mio ee ee 
 ; ISiTY ul LL d 
 
 I EXEMPLAR 
 | of 
 
 ANTIQUE FURNITURE 
 DESIGN 
 
 | Amt) alah Gn O NewsOir  oM.EA:S U ROE: D 
 | DRAWINGS OF FURNITURE IN 
 THE METROPOLITAN MUSEUM 
 OF BART ACCOMPANIED WITH 
 PHOTOGRAPHS AND TEXT 
 
 | By 
 
 ID Gray Rie Wee Veb RONDA = GO.O1K-9S"AcLO: MeCEN Sikes ¥ 
 
 GRAND RAPIDS 
 PHO DLGALePUBLISHING *COMPANY¢ 
 MCMXXIII 
 
; COPYRIGHT 1923 
 PERIODICAL PUBLISHING COMPANY 
 GRAND RAPIDS, MICHIGAN 
 
Wea 29a nse 
 
 FOREWORD 
 
 HROUGH the courtesy of the Metropolitan 
 
 Museum of Art this selection of plates has been 
 made with an attempt to give to the furniture designer 
 and decorator of today a fuller and more comprehen- 
 sive knowledge of a few representative pieces of furni- 
 ture, made in different countries, from the sixteenth 
 to the early years of the nineteenth century. Only 
 such examples as were considered applicable to modern 
 uses and to the prevailing methods of construction 
 are included. 
 
 Without variation these designs were either the 
 outgrowth of a previous or prevailing style or have 
 taken their inspiration directly from ancient traditions, 
 and we therefore present this material in this manner 
 with the hope that it may be used as a basis of design 
 for contemporary furniture. 
 
 To give to the user of these plates a clearer under- 
 standing of the spirit in which they were designed and 
 executed, a short explanatory text accompanies each 
 plate, and the photograph of the actual piece is added 
 to supply knowledge which is difficult to obtain from 
 a line drawing. 
 
 Edgar and Verna Cook Salomonsky. 
 
 New York, November, 1922. 
 
 8831l2| 
 
a, 
 
 ry 
 
 tne 
 
LIST OF PLATES 
 
 PLATE 
 Cromwellian Type Arm Chair. 
 Charles II Side Chair. 
 
 Banister Back Chair. 
 
 American Easy Chair. 
 Chippendale Chair. 
 Hepplewhite Style Chair. 
 Sheraton Settee. 
 
 Flemish XVIT Century Chair. 
 Italian XVI Century Chair. 
 Louis XIV Arm Chair. 
 Butterfly Table. 
 
 Tiltetop=lable: 
 
 Tripod Table and Queen Anne Stool. 
 Hepplewhite Card Table. 
 Hepplewhite Side Table. 
 Hepplewhite Dressing Table. 
 Pembroke Table. 
 
 Duncan Phyfe Drop-leat Table. 
 Louis XV Table. 
 
 Fire Screen, Style of Chippendale. 
 
 | Oe ee 
 SCOPNDMNPWNKFOKUMANDAMN PWN 
 
 21. Connecticut Chest. 
 22. Chest of Drawers. 
 23. Painted Highboy. 
 24. American Highboy. 
 
 Miniature Tall Clock. 
 
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CROMWELLIAN 
 TYPE ARM CHAIR 
 
 About I660 
 
 Plate No. 7 
 
URING the reign of Charles I of England the 
 so-called Cromwellian style came into vogue, 
 following on the heels of the Jacobean. The chairs of 
 this period, made of hard wood, were of rather heavy 
 character, although lighter than those of the previous 
 style, with a square half-back and seat upholstered in 
 leather or an Oriental fabric. An invariable feature of 
 these chairs was the turned or twisted legs and stretch- 
 ers which made their appearance at this time and 
 persisted for several centuries afterwards. 
 
 This particular arm-chair is made of walnut. The 
 twisting and turnings are both easy and graceful. The 
 square ends of the arms terminate in turned rosettes 
 of excellent design. 
 
 The quaint charm, due in some measure to the 
 squareness and sturdiness of its proportions, is height- 
 ened by an unusually attractive upholstery of petit 
 point, with a design of bright flowers in tones of yellow 
 on a blue-green field. This material, however, is 
 undoubtedly of later date than the chair. The uphol- 
 stery on the back is not cushioned but stretched and 
 tacked to a heavy framework, exposed from the rear. 
 
 Side chairs of this style employ the same design 
 but with the arms omitted. 
 
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 English about 1660 (WalnuZ£) 
 
 tN DHE METROPOLITAN MUSEUM OF ART 
 
CHARLES II 
 SIDE CHAIR 
 
 10701050 
 
 Plate Nowe 
 
Nee style of furniture was introduced in England 
 during the reign of Charles II, the predominat- 
 ing note of which was the influence of fashions imported 
 from the countries of Europe. The changes in propor- 
 tion, garnishment and contour are faithfully shown in 
 the chairs of this period. 
 
