate No.19
LOUIS XV CHAISE LONGUE
French Last Half XVI I I Century
THE chaise longue of the period of Louis Quinze
followed the same general lines of contour and
ornament as were incorporated in the chairs of this
style. The frame-work of this particular couch or
day-bed exemplifies the flexibility and sophistica-
tion of this school of design. The seat framing
shows restraint in its handsome carving and is
broken into many sinuous curves which graciously
How into cabriole legs terminating in tapered feet.
Upholstery is applied to the scrolled and rolled-
over arms and to the seat frame. Over the latter is
provided a removable stuffed cushion and small
cylindrical cushions are placed at either end to
ease the comfortless outward swing of the arm
scrolls. In lieu of an upholstered back three M:p·
arate cushions of ample and uniform si1c are
intended for use against the wall.
The delicately carved woodwork, which ~as
often painted and gilded, adds gentleness and
charm and forms a delightful framework for ~
rich colors of the upholstery. The accompan}lOS
example was originally painted.
'Voods employed at this time comprised ma!nly
walnut, oak, ma~oga~y and cherry wi_th ~-an~
other woods for mlaymg. However, th1s p1ece
.
furniture and that shown on the preced mg P
lafe
were fashioned of beechwood.
 Plau No. 19

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:r,..~ 2ZII~ IY!D ~ (Buc?1.wt10'il oriJ!!n.DIIJ:..e«Mi!.J}
NOW IN THE Nt.ET.-.,OPOLITA• M•S£ • • OF Aa..T•
 \..)J..l.l.l
English
IN the workshop of the three Chippendales-
father, son and grandson-were made some of the
excellent examples of English cabinet work.
~oJ ....uful craftsmanship was here combined with an
which subsequently changed the spirit of
rniture design. The first of the Chi ppendales was
,uvL only a skilful artist-craftsman but a brilliant
, who developed characteristics that persist
ro1Jgl t the style bearing his name. However,
name Chippendale usually implies the second
the three cabinet makers.
Furniture of this style may be roughly classed
the various influences which were brought
bear upon it, that is, Queen Anne; French of
Quatorze and the Regency; Classic; the
nese with variations of classic, Louis Quinze or
thic motifs; and Gothic. Several influences were
... JL-J ... · - - -
at times manifested in one piece of furniture, but
although this style underwent many transforma·
tions the furniture of the Chippendale school can
invariably be recognized, so marked are its char·
acteristics.
This mahogany settee of double chair form was
executed in England about the middle of the 18th
century and in it the French influence is the (~n·
trolling impulse. It is of the splat back t}J>C wnh
a Cupid's bow top rail. The splat of interla,cd
strapping is relieved by carving in the French
manner of acanthus leaves. The legs are of the
cabriole type and terminate in carved scrolls.
The single chair back-motif is practicall) pre·
served complete, with each upright of the back
carried down separately to the seat, leaving the top
rail as the only connecting link.
 Plate No. 20

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DOUBL£ CHAIR_J.'lz~ y' CHIPPSNDALE

C.nz_lTJ J (:;lia.h O£_an.y)
NOW IN TH£. MUSEUM OF R..HODE ISLAND SCHOOL Of DE.SIGN
 STOOL, STYLE OF CHIPPENDALE
English I725-I775
OF the same inspiration as that of the preceding
plate is this commodious stool, which at this period
was an article of furniture of rather infrequent
occurrence.
The seat is shaped in a serpentine effect on the
major sides and is of the "stitched-up" type, that
is, the upholstery conceals the entire seat frame and
is held in place at the lower edges of the rail by a
row of brass headed nails.
Legs of these Chippendale style stools followed
the. same evolution as those of contemporaneous
cha•n and are in this instance of the cabriole or
bandy-leg type, ending in a modified scroll foot.
It is interesting to note that in this model tl
proper is moulded and not, therefore, cu
cylindrical in section.
The rococo carving at the knee is of panicul~
interest in that it is a composite of t~o dtff
motifs, a carved flame on one side and a •"""'
somewhat resembling the hair of the lion'• ·ma:nc
on the other. The favored C-scroll il here
used and forms, by a de\ er combiruuoa
opposed cun·es, the inner outline of me kp ~
brackets.
Following the general rule of Olipptndak
niture, this stool is made of mahogan}-
 Plate No. 21

DE..TAl L
LEFT SIDE.
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Now I N T H f. M U S E. U M 0 F R.. H 0 D [. I 5 LA N 0 S C. t1 00 L Of D [ 5 uH
 CHIPPENDALE STYLE CHAIR
American About I760-I770
THE ladder-back design, which developed from the
slat type, was one of the various methods employed
by the versatile Chippendale for decorating chair
backs. This style consists of three or four horizontal
rungs, similarly spaced, and connecting the back
framework. The accompanying example is one
typical of this mode of construction and ornamenta-
tion with its four pierced and moulded rungs shaped
to form gracefully interlacing serpentine curves.
Square legs, which were the most usual type em-
ployed by Chippendale, succeeded those of ca-
briole form terminating in the claw-and-ball foot.
Stretcher work was added to these square legged
models to brace the under structure. Frequently
combined with this style of leg framing wa) the h~ck
of ladder design, which resulted in the style of 11de
chair under discussion.
The severity of line produced by the rect2ngulv
seat and leg framing was somewhat mitigated b)
the introduction of small o\·olo beaded mouldll18'-
such as the softening of the angle at the ~u~
tical edge of the front legs by the usc of th11'
moulding.
It has been said of Chippendale that. throusb bt
inspired mastery of the art of wood an~
0111
made history "in the realm of COOJUUCU«
line.''
 P/11U" 0 21

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.A~e7'zcon.. a.oou."t 116o - 7o (.At.a.."f;.o~a.ny)
NOW IN 1HE B OS T ON MUSEUM OF FINE ,\llTS
 -- ... ..... ,
- .-

American IJ60-IJJO

THE style inaugurated by Thomas Chippendale
jn the middle of the 18th 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 cabriolc leg which was borrowed and
perfected from the preceding style. This was fol-
lowed by a type incorporating 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 Jines
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 aGcom·
panying chair was made. The square, stra~ght ~~
with their shaped brackets denote the Chmese an·
fluence, the form and carvings of the back ~
Gothic and French, whereas the idea of the splat at·
self is Dutch.
This chair is executed in a fine-grain, rich-toned
mahogany, which came into vogue about this time-
 Piau 'o. 25

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A merz caa. alJou.r 176o- To ( .A{a'ho.r..,a."n:x}
NOW IN THE MET~OPOLITAN MUSEUM OF A,_T
 Plate No. 24
CHIPPENDALE STYLE CHAIR
American Third ff<...!farter XVIII Century
OF especial significance on the chair under con-
sideration is the square framework of seat and leg,
enhanced by hybridized fretwork adapted from
both Chinese and Gothic sources. On the very
broad, straight seat frame a pattern of Chinese fret·
work is delicately carved in low relief, whereas on
the legs the pointed arch, closely associated with
the Gothic style, is introduced and handled and
carved in the same manner. The straight legs are
slightly chamfered on the inner edge, a method
practiced by Chippendale of giving greater delicacy
of appearance to these structural members.
In the design and carving of the top rail and
carved enrichment, applied to the rather delicate
tracery of the intermediate pierced splat, we find
an introduction of motifs from France under the
reign of Louis Quinze. This chair, certainly, pre·
sents a fusion of styles, that of Chinese and Gothic
on the framework of the seat and legs, whereas, in
the design and ornamentation of the back frame,
there is no trace of Oriental influence, but rather,
that of late Georgian combined with motifs from
France.
The rich design of the splat with its excellent
carved decoration forms a balance for the overall
ornamentation of the seat rail and leg surfaces.
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NOw IN THE. MUSE.UM Of "-HODE I~LANO SCHC'OL
Plate No. 25

C HI P PE N DA L E STYLE SOFA
American I775-I88o

ALTHOUGH the sofa was an article of furniture which are in this example of the straight mould
in common use during the Chippendale era, it was type and strengthened by straight stretcher " \:
only occasionally made by the Chippendales, due, Carving, of a conventionalized leaf pattern, e bt
perhaps, to the limited scope which the upholstery lishes the exposed faces of the front four legs.
presented for design in comparison with the intri-
cate and ornate patterns of the wooden chair backs The outline of the upholstered back i~ ar
of this period. A greater favorite of the Chippen- in the form of an undu lating cune which OOll a
dales was the two or three chair-back settees, de- the ends into bergere wings, or high rolled
veloped &om, and practically a repetition of, the arms. The characteristic Cscroll, so much an b
single chair design. during the regime of Chippendale. is introduce~
Like the furniture of this time, this example is to form the front rune of these Oaring •in~ H
built upon strong and dignified lines, structurally arms, forming a continuation of the back. ,.,~
honest and of good proportions. The frame rested, adapted from the contemporaneous frmch Ui''
u a rule, and as in this model, upon eight legs, displayed in Louis XV canapes.
 1'/au No. 2S

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.9TmeT'tCa/2 177S- /800 (~tAl.o2;4nx_)
N 0 W I N T H E M E T k. 0 P 0 L 1 T A N M U S EUM OF A IL T
Plate No. 26
C HINTZ-COV E R E D C HAIR
A merican
THIS example of "Saddle-check" or "Saddle-
cheek" wing chair, although the exact date of its
manufacture is uncertain, is undoubtedly of Chip-
pendale influence. It is a further development of
the Grandfather chair of earlier date which em-
bodies characteristic lines and motifs of the Queen
Anne period, such as the carved eagle at the knee
of the cabriole leg.
In the present example, the wings and shaped
tope are more flamboyant in their graceful curves;
the Ctcroll of the upholstered arms of the earlier
example baa been modified; and the legs have be-
come atraight and tapering and are tipped with
casters of brass. The slip seat, fitted around the
flaring arms, continued in favor from the Queen
Anne period, although many examples of thi1 ear·
lier date as well as of the time of the Chippencblei
indicate that the seat was frequently uncudtioned.
Materials in various variety were wed at thu
period for upholstering. Damasks, woolm and
linen fabrics of diverse weave, needle-work. broa-
telles were equally in favor. TowardJ the middle ol
the 18th century in the American colonies alicoa.
printed cottons, and chintzes were in ute u "'"'
0
covenngs.
 I
Plat~ A'o. 26
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CHINTZ COVEJ\.ED SADDLE CHAIR.

7/m~rrc:an tf*'~o£4nf 7nun~
IIOW IN TH£ £SSfX INSTITUTE , SALEM MA SS
Plate No. 27
HEPPLEWHITE STYLE CHAIR
American I785-I795
THIS American-made chair, with its pleasing lines
and well placed decoration, combines many of the
chief features of the Hepplcwhite style of rather
late date. The shield-back, a device originally taken
from the Crusader's shield and adopted by Hepple-
white 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 or-
nament 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
Iowen are both forms of ornament very frequently
used in this style. The daintily modelled Jeg•.
which are straight, square and tapered, as ~ell a•
the contour of the seat with its serpentine s~ell, arc
characteristic of the later H epplewhite influence.
Great attention was paid at this time to the wp-
ports connecting the chair back with the rear lep.
these supports being gracefully carved abo\-e the
plane of the upholstered seat.
Xhe style of Hepplewhite was ·one of umplicin
Gracefulness of line and restrained 01 namcntauon.
whether carved or inlaid, make the chaan of thit
period exceedingly distinguished. aod d"'Je of
Hepplewhite particularly 10.
 •
rra Piau 'o. 27
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c./lme?-~ can. aoo-u,'1 178 5- rs (/lt.a.'lJ.oya.n.y)
NOW IN THE M~T"-OPOLITAN MUSEUM OF A .. T
Plate No. 28
HEPPLEWHITE STYLE CHAIR
American IJ85-I795
AN unusually elegant example of the shield back
type of chair is that which is illustrated here.
It is a product of American craftsmanship and
shows a strong Hepplewhite influence. Hepplewhite
rarely erred on the side of over-elaboration, and,
alt~ough this example is handsomely carved, it is
desagned and executed with such restraint and dain-
tiness and possesses such delicacy of outline that it
is outstanding as one of the finest remaining speci-
mens of this period produced in our colonies.
The legs are gracefully modeled on the lines of
Louis Seize, the front ones being of taper form ter-
minating in a thimble toe and with their two ex-
posed faces enriched by the use of flutings.
Incorporated in the flare of the front seat frame
and of use in the shaping of the rails is the ser-
pentine curve. Of particular interest is the scheme
of ornamentation contained within the back frame.
Three splats rise from a carved and gilded motif,
taking the form of conventional lilies from which
issue streamers of grass and ears of wheat, and ter-
minate on the top rail in a pierced and intertwin-
ing design.
Originally the entire framework was lacquered
but has since been restored by gilding.
 r Plat~ No. 2B

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9Tm~.,.-zca.-n a.'/Jou'l 1785- ifS (Xa.'1Jo.t_a.nr)
NOw IN THf PENDLETO,.. COLLECTION a.HODE ISLAND S'IIOOL Of DIIIG .. ,t.o• M• I &.
Plate N o. 29
WINDOW SEAT, HEPPLEWHITE
English I775-I8oo
GEORGE HEPPLEWHITE, originator of the
style bearing his name as well as the business, which,
after his death, was carried on by his widow Alice
under the name of A. Hepplewhite 8c Company, de-
voted the greater part of his energies to the crea-
tion of small models of dainty and light propor-
•
uons.
This window seat belongs to the later phase of
the Hepplewhite style at .the time when Hepple-
white was carrying out some of his major commis-
sions, principally chain, for the brothen Adam, the
famous architects and designen.
Many authorities feel that Hepplewhite, although
his knowledge of classical design was most limited,
in carrying out the suggestions made b)
"Adelphi," as the Adams were ailed, tnn,..,.,,.,
and incorporated them in his own creatioru m Judl
a way that they frequently excelled, ~ith tbrir
lines and charm of detail, those he patterned.
The gracefully curved line to ~hich H ..."~o­
white was partial is in this window teat med
fashioning the rolled o,·er upbohtered aJ1D'.
seat and leg frame, in consuuctioo and ia
but unostentatious ornamentation. at.uws pill
the Adelphi influences together with the sn«
discrimination displayed by lkppl! wbit£.
Carved mahogany was u"!d in the e f ~ ,_.
work of this channing piece of
 Piau. 0 29
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C,TL_2_77 sa 17{S -/8 00 (.!71/ a'ho..£_On_}'.
N O W I N T Hf M ET ~0 P 0 L I T A N M U S l U lA A
Plat~ No. 30
SETTEE, STYLE OF ADAM-
HEPPLEWHITE
English I770-IJ8o
TO ROBERT and James Adam, architects and
designers of the late 18th century in England, is
attributed the crystallization of a style taking its
inspiration from a revival of classicism in its more
chaste form. Robert Adam studied the masterpieces
of antiquity in Greece and Italy, bringing back to
England in 1758 his knowledge and talent, which,
combined with that of his brother James, gave a
decided impetus to the then prevailing architectural
trend.
Not cabinet makers themselves, the brothers
Adam commissioned the Hepplewhites, Chippen-
dales, Gillows and Seddons, and also others, to exe-
cute various pieces of furniture after their designs
and to harmonize with the particular architectural
settings they had created. On the other hand the
cabinet makers mentioned abo\'t, designing ron
temporaneously and independently, caustd a fu,•on
of varying methods of treatment which r~ult.ed at
times in such pieces of furniture as the mahogan
settee shown here. Just which motifs or charact.eru-
tics in this piece may be attributed to Heppb hilt.
and which to the brothers Adam, is difficult to "'·
especially since it is known that they rctthed so
spiration from each other.
There is a decided likeness, in the tapering md
fluted legs and in the oval carved JDI"dalliom em-
phasizing each leg, to the Louis Seize style, tbm
prevailing in France, and &om which lkppk-
white also gracefully modeled his lines.
 Plate N o. 30
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SETTEE sty7e '!£ ADAM- H EPPLE WHITE