 The back of the Flemish Stuart chair illustrated is 
 high and narrow, and, as was the custom after 1660, 
 has panelwork of cane between the broad, carved up- 
 rights of the splat. The main supports of the back are 
 of turned wood, this treatment also extending to the 
 front legs which terminate in scroll feet turning out- 
 ward, a feature borrowed from the Flemish. The 
 broad, horizontal rails uniting the back at the top and 
 bottom of the splat effect and also the front under- 
 stretcher are ornamented with an elaborate and 
 pretentious design in carved and pierced work. The 
 carved scroll and floral pattern, the latter usually 
 representing a Tudor rose, was imported from Holland 
 and used universally by the English artisans of this 
 time. 
 
 Although this period is sometimes called the 
 “Walnut Period” other woods including maple, beech 
 and oak were employed. This particular chair is made 
 
 of beech. 
 
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 English 1670-80 (Beech, Cane Back ¥ sea?) 
 
 NOW 
 
BANISTER 
 BACK CHAIR 
 
 i001 125, 
 
 Plate No. 3 
 
URING the reign of Queen Anne, in the early 
 18th century, the banister back chair was 
 developed from earlier and more simple types. The 
 characteristics of this chair are found in the straight 
 and high backs which was frequently adorned with a 
 carved head piece of scroll design. The legs and 
 uprights were turned and the seats were of woven rush. 
 The most interesting feature of this type of chair and 
 the one from which it derives its name is the banister 
 back, made of four upright spindles, each one-half a 
 banister, with the smooth, flat side toward the front 
 and the back rounded. 
 
 The spacious chair shown here is of unusually fine 
 proportions, with flat, broad seat and slender, graceful 
 arms resting upon turned uprights of good design. The 
 broad, fluted foot with a slight turn outward is of 
 Spanish origin, a feature borrowed from the Spanish 
 Stuart chair, which preceded this style. The bulbous 
 turning of the underbracing is another feature to be 
 found in this type. 
 
 The wood used is maple, which has been stained to 
 a walnut color. 
 
 The workmanship on these chairs was not brought 
 to the fine finish of the later pieces but suggests a true 
 and simpler craftsmanship. 
 
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AMERICAN 
 EASY CHAIR 
 
 Le ae nO 
 
 Plate No. 4 
 
HIS chair of portly dimensions is of the type 
 
 known as “Grandfather’s Chair,” “Easy Chair” 
 and “‘Saddlecheck Chair.” Chairs of this description 
 were made during the 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 sides as a protection 
 against draughts, since these chairs were generally 
 used near the fireside. 
 
 The illustration shows an easy chair with short 
 cabriole legs and the claw and ball foot of the Chippen- 
 dale style, with heads of the American eagle carved in 
 low relief upon the knees. Both the legs and the strong 
 braces are of mahogany. ‘The front of the arms are 
 finished in both a horizontal and vertical scroll, a 
 feature of the early form of this kind of chair. 
 
 The upholstering is of leather fastened at all edges 
 with brass-headed nails very closely spaced. It was not 
 uncommon, however, for these chairs to be covered 
 with chintz, with a deep flounce or ruffle nearly hiding 
 the feet. 
 
PLAN 
 
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 CENTER 
 
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 AMERICAN EASY CHAIR 
 
 AHakogany about: 1725-50 . 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
oF * ' 
 
CHIPPENDALE 
 CHAIR 
 
 1700-1770 
 
 Plate No. 5 
 
‘HE style inaugurated by Thomas Chippendale in 
 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 
 cabriole leg which was borrowed and perfected from the 
 preceding style. This was followed by a type incor- 
 porating certain Louis XV features, mainly in the form 
 and carving of the splat. Then came the ladder back 
 chair, and finally a style employing Chinese and Gothic 
 features in which the lower part of the chair took on 
 lines more nearly square while the influence of the 
 Dutch and French, as well as those of Gothic and 
 Chinese became mixed in the design of the back. 
 
 It was under this latter influence that the accom- 
 panying chair was made. The square, straight legs 
 with their shaped brackets denote the Chinese influence, 
 the form and carvings of the back are Gothic and 
 French, whereas the idea of the splat itself is Dutch. 
 
 This chair is executed in a fine-grain, rich-toned 
 mahogany, which came into vogue about this time. 
 
GUE te Te Werint 1s! 
 