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NOW IN T N E N\ E T I'.. 0 P 0 L 1 T A N M U S E UM OF ALT
Plate N o. 31
SHERATON STYLE CHAIR
American IJ90-I8oo
THIS chair executed in our Colonies, during the
latter part of the Sheraton influence, exemplifies
many of the prominent characteristics of this school
of furniture design. Dignity and refinement, with
stateliness and grace, mark the work of this period.
With the exception of the curved top rail, the
framework of the back used at this time was square
in shape. This curved top rail was not invariably,
although frequently, the case. The filling at times
consists of a panel, enclosing diagonal members of
geometric severity, forming a lattice pattern and
supported upon a bar raised above the seat line.
The moulded latticed members are ornamented at
their intersection by a leaf motif simply and deli-
cately carved. SmaU carved rosettes mark the con-
nection of these diagonals at the top rail. 1 he d
tribution of ornamentation under this influcn(t
carefully balanced to give the impres~ion of 50
and repose.
The seat is plain in straight design and upcr
toward the rear with slightly rounded front a
sides and is completely co\'ered with uphouu:~
which is held in place with brass headed na1l
legs are square, with moulded faces, and of u
form.
This design, se\'ere in line and delicate Jn
ment is of classical inspiration and is do«h a
with 'the classic forms of the Renaassana
· wbidiWdC
11
so successfully interpreted in the Louis SciX
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Plate N o. 32
SHERATON STYLE CHAIR
American Late XJl I I I Century

ANOTHER specimen of a New England Sheraton
side chair is this design which is contemporaneous
with that shown on the preceding plate. These two
examples resemble each other both in slender struc-
tural form and in general proportions. In this par·
intersections of the perpendicular and borua•DI
memben of the back frame. Within this fnr ruurl
and supported upon the bottom nal-cb£ lilt
latter being an outatandifll feauw ol . . , _
chain-is a graceful design of aarwd 1 ~ II
... • - t

ticular chair, however, the stretcher work at the give the dfect of three opeanak
legs has been omitted and the front of the seat kept splats which widen at their IMca ... • . . .
straight, a method as characteristic of the more llecding wu ooe of die _....
common usage among chain of the Sheraton period 01 n•n<atatiod of 1h11 •tiL ll • IIIR . . . •
as that employed in the chair preceding. b(le of all impca I•DI dll . . .
The top rail of. the back &ame is horizontal and lheb=-l ......... .....
relieved by a delicately caned ucsring of aJDw:a- siYiaciDdle ...........
tionalized water lea"VeS. Rosettes, intet. mart lhe
 P111U o. 32
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Plate No. 33
SHERATON STYLE CHAIR
American Late XV III Century
NOT so distinctly characteristic of its Sheraton pro-
totypes is this example of American extraction. It
seems to exemplify to a marked degree the art of
furniture designing executed by more or less un-
prejudiced American craftsmen; although it incor-
porates many of the rnajor characteristics of this
particular style in its square back frame, its square
tapered legs, in the classical sources of its wen placed
ornamentation, the shaped plan of the chair seat,
and above ali in its design of virile dignity com-
bined with delicate charm of line. American made
chairs were, as a rule, sturdier than those of their
English prototypes.
The perpendicular splats are delicately shaped
and carved and are embraced within the back frame.
The bases of these splats are widened at their tops
and connected by a flaring motif, just below th<ir
juncture with the cresting rail. This widening sur·
face is decorated with a water acanthus leaf caned
in delicate relief. At the center of the cresting ~a1l
is incorporated an oblong plaque on which is caned
a motif much used in the late 18th century in our
country-the eagle with outstretched wings. As an
emblem of decoration, this American bird came
into vogue at the time of the inauguration o£ Wash·
ington.
The chair is more typical of the earlier phases o(
Sheraton influence when three or five splau 111ert
contained within the back frame. Also, the undec·
orated square and tapered leg are of the earlier
date.
 Plat~ No. 33
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PlateN o. 3.f
SHERATON SETTEE
American I790-I8oo
THE 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 dec-
orative grain. The narrow band of wood which
forms the back and arms follows subtle curve~, (a
form greatly favored by Sheraton.) The settee legs
are straight and tapered with tasteful turnings and
reeded ornamentation. The arm supports repeat
the outline and decoration 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 furniture in the vertical strips behind the
arm supports. Very narrow bands of ebony and
holly inlay border both sides of the back and ann
framework immediately above the upholstery.
Delicacy and grace of modelling and mactery o(
line are predominating featureS of this Sbe•aaon
settee.
 Plo1~

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Plate No. 35
SHERATON STYLE ARM CHAIR
English Late XV II I Century
THIS arm chair reflects to a marked degree the
vogue, prevailing in the late 18th century in Eng-
land, for composition and detail as applied to
furniture. At this time Sheraton's most successful
productions show the outgrowth of his collabora-
tion with the brothers Adam who drew their inspi-
ration in furniture designing directly from classical
sources and from the then contemporaneous designs
of France. At the height of his success, Sheraton in-
terpreted these influences for the most part in a
rather puritanical fashion by eliminating overdec-
oration and by giving to his designs a refining sim-
plicity which, at times and through emphasis, pro-
duced an effect of severity.
The rectangular form of chair design with up-
holstered square back and seat frame is evidenced
in this particular example. The Sheraton leg, of
light construction in comparison with that whida
preceded, was almost invariably tapered and either
square or round in section. In this chair the leg n
decorated with an adaptation of a reeded pattern
which culminates below the seat frame in caning
more or less reminiscent of a capital motif. Caning
also enriches the framework proper with a running
bead ornament and with carved rosettes, cmpham
ing the intersections of its various members.
The partially cushioned arms resting upon sup-
ports fashioned in vase form and caned in a spinl
design rise from the side of the seat frame and
sweep upward to the height of the back. Laning.
similar to that which decorates the back and .eat
frames, is also applied to the top surface of abctt
•
curvmg arms.
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NOW IN THE M ETJI..OPOLITAN MUSIUM
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tau lVo. 36
IT ALlAN SETTEE
Eighteenth Century
AN adaptation of the lyre-back chair motif, delight-
ful in its design, is incorporated in this 18th century
Italian settee. It is representative of the finest
furniture produced in Italy during that century.
This particular pattern, that of the lyre, prob·
ably originated with the brothers Adam who in
tum borrowed it from classic sources. In other
respects, as well, this piece of furniture is closely
patterned after the designs of contemporary Eng-
lish cabinet makers.
The construction is rectilinear and exceedingly
graceful, showing outlines relieved by well placed
detail which has been executed in a restrained and
delicate fashion. The legs, as well as the straight
back supports, are square and tapered with tl en
exposed faces ornamented with flutings. The.t
straight supports, however, are of the in\Crted (
of those forming the legs. The seat alone is up-
holstered.
The body of the settee is painted in gre}ish green
while the fillets, ornaments and flutings are gilded.
producing a richly contrasting effect, in full accor
with the general style of the piece.
 t-i'

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••t..ot.o Platt No. 36

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Plate No. 37
DUNCAN PHYFE ARM CHA IR
American I8oo-I8I5
THE furniture which was produced in the work-
shop of the American designer, Duncan Phyfe, al-
though he created a style of his own, may be classed
according to the inftuence under which it felL The
accompanying chair comes under the first group
with Hepplewhite and Sheraton inftuence pre-
dominating. This phase gave way to one in which
the Directoire, combined with English forms and
details, held sway, which in tum was supplanted
by the third, that of the full Empire style.
In this chair the rectangular framework of the
back with its latticed cross-bars, the cylindrical
legs with shaped endings at the feet, and the reed-
ing, consistently used throughout as a medium of
enriching the Hat surfaces, indicate the inAurn
the Sheraton vogue. More peculiar to the dCY~:m
of Duncan Phyfe are the scat in the •hape
horse-shoe with the broad rail reeded, the ..toM
top rail with its paneling of reed ~ork a
relation of the arm extended to the ~eat ,..
leg beneath. In Sheraton examples Jer"or\
generally prolonged to form supports for lhc ~
fully curving armL
The work of Duncan Phyfe f011DJ a lin1
7
that era of good design spomoml bf Jkf1*•k
and Sheraton and the succeeding puiod ol
tionable taste.
 Plat~ 'o . .37
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l?l7n~7>z...c.an 1800-18 15 (!71tcfho~ax)
- 0 WI~ TH& MfT~OPOLITAN MUSEUM OF A"-T
Plate No. 38
LYRE BACK DUNCAN PHYFE C HAIR
American Early X IX Century
THIS lyre-back side chair typifies tl,e Directoire
phase of the Duncan Phyfe chair designs. At this
time, the first years of the 19th century, a taste for
French designs became popular in New York City,
and Phyfe, accordingly, adopted and combined with
the prevailing English forms and motifs certain
elements of the styles of furniture then in vogue
in France.
The legs of this example form reversed runes
with the faces of those in front decorated with the
conventionalized acanthus leaf caned in low re-
lief. A delicately carved lyre. forming a shon splat.
is embraced within the fr.tm~ork of the -au:......
sweeping back. The b~ s strings of me 1 't
in this chair were frcqucntl) subitatutcd I tOOK'
of whalebone. The caned acanthut 1eaf
viduall) characteristic of Duncan Ph' fc
also wed to enrich the JCrolls of the 1 TC.
Duncan Ph)fe "-as an apmtle of ott t
manship and a designer of ducnmaiiLallll
choosing and placing his omamcntauoa Wlttll
greatest discretion. He displa)'ed &•eat arE
.election of m•ho&any ••ted, boch • to ~
and color.
 3'r."

Plou No. 38

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N 0 W IN T H f M E T "- 0 P 0 L I TAN M U S l UM 0 P A A.T
Plate N o. 39
ITALIAN TABLE
XVI Century
AS explained before in the discussion of an Italian
chair, the pronounced characteristics of the furni-
ture of the Italian Renaissance are stateliness and
formality, execution on a bold and robust scale and
a strong architectural influence. Adaptations ot
classic Greek and Roman motifs comprised the or-
•
namentauon.
Among those motifs most fa\'ored was the acan-
thus leaf and scroll which has been applied to orna-
ment the leg supports of the accompanying table.
In this instance, the .scroll shapes the knees of the
legs and flows into the acanthus leaf, boldly caned,
which terminates in large lion's paws. The anthe-
mion, also a design from classical sources, decorates
the juncture of the legs.
Above the knee scrolls, the hori:r.ontal 1
ber of the legs is moulded and flares
cyma cunes to support the table top "11011e ,n poc
edges are also moulded in accordanoc "
tours preferred at this time.
A stretcher with <.hamfcred ed J,......-
to the table top, ties together the
members. This horizontal tie ruru
projc<.ts l>c)ond the supports "heu It "
by means of wooden pegs.
The wood in this•example i1 wain t .-11Jd1
the material chiefly empl<ryed durins tht
the Renaissance in Italy.
 Plate No.39

FR.ONI ELEVATION
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N O W
Plate S o. +O
OAK TABLE
English XV II Century
THE furniture of the Jacobean period was staunch
and simple of structure and executed with vigor
and was quite expressive of the manners and tem-
perament of the English people during the 17th
century.
This refectory table shows some of the familiar
characteristics of that period; sturdy cylindrical
turnings of the legs, firmly braced by heavy stretch-
ers; rather massive structure; long, narrow propor-
tions of the table top built upon the traditional
lines of the trestle table; and the unusual type of
carving favored at ·that time-which in this case is
confined to one long face of the moulded apron. Of
particular interest is the d ifference in the siz.e or ll
front and rear legs, those in front being leu JD1551 t
than those in the rear.
Oak was the wood in general use at that ume
Its durability, weight and strength made it a fa'
ite for ~e execution of these simple, hea'1 ~
Carvmg ot a bold and rugged type has been
with restraint on this particular table. The "l(l'2Uil
carving on the central fiat band of the ornameD
surface is of a geometric design, while tbt
mouldings bordering this band are ol a palld'l
. I c I' ' . d " .. ~··
s1mp e 1.0 1age, mc1se or goU6...... - r .a. • ...Jy &a 7
the surface of the wood.
 Plate 'o. 40

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Plate No. 41
OAK BENCH
English XV II Century
STOOLS and benches were decidedly popular dur-
ing the Jacobean period. The cabinet makers of '
that time turned them out in great quantities. The .
functions they were called upon to fulfill were ·
vaned. Sometimes they were used as small tables,
again as occasional seats, and quite often, they were
placed at the end of long tables. They took the
place of chairs, which were then only just coming
into vogue m England, and, in addition, carried
. on in a limited manner the duties we now place
upon a variety of small tables.
They were sturdily built, appearing usually with
turned legs which were, as in the accompanying ex-
ample, splayed to insure greater stability. The
turnings of the legs of this specimen, which are of
stolid proportions, are of the ring baluster type.
They are held rigidly in place by means of hea'1
aprons and stretchers, richly moulded.
An ornamental floral band of Renaissan(e do:agn
is carved upon the deep front apron of this noo\
carving being a favorite method of decorathe o.
pression of Jacobean furniture. This caning u of
the "modeled" type, standing out in bold rehd
from a lowered surface.
A decorative effect, produced by the use of an·
laid woods, was also then in fashion and is bert
applied to the flat bands of floor stretchers and to
the rear and side of the aprons in an effective P
metric pattern. Bone, 1vory, mother-of-pearl and
tortoise shell were also effectively used, in strikins
patterns of inlay, upon benches of the period.
 Piau o. 4 1

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DETAIL •J!!
oL 0 & • • • • -· FkONT & A.EA'-
E N D S
Plate N o. 42
FLEMISH TABLE
XVII Century
IN FLEMISH furniture, during the 17th century,
carved supports representing figures gradually
gave way to those of turned or twisted shape.
Those of spiral form, particularly, played an
important role in the decorative scheme of the
furniture of this time.
In this representative piece, the two end legs
are joined by short floor stretchers partially
twisted. The long central stretcher, connecung
these coupled supports, carries at its center a
turned vase ornament-a characteristic feature of
the Dutch, Flemish and French furniture of the
second half of the 17th century. It occurred on
practically every piece of this period whi<.h Mood
upon four legs.
Rich carving was a much used form of dccc
tion and here appears upon the blocks of the
front leg supports, as well as upon the
stretcher block, below the vase shaped orn merit.,!
and upon the upper face of the end strctc.hen.
The lower edge or the apron is cut in a
pattern. In the from apron 1s fitted a long
slightly projecting from the framework
operated by a wooden knob. The edge of
substantial top is handsomely moulded.
 Plat~ No. 42