 COIR eI NU BVA Ea 101s VAG HNS 
 
 American about /760-70 (Mehogeny) 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
LIORARY 
 OF THE 
 UNIVERSITY CF penn 
 
HEPPLEWHITE 
 Sly alee @ EieActly 
 
 I785—1795 
 
 Plate No. 6 
 
6) Pons American-made chair with its pleasing lines 
 and well placed decoration combines many of the 
 chief features of the Hepplewhite style of rather late 
 date. The shield-back, a device originally taken from 
 the Crusader’s shield and adopted by Hepplewhite and 
 his contemporaries, is one of the most prominent of his 
 motifs. The delicately pierced splat is of classic design 
 with its scrolls and central ornament in the form of an 
 inlaid medallion of painted satinwood, a feature favored 
 by him and other designers of this period including the 
 brothers Adam. The carved ears of wheat with pendent 
 bell flowers are both forms of ornament very frequently 
 used in this style. The daintily modelled legs which 
 are straight, square and tapered, as well as the contour 
 of the seat with its serpentine swell are characteristic 
 of the later Hepplewhite influence. 
 
 Great attention was paid at this time to the sup- 
 ports connecting the chair back with the rear legs, 
 these supports being gracefully carved above the plane 
 of the upholstered seat. 
 
 The style of Hepplewhite was one of simplicity. 
 Gracefulness of line and restrained ornamentation, 
 whether carved or inlaid, make the chairs of this 
 period (which are considered Hepplewhite’s forte) 
 exceedingly distinguished. 
 
Ps 
 
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 DETAIL, Ve BACK fA 
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 JPHOLSTERY 
 
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 NEO UW SIN pn Helse bal Ro@) PO Dilly ANI) AN UNS ECUUAAN OF A Rot 
 
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SHERATON 
 SE TTEE 
 
 1790—1I800 
 
 Plate No. 7 
 
HE elegant settees made under the influence of 
 
 the late Sheraton style are of delicate but strong 
 construction. The exposed framework of the model 
 here shown is of satinwood of an exceedingly decora- 
 tive grain. The narrow band of wood which forms the 
 back and arms follows subtle curves, (a form greatly 
 favored by Sheraton.) The settee legs are straight and 
 tapered with tasteful turnings and reeded ornamenta- 
 tion. The arm supports repeat the outline and decora- 
 tion of the legs and are carried back to the solid arm 
 with an easy curve. The legs, arm supports and band 
 capping the framework are of rosewood. A band of 
 satinwood inlay is inserted in the front legs at the 
 height of the seat. 
 
 At the time that this settee was executed Sheraton 
 introduced an intricate design of inlaid diagonal strips 
 of wood, which appears in this particular piece of furni- 
 ture in the vertical strips behind the arm supports. 
 Very narrow bands of ebony and holly inlay border 
 both sides of the back and arm framework immediately 
 above the upholstery. 
 
 Delicacy and grace of modelling and mastery of 
 line are predominating features of this Sheraton settee. 
 
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 AT BOTTOM: OF- SEAT 
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 CENTER: 
 
 on 
 
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 pee iN Ash @ Neo bale eki 
 (A MEPLCAR 1790-/800 (Satinwood:- Veneer) 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
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FLEMISH XVII 
 CENTURY CHAIR 
 
 Plate No. § 
 
HIS high backed side chair executed in Flanders 
 
 in the 17th century is of walnut, a wood then used 
 as the principal alternative of oak. The low seat of 
 ample proportions is upholstered in petit point—the 
 French were at this time keen patrons of the art of 
 tapestry weaving—which is fixed to the frame with 
 large brass-headed tacks. The raked uprights of the 
 back are tapered to the top where they terminate in a 
 simple cut-out design. These back supports are con- 
 nected by three broad horizontal rails, slightly curved 
 in plan, and of an interesting cut-out pattern of reversed 
 curves. The front legs and underbracing are turned in 
 a full, sturdy pattern of the vase, ring and bulb with a 
 finial of characteristic turnings surmounting the middle 
 of the central stretcher. 
 
 The contrast between the easy flowing lines of the 
 horizontal splats of the back and the close, full turnings 
 of the legs and braces gives to this chair a quaint charm. 
 But, in spite of its simplicity of line it is quite elegant 
 in style and enriched with a tapestry of an over-all 
 floral pattern of rich and mellow tones. 
 
TURNED 
 
 Di ela Ao lesa 
 
 Z INS. ° $ Zine 
 
 ieee ee ial eee Ville eee loUl Reve Cub ACT Re 
 Walnvi upholstered 1n “PeF1£ PotaZ 
 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
ITALIAN XVI 
 CUINT TE URN (Calais 
 
 Plate No. 0) 
 
HE furniture of the Italian Renaissance did not 
 attain the degree of luxury nor comfort which 
 was so marked in both France and England. 
 
 This small side chair—presumably made for a 
 child—is rectangular in form with the back slightly 
 raked, the slant commencing at the seat line. The front 
 legs, of delicate turning, rise above the level of the seat 
 but are not covered by the upholstery. The uprights 
 of the back, terminating in exceedingly delicate finials, 
 are connected by upper and lower horizontal rails 
 shaped in a scrolled pattern, strongly influenced by the 
 Baroque. Large decorative rosettes are carved in the 
 center of both the cresting and lower rail, which are 
 joined by short, delicately turned spindles. 
 
 The seat, which tapers slightly toward the back, 
 is covered with velvet brocade of a rich, red color, 
 and finished at the lower edge with a narrow fringe 
 of the same color. Small, turned buttons, recalling 
 the designs of the larger rosettes on the back rails, 
 conceal the heads of the wooden pegs on the legs and 
 back supports. 
 
 The small side chairs were the most pleasing and 
 the most successfully designed chairs of this time in 
 Italy. 
 
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LOUIS XIV 
 ARM CHAIR 
 
 TOD 9171S 
 
 Plate Noo Fo 
 
NDER 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 
 furniture making in France and the perfection of its 
 workmanship. 
 
 The decorative treatment of the furniture of this 
 period was based upon the combination of the straight 
 line and the curve. The general proportions gave a feel- 
 ing of strength and breadth. In the chair on the opposite 
 page the supports and arms of walnut are in the form 
 of large, sweeping scrolls with the outer surfaces carved 
 in low relief with shells, ample scrolls, and acanthus 
 leaves in restrained and graceful patterns. The under- 
 framing, an adaptation of the X form, is composed of 
 reversed curves, enriched with carving. 
 
 The impetus given to the art of cabinet making 
 under Louis XIV was also extended to that of tapestry 
 weaving. Upholstery was greatly in favor and was 
 therefore almost invariably used on the fauteuils or 
 arm chairs of this period. Frequently gold and silver 
 headed nails held the tapestry in place. 
 
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 MOU Smee A RENE GHAI 
 1643-1715 (Carved Walret ) 
 
 SrenehA 
 NOW IN THE METROPOLITAN 
 
BUTTERFLY 
 TABLE 
 
 About T1700 
 
 Plate No. rr 
 
HIS wel) designed and naive example of the 
 
 Butterfly table is of early American craftsmanship, 
 showing in its ample strength and sturdy lines both the 
 Dutch and English influence. The slender legs are 
 slightly raked and are gracefully turned in the baluster 
 pattern. Plain stretchers, rounded at the top, brace 
 the legs near the floor, and in the center of the longer 
 stretchers are pivoted the large wings, whose flaring 
 form give the name of “Butterfly” to this type of 
 table. The oval top is divided into three sections, the 
 fixed central portion and the two ends which form 
 drop leaves which are supported, when extended, upon 
 the outspread wings. When closed these wings, which 
 are also pivoted to the overhang of the table top, 
 swing against the framework and allow the leaves to 
 cover them. 
 
 This table is provided with one drawer running the 
 full depth of the horizontal apron. A small thumb 
 mould borders the drawer face and overlaps the frame. 
 A wooden knob serves as drawer pull. 
 
 The wood from which this table is fashioned is 
 maple, left unfinished. This table is unusually low, 
 measuring only a little over two feet from floor to table 
 top. 
 
SE C-i {ON 
 D 
 
 BBR IEE NG IRANI 
 
 American about /7oo (MapZe) 
 NOW SUN te METROPOLITAN "AUS EUM “OR ART 
 
TILT-TOP 
 TABLE 
 
 About 1700 
 
 Plate No. r2 
 
HE gate-leg table was very popular in the colonies 
 
 during the last half of the 17th century and the 
 first half of the 18th. The tilt-top table here shown, or 
 folding-table, as it was sometimes called, is of the gate- 
 leg type. It is constructed with two leg-frames, one of 
 which swings and folds against the other. The top is 
 fastened with hinges to the fixed frame and drops into 
 a vertical position when the gate swings. In a folded 
 position the table cannot stand. The gate and top 
 swing on metal pivots concealed in the uprights and 
 stretchers. 
 
 The sturdy turnings of the legs and the round 
 Dutch feet would seem to indicate Dutch influence. At 
 this time there was comparatively little difference 
 between the furniture designs and construction of the 
 Dutch and English colonists. Among the Dutch were 
 excellent artisans and it was in a large measure due to 
 them that their craftsmanship was infused into the 
 then prevailing style. 
 
 The wood is maple, which has been stained to 
 represent mahogany and given a waxed finish. 
 