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('1ra ~n,.,.?)
Plate No. 43
MAPLE TABLE
American I700-I7 IO
SMALL tables of various shapes became of gen-
eral use about the close of the lith century in
England, due largely to the new custom of tea
and coffee drinking and to the increase in pop-
ularity of cards and other games. In Amenca, the
types and designs of these small tables, as well as
other articles of furniture, were patterned after
the existing preferences and vogues of Europe,
modifielf and interpreted to agree with the man-
nerisms and predilections of the coloni~ts of the
locality in which the furniture was executed.
Early 18th century tables made by our crafts-
men show a severity and simplicitv of line and
are staunchly constructed. These joincu u~-d
many native woods, among them being oak and
walnut for the fine~t work and maple, pine.
cedar, elm, birch, cherry and a<,h {or the gcncr:al
run.
This small oval-topped maple table is pro' • ed
with four legs, spla)ed outward and turned. so
balusteHhaped profiles of rather slender "JIC
Below the table top the legs are connected .-
skirtings shaped in graceful cut-out pattern• sn a
lleries of C}ma cunes, with those at the wdei d
fering from those at the front and back lam Tbc
floor stretchers are plain with rounded top'-
 DETAI L Plate N o. 43
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MAPLE TABLE
tAme-rz'caan J 700-J1,/0
N ° W · I N · T H E • M. E T R. 0 PO L I T A N M US I UM 011 A I"
Platt f·l o. 44
TILT-TOP TABLE
Amert'can I700
THE gate-leg table was very popular in the colo-
nies during the last hal£ 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 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 ancl 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 comparati,ely little d1fi
ence between the furniture designs and con
tion of the Dutch and English coloni ts. A.mo:n;
1
the Dutch were excellent artisans and it "u
large measure due to them that their craftsma
was infused into the then prevailing st,]e.
The wood is maple, which has t>«n ta
represent mahogany and given a waxed fin
This simple table was e\'identl) dOJ
utility, as it practically takes up no room
folded and yet presents a comparati,-el) JOOID}
when extended.
 •.!i' Plate No. 44

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N 0 W I N TH E M E T II.. 0 POL I T A N !It U S l U M OF /4. ~ l
Plate N o. +5
BUTTERFLY TABLE
American IJ OO
THIS well 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 gave the name of "But-
terfly" 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 wing . ~luch a
pivoted to the overhang of the table t ''(~rt;:
against the framework and allow Ll e I
cover them.
This table is provided with one dra" r r'Gr::~r~
the full depth of the horizontal apr A =--
thumb mould borders the dra~er faa a
laps the frame. A wooden knob sef\et a
pull.
The wood from which this table n f.a.hJOO~
maple, left unfinished. This tablr '
low, measuring only a little o'er t•
floor to table top.
 Plate N o. -15

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BUTTERFLY TABLE
..Am.e.,.z.CQ"4 abow7 1700 {.AltlpZ•J
.. ow IN •T HE M ET ~ 0 P 0 L I TAN M UI I UM ~ A :1'
 •

Plate No. 46

DRO P L EAF TABLE

American About IJ50

THIS drop-leaf table comtructcd in tripod fonn framc"o~k below.

is a quaint and uncommon t) pe. The top i up- The h htenmg of the
ported upon a turned frame consisting of three of the bt.e cbt.e • ·-""...,U1CI:O
legs and strengthened with straight, moulded pecimen The I a
stretchers. When extended, the top i round "ith npc of tum
those portions, overlapping the u nderhing apron, mall bad mou·
made into flaps, leaving a triangular center, and, apron fra
when lowered, the ftaps fit again t the leg structu~ Of mcln t:'I~IUOIIl. ..... 'IJ111:.1ir·
n

This top is cleverly constructed to tum on a pnot mahop' I

the ,_,,••
placed in the center of the table top. so that the
leaves may be supported b the comen ol the ubl~l of dUI
 Plate No. 46

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Pla tt· X o. 47 P

TRIPOD TABLE
Eng!£Jfz IJ55-IJJO

THE handsomest of the tripod tables were made
about 1750 in England in the style of 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
rats upon three cabriole legs. Carving has been
restricted in th1s table to the knee of the leg. whaC
it appears in anglicized French charactel'· aod •
the main swell of the shaft support and tD ck
scalloped edge of the table top.
The character of the raised mouJ.ded riiD ol ~
latter gives to these tables the n•mr oi ~

•
 Platt' No. 47 a

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?z&- crus7 ~z.m.
CI-IIPPENDALE STYLE.
€-n.z7rs1J. ~7S$ ·7o(AtG~~)
Plat~ No. 47 b

Q.UEEN ANNE STOOL

English About IJIO

THIS stool, made during the reign of Queen Anne,
is of walnut, the wood almost exclusively used
during this period. The undulating lines of the
cabriole 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 Tbr
gracefully curved legs terminate in round
feet.
The seat is built upon a .eparate aciN'
frame, upholstered in needlepoint of a bDIII,
over pattern, of red and blue Iowa• 011 a bal kiL
 ~/au No. 47 h

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Plate .No. 48
CARD TABLE
American, Dutch lnjluence
GAMING and card playing were favorite diver-
sions during the 17th and 18th centuries, which
prompted the execution of various small tables
for these purposes. At the time, when Chippendale
designs were followed, they were made in great
numbers and appeared in several forms. One of
the most usual types is that of the double top
supported upon cabriole legs. The table illustrated
follows these lines.
One of the rear legs is made to swing out in
order to support the flap top when opened. The
top is broken-fronted, with projecting square
comers-before 1730 the corners were, for the most
part, rounded-which, when open, discloses four
dished compartments made for the purpose of
holding candlesticks and also four oval-shaped
wells for holding money or counters. These fea-
tures were inherited from the time of Queen Anne.
This table is of the ornamental type of card
table, with fretwork introduced on the slightl
rounded edges of the top and with the £rie7.t
apron below enriched by gracefully shaped pan "
outlined with two connected rows of ddica
beading. The lower edge of the rail, bracing the
leg, is carved, as is likewise the bracket of ~ ~
Upon the knee is carved in relief a large Shell .,
flower pendent-a common decoration of the Du
period. The foot is an excellent example ol
claw-and-ball type.
In England the earliest type of table f spal.,.
designed for the playing of cards appeared aboll
the close of the 17th century and •
vogue until the end of the 18th wbm aa ......
to suppress gambling was made.
 Plate No. 48
,7-t" •

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llAf SANil
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CA~D TABLE
.i)ulch $~1'lttt/1Ct, 7lr.Jl naif tal?J {'~nlllry
IN THE. MUSE.UM Of P-...HODE. ISLAND SCHOOL OF CfS ~ ..
 CHAMBER DRESSING TABLE
American
DRESSING tables continued in vogue in England
from the 17th century when they were first con-
sidered necessary articles of fashionable furniture.
This American -made dressing table is of the
general proportions and construction of the type
favored by Chippendale. Richly decorated, it
shows the appropriation of motifs and manner of
carving of the style of Louis Quinze, treated in a
restrained and anglicized: yet bold, manner. The
recessed shell and flamboyant foliage of the French
school, adapted in a manner peculiar to Chippen-
dale, are inserted and fill the large square of the
lower central drawer. The skirt is rich]\'• scrolled,
with a suggestion of rococo influence in its tracery,
I775-I8oo
and embrace , at the center of the h
caned com ex hell.
T he cabriole leg with da~ and b2l
dicati\'e of the school of ClupjK.' \UI~"'
ornamented with a motif of acanth
caned. Cia ic coloneues, "i th fl ed ·- ~­
rece ~d into the corners of the bod
The long top dra"ers and the &•
lower drawers are equipped ••th braH
escutcheon of an intnatc p crad
small brass drop h2ndk of the ttntnl 'I Oill
is applied to a can~ leaf mouf
the com-e $hell.
 Piau 'o. 49

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CHAMBER_ DIU:SSI
.91 Ill's - Ill oo
OW ·IN ·THE·MUS E.UM·Of ILHOOE
Plate ~Yo. 50
CHIPPENDALE STYLE CARD TABLE
American Circa I775
THIS American Chippendale card table is of a
later type than that illustrated on Plate 48.
Rectangular in shape, it has a turn-over top,
which is supported when unfolded by a pull-out
leg. The decoration, in this case, occurs only on
the front edge of the upper flap and is gained by
a repetition of a restrained gauged motif.
The form of leg most frequently employed by
Chippendale was square, usually chamfered on the
internal edge, as this example shows. The external
edge of the legs is decorated with an ovolo mould-
ing, running down the entire length and giving a
lighter and more delicate effect of outline. And a
pleasing deviation from ordinary methods is pro-
duced by the fluting and partial reeding of the
exposed faces of the legs.
The front frieze is of serpentine shape, both iD
plan and at its lower edge which is moulded aad
decorated with an incised leaf pattern. The tquart
projecting corners seemingly are suppo~ by
small fret-cut brackets, in accordance wath the
then prevailing Chinese vogue, while the top - '
aprons at the sides form concave curves.
While this card table shows plainly a QtjeC
influence in outline, it ia classic iD
 ,. __ ___ Piau 'o. 50
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CHIPPENDALE STYLE CARD TABLE

.!J'l 7TJ e T' i c a 7Z Circa. f77S (.At a 1l O.f..o. ~J
NOW IN THE BOSTON MUSEUM Of fiNl AllT$
Plate 1.Yo. 51
LOUIS XV TABLE
French Eighteenth Century
THE style of Louis XV was one of gayety, of
luxury, not without charm, and one that was typi-
cally 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 character-
istic 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 ornamental detail was not in
accord with the delicious abandon of thoe u
On one face the carved spray of flowers falb na
ralistically from a central shell motif .0\r.r '•'hi--
panelling and the carved scrolls of the skut. ()\btl
motifs, such as the C curve, the ftame-bke pa
and various kinds of flowers, are placed at ......_
The relief of the carving is delicate but ,"Jritd
energetic. Opposing curves ghe ~ ba~..n!
decoration of each fare, a daring tJa..-,--
design, which is admirably applied in dail .....
cular piece of furniture.
 Plate No. 51

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LOUIS XV TABLE
Hl12.c'h.. 1fth.. CGl27:urJ' (PoZLsl.ufL w~titY o~)
N 0 W IN T ~ E M E T ll...O P 0 L I T /ito. N M US £ U M 0 F A'- T
Plate No. 52
HEPPLEWHITE CARD TABLE
English I770-I790
THE refined, dignified tables of the style of Hep-
plewhite show the influence of a cultured people.
The carving and inlay with which they were en-
riched were so delicate in character and workman-
ship and so admirably designed that these pieces
of furniture give the effect of simplicity.
A popular form of small table in the 18th cen-
tury 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 cabinetmaker is demanded in its execu-
tion. 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, forms the top when extended. 1 he
serpentine front and sides curve gracefully into
square legs, capped with carved leaves in fiat relief,
and terminate in slender feet, ornamented "ilh
leaves and a guilloche pattern. The raised rc»ettcS
in the frieze above the front legs are set off "ith 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 bol-
wood enliven the dark. mahogany.
1\1 d! .I
·II Plate No. 52

~
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HEPPLEWHITE CAR.D TABLE

C'1':~;2_:-zz:..s-1.L :177o -fo (e.,lfta.Ao~any)
NOW · IN · THE ·ME T~OPOLITAN ·MUSEUM Of A~T
 HEPPLEWHITE SIDE TABLE
English IJ80-IJ90
THIS 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
striking features of the later years of the Hepple-
white influence, has been here treated in an
exceedingly skilful and adroit manner. The table
top, like many examples of this period, is beauti-
fully inlaid in colored woods of sycamore, com-
monly known as harewood, satinwood, rosewood,
holly and tuli pwood. The inlaid medallions spaced
at intervals around the table top and the fiow~r
motifs at each leg are etched in black, whereas
the half-oval fan at the center of the top i~ 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 narr~
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.
 Plate No. 53

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FllONT ELEVATION S I D E
0 3 6 ta. ..... ,

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DE TA I L
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HEPPLEWHITE SIDE: TABLE

G'n~'U~~ ;71'0 -ro(S~o:Z)
NOW IN TWE MfTILOPOLITAN MU$!UM OF ALT
Piau No. 54
HEPPLEWHITE DRESSING TABLE
American I790-I8oo
AMONG the numerous types of tables designed
by Hepplewhite and copied by his contemporaries
was the dressing table, an excellent example of
which is illustrated here. This table, of mahogany,
made by American artisans, remains to tell us of
the keen judgment and discernment of the design-
ers 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 leg
near the foot the inlay takes the form of the Grec
fret-a classic pattern used extens.ively b} Hep
white.
Of the four drawers only the smaller, center ooc
is fitted with compartments, and this one "
three compartments at each side, lca\ing an
space through the center.
The brass drawer pulls are handsome~
mented, adding a final note of richnes& 10
graciously adorned but unpretentious I*"
furniture. 1
In accordance with the custom of the a.
high French polish was applied to this
 ....-----4·---· - -~
- Plat~ No. 54

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HEPPLEWHITE DR-ESSING TABLE

.Am~.,., C'a 12 IT'/O-It9oo (.A<a'llofLaT1..y an..il 3a1tll~
N 0 W IN TH E M E T P.. 0 p 0 L I T A N M US EUM OF A .. T
Plate .2Yo. 55
"BEAU-BRUMMEL" D R ESS I NG TABLE
American Late XVIII Century
A TYPE of dressing table popular in England
throughout the 18th century was one wi th a boxed
top composed of two flaps, hinged at the outer
edges of the framework. When opened, a central
mirror, together with compartments for the hold-
ing of toilet accessories, is exposed. The main car-
case work of the table is fitted with drawers.
Of this type and period is the so-called "Beau-
Brummel" dressing table shown on these two
pages. It was probably executed in New York. Fash-
ioned with satinwood, it is of umidorned sim-
plicity with the exception of the relieving borders
at the drawers. These borders are of bands of the
same wood and are edged with inlaid stringings of
a black wood-presumably ebony. This cbrk inlay
is also used to accentuate the tapering edges of the
legs. An offsetting band of ebony, conforming to
the curve of the knee-opening at the center, i•
carried along the lower edge of the body frame-
work.
A pull-up mirror on ratchets, Ranked by IWO
compartments of differing equipment, fills the
space, indicated by the false upper dnwcr. Tbc
lids of the four symmetrical subdivisioos of &illfc
compartments are of mahogany, as is, Iik.ewile, the
frame of the mirror. Ivory moulded knobl 1ft
supplied for the mirror and wmpanmaal lidl.
whereas wooden knobs, also mou1clcd. arc
for the drawer pulls.
 Plate No. 55
2 I. NO P"-III.TITIONJ ... ( O~
S A TtNWOOO-OTHt:"l MA ... OC, Af<4V'