 This simple table was evidently designed as to 
 utility as it practically takes up no room when folded 
 and yet presents a comparatively roomy top when 
 extended. 
 
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 IN THE METROPOLITAN MUSEUM OF ART 
 
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TRIPOD TABLE 
 
 DD Jag 
 
 QUEEN ANNE 
 STOOL 
 
 About 1710 
 
 Plate No. eee 
 
HE 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 rests upon three 
 cabriole legs. Carving has been restricted in this table 
 to the knee of the leg, where it appears in anglicized 
 French character, and to the main swell of the shaft 
 support and to the scalloped edge of the table top. 
 The character of the raised moulded rim of the 
 latter gives to these tables the name of “‘Pie-crust.” 
 
 HIS stool, made during the reign of Queen Anne, 
 is of walnut, the wood almost exclusively used 
 during this period. The undulating lines of the cab- 
 riole legs, a feature introduced under this regime, is 
 here used with the greatest simplicity, which, together 
 with the lack of ornamentation shows off the beauty 
 and figures of the wood. The gracetully curved legs 
 terminate in round Dutch feet. 
 The seat is built upon a separate removable frame, 
 upholstered in needlepoint of a bold, all-over pattern, 
 
 of red and blue flowers on a buff field. 
 
B 
 ee RVs 
 TION 
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 SIGE! 
 “fhe 
 
 E°G@it hOsN 
 
 out Re 
 
 TRIPOD TABLE 
 
 Zé-crusz Rur72 
 Gill lePePw EEN: Dc Ant (e SoU ae TB Ie 
 
 English /755-7o(Manh ogany) 
 
 CARYING 
 
 HALF SHOWN IN 
 
 RELATION 
 
 nate QUEEN ANNE , te 
 STOOL oa i 
 
 Ee Zish abous /7/0 
 BLE atpoe) (7 
 
 AN 
 + AT FLOOR 
 
 TABLE AND STOOL 
 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
ee 
 
HEPPLEWHITE 
 CARD TABLE 
 
 Wife tye 
 
 Plate No. a, 
 
Ga. refined, dignified tables of the style of Hepple- 
 white show the influence of a cultured people. The 
 carving and inlay with which they were enriched were 
 so delicate in character and workmanship and so 
 admirably designed that these pieces of furniture give 
 the effect of simplicity. 
 
 A popular form of small table in the 18th century 
 was the card table, since it was equally useful when 
 closed and placed against the wall as when fulfilling 
 its main function. Great skill on the part of the cabinet- 
 maker is demanded in its execution. The second flap 
 of the example illustrated here forms the top of the 
 table in repose, the moulding underneath with its bead 
 carved cyma and fillets, form the top when extended. 
 The serpentine front and sides curve gracefully into 
 square legs, capped with carved leaves in flat relief, 
 and terminate in slender feet, ornamented with leaves 
 and a guilloche pattern. The raised rosettes in the 
 frieze above the front legs are set off with a narrow 
 band of inlay. 
 
 The hinged flap lifts so as to form a table top 
 covered with green baize, bordered with a band of 
 mahogany. This is supported by the left hand rear leg 
 which swings on an arm attached to the center of the 
 back. 
 
 Panels and borders of very narrow inlay of boxwood 
 enliven the dark mahogany. 
 
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 CENTER LINE OF TABLE — 
 
 yn LAY Ke" 
 
 ONES HARE PLA N= 
 
 TABLE TOP Sa 
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 TOP HINGED TO OPEN 
 OUT INTO CARD TABLE 
 AND LINED WITH GREEN 
 FELT BORDERED WITH 
 34" MAHOGANY BAND 
 
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HEPPLEWHITE 
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HIS handsomely decorated satinwood table is one 
 
 of a pair, each half serving as a console table when 
 used separately, or, when used together, the whole 
 forming an oval topped table. 
 
 The use of inlay, which was one of the most strik- 
 ing features of the later years of the Hepplewhite 
 influence has been here treated in an exceedingly 
 skilful and adroit manner. The table top, like many 
 examples of this period, is beautifully inlaid in colored 
 woods of sycamore, commonly known as harewood, 
 satinwood, rosewood, holly and tulip-wood. The inlaid 
 medallions spaced at intervals around the table top and 
 the flower motifs at each leg are etched in black, whereas 
 the half-oval fan at the center of the top is both etched 
 and painted. 
 
 The usual carved flutes on the square, tapered legs 
 of Hepplewhite furniture are here represented by flutes 
 of inlay, the panels of the apron being similarly treated. 
 The legs are edged with narrow bands of ebony. A 
 high French polish tends to accentuate the subtle 
 coloring of the inlaid designs. 
 