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Jlmerica?L ~db 18~ a-.rln;,.P' ( Sll~• ..,oOi()
OWNED &V MR. ll MIU LOUI$ G MVI"S
Plate No. 56
PEMBRC)KJt: 'f'ABLE
A111erican 17 7 5 1 .-.S'oo

AMONG the 'ariation" of the Hcpplc,,hite and omllmcnted at tl

Sheraton st}lcs was the "Pembroke" table. so-called ct<..hed 1 ' 1 1
in honor of Lad 11 cmbroke from "hom the fint around "11 b r ' a
(Ommission tame. This name i applied to a l'JlC or b o,aJ Of mb
table with drop lca'c which are upportcd. "hm ucd pa tte111 t

extended, b) two bra kcts which s~ing under the derontc the a
top. When dosed these brackets fold m podeu ends an: pr
against the table and allo"· the dl'op lea\ to f.dl pulb. theft n 1 one ••a
in a vertical position. the mt re
The charming Pembroke table illustrated u of cuo~ ancl' •
curly s camo~ \-c.neer on mahopn . 1M kp ~ IMoK tablc:t
straight and t&Jlering, edged ~ ith bna ol boll ancl bfoUatl nllht
 Plate No. 56

l lAf
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EMBROKE TABLE STYLE ~ H EPPLEWH ITE

.Am~r,can. a~ou'l '17S-16oo (.r_ycQ mDr' oQ ;lt•h:r;-~)
NOW IN THl .METI'..OPOL I TA N M811UM OP Aa.T
Plat~ No. 57
PEMBROKE TABLE
American I790-I8oo
THE most popular types of the "Pembroke" or
hinged-flap table, which was essentially a pattern
of the Sheraton period, were those with oval and
square tops, either plain or shaped. This example,
contemporaneous with the table preceding, is of
the oval-topped type. At the height of its fashion,
the Pembroke table was considered the most use-
ful of its class and generally combined handsome
decoration with excellent craftsmanship.
With the exception of the oval shaped top, this
small piece of furniture differs little in general
form and construction from the foregoing example.
It is less ornate in its applied omamenuuon A
wide band of mahogany ,·eneer is u~ to bonier
the panel of the drawer, the latter bein&
with a beading of like wood. Small anWd be.....
of contrasting wood outline the edge of the
top and run down the comen ol the kp. Tif"•ut
chains of the husk pattern are inlaid al lk
the....-
each outer face of the legs. while
above these pendants, is of sadnwoo&l _. . . . .
by means of painting. an. feel ~ •
the unbroken taper w•niMIC abe ....
 Plat~ No. 57
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PEMBitOKE TABLE
!llm~t,.,~•n '7ro-,6oo (2•Aoi••¥J
Nl)w IN T ... E MfT~OPOLtTAN MUll• Of

Piau No. 58
FOLDING TABLE, STYLE OF
SHERATON
SHERATON, a master of straight lines, used in
his construction the rectangular, high perpendi-
cular outlines of slender structural form. He also
excelled in the use of the tapered leg and in the
adaptation of the serpentine swell.
An unusually fine example of an American table,
evolved upon the lines of the Sheraton period, is
that of the folding type shown here. The legs.
typical of this era, are based upon Louis XVI
models. They are round and tapering, with the
shaped shaft finely reeded and terminating in a
delicately tapered foot.
The apron follows the serpentine cun·e of the
I
table top and is rounded at the corners to ron£
to the outl ine of the supporting legs.
Inlay and veneered panels, rather than <21'
follows the Sheraton usage. A handsome dcoor:a t:
effect is here obtained b) the use of satin•-ood a
ebony inlay forming oul and rectangular
and also b\· the introduction of 1mal1 band
•
inlay composed of holl) and el)()n).
The woods most ~naall) wed at tlUt
were mahogany and satim~ood. the Iauer
emplo)ed to a greater cxtmt by SMaaaon l.bea
his comemporarie~.
 •'-"' Plat~ No. 58
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F"ONT ELEVATION • • • ••
FOLDING TABLE~ oL SHEitATO
~m..~,.z.ca~ 1790-1800 (!:1/a~X...and ~wwtll
ttow IN TtfE MET"OPOLITAit M•Sl•• Ol
P la te· S o. 59
SH ERATON BREAKf AST TABLE
A merican I775-I8oo
A VARIETY of small breakfast tables, designed
so as to harmonize with the style of furniture
then prevailing for bedrooms, were made in the
18th centUT)'· The custom of eatir.g brealfa t in
the bedroom, however, seems to date from a
much earlier period.
This example, executed in mahogany and
modeled on Sheraton lines, is of rectangular con·
struction and is prO\·ided with Raps supported upon
hinged wooden brackets or wings of the Pembroke
principle.
The combination o( the straight line \\ith the
cunc, fa,·ored in the designs of heraton, is np~
sentcd in this piece o( (umitun. rpentine cunu
outline the drop lea' cs and hapc d b t . ....,._.,
of the drawer end , which, "'ith Lh u 0
out the decorati\ C effect of th J 1
the to p, when extended, a plea an cnntm1r
is skilfull ) emph:ui1ed b\ t1
satinwood runn ing about the ..,._.,._...
The fo ur leg arc I<JU:UC a
perpendicular a pect ra hcightcn(.'(J
reeded surfaces.
0\-al pat~. rotnpmcd
aa::ent the top of ach
C\ adcnttof the c:ard
oera ted by the mlumm
 Plate No. 59
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Plate N o. 60
ONE OF A NEST OF TABLES
E nglish Style of the A dam B rothers Late I8oo
AN exemplification of the sober mahogany style
sponsored by the brothers Adam in England is
this principal unit of a "nest of tables." Economy
of space prompted the manufacture of these
"quartetto tables," as they were originally called.
The complete set consisted of four small tables,
similar in design and construction and graduated
in size so that when not in use they fit snugly one
below the other. In this example each top of the
three smaller tables slides into a rebate cut into
the top supporting member at the side. When
separated they were intended for writing, or, as
one of the original designers of these tables stated,
"to prevent company rising from their seats when
taking refreshments."
The light and graceful treatment of the rect.an
gular proportions found in this example is ~­
acteristic of Adam design. Likewise charactmllJC
is the classic inspiration embodied in the column·
like form of the delicately tapered legs.
A method of decoration much fa, ored by the
brothers Adam is the representation of dct:ol~u.r
motifs by inlaid woods. In the table, under di'C'...
sion, the Outings on the legs. the pancliDI at lOP
and the inlaid stringing at the feet are in l«dd-
ance with this preference.
 Plate No. 60
SI..OY IO'
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~ ONE OF A NEST OF TABLES

nt_luh ~'f.J:/~ o_i 1/zc .9/a'am. orotherl" /ale 1100 (~t~At~L_•q}
" O W IN T H E M E T "- 0 P 0 L I T A N ll I I EUM OF A a.T
Plate 1Yo. 61
DUNCAN PHYFE DROP LEAF TABLE
American I8oo-I8Io
TO 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 brau lion's feet. The legs are in the charac-
teristic form with acanthus leaves and reeding
carved on the surfaces. The same decorath·e treat·
ment is applied to the colonnettes. Delicate groo\·
ing ornaments the edge of the table and also the
drop leaves, which are supported, when extended.
by two shaped brackets. A narrow beading finilhel
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 foUotn
the outer line of the table top and is aepeat.ed •
the drawer faces and on the -wa tical block u..e-
diately under the coupled coloanetta.
 1
z '_ 11
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cACt:r.!Zo.f,a~ Jc.,.,•yo-r-k /loo-11/D
Plate 1Y o. 62
DUNCAN PHYFE DINI NG TABLE
American Ear ly XIX Century
SEVERAL types of tables were designed by Dun-
can Phyfe. They vary chiefly in the form of leg
structure used. Some were supported upon straight
reeded legs which were placed at the corners of
the table top, while others were supported upon
pedestals. The pedestal took various forms such
as the crossed lyres, or colonnettes resting upon a
platform which was in turn supported upon con-
cave legs Haring outward. An example of the
latter type is shown on the preceding plate.
The third group and that of the dining room
table shown on these pages consists of the solid
turned pedestal combined with out"·ard<lUnl
legs. These legs were either three or four in n·•"'·
her. In this particular example the edge of l
table top proper is relie\ed by hor:izonu1 bcau•H,..
and this manner of decoration, so much b\OlC
by Duncan Ph) fe, is also applied to the \ '2.!1( K'
of the pedestal, and to the Jolli er pan of
cur\'ed legs, while the characteristic acanth k ·: !
ornaments the top portion of the legs.
The two turned intermediate leg~ fold and
under the table top when not in we, that •• "'
when the table is not extended.
 ,•_,,,. Piau .No. 62
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•

DUNCAN PHYFE DINING TABLE

&fmerrccz11. ~orly lflh. cen.1u.ry (:Ma'Aot,••y)
NOW IN THE MET"-OPOLITAN MUSE.UM OF AI.T
Pla te 1Yo. 63
JACOBEAN SIDEBOARD
English I66o-I688
THIS Jacobean sideboard exemplifies, in its pro-
portions and in its well placed decorative details,
the simplicity in which some of the furniture at
this time was executed, and which contrasts sharply
with those contemporaneous pieces which, in out-
line and by the introduction of superfluous detail,
appear confused in their elements of design.
The general adoption of drawers was an out-
growth of this period and were here introduced
in the rectilinear framework which is supported
upon three front legs and two at the back. Four
drawers fill the carcase; two smaller ones at the
center, which are flanked by larger ones, each of
which is subdivided into two panels. The base of
these drawers is ornamented with mouldings or
geometric formation, characteristic of the 1ith
century. Large oval brass knobs are placed at the
center of each of these panels.
The three front leg supports are of light propor·
tions and are garnished with cylindrial turning~
These legs, together with those at the rear. arc
linked together, below the drawer framework. WJth
an apron of a bold cut-out pattern. The iota"
mediate front leg forms the axis for the l)lll"waioal
treatment of both drawer arrangement aod tbe
cut-out design of the oonnecting aproo.
 Platt: ~No. 63

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Platt' 1Yo. 6-f.
SIDEBOARD, STYLE OF
HEPPLEWHITE
American Last ~arter Xf7 III Century
I ,.
IT IS generally considered that the point of dif-
ference between the sideboards, sponsored by Hep-
plewhite and those in the Sheraton manner, lay
in the contour of the carcase; those of Hepple-
white being generally of serpentine or straight
front; whereas, Sheraton usually preferred a bowed
front swelling out from rectangular corners. There
are, however, exceptions to this belief, as is illus-
trated by the sideboard executed along Sheraton
models and shown on the following plate.
The serpentine front was undoubtedly a favor-
ite incorporation of Hepplewhite's, either by its
adoption for the entire front or by confining it to
the central portion with flanking straight or con-
vex wings. The central portion of this example is
equipped with a large drawer above a compart·
ment, closed behind two swinging drawers pro,·ided
with lock and key, and at the ends by cellerette
drawers. These cellerette drawers were frequently
provided with several divisions and lined with
lead to hold wine bottles.
It was the aim of Hepplewhite to "'unite elc·
gancy and utility and blend the useful with the
agreeable." Many of the salient features of the
Hepplewhite school, which in England covered
the period of 1780 to 1800, are fused into the fur-
niture of American origin of that date.
 Plate No. 64

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c:;;ymt;T'ICQT.J. ~a.r7 fZ1t27'7er /814 Gn~~{:IIA.o~!!J'}
IN TH f M U S f U M 0 F ~ H 0 0 E 1 S LA • D 5 C I 0 0 L. Of Dl I O
Plate No. 65
SMALL SIDEBOARD
American
IN ENGLAND, about the middle of the 18th cen-
tury, the appointments of the dining room began
to receive especial attention. At that time they
commenced to make sideboards and side tables for
use solely in this room. This supplanted the use
in the dining room of tables which were equally
serviceable in the reception room, drawing room or
hall, as had been the custom in the generations
preceding. Small sideboards, such as the one shown
opposite, were intended originally as serving tables,
to be used as adjuncts to sideboards.
Drawers and cupboards were introduced into
the framework of side boards which stood upon
four or six legs. Under the guidance of such design-
ers as Shearer, Sheraton and Hepplewhite, a most
I775 -I8oo
graceful and useful piece of furniture was ~\ohrd
This small sideboard, executed in Amcnc.a, (
lows the straight fronted t)pc mud1 [a,orcd
Hepplewhite, and is delightful in its plea ang I"'"'·
portions and in the delicacy of its construc.uon Tht
use of brass fittings, of spread eagle daagn, on UA
flanking double drawers becomes mo.t cffecu'
its introduction of a markedl} conu:uttng e
The restrained use of holl) stringing on the
hogany framework, offset so skilfully by P'nch
dark mottled mahogany, is panicularl)
The broadened space, obtained by the do•••• 11
llare of the low~r rail of th~ catr, is a&qt~•ael
by a modest spray of hollywood io1ay
 1, ; I Plate No. 65 1

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SMALL SIDE BOARD J'11!_,e z HEPPL
~ow ..Ame,.z'can 1115-1800 ('h(dho2.an.y wz'fj! 7fo7lz
IN THE PENDLETON COLLECTION- P..HODE ISLAND SCMOOL Of 01
Plate No. 66
SIDEBOARD, STYLE OF SHERATON
American I790-I8oo
THIS American made sideboard, based on the
Sheraton vogue, is of unusual interest in that it in-
corporates the serpentine curve-so much favored
by Sheraton's contemporary, Hepplewhite-in the
central portion and between the convex flanking
sides. The contour of the countershelf between the
two intermediate legs does not, however, conform
to the serpentine outline below, but instead is of
circular shape.
Six tapering legs support the superstructure and
are extended through the body to the underside of
the top. The rear legs and those corresponding at
the front show flat faces while the two intermediate
supports are five sided and are set at an angle wilh
two decorated faces exposed.
The rectangular lines of the paneled inlay aacn·
tuate the structure of the body. Handsome band
of mahogany veneering edged with stringing of
holly, combined with mahogany, border the drav. er
panels. Four motifs of fan design carried out in
shaded inlay of satinwood accent the comers of
each of the convex cellerette drawers, as well as,
those of the two central hinged doors of serpentine
shape. At the top of each front leg face and imme·
diately below the countershel£ is a design of ron·
trasting inlaid strips simulating a reeded motif.
 Plate No.6

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Jlln:u:-rz...c.an. 1790-t8oo (./Ka.h.~
N 0 W IN THE MET"-.OPOLITAN MUS£UM OF ~"T
Plate J.Yo. Di MIXING TABLE
American About I8oo
FOLLOWING Sheraton precedent, this mixing
table is an unusually fine example of American
workmanship during the early years of the new
Republic. It has been attributed to a Baltimore
craftsman. During that flourishing period in Mary-
land, patronage was liberally extended to a variety
of skilled artisans, particularly silversmiths and
cabinet makers.
The large drawers at either end, presumably for
the holding of bottles, are separated by a table top,
in which is inset a piece of white marble. This
particular material was used in this place in order
to obviate the possibility of the mahogany being
injured when beverages were mixed. A tambour
top rolls down and closes over this mixing space.
This table is distinctive in its exquisite execution
and in its delicate design. The legs are of the
slender tapering type and inlaid with paneled
borders of satinwood of varying outline. The ~ame
wood is inlaid, in combination with other woods
on the apron of the table, in most interesting de·
signs, composed of rectangular panels term inatin
in leaf motifs and in egg-shaped panels. Large oul
inlays decorate both the exterior and interior sides
of the bottle drawers.
The wood used is a beautiful grained mahoga"'·
In place of the customary brasses, turned knobs of
mahogany are used to operate the end compart·
ments.
 Platt: iVo. 67

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SHERATON INFLUENCE
.llm.tr L ca. n..-yro'ba.. 'bltf .8 rLl lzm o r0- a:!Jou.l. 1800(,/f.fL b. 'jtLn.
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M ~ T I'- OPO L ITAN MUStUM OP
Plate 1Vo. 68
I T ALlAN CHEST
Florentine XV Century
THIS Italian chest, imposing both in size and in its
stately treatment, serves two purposes, that of a
chest and also a seat. It is characteristic of the sty-
listic trend of furniture of the Renaissance, when
an architectural character was infused into all the
decorative arts, including that of furniture making.
The severe, rectilinear lines of the structure are
relieved by the use of bold richly moulded mem-
bers. This robust chest rests upon massive feet,
carved in the form of lion's paws. The top of the
chest, which is hinged at the back, lifts up to form
a lid. The edges of this lid, as well as the mould-
ings directly beneath, are richly carved in motifs
derived from classic sources. Panels enrich the s1dc
and front of the chest body. They are sunken and
surrounded with a moulding of bolcction l)I>C.
•
which is also handsomely carved in the same spntt
as the mouldings of the lid . At the base the cho t u
finished with a massive thumb moulding, agam
richly ornamented.
It will be noticed that, in this example, ilie
decoration is entirely confined to the ,·arious mould·
ings, and with the exception of the filleu no mem-
ber of these shaped surfaces remains unadorned by
•
carvmg.
 Piau No. 68

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ITALIAN CHEST
c:J'lorcntftnc KvrGentfvrx 7CWe~1n-vt1}
NOW IN THE METilOPOLITAN MUSEUM 0• ALT
Piau .Yo. 69 CUPBOARD
English XV Century
ENGLISH furniture of a ny description during the
15th century was limited both in \'ariety and
amount. Numerous chests, howe' er, were made at
that time as well as in the preceding centun. The
furniture makers were then lc'ls skillful and
resourceful than the carpenters, and the latter oc-
cupied a position of greater importance.
In construction these chest were of a primiti\e
type, being made from solid board- held in place
by wrought iron nails or wooden pegs. The standing-
cupboard, such as the example illu- trated on these
two pages, was an important piece of furniture
during the 15th century. The an'!lngement of t11e
rcntral door (double doors not appearing umil the
dose of the 1ith centur~") fashioned a' it is from
one piece of \\'ood and fl ank(•d b) l\\0
boards ex tendi ng below the c.:an~&e to 01ut a
l ) p1 cal of the de ign and crafuman h1p
pet iod. T he sid e arc prolong d to tJ fir.rrt·
from being cut and hapcd to fmm a
.
open mg.
The d oor as well a the broad fian
are o rnamented wiLh p iercx.-d bold car
Gothic m oti f with ' eruca1 mould•n"
gouged beading ncar the ou ter cdl.; to
boards.
The door is sccu11ed to the a
large butterfl, hmg and u
"ooden catch (.astened to the o:P:J)
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CUP BOAR.D
C'n.f!t.rh /S/11. c&nivrx_ {otZk.)
N0 W IN THE METilOPOLI"tAN MUSEUM O F -'"-T
Plate 1.Yo. 70
CONNECT'ICUT CHES'r
American I675-IlOO
THE 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
sites and turnings arc applied to the stiles. .-\ hori-
zontal groo\'cd band, frequently found on the
chests of this date, decorates the top of the chest
between the sti les and appean again bet"(!Cfl tl
lower panels of the end.
The carving of the upper panel i in ' 11 ,.,,~···
low relief and of a rather crude t} pc-"hat 1
as peasant carving. The central panel rqn·I"V''m
is supposed, three asters, while the outer fl
of a conventionalized tulip.
The woods used in the excruuon f
are both oak and pine. Like mou of the
.\merican-made chests o{ this date, the top boU
and backs o{ both chest and dra""en lilT of
the rest of oak.
The bosses, half-spindles, grocna and *
horizontal mouldings are painted
 Plate No. 70
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CONNE,CTICUT CHErST
cA'me7"lC'Ifln I!I'Jo ut 167S'-1700 («!, GM
N 0 W IN T H E M E T 1'..0 P 0 L I T /t. II M U I I W
P l atf ~Vo. 71
PANELED CHES 'f
American About
, ·~
,•r =
THIS early American paneled chest is of unusual
proportions, in that it is extremely high and very
narrow. It is constructed with a lifting top dis-
closing a compartment which occupies about one-
third of the entire storage space. The remainder of
the chest is occupied by three drawers, which arc
graduated in width, becoming increasingly wide
toward the bottom.
Conforming to the usual custom the lid of this
chest is rather thin and is finished at its edges with
a thumb moulding. At each end of the carcase, large
panels are formed by the structural members, the
handles, together with escutcheons. were at that
IJOO
time largely imported from England.
The face o£ the drawers and oompartmcnt a
are decorated with a ~ries of panel , tmJ h fon:~
by mouldings. The top c:omparunentu dnaded
two panels with the upper oomen d12mfcr a
the two upper drawcr-5, ornamented " th • ou.;au
gular and square panel , r~pecu,-eJ • •h lc
bottom drawer has those of ocugonal .hJpc: "'
single-arch moulding bo~dcn ach dn111n :a
mite~ into a similar moulding at the .u
ball feet terminate the four prolonged
The handles are of the bTUI drop upe. l'bc.r:
interior edges of the lautt brio& lli&fltl cham" •ed
 Plate N o. 71

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PANELED CHEST
./lmt!rzca12 a'Dottf 1700 (mo_ple (j' pzo.e)
HOW IN THE MIT~OPOLITAN MUSEUM OF Aa.T
Plat~ No. 72
LOW CHEST OF DRAWERS
Dutch IJ25-I750
STRONGLY influenced by Dutch traditions is this
low chest of drawers of "kettle" or "bombe" shape.
This form was used by Chippendale on some of his
best pieces. In America it was also used for chests
and desks but only on a limited scale, since the
expense of this type of work precluded its greater
production.
The top and front of the chest follows the , ser·
pentine contour with straight returning sides. To-
ward the bottom the £ron t as well as the sides
swell to a marked degree and return into a lower
horizontal moulded member. From this character-
istic, that of the swelling frame, is derived the name
of "kettle" shape. The four drawer faces, which
are cut from solid wood, fill the carcase and con·
form in the swelling and undulating cu 11tour L
the lines of the framework. Arou nd cadt dr "
on the frame members, runs a del icate I adu
The piece stands upon four plain squat ba
legs ending in bird's claw and ball fee t.
The top is quite thin and somewhat proJ cur
the sides. It is finished at its edge vo ith a
moulding.
The large cabinet mounts arc of a t pc fa
by Chippendale and combine trcngth and ~··
grace. Fittings of this t) pe, with reruun moru-·-
tions, were the principal ones used throu
18th century. The) are composed of a J
connected by knobs to a Hat shaped pbtc " 'hldl
was cut in scrolled outline.
P tt .Yo. 73
C H EST O F DRAW E RS
American Circa I760
THE form of this American chest is based on the
serpentine-fronted chests of drawers, fashioned in
the later years of the Chippendale period . It is of
simple character, severity being redeemed by the
shaping of the drawer fronts. This undulation pro-
duces an interesting play of light and shade, and
also displays to the utmost advantage the rich fig-
ure of the mahogany.
The vertical line, produced by the swelling of
the front, is carried down through the moulded
horizontal member, at the base of the chest, and
through the brackets of the legs. The four feet are
of the ogee bracket type, ending in flat cushion
mouldings at the floor.
Following the ctl'ltomar> ttcacmcnl in d li
the period is the !)mall bcacl, innnediatcl} un·ou:n(i·
ing each drawer and inun poraccd on the f12
the style succeeding. thi beading 1 JdaeiCd ~.~~,~,,,
t.he drawer i~lf, rather than up< n the rr:a
The bra~s mouming arc unu ual m I
chests following Chippendale in puau n 1
call, rather, those of a later fJJenod, bd ·---··
ou tline. T he handles, ho\\C\Cr, do n
full width of the back plate a a -•'
of later date. The bra 1 t2mped m a ...,...
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 Platt No. 73

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Plate No. 74
CHEST OF DRAWERS
American 1790-I800

THIS low chest of drawers with swell £ro n t deri' es Hepplewhite.

its style and traits from Hepplewhite. The lines are
chaste, )Ct not se\ere, and the main decoration re·
lies upon the rich grain of the inlay and upon the
derorative bra ·s handles. The chest re ts upon feet
of the lonR French bracket t)pe. a form fa, ored by
this dt• si~ner. The ~raccful line· of the lower edge
join the kgs in uninterrupted cun e-.. T he frame-
work, of maht)ganv \eneer. tOntains four drawer ,
carh with two long and one short panel or atin·
wood inlav, a rettan~ular panel also being in rte<l
at the skirt. Around the etlge or cath dra"er i a
line bead moulding. a cu tom made fXlpular b'
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plate are of pressed bra hand h
with dclicatel) modelled urn decora :d <M' Ucil '"'~
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Plat~ No. 75
BOW-FRONT COMMODE
English
BY THE second quarter of the 18th centut:y, the
popularity of the commode had extended, across
the channel, to England from France where it had
held a position of prestige for some time. The
French term "commode" was frequently used by
Chippendale, Hepplewhite and Sheraton to desig-
nate chests of drawers. Very few pieces of this type,
however, were made by American cabinet makers.
In the later years of the 18th century, in England,
chests of drawers underwent modifications of form,
becoming in many instances semi-circular in shape.
Some of these, made by Hepplewhite, were of .satin-
wood and richly inlaid.
The framework of this particular specimen is of
mahogany, with four projecting columm cxtcmding
through the body, which separate the storage spare
into three compartments, each filled with a seric
of drawers, veneered with satinwood. 11te end
series, triangular in shape, are hinged at their outer
edges, in order that they can swing out from the
body.
The top is handsomely inlaid and \eneered ~ith
radiating strips of satinwood. A channing inb1d
design also enriches the front face of the top. The
lower portion of the body is finished with a C2J'\-ed
waterleaf motif. Lion-mask handles of bras~ arc
applied to each drawer. Brass also fadlionJ the an•·
mal feeL
 Plate No. 75

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Plate 1Vo. 76

CHEST OF DRAWERS, SH E RAT ON

STYLE
American I8oo-I825

THIS swell-front mahogany and satinwood bureau
is of a rare design. Chests of drawers for use in
bedrooms made in the Old World about 1800 were
generally bowfronted and sometimes had corners
projecting in columns. This specimen follows the
dictates of the Sheraton vogue which persisted in
fashion in America longer than in England. It rep-
resents a transitional phase at the close of the Shera-
ton influence, rather than the height of that period.
The four corners of the chest are projected in
columns all the way to the top of the body and
extend below to form the feet. The top is shaped to
cover these columns. The upper part of the column,
as well as the upper pari-of the leg, is ornamented
with ring turnery, a form of decoration considcrabl)
used in the early part of the 19Lh cen tury.
On the edge of each drawer is a \ Cr) small bead
moulding. The horizontal lines of th is heading aJc
repeated by similar and corresponding beading on
the corner columns.
Panels of inlaid mahogany and satinwood aCJttnt
the center of each drawer and incorporate the m-
laid pattern around the ke) holes.
Round brasses are placed at the extreme end•
of the three long drawers and also in the ttntcT of
the upright drawers which flank. the centcT top
compartment.
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Plate ..Yo. 77
C AB I NET, STYLE OF AD AM
English A bout I8oo
CHARACTERISTIC of the introduction of classic
features is this cabinet in the style of the brothers
Adam. The earlier examples of commodes, follow-
ing Adelphi influence, were straight-fronted but,
after the accession of Louis XVI, the revival of
French influence modified and somewhat softened
the severity of these rectangular models. In this
particular piece of furniture, the contour is gov-
erned by the angular element, although the front
is slightly bow-shaped. Fluted spade feet, sparingly
turned, support the carcase work and the vertical
comer supports are seemingly lightened by inlay
representing fluting.
The top is made of a slab of pink marble, to
which -is attached a gallery, cut in an openwork pat-
tern, of brass.
Of marked interest, is the inlaid decoration and
the use of vari-colored woods, combined in richly
contrasting effects, and, also, the introduction o£
a few gilded mouldings which accentuate the main
structure of the body and reflect the coloring of the
brass gallery crowning the top.
The body of this cabinet is of satinwood, a wood
popularized by the brothers Adam to such an ex·
tent that this period has been often called the
"Age of Satinwood."
 Platt No. 77
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Plate 1Y o. i 8

DESK BOX ON FRAME

American I650-I700

THIS small desk on a frame, fashioned in colonial Turtle-head bosses, set diagonally, arc pb«d
America, is an unusual piece of 17th century fur- the- center of the upper panels and, in a rcb,•iur
niture. It is, in reality, a chest, incorporating a position, on the face of the drawu ~Math 11w
desk·box, superimposed on a long drawer and sup- intermediate and end stiles of the front pandl
ported by a structure of four legs, turned and con- ornamented by the application of spht tpt
nected by four stretchers of similar character. The The use of the latter, with bot1~1 and
front and the sides of the upper portion are orna- grooved mouldings, is repracntati~ ol tbil pdlli I
1
mented with moulded rectangular panels. divided The top, which is finished at ill alpl
by a horizontal member, likewise moulded. The thumbnail moulding, is hinged to lift. _..
structural framework. is fastened t~ther by wood- vided with wooden guides at eMil al4. wWda II
en pegs. against the dv:st wbza tbe top illoaucD'
 Plate .No. 78
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Plate No. 79 WILLIAM AND MARY WRITING
CABINET
English About
WRITING became in the early 18th century in
England a familiar accomplishment. At this time,
cabinet makers were abandoning their strictly or-
namental models for the more useful types, and we
consequently find, among the articles of early 18th
century furniture, pieces called "scrutoires" or writ-
ing cabinets.
This specimen is of English origin, very few ex-
amples modeled after this fashion having been pro-
duced in our colonies.
It ia composed of two superimposed carcases, the
upper, consisting of a solid front concealing .draw-
en and pigeon holes, while the lower contains two
IJOO
large drawers below two shorter ones at the top.
Surrounding these drawers and a part of the frame
is a single arch-moulding. The base of the carcase
is finished with a moulding of flaring outline and
the whole is supported upon four ball-turned feet.
The upper portion is topped with a cornice,
showing classical influence and incorporating a
frieze of half-round or cushion shape-an architec-
tural mannerism dating from the late years of the
17th and the first years of the 18th centuries. A
veneered rectangular pa.Bel enriches the fall at the
front of the upper case.
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N 0 W I N THE. aoSTON MUSEUM OfFINt A~TS
Plate No. 80 SLANT TOP DESK
American Early XVIII Century
AN AMERICAN strutoirc closely following the
pattcm of the lower thest of the " 'illiarn and Maq
writinR <.ahinct, Plate 79, is pictured here. It
i morpor~ltt.'\ 1he major characteri~tics of the de~ls
of thi' p<.'riod (1700·1710).
Below the de:~l top. which is a development of
the mo,able t.lt•:~k·box. is pro,·ided a series of
drawet rnisell on large spherical feet. A double
head moulding ornaments the \Crtifal and hori-
zontal members of the drawer framework and is
also extended up the laming frame at the flap.
The flaring moulding at the bottom of the desk
bod· i t)pical of thi st le.
The lant-top, "''hen lo"'~· rests upon small
"ooden slides, placed in the box-lile pottJon aoo
the two top drawers. The fitting , imide lJ c dLI>....
comprise a central space, flanked at esth~ d
a gradually projecting arrangement of lu~m ~Jttl
and drawers.
Characteristic of thi period, is tilt' Ia b2
foot. This example, ho"c'er• ddfen loOIDC'I'u-..
the usual fonn, in that it rots upon :a ft.u a.'ttt W'
The bod) of the desk is beauuf
Double bandings of ho nngbone, an rkd •ah'itlr1.
border the 'enecrcd paneb of the dn•'Cn-
The brau handles are of the drop I
large etched kq ocutchcom oltct.. b)
rich surUce of the Yood.
 5 I D E.
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t~s1 ~ hee,. 11'•1••1
Ct?r~ 1871 ct?J7uz (..!J ur1~tZ
MUSlUM OF
N 0 W I N T H E. M E T P-.0 P 0 L. I T A. N