 Simplicity of line and grace of ornament make this 
 table one of the most elegant of its kind. 
 
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 HEPPLEWHITE SIDE TABLE 
 
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HEPPLEWHITE 
 DRESSING TABLE 
 
 7790—1800 
 
 Plate No. 16 
 
MONG the numerous types of tables designed by 
 
 Hepplewhite and copied by his contemporaries 
 was the dressing table, an excellent example of which is 
 illustrated on the opposite page. This table, of mahog- 
 any, made by American artisans remains to tell us of 
 the keen judgment and discernment of the designers of 
 that period. The front is swelled, the legs slender and 
 the otherwise severe simplicity of contour is relieved 
 by the introduction of a semi-ellipse at the lower line 
 of the frame and by carved brackets of charming 
 design. The drawers are ornamented with satinwood 
 panels of interesting grain and bordered with minutely 
 and intricately inlaid bands of ebony and holly. 
 
 Strings of tapered husks top the front legs, and 
 near the foot the inlay takes the form of the Greek 
 fret—a classic pattern used extensively by Hepplewhite. 
 
 Of the four drawers only the smaller, center one is 
 fitted with compartments, and this one with three 
 compartments at each side, leaving an open space 
 through the center. 
 
 The brass drawer pulls are handsomely ornamented 
 adding a final note of richness to this graciously adorned 
 but unpretentious piece of furniture. 
 
 In accordance with the custom of the time a high 
 French polish was applied to this table. 
 
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 AmeEerzcan (7 ¥O-/f00 (Mahogany and &a71 nwood) 
 NOW !IN THE METROPOLITAN MUSEUM OF ART 
 
PEMBROKE 
 TABLE 
 
 1775-00 
 
 Pleite Nes 7 | 
 
MONG the variations of the Sheraton style was 
 
 the “Pembroke”’ table, so-called in honor of Lady 
 Pembroke from whom the first commission came. This 
 name is applied to a type of table with drop leaves 
 which are supported, when extended, by two brackets 
 which swing under the top. When closed these brackets 
 fold in pockets against the table and allow the drop 
 leaves to fall in a vertical position. 
 
 The charming Pembroke table illustrated is of curly 
 sycamore veneer on mahogany. The legs are straight 
 and tapering, edged with lines of holly and ornamented 
 at the top with inlaid medallions of etched leaves. The 
 top 1s cut in serpentine curves around which runs a 
 band of tulip-wood. Three large oval designs of inlaid 
 leaves in conventionalized pattern set off with brush 
 work and etching decorate the top and drop leaves. 
 Although both ends are provided with turned wooden 
 drawer pulls there is but one drawer and that running 
 the entire depth. The drawer faces are slightly curved 
 and veneered with a panel of sycamore. 
 
 Since these tables were usually designed for break- 
 fast tables they were consequently small. 
 
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 Bebe ae eee ASD ee Say Lo cer HE PPLEWHITE 
 
 American about 1775-/800 ( Sycamore on JtLahogary) 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
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DUNCAN PHYFE 
 DROP EEAF TABLE 
 
 TSOO 1020 
 
 Plate No. 78 
 
O DUNCAN PHYFE, the New York cabinet 
 
 maker, is credited some of the most beautiful 
 furniture of American craftsmanship. At first his work 
 shows inspiration from both Hepplewhite and Sheraton, 
 but this was combined, in the early years of the 19th 
 century, with certain features of Directoire and 
 Empire origin. 
 
 The illustrated example is of that period of his 
 work which embodies elements of the Sheraton style. 
 This mahogany drop-leaf table is supported at the ends 
 by coupled colonnettes, resting upon concave legs, 
 sweeping outward and terminating in brass lion’s feet. 
 The legs are in the characteristic form with acanthus 
 leaves and reeding carved on the surfaces. The same 
 decorative treatment is applied to the colonnettes. 
 Delicate grooving ornaments the edge of the table and 
 also the drop leaves, which are supported, when 
 extended, by two shaped brackets. A narrow beading 
 finishes the drawers. The long stretchers connecting 
 the legs are formed by double spindles of excellent 
 turning and ornamented with a band of reeding: at 
 the center. 
 
 An unobtrusive band of mahogany inlay follows 
 the outer line of the table top and is repeated on the 
 drawer faces and on the vertical block immediately 
 under the coupled colonnettes. 
 
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LOUIS XV 
 TABLE 
 
 TSth Century 
 
 Plate No. 70 
 
Sie style of Louis XV was one of gayety, of 
 luxury, not without charm, and one that was 
 typically French in spirit. The straight lines of the 
 preceding reign had given way to curves and the 
 decoration became daintily florid. 
 