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Plate No. 81
KNEE HOLE DESK
EngHsh Xf/111 Century
ONE of the early types of desk or dressing tables
was made in the form shown by this illustration.
The central portion is recessed to allow the u ser to
sit snugly and comfortably at the desk or dressi ng
table. The name "knee hole" was evidently deri,ed
£rom the cutting away of this central portion.
On each side of the center are drawers and in the
recess is built a cupboard, which served the needs
of the desk. as well as those of the dressing table.
In similar pieces, designed solely as a desk, a
change appean in the construction of the top
drawer. The front is frequently made to fall on a
quadrant. forming a surface upon which to write.
Within. the desk is fitted with pigeon-holes and
drawers.
H owe,·cr, this piece of furniture "as a' hequ
made to support a dressing-glass, in "hidh ca
top compartment appeared in the fonn or a du"
In the example, the front part of the dra"er
of walnut \enecr, bordered "ith edgo Of 1
bone. This herringbone treatment ¥at a f.a,
method of early inlaid decoration.
The feet are of the late.r bra£:Ut t'~ a
cut-work bracket, "'hich (onns 1M WIIICU of lbt:
recess, indicate Chinese inftuencr. Abo, ol a
period. are the brass mountings. ol a
F1a1ch feeling.
 •<'\..t
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NOW·IN·THE &OSTON·MUSE UM OFF E
Plate No. 82
TAMBOUR DESK, STYLE OF
HEPPLEWHITE
American About IJ80-I8Io
CHARMING in design and delightfully fulfilling
the requirements of the writing cabinet is this desk,
a variation of the Hepplewhite style.
The lower section comprises two long drawers,
below a flap top which folds over double. \\'hen
extended, this flap rests upon two wooden slides,
placed at the ends of the upper drawers. Support·
ing the body arc four slender, tapering legs, the
front two bemg connected with a deep apron, cut
to a gracefully curving outline.
Above the Hap, the top compartment is con-
cealed behind tambour doors. These are composed
of narrow beaded strips of wood, glued side by side
to a stiff canvas backing. These strips are attached
to inlaid ~ertical members, forming center
The tambour door was a fonn of dccorau
struction used in the late J th ocrHUI') Jk:
these doors are fC\ caled pigeon hol • and a """""'
of small dra wcrs.
An inte11csting motif o£ inlaid d rat
on the upright members o( the d tOP
placed upon the bod) poruon ol I
design, representing a dass1c palutcr
of 'en nanow bands of hght Jond , ...
panels of inla). ~ith ''UJ'Rg boeden
inlaid pat~ms. onwoent the ccnu-al
the two large drawas.
 Platt No. 82
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NOW IN TNf ,_(T-..OPOLITAII M•ll
Platt ~vo. 83

DESK, STYLE OF SHERATON

American About I8oo

AN unusual piece of furniture is this tiny "Lady's is prO\·ided with two handJome bran pull•
Writing Desk." of Sheraton conception. In nicety The mo,-able box-like dot. with bratl lhandln
of proportion and slenderized construction it is a attached at the sides for lifting i• ~ on lhc rar of
noteworthy exponent of this style. the table, so that when the door ftap 11 lowaed I
It is fashioned of mahogany, with maple door and rests in a slanting position, •aJftlt the boac ol dlt
with this light colored wood also applied to the
panels of the body framework.
The stand upon which the desk rests is o( the
table cop.
....
Drawaa. lined with w:rt -·II..._
a unU'al pisecJa-bolr. -•e ap 1M
shape of a small table supported upon four aknder, the inlaior oflbe •••·
reeded legs of mahopny. with rins tuminp atlbe nc:.,......-....r6r
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top and ankle, and &Dished at abe foot with
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 Platt No. 83

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DESK~~ SHERATO
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MET~OPOLITAM
H!7/'71U'I'3J:Qn. a:J>o;-:l 1800
OW IN TH! ••••• ,,
Plate No. 84
VARGUENO
Spa nish XV I Century
.....
VARGUENO cabinets exemplified the highest at-
tainments of the Spanish cabinet makers. In skilful
construction and in mastery of the art of decoration,
they are distinctly characteristic of Spanish furni-
ture, which, in this art, reached the highest point of
excellence.
These pieces of furniture were habitually made
of walnut, a wood which lent itself to ornate turn-
ing and carving. At times, inlay, as well as color,
was added to heighten the effect.
The vargueno consists of a chest, which rests
upon a stand made expressly for this cabinet, but
which was treated in a decorative manner quite dif-
ferent from the cabinet it supported.
In this special example, the stand is made up of
,._
three legs at each end, which rise from a runner
foot and support above a heavy cross rail upon
which the cabinet rests. From these block rail brace ,
two massive supports pull out to hold the drop
front when the latter is lowered. Thc-,e ~lides arc
ornamented on their exposed ends with the cockle
shell motif, carved in high relief. An arcaded
stretcher, richly turned; connects the center leg
supports.
The exterior of the chest itself is of the simplest
nature, depending for decorative effect upon ~
handsome and intricate designs of the applied
ironwork. In Spain metal trimmings were delelo~
to an extraordinary degree and far excelled thll
craft in other parts of Europe.
 .. ,.
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VAI\.GUENO
Jecz'TJZS~ X VI C~12?u_!;r 7#/at1'JtL'l.
NOW IN
THE. MUSE.UM Of THE HISPA NIC SOCI[TY OF AAliUCA
Plate No. 85
QUEEN ANN E SECRETARY
English Early XVII Century
THIS walnut secretary with its high and rectan-
gular construction is typical of the more simple
types of Queen Anne cabinets. Bureaux in two
stages, with the upper structure placed upon the
narrow shelf above the desk portion, appeared at
that time since the increased height of rooms then
being built demanded furniture of greater stature.
A feature, exceedingly characteristic of the fur-
niture of this period, is the hooded top. Sometimes,
a single hood was fancied but, more often, the hood
with the double dome as illustrated in the accom-
panying example was favored.
The glass of the doors is outlined with a semi-
circular moulding, which, at the top, is scrolled in
an interesting hooded effect that conforms to, and
accentuates, in a delightful manner, the cornice
above. Shelves are fitted into the compartment be·
hind. Below are two small drawers, each cut in a
double concave outline and bordered with double
bands of walnut inlay.
The desk with falling front, operated by a q~~·
rant, is situated in the lower portion. Below 1l 11
a series of drawers, supported upon simple bracket
feet.
 Plate No. 85
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N0 W IN THE M E T ll 0 P 0 LIT A N M U 5 E UM 0 F A A.T
Plate N o. 86 AMERICAN SECRJ•:TARY
I765-I780
THE third quarter of the 18th century, in America,
as well as in France and England, was one of the
most brilliant in the history of furniture design.
During this period, secretaries-, particularly those
with a slant top desk, enjoyed their greatest pop-
ularity.
The example under discussion follows Chippen-
dale prototypes and embodies many features fav-
ored at this time, one of which was the hooded and
scrolled top. In New England this feature was gen-
erally enclosed, as we find it here, whereas, in speci-
mens of Southern origin, the lines of the ogee
b~ken arch at the front were not, as a rule, car-
ned back but left a flat top, behind this ornamental
motif.
The lower or desk section contains, below the
slant top, drawers of ox bow shape. The whole cat·
case is supported upon feet of ogee bracket t 1
Two large doors are provided in the upper .oc
tion or bookcase top. These doors are ornamented
with sunken panels whose outlines are composed of
a series of cyma cun-es.
The fluted pilasters and denticulated comi«X, to-
gether with the scroll top, show the inftuen~ or
the architectural backgrounds in which such p•C(a
of furniture were placed. The finiab, sunnounu~
the pilaster treatment and between the rotetud
scrolls, are of urn shape, terminating in a 8•,.
motif.
 Piau No .

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NOW IN TH E M ET ~ OP0 L I T A •
Plate ..Yo. 87
BLOCK-FRONT SECRETARY
American I750-I775
THIS block-front, cabinet-top scrutoire, is attrib-
uted to .John Goddard, an 18th century cabinet
maker of Newport, Rhode Island, who executed
some of the finest pieces of American furniture.
The top is scrolled and hooded, its crowning
moulding returning at the inner ends of the scrolls
and the lower moulded members d( the cornice car-
ried around the circular opening. This latter treat-
ment is seldom, if ever, found outside of Rhode
Island pieces.
Inserted in the corners of the upper portion are
quarter round fluted columns, partially reeded. Be-
tween are three doors of high, perpendicular pro-
portions. Two of these are hinged together. The
panels of the outer doors are raised and headed
with carved shells. whereas the center one is de-
pressed with its shell design, similar in fonn to
those adjacent but of sunken relief.
In the lower portion the slanting do k lid i
blocked with a repetition of the rai~d and untm
panels, ending at their tops in caned hcl! . 11 c
chest below is again blocked with the bJookan ar
ried down through the three drawers to Ute {'C
feet.
Three finials of urn and flame pattern, di Un(t1
characteristic of Rhode Island pieces, grace the lOfl
of the hood.
The interior of the desk is fitted with ~
holes and drawers which ftank the ttntral door A
caned shell motif is wed lO enrich the top or '
door as well as the t"·o small uppa dntrcn.
 Plate No. 87

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BLOCK.- FR.ONT SECil£T

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Now I N T H E. M E T ~0 P 0 L I T A N
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/au 1Yo. SS
SHERATON STYLE BOOKCASE-TOP DESK
A11terican I790-I800
'
EMBODYING many of the characteristic features
of bookcases, following the patterns prescribed by
Sheraton, is this particular example. Of imposing
proportions, it comprises drawers and cupboard
doors, in the lower portion, upon which rests the
bookcase top. Sheraton's patterns frequently, as in
this example, were made in three sections, with the
middle portion projecting beyond the flanking sec-
tions. It was also a characteristic feature for the
upper portion to be somewhat receded from the
unit below.
The four bookcase doors are glazed and traceried
in a geometric design.
The peg-top foot is indicative of the majority of
late pieces of Sheraton influence. In the outline of
the cresting, which tops the upper portion of the
carcase work, the curvilinear is introduced. It is
broken at its points of vertical support and at the
center, by finial terminations of delicate urn-shaped
turnings.
In this example inlay is introduced only on the
four front faces of the leg supports which are car·
ried up through the lower unit. Oval brass dra~er
fittings give needed contrast to this impressne
bookcase-top desk which is executed entirely of
mahogany.
 ~L Plate No. 88
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.Am e..,..z can. 179 o -1800 (:JiltL'JJ.o~a:n_x)
N0 W IN T HE M E T R. 0 p 0 L I T A N M U S' f U M OF A A. T
Plate No. 89
STRAIGHT-FRONT SECRE'fARY
American About I807

'

CONFORMING in the essentials to the vogue of of graceful serpentine outline.

the time is this straight-front secretary which dates Crowning the bookcase is a denticulated cornice,
from the early years of the 19th century. It has topped with curved cresting, terminating at the
been attributed to Appleton of Salem. corners in delicate blocks supporting brass finials.
The carcase is built in two sections. A movable
bookcase top rests upon a desk. The bookcase por- The cresting rises at the center to receive a large
tion is fitted with shelves behind glazed doors, carved "spread eagle." This national emblem wu
whose muntins are diagonally placed, forming a a popular motif of decoration during the early
geometric pattern. The front of the upper com- days of the Republic, and was frequently used in
partment in the lower section falls, disclosing a inlay as well as in relief. It was also adopted by
desk. Below are three drawers, all of which are workers in brass, principally, as a motif on drawer
outlined with a delicate bead moulding. The piece pulls. The oval shaped braSl5eS are almost without
stands on long French bracket feet-a typical Hep- exception found upon furniture following llep-
plewhite detail-which are connected by an apron plewhite's models containing drawen.
 wooo Gu.o&o
Plat~ No. 89

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Plate No. 90
PAINTED HIGHBOY
American I680-IJOO

A TYPE of the earliest development of the Ameri· t~o dna~en beneath hau: one runnn It
can highboy, a combination of the chest of drawen and another at the bou m wnglc 1r
and table, is ahown here. The six legs are elabor- common to ha hb<n of tha carl) per od.
ately turned, the four at the &ont in a cu~shaped the frame about the upper ICt ol n-"'
pattern, while the two back legs are of more sknder rC'pcatcd on the aulo ol the !&ower 1
They are blaced near the 8ool' on the front and raal ol the frame are mo~utal and
aad llda with a thin. broad ltleuher. aliptl The m11n bod of the
aarelllawanll. and aat\111 the ba~k with altletchcr
rdin-cd by baodt of ftd. a 'a 7 ..nl..l
...... wrdcallJ and cut in a quaint dcliga ol.laJF baD. The WF naeecl pmMII of
OUt IDled.
ci lunalture • ccmtU«Ir:d an two .ec-
two,..ue.t n.e .... ~
..................... .. *
. . he ........ of
- - . . -. .. GM.a,_..
 Plate No. 90