 In this charming small table, which is characteristic 
 of the best of the period not an abrupt angle is to be 
 found. The legs bow outward with an easy grace, the 
 outer and inner lines flowing in long curves into the 
 framework of the table. The elegant pattern carved 
 on the skirt differs on each face. Symmetry of orna- 
 mental detail was not. in accord with the delicious 
 abandon of these times. On one face the carved spray 
 of flowers falls naturalistically from a central shell 
 motif over the panelling and the carved scrolls of the 
 skirt. Other motifs such as the C curve, the flame-like 
 pattern and various kinds of flowers are placed at will. 
 The relief of the carving is delicate but varied and 
 energetic. Opposing curves give a balance to the 
 decoration of each face, a daring principle of design, 
 which is admirably applied in this particular piece of 
 furniture. 
 
DESIGN OF CARVING 
 NOT BALANCED 
 
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 Frémack 18th céentupy (Polishsd waxed oak) 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
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CHIPPENDALE 
 FIRE SCREEN 
 
 TS Om ISO 
 
 Plete No. 20 
 
HIS very fine example of Pole-screen was made in 
 
 America when Thomas Chippendale was turning 
 out his best tripod tables and firescreens in England. 
 The ancient form of the tripod was adapted to modern 
 uses and carried to its greatest excellence by this 
 master. In this American-made piece of furniture are 
 many of the most characteristic features of the Chip- 
 pendale style, such as the bulbous but delicate turnings 
 at the base of the pole, and the graceful legs with claws 
 and feet gripping the ball. The shaft base is carved 
 with spiral beadings and shell pattern and a well 
 designed finial terminates the pole. 
 
 The rectangular screen consists of a frame on which 
 needlepoint is stretched on the outer side and on the 
 inside a geometrical patchwork made of satin, silks 
 and velvets. The sliding frame is guided at the bottom 
 by a metal ring and is held in place by a wide brass 
 band at the top, equipped with screw and button. 
 
 This fire-screen was executed in mahogany, as were 
 most of the fine small pieces of the Chippendale period, 
 the strength of this wood lending itself to these slender 
 and delicate contours. 
 
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CONN, Clee tal 
 CHEST 
 
 TO75=—=1700 
 
 Plate No. 27 
 
HE accompanying illustration is a fine example 
 of a two-drawer chest of the well known ‘‘Con- 
 necticut” or “‘Sun-flower” pattern. Several early chests 
 of this and similar designs were found in Connecticut. 
 The top is of a single plank of pine slightly over- 
 hanging at the front and back, and fastened to moulded 
 oak cleats at the ends to guide the top and prevent 
 warping. The panelling, of a bold and interesting 
 design, is enriched with round and egg-shaped turtle 
 bosses on the drawer faces and on the upper panel of 
 the ends. Split spindles in various sizes and turnings 
 are applied to the stiles. A horizontal grooved band, 
 frequently found on the chests of this date, decorates 
 the top of the chest between the stiles and appears 
 again between the lower panels of the end. 
 
 The carving of the upper panels is in very shallow 
 relief and of a rather crude type—what is known as 
 peasant carving. The central panel represents, it is 
 supposed, three asters, while the outer panels are of a 
 conventionalized tulip. - 
 
 The woods used in the execution of this chest are 
 both oak and pine. Like most of the similar American- 
 made chests of this date, the top, bottom and backs of 
 both chest and drawers are of pine, the rest of oak. 
 
 The bosses, half-spindles, grooves and the main 
 horizontal mouldings are painted black. 
 
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 AT; é<°” about /675-/700 (oe oak) 
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CHEST OF DRAWERS 
 
 7 00 = 100 
 
 Plate No. 22 
 
HIS low chest of drawers with swell front derives 
 
 its style and traits from Hepplewhite. The lines 
 are chaste, yet not severe, and the main decoration 
 relies upon the rich grain of the inlay and upon the 
 decorative brass handles. The chest rests upon feet 
 of the long French bracket type, a form favored by 
 this designer. The graceful lines of the lower edge join 
 the legs in uninterrupted curves. The framework, of 
 mahogany veneer, contains four drawers, each with two 
 long and one short panel of satinwood inlay, a rec- 
 tangular panel also being inserted at the skirt. Around 
 the edge of each drawer is a fine bead moulding, a 
 custom made popular by Hepplewhite. 
 
 The handles with oval plates which enrich this chest 
 are in the usual form of this period. The plates are of 
 pressed brass handsomely embossed with delicately 
 modelled urns decorated with rams heads, with handles 
 of bails fastened to the outer edge of the posts. 
 