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PAINTED HIGHBOY
~e,.&cc.a 1~10-1700
ttow IN THE MIT"-OPOLITA •••••
 WALNUT HIGHBOY
American IJOO-Il IO
THIS walnut highboy, made in America very early
in the 18th century, follows the William and Mary
precedent. The highboy remained in favor many
years longer in America than in England and was
made here in greater numbers.
The "highboy," a name of American origin, usu-
ally consists, as is represented by this piece, of a
chest of drawers, supported by a five or six-legged
stand, embracing a few drawers and with a shaped
apron, connecting the legs immediately above the
feet. The upper portion or chest was, as a rule, four
drawen high with the upper one divided into two
or three smaller drawen.
On the framework surrounding these drawen it
a double bead moulding. At this time, this type of
moulding shared, for this particular treatment,
favor with one of half round contour.
The six legs of this stand are of the inverted cup
type, typical of the William and Mary period. The
legs are connected above the bun-shaped feet with
flat stretchers which are shaped to a concave outline
between the two intermediate legs and follow tbe
ogee pattern elsewhere.
The lower edge of the skin is cut to a cont(ld'
of cyma curves and, at its center, a single arch is
introduced.
 Plate No. 91

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WALNUT HIGHBOY
v9me1'%CII.'A • !TOO- ITIO
NOW• IN· TN I! MET~OPOLITAN MDia•a OF It "r
Plate No. 92
LACQUERED HIGHBOY
I700-I725
AN INTERESTING japanned high chest of
drawers is shown here. In the last few 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 Ori-
ental character with flowers, houses, figures and
animals freely scattered but invariably fonning a
well balanced composition. A large shell fills the
circular recess in the lower, central drawer and iJ
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 skin iJ
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 wtencd to ID
exquisitely engraved plate. The key escutcheool are
of different designs but similar in character.
 Plate No. 92
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AMER..ICAN HIGHBOY
'-ol'lt:a.,et• ZJa,c~ru,.6i1 .A»ou.7qoo-61'
• OW IN TNI METI.OPOLITAN MIIIIM OF ALT
Plate No. 93
HIGHBOY
American I725-I750
THE highboy enjoyed a greater development in
America than abroad where its popularity was
rather limited. In England as well as on the conti-
nent their position was taken by commodes whose
vogue, commencing in France, soon received gen-
erous support in England. In America, however, the
highboy held position in the public esteem that was
unassailable until the end of the 18th century. Un-
til about 1750 walnut was the wood preferred for
the construction of these "chests of drawen on
stand," as the highboy was frequently called, as
well u for all other pieces of furniture with preten-
tiona to elegance. After that date the use of mahog-
any inae11ed in favor and rapidly supplanted the
nadvewooda.
The enmple under di.,•aion is IUI'IIlOUilted bJ
an interrupted pediment of scroll form. In the mid-
dle of this pediment and reP.Cated at each end are
turned finials of urn shape with long, spiral 8ameL
Finishing each stile and framing a series of drawcn
are delicately Outed pilasten of classic form whidl
carry through the cornice.
The stand is supported upon cabriole 1ep of •
early form, which are connected by a skin cat •
a design of quarter circles separated by
lines &om which hang small turned
The top and lower central drawaa are clealall4
iii..
with large carved motifs that of tbe 1
carving of this pattern. as well • tbe ~ . .
1'111
c:uving of tbe finials •ucl tbe of . .
il e...............
eaued iD a wll deiMII
 '

Plat~ No. 94

BED WITH TESTER RAILS

American I790-I8oo

AFTER the middle of the 18th century, four-post are directly exposed. The necking of the front posts
bedsteads became much lighter in form. Their regulated the depth of the valance which hung
predecessors of the 16th, 17th and early years of the
from the tester rail.
18th centuries were of a much more ponderous The front posts above the black are bulb turned
character. These later specimens, however, contin-and reeded, with the turnings immediately below
ued to be handsom~ly carved and were still richly richly carved with beadings, egg and dart mou~d­
draped. ings, and conventionalized acanthus leaf motifs.
It was the custom to expose only the two front The head posts are plain and tapered with comen
posts and the cornice, the remainder of the bed- chamfered. Brass rosettes cover the bolt hola.
ltead being draped in such a manner as to conceal In contrast with the mahogany of the postl is the
the other memben. This fashion accounts for the tester rail of pine. The latter is painted a aam
.UUpUcity and lack of ornamentation of the por- color with blue stripings. Interesting motifs ~
donl of the bedatead not readily visible in com- posed of musical instruments combined with folille
1rida tbe ornateneu of those parts which are painted upon the center and comer
 Plate No. 94
........ .. .......... .. '"

. . ...
,. ......., '",.
•
:....--c::i,;:--;, "" c II(
•-

SECTIONC
• " ...
SECTION 0
• .. a ••

...... " 1111..1 A A.

DETAIL OF TU"-NEO POSTS

..
LOOKING UP
PlAN Of CANOPY
.-
-=---==-----~, . .. • '

...

II " " o
c .., ...
•' I LACk
''I L D

}4'eLV&
.... '( iM/4DOW

•c
..
~

DETAIL 8
•
0 (• " • ' • •I
•
..
lt

D E T A I L A
•ta. I e coa.•ta I
(• .. • ' I o)
• • ••• •••••••••

.........
_,.............
5 I 0 E ELEVATION
• • .. .

BED WITH TESTER. R.AILS

Jllm~ru:t1n. 17.,D-16fJfJ {JW•h~• ,.., ~l"•l
I 0 W II T II E M I T "- 0 POL I • • I I • _,- -£
PlauNo.95
FIELD BEDSTEAD
American Third ~arter XVIII Century
AN EXAMPLE fairly typical of the more simple
highpost bedstead, as executed in colonial America,
is that shown here.
The four posts, which are very slender and taper·
ing, are turned, and depend mainly upon fluting
and reeding for ornamentation. The shaft rests
upon a turned base of classical profile and a ring
breaks the long lines of the flutings about two-
thirds of the way up. The capital is also turned
with a double ring moulding and a plain tapered
abaft extends to the framework above. The head
posts, which, according to custom, are without dec-
•
orauon, are square and tapered with corners cham-
fered to a~ch an extent that these posts become
octapDal m IC:Cti011. Topping each post is an urn-
shaped finial, delicately modeled. The two front
legs are of the cabriole type terminating in bird'•
claw and ball feet.
An outstanding feature of this bedstead is the
field top. The tester is cut in a serpentine (UI"Ve
whose center rises high abo\'e the horizontal IIM'm-
bers connecting the four posts. A solitary rod bnca
the tester at its peak..
It was the vogue to cover the tester &ame widl
draperies which were finished along the boriroatal
framework. and above the capitals of the fDOl .,-.
with a valance. The back. posts. u well • the 11*2
between them and the bed nils, were a 0/1
ered with draped materiah
•
Plate No. 95

•
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~ )

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~ •

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, I l. $ 4 .St . [1 j t-i. r t.o" '

J!...f.A~ P05T~ f CA"'-.VED LEG D E. T A I L { f "-0 NT P0 5 T 5

~00

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•
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f co ..... , ....

I- .. -
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SlOE f.LEVATION
• a • • ... •••••
ra.o '
FIELD BEDSTEAD
71mf.rzca.n JriL O.u.arle.r ltJlll. C~•fW7
N0 W IN TH£ M U ~tuM or "-" 0 Dr. I S LA D SC.
Plate No. 96
LOUIS XVI BEDSTEAD
XF/11 Century

---"-

CONTEMPORANEOUS with the 18th century The delicate fabric, which composes the body of the
classical revival in England, ushered in by the head and foot frames, is characteristically used.
brothers Adam, was a like revival in France, similar, Various types of satins and brocades were most fre-
except for minor variations inspired by the warmer quently employed as upholstery.
tone of the Gallic tradition and conception. The The entire framework is handsomely carved with
furniture designed during the reign of Louis XVI a diversity of motifs, all of classic derivation. Rarely
is a direct outgrowth of this revival. were the frames left in their natural finish, but
The elaborate and ornate patterns of the pre- were painted and gilded, as is this example, to
ceding years, with their baroque and rococo detail, better harmonize with the painted interion of the
were abandoned for more restrained classic lines rooms then in vogue.
and mouldings. The construction became recti- The air of ceremonious elegance, combined with
linear, lighter and more graceful, with pronounced a spirit of exuberance, employed with such distinc·
architectural feeling. The swell and curve were not tion in Louis Seize furniture, met with the approval
dispensed with but used with greater restraint. of the great English masten of design. HeppJe.
The bed, shown on these pages, is of this period. white, Sheraton and the brotben Adam-
 . .

Plate No. 96

T" Lt.l. OI. .. A.Mt.Mf'J

LIII.L T"l~

-~----- C Aa..V IMGo AT 'TO" &.AIL

-..,
~

•
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•
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OPtfil

s tC. T I 0 N A-A -..

~

DETAIL!
o .C. I

I I

,,_,, .... ,
r
..••
..
,.J L•TILL
IS
•te)t&A.
••~o•Le

'1f

••
•,.
..
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f..ND lLE.VATION .. a &. ~ I D L
•
' •

LOUIS XVI BEDSTEAD

~tJl4. Ct.nlu7 ( /J~lc.IL - 9!:_ltl~tl/
NOW IN THE &OSTON MU.SEUM OF f'IN£ A._l'a
Piau No. 97
KNIFE BOX, STYLE OF HEPPLEWHITE
English I775-I800

ON THE sideboards or side tables of the 18th cen·
tury frequently stood knife boxes, usually in pairs.
Toward the dose of the century, the urn or vase
shaped case was introduced and presented an op-
portunity for classic designing. Hepplewhite ex-
celled in the execution of these accessories. Very
frequently these boxes stood upon pedestals, which
supplied storage apace or were used as cellerettes or
apin as plate warm.en.
Aa in the accompanying box, the knife holes were
flequently arranged in rowa forming concenbic
c:irclel, into which the knives were placed with
proJectma. The lid wu secured in place
Jf:&.-a aedwl eo 6e amter of the box proper
and provided with a spring to hold, when requiml.
the lid in a raised position.
This urn, which closely follows prototypes m*
by Hepplewhite, rests upon a square bate suppoaced
upon short bracket feet.
Inlay of vertical lines of stringing gave ..WCd
grace to the classic shaping of the vate, while tbil
same inlaid treatment is applied to the ~teppol&li­
viaiona holding the knives and al10 to tbe 11•"'11 . . .
to the bracketed feet.
Thae Cltel were ponally made of .......,.
satinwood or I'OieWoocl, .... wee ,..._..
of painted wood.
 Plate No. 97

•·I ~
•I
•
NLA'Y INLAY
a7 a7
A 'B'

M,\MOOAN "( SAT t N WOOO

D E T A I L of F 0 0 T P LAN f> A S E
==--=:;;;..,-.6>-
0F' l IN
0 I &IN

f. IAMIO•
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IOJC
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K...E Y H 0 L E
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0 t I N. 0 I I •

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........ .... ••
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ELEVATION
.. - - • •- •
7/zl! 'lul ~f 0 ~ a •

KNI F£ B0 X !fZ,; ~ H [, P P L E, W H IT E J
cAf}zsll 1775 -Jsoo(~aAot_QDJ)
NOW IN THt lt\UStUM OF J...HODt ISLAND SCHOOL Of DI.SI8
 DRESSING GLASS
English I790-I8oo
DRESSING glasses, mounted upon a box stand,
came into vogue at the beginning of the 18th cen-
tury. The stand was usually a small reproduction
of the bureau upon which it stood. Hepplewhite
has often been accredited with originating the oval
and the shield shaped dressing glass. These shapes
were in use before his inHuence was felt, although
the weight of his authority was necessary to defin-
itely establish their position.
An extremely ornate example is that illustrated
here. It forms decorative adjunct to the handsome
bow-front commode, illustrated on Plate 75, on
which it was intended to rest. These elaborate mir-
rors afforded proper settings for their fair pattona.
who were accustomed to receive viliton of both
sexes while their elaborate coiffures were being 11·
ranged.
The broad alternating bands of dark and light
wood, on the front of the box and those radiauns
at the top from the handsome shell motif. 10 fft.
quently found on pieces of Hepplewhite daip. aft
of the same general decorative scheme u tbe ~
mode mentioned above. The bra~~ mount•+ . .
resent lions' masks and re..an chew plxcd • die
large drawers of the commode.
The mirror frame, with its rich aclll• - ' •
borate supports, is exttavapadJ caawed ... aidllr
gilded.
 --- £ a;W .. " • •-~----,

C.ILT W OOO

•
I

)AT!HWOOO
MAH<.I6Ain

B R...A S S p U L L.
PLAN of TOP
0 I IN

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f
111\ILA.OA.. ; ?&
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E L£.VAT ON
0 4 ,.

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""

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DRLSSING- GLASS
'"o-
THL IOITO OP Fl
Platt No. 99
MIRROR
American I725 -I750
IN KEEPING with the rich character of furniture
produced in the first half of the 18th century is this
American made mirror. At this time, the rococo
spirit predominated, which is here adopted in the
scrolled outlines and in the florid gilt ornament at
the upper and lower portions of the frame. The
combination of foliage motifs and the much fav-
ored Cscroll dominate this carved relief, whose
major elements are in places perforated.
The frame is of the cut-work type, executed of
mahogany veneer. The cresting and base are shaped
and scrolled, producing an outline composed mainly
of cyma curves, which at the top are connected by
a hooped heading. The intricate scrolling of both
top and bottom frames depicts a mastery of op-
•
posmg curves.
Immediately surrounding the glass is a carved
and gilded moulding of splayed fonn. The we of
gilt with mahogany surfaces was frequently rec·
ommended by Chippendale, under whose
this mirror was fashioned.
 Plate No. 99

c
..

SECTION

c.
A T

...