 As is the rule with the furniture of the Hepplewhite 
 school this chest or bureau combines grace and sim- 
 plicity of line and ornament with the advantage of 
 being “generally serviceable in genteel life’? as Hepple- 
 white, himself, has said in reference to his own designs. 
 
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 American /790-1800(Mahogany inlaid wt%e Sat:nwood) 
 NOW IN THE METROPOLITAN MUSEUM OF ART 
 
uo 
 
aI UN Th eh dO, 
 HIGHBOY 
 
 I680—I700 
 
 Plate No. 23 
 
TYPE of the earliest development of the Ameri- 
 
 can highboy, a combination of the chest of drawers 
 and table, is shown on the opposite page. The six legs are 
 elaborately turned, the four at the front in a cup-shaped 
 pattern while the two back legs are of more slender form. 
 They are braced near the floor on the front and sides 
 with a thin, broad stretcher, slightly curved inwards, 
 and across the back with a stretcher placed vertically 
 and cut in a quaint design of large scallops. 
 
 This piece of furniture is constructed in two sec- 
 tions, the lower containing two panelled drawers. In 
 the upper portion are five drawers of varying widths 
 which operate on side runners, while the two drawers 
 beneath have one runner at the side and another at 
 the bottom. A single arch moulding, common to high- 
 boys of this early period, finishes the frame about the 
 upper set of drawers and is repeated on the stiles of 
 the lower section. The stiles and rails of the frame are 
 mortised and tenoned. 
 
 The main body of the highboy is painted black, 
 relieved by bands of red, a very striking combination. 
 The large raised panels of the ends are picked out in red. 
 
 The brass drawer pulls are of the drop style with 
 engraved plates, of charming design. The brass key 
 escutcheons are of a cut-out pattern. 
 
UNLESS: OTHERWISE: 
 NOTED: HIGH BOY: 
 IS) PAINTED: BLACK: 
 
 ALL’ KEYHOLES 
 FALSE EXCEPT 
 IN- 2"? DRAWER, 
 
 DE RAIS 
 of 
 
 KEYHOLE 
 
 ASU NG Dial GHB OY 
 
 SLILEPLCAMm 1680-1700 
 NEO al Nal Hib ee Mp ea lh Re POs sikAIN | “MOUSSRE UM) ©OLF ART, 
 
AMERICAN 
 HIGHBOY 
 
 TOO= i 725, 
 
 Plate No. 24 
 
N INTERESTING japanned high chest of draw- 
 ers is shown here. In the last years of the 17th 
 century the art of japanning, imported from the 
 Orient became exceedingly popular in Europe, and the 
 fad consequently extended to the American colonies. 
 At times the decoration was in color, but as is shown 
 in this example the general custom was to build up the 
 decoration with plaster and apply gilding. The designs 
 on the drawers are in the Oriental character with 
 flowers, houses, figures and animals freely scattered 
 but invariably forming a well balanced composition. 
 A large shell fills the circular recess in the lower, central 
 drawer and is flanked with raised columns. 
 
 In the early 18th century the American highboy 
 followed the popular fashion and adopted the bandy or 
 cabriole leg. The cutting of the skirt is typical of the 
 period, as is the narrow beading about the drawers of 
 both the upper and lower portions. 
 
 The brass handles belong to a later type of high- 
 boy. They consist of a bail handle fastened to an 
 exquisitely engraved plate. The key escutcheons are 
 of different designs but similar in character. 
 
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MINIATURE 
 TALL CLOCK 
 
 1730—1749 
 
 Plate No. 25, 
 
N THE last years of the 17th century the tall clock 
 was imported to New England, and from that time 
 their local manufacture became popular in the Colonies. 
 Among the many excellent clock makers of this time 
 and the one to whom the mahogany bonnet-top clock 
 shown is attributed, was Thomas Claggett of New- 
 port, Re 1: 
 
 It was the fashion of this time to make miniature 
 or bijou cased clocks along the lines of the taller clocks 
 and with works of brass. These were often called 
 “Grandmother Clocks.” The example shown follows 
 this fashion, standing approximately five feet high. 
 
 A common feature of the 18th century tall clock 
 is the scroll top and the broken arch surmounted with 
 wooden balls. In this particular case the inner ends of 
 the scrolls are finished with turned rosettes and the 
 wooden balls have the upper half carved and are 
 surmounted with a delicately carved finial of spiral 
 flame-like pattern. The fluted columns at the corners 
 of the hood case are of Chippendale inspiration. 
 
 Mahogany as a fashionable wood was introduced 
 a few years previous to the execution of this clock 
 and is the wood used in this example. 
 
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 AMericatT, 17380-1749 (Mahogany) 
 
 NOW IN he ES Ee RoOLR SE iy lieAGN MOUS) BUM) = O2E AREA