S fCTION
!iECTION AT

v/1
AT
ClJ
Platt No.100
FIRE-SCREEN
American I750-I7 80
THIS very fine example of Pole-screen was made
in America when Thomas Chippendale was turn-
ing out his best tripod tables and firescreens in
lnlland. The ancient form of the tripod was
adapted to modem uses and carried to its greatest
excellena: by this muter. In this American-made
piece of furniture are many of the most character-
iadc: features of the Clippendale style, such u the
buJhcM• but delicate tumiDp at the base of the
pole. aDd the pacelul lep with claws and feet
plppina the MD. 1be ""'ft Mae is caned with
...... IDd lllell p til u ad a well de-
signed finial terminates the pole.
The rectangular screen consists of a &aiDe Oil
which needlepoint is stretched on the outer side
and on the inside a geometrical patchwork al
satin, silks and velvets. The sliding frame il
at the bottom by a metal ring and is held iD plll2
by a wide brass band at the top, equipped
screw and button.
This fire.«:Jecn was eucutal in _.....,, •
were most of the fine wall piea:a al tbe ~
dale pcliod, the 1tJmBtb of thia waod . . . .
to ...... lncl
Plate No.101
MINIATURE TALL CLOCK
American I7JO-I749
IN THE last yean of the 17th century the tall clcx.k
was imported to New England, and from that time
their local manufacture became popular in the
Colonies. Among the many excellent dod maken
of this time, and the one to whom the mahogany
bonnet-top clod shown is attributed, was Thomas
Claggett of Newpon, R. I.
It was the fashion of this time to make miniature
or bijou cued docks along the lines of the taller
docb and with works of bnss. These were often
called ..Grandmother Clods." The example shown
foUowa thia fashion. ttandiDg approximately five
feetldp.
A common feature of the 18th century tall dook
is the scroll top and the broken arch urmountcd
with wooden balls. In this particular cue the anncr
ends of the scrolls are finished with turned rOtCUO
and the wooden balls ha\e the upper half ar'\cd
and are sunnounted wilh a delicat.el) c:ao-ed fin~al
of spiral flame-like pattern. The fluted rolumn1 :at
the comen of the hood case are ol OUppc:ncbk
• • •
ansparauon.
Mahogany as a fashionable wood wu inuoduoed
a few yean previous to the executioo o( this dCJd.
and is tbe wClOd iD this eample.
 Plate No.101

,./ c

B A

G
D
DETAILS zsECTIONS
E
0 ~IN
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0 s~'
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10° ../'-:~C:

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F P,O NT S I D [
• • = •t ... "

MINIATURE TALL CLOCK

.../lme.,.-z,can I'{.J0-174f {~~)
N 0 W IN T H E M £ T a...o P 0 LI T A N M U I E UM 0 F ALT
 A BIBLIOGRAPHY OF BOOKS ON FURNITURE
CONTAINING MEASURED DRAWINGS

1. General Works
Eng·lish decoration and furniture from 1500-1820. 1. English decoration
and furniture during the Tudor, Elizabethan and early Stuart periods (1500-
1660), by M. Jourdain. 2. Decoration in England from 1660-1770, by Francis
Lenygon. 3. Furniture in England from 1660-1760, by Francis Lenygon.
4. English decoration and furniture of the later XVIIIth and early XIXth
centuries (1760-1820), by M. Jourdain. London, Batsford, 1922-1924.
A monumental work. Only occasional measured drawings, taken from older
sou·rces, but highly useful in their selection and context.
Dumonthier, Ernest.
Les plus beaux meubles des ministeres et administrations publiques. Lits
et I its de repos. Paris, Editions Albert Morance. [ 192-J 44 plates.
Photographs of beds, sofas and chairs with scales drawn in.
Marshall, Arthur.
Specimens of antique carved furniture and woodwork ... London, Allen,
1888. 50 plates.
A Victorian reproduction of 15th-18th century pieces, with the emphasis on
the earlier phases.
Paris. Musees du Louvre et de Cluny.
Collection de meubles anciens, rele:ves, d'apres les originaux, a l'echcllc
de 10 centimetres pour metre, par Ch. Ruprich, architecte, et dessincs par
E. Bajot, architecte d'ameublement ... Paris, Andre, Daly fils et cie, 1890.
50 plates.
Particularly important for the 15th and 16th centuries.
Prignot, Eugene.
L'ameublement moderne, par Prignot. Lienard, Coignet et plusieurs
autres artistes speciaux. Paris, C. Claesen [ 1880] 2 vols.
Engli9h and French furniture from late ·Medieval through Louis XVI.
Townsend, W. G. Paulson.
Measured drawings of French furniture from the collenion in South
Kensington Museum. London and New York, Truslove, Hanson and
Comba, 1899. 121 plates.
From the late 15th through the 18th century.
Warne, E. J.
Furniture mouldings from 1574 to 1820 ... London, Ernest Bcnn, 1923.
140 plates.

2. Eighteenth century French

Hessling, Egon.
 Le mobilier Louis XV au Musee du Louvre. Paris, Librairie Hessling,
1910. 28 plates, 9 with measured drawings.
Lalonde, Richard de.
Recueil des oeuvres de Richard de Lalonde, dessinateur et decorateur
(epoque Louis XVI) ... Paris, Rouveyre [1889] 113 plates.

3. Eighteenth century English

Adam, Robert and James.
The works in architecture ... London, Aux depens des auteurs, 1778-
1786. 3 vols. (107 plates). 3rd vol. 1822.
No furnitw·e de9igns, but pricele-ss measured details and ornaments, esjJecially
ceilings and moldings. Rep,-inted by Thezard fils, Dou1·dan, 1902.
Chippendale, Thomas.
The gentleman and cabinet-maker's director. Being a large collection of
. . . designs of household furniture in the Gothic, Chinese and modern
taste .. . London, The Author, 1754. 161 plates.
The primary source book for all later Chippendale design. The third edition
(1762, 200 plates) is to be ·r eprinted by Dover Publications, Inc. , in 1965.
Chippendale, Thomas.
Chippendale's ornaments and interior decorations in the old French styles
.. . London, J ohn Weale [1858-59] 32 plates.
Drawn and engraved by M. Lock. Mostly frames) stands) watch cases) bmckets)
etc. Only a few scales are given.
H eaton, J ohn Aldam.
Furniture an d decoration in England during the eighteenth cen tury.
Facsimile reproductions of the choicest examples from the works of Chip-
r
pendale, Adam, Richardson, H epplewhite sicl, Sheraton, Pergolesi and
others .. . London, Bumpus, 1889. 2 vols. (200 plates) .
Hepplewhite A. and Co.
The cabinet-maker and upholsterer's gu ide; or, repository of designs for
every article of household furniture ... with a scale to each, and an explan a-
tion in letter press. London, T aylor , 1787. 124 plates.
T~e ~rimary source. book for all later H epplewhile· design. R eprinted by T awse
publJ9hmg company m N ew York) 1942. The third edition) 1794) reprinted by
Bataford) L ondon) 1897.
Household furniture in genteel taste for the year 1760, b y a society of
upholsterers, cabinet-makers, etc. . . . London , Robert Sayer [ 1760]
60 plates.
Ince, William and Mayhew, John.
The universal system of household furniture. London, c.l762. 95 en-
graved plates of 800 designs.
Sheraton, Thomas.
The cabin~~-maker and upholsterer's drawing book .•• London, Bensley,
1794. 2nd edttlon. 60 plates and an appendix.
T_he whole range of decoration and ornamental details tU well u furniture
tlaign.
Swan, Abraham.
The British architect; or, the builders treasury of staircases .. . London,
R obert Sayer [ 1758 J 60 plates.
Staircases, arches, doors and windows, chimney-pieces, decorations, etc. Re-
printed in Philadelphia by john Norman in 1775 and extensively used by Colonial
designers.
4. Early American
Benjamin, Asher.
The country builder's assistant ... Illus. with new and useful designs of
frontispieces, chimney pieces, etc.... Greenfield, Mass. T. Dickman, 1797.
30 plates.
A primary source of ea1·ly American design. Reprinted in many editions.
French, Leigh Jr.
Colonial interiors. Photographs and measured drawings of the colonial •
and early federal periods. New York, Helburn, 1923. 125 plates.
Plates 107-124 contain measured drawings of panels and moldings.
Goforth, W. Davenport, and McAuley, William J.
Old colonial architectural details in and around Philadelphia. 50 plates
of scaled and measured drawings. New York, Helburn, 1890.
Useful for gates, newel posts., fan lights, moldings, mantles, etc.
Margon, Lester.
Construction of American furniture treasures ... New York, The Home
craftsman publishing corporation, 1949. 38 plates, 344 detail drawings.
"The work of the most famous early American cabinet makers."
Millar, Donald.
Colonial furniture . . . New York, Architectural book publishing com-
pany, 1925. 31 plates.
Mill' r, Donald.
Measured drawings of some colonial and Georgian houses. New York,
Architectural book publishing company, 1930. 3 vols.
Panels, moldings, doors, windows, stairs, mantles, etc.
Nye, Alvan Crocker.
A collection of scale drawings, details, and sketches of what is commonly
known as colonial furniture ... New York, Helburn, 1895. 55 plates.
The monoaraph
0
series recordino-
0
the architecture of the American
colonies and the early republic. New York, \Vhitehead, 1915-1940.
26 vols.
Also called tlte White pine series. No furniture, but numerow onunnenW
details.
Sims, Joseph P., and \Villing, Charles.
Old Philadelphia colonial details. New York, Architectural book pub-
lishingcompany, 1914. 55 plates.
Panels, mantles, railings, doors, stairways.
Wallis, Frank E.
 American architecture, decoration and furniture of the eighteenth cen-
tury ... New York, Wenzel [1896] 52 plat~s.
"A collection of measured dmwings and sketches of exi.9ting work, with an
addition of modern wo1·k of the same period."
Wallis, Frank E.
Old colonial architecture and furniture . ... Boston, Polley and company,
1887. 60 plates.
Ware, William R.
The Georgian period, being photographs and measured drawings of
colonial work with text. New York, U. P. C. book publishing company,
1923. 6 parts (454 plates).
Useful for its many details: cornices, moldings, panels, stairs, church pews,
pulpits, etc.

5. Empire and Regency

Bridgens, Richard.
Desirrns
o
for Grecian and other furniture, candelabra, and interior deco-
rations. London [published in conjunction with H. Shaw] 1838. 60
plates.
Hall, J ohn.
The cabinet maker's assistant .. . Baltimore, J ohn Murphy, 1840.
44 plates.
R eprinted by National Superior In c., New Y ork, 194-1.
Hope, Thomas.
Household furniture and interior decoration. London, Tiranti, 1946.
60 plates.
Reprint of the 1807 edition.
King, Thomas.
The modern style of cabinet work exemplified ... London, the author,
1829. 72 plates.
Percier, Charles and Fontaine, Pierre Fran~ois Leonard.
Recueil de decorations interieures, comprenant tout ce qui a rapport a
l'ameublement. Paris, Didot, 1812. 72 plate~.
A great variety of French Empi1·e design, but 1101 measured throughout.
Santi,
Modeles de meubles et de decorations interieures pour l'ameublement,
tels que tables, secretaires, commodes, bureaux, miroirs . . . Paris, 'Bance,
1828. 74 plates.
Schinkel,. Karl Friedrich.
Sammlung von mobel-entwiirfen ... Potsdam, Riegel, 1852. 16 plates.
R~resentative of German design.
Smith, George.
The cabinet-maker and upholsterer's guide: being a complete drawing
book · .. for household furniture, and interior decoration ••• London.
Jones, 1826. 145 plates.
\
. t books. for the taste of the 1820's.
le most ,mportan
011e oI ti •
Smith, George. . f household furniture and interior decoration
A collection of destgns or
I r 18 o8 158 plates.
T
London, ay • 0 ·
• • •

Taylor, John. 1 d . for decorative household furniture, more

. . 1 nd nove estgns d
Ongma a h d rtment connected with upholstery . . . Lon on,
articular! y for t e epa
P 30 plates.
the author, 1824 ·

6. Victorian
Entwiirfe zu mobeln. Cassel, 1851. 40 plates.
Mostly Gothic revival.
Mennel, Thomas. . . .
Wiener vorlagen fiir mobel-uschlereL VIenna, Schroll, 1892. 24 plates.
Viennese 19th century designs.
Paukert, Franz.
Die zimmergotik in Deutsch-Tirol. Leipzig, Seemann, 1892. 4 parts
(128 plates). .
PeaM.nt-derived neo-gothic furniture, decoration and ornament from Tzrol.
Schaupert, Karl.
Entwiirfe in biirgerlicher ausstattung zu den hauptsachlichsten mobeln
... Weimar, Voigt, 1881. 25 plates.
Schwenke, F.
Ausgefiihrte mobel und zimmereinrichtungen der gegenwart . . . Berlin,
Wasmuth, 1881. 2 vols. (144 plates).
Represe·ntative of Victorian design in the Germany of the 1880's.
Talbert, B. J.
Gothic forms applied to furniture, metal work and decoration for domestic
purposes ... Boston, Osgood, 1873. 30 plates.
Printed in America from an English source.

7. Modern
Boltenstern, Erich.
Wiener mobel ... Stuttgart, Hoffmann, 1935. 96 pages of illustrations.
Fabbro, Mario dal.
. ~odern furniture, its design and construction. New York, Reinhold pub-
hshmg company, 1949. 159 pages of illustrations, 16 pages appendix.
Hooper, John and Rodney.
Modern furniture and fittings . . . London, New York, Batsford, 1948.
21 double-page drawings.
Hooper, Rodney.
Modern f~rniture. mak~ng and d~sign. Peoria, Ill., Manual arts press, 1959.
, MeG&Ured .allust~ahons an text. Farst published in England under the title
Woodcraft an desagn and practice:'
Sunom. \\' illiam L.
Furniture for to-day and to-morrow, with details, scale drawings and pen
and inJ... ~J...ctc hes . __ New York, Architectural book publishing company,
19~ ' . 80 plates.

1
 Verna Cook Salomonsky
. . . . . E_

Thill comprehen11ive !ltudy of furniture s tyl~ is one of the most u~eful books in the fic.-ld
to furniture de!ligner~~ , manufacturers, craflsmen, students, antique d ealers and col ·
lector~~ . Photographs and measured drawings of the most striking furn iture p iece of tht•
16th, 17th, 18th , and early year~~ of the 19th centuri~ compri~e the major part of the book;
the accompanying textual material indicates stylistic featurM and tlcH·Iopm rnt~. pwro
type~~. kind11 of wood used , the function of the pi<'c<', and wh rr<' th r ong inal b ntl'-
located .
The author point!! out all the di11tinguishil'\g fC'aturt"S of the part icul ar pi«e and the
11tyle of furniture it ilht!ltratt"!!: the cahriok kg and ancl ample proportaom of the Qu('('n
Annt• chair, the gracefulnt"!!!! of line in •h·pplcwhitc fumnure, the l>utdt mftumc:~ on
the work of the early Amt·rican coloni't', the turned or t"' ill('(i I~ and ltretchen ol
the Cromwellian armc:hair. P mat·nt day ch~tlflcn an W"C ho• the 1rc at fullliiUtC'
makt-n of nrlier period• combined curvtd hnn wnh str'l &ht onet ll''f' <Jertatn pu!t:n
ddlcacy and Kratt while othen auumal a aturd , mau •c ttrt'ntth ulr.\1 r chh orna
mt•ntt-.1 aurfaa• or ll'ft the wood ••mplt• and unadomc~d Comf 11 trqu tnnrnt at
well aa ~cathctic con•lclt•rations thanFtl from prnod to JK"' II of thn.c (nturn nt'
clilcuiiClCI in detail in the tnt and are fully llluatr'ltnl n 1~ pbtn
•·ltocted mainly from collections In the' Nnropolnan Muvum ol An ., ...,..,..,
of t'lne ~rta. aiMithc' M'*"'ID olthc' aholk bland hool of Dntan t 1 ~rs:nc:t!cd
Include chftla. lablca. chain. dmalnt tabln dnl.• h
Penoda &IMI Mylca Include Co&anlal A• rnan Dunc.aft ""fr " IM~
pkowhltt, Q\lppuwlak-. l.oula IV lllh cnt•r, O.Kh lldt
-~~ MIMandl.. lftiUft of liM' ba.. il dM: 1M 0 e ..
11cb plea el lunkuw. lll•ralftl Acnnw 10 t1w ~~~nlftl
?~ IOCIR11Nd ptcd r dllfi Oin . . .._..,._,
. . . . . . . . . . . . .

avtNI ........ ._ cacto plea lura. 1' 'r _. dnat n • IM!!ift uftt11
. . . _ Alu latlflul • .._ iJ
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tilfr• n
el ftn,oll••• •rln Ia ed n ._...
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