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BEACON HILL COLLECTION
As Shown in Beacon Hill Galleries
BARKER BROS.
DECORATOR SHOP, SECOND FLOOR
Seventh Street^ Flower &^ Figueroa^ Los Angeles
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(e>i/) BEACON HlLl.
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BEACON ST.
1 WtH.-Prescofi
2 Jiarnson ^ya^/ Otis
3 David Sears
4 John Thillipe
5 "BeHjaminJiamer
6 Dr. John Joy
7 John J{(tncoe}(_
8 £taf r J/ou««
BELKNAP ST.
1 Ahalifion Church
2 Wm. Lancaster
BOWDOIN SCi-
1 Samuel 'Par}{7Kan
2 %evere Tlouse
3 Christopher Qore
4 Trfer Chaniler
5 (?4ar/«s "BulfiHch
CAMBRIDGE ST.
Z Jiarrisan (iraij Otis
3 Uksi Church
4 Joseph Coolidge
CHARJ-ES BT.
1 Church
2 Abner Tiouse
CHESTNUT ST.
1 Liytcoln & S-toddard
2 "BtniamiH Jog
3 "Kichavd €■ Dcrhij
4 Jeremiah tioi'dner
5 Jlepzihah Swan
6 Charles Taine
MYRTLE ST.
1 Wmdlomer
OLIVE ST.
1 David :HumphretjS
2 Stephen DUg^ittsonJr.
3 ^oscj (ti-awi
4 Tlarritott QKiy Out
5 Jonathan MatoK
6 Jo/)*! Cullender
7 Stephtn 7{i^ginson,h:
8 Thomas Tcrkjns
9 Jeremiah Qardner
PARK ST.
2 Josiah Quincy
3 ?«»-Jii .S*. Cft«»-cA
PINCKNEY ST.
1 "Pov/der dlome
2 WaichJIouse
3 Middleion & (iUpioH
S. RUSSELL ST.
1 Joseph "Dition
TEMPLE ST.
1 "Bela Clapp
TRpMONT ST.
1 Tremon-f Jiotise
2, Teter Tancuil
WALNUT ST.
1 Uriah CoHing
LOUISBURG SGL-
1 Jenny iind married
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The Beacon Hill Collection
The fireplace in the HARRISON GRAY OTIS HOUSE dining room
This house was designed by Charles Bulfinch £5? fireplace frame probably carved by Mclntire
Beautifully restored by the Society for the Preservation of New England Antiquities
Th
e
BEACON HILL COLLECTION
inspired by the early Designers ^ Craftsmen
of the EIGHTEENTH CENTURY who Created (£^
m2idQ f/^rn it N re of lasting beauty in keeping
with the graceful living of the times
CHARLES BULFINCH, Esq.
1763-1844
SIXTH FDITION
BARKER BROS.
Seventh St., Flower and Figueroa, Los Angeles, California
K.O. 4° BEACON STREET, FACING BOSTON COMMON
Designed by Charles Bulfinch ^ at present the home ot
The Women's City Club of Boston
FO RE WO R D
"r IS with pleasure that we present the Beacon Hill Collec-
tion, the finished product of a New Englaml school ot skilled
craftsmen who have served their apprenticeship in the
tradition ot an older day.
Beacon Hill of the Georgian period represented the utmost in
simple, dignified and gracious living, and many homes are lived
in today by descendants of those illustrious citizens whose names
are prominently listed on the pages of American history.
The Beacon Hill Collection was inspired by the beautifully
designed furniture found in these homes. Many of the pieces are
exact copies of originals, some taken from carefully measured
drawings of genuine antiques, while others interpret the spirit of
these master styles in the light of modern requirements.
We welcome the opportunity of bringing you this collection
from which you may select a single piece at a time if you desire
or any number of pieces according to your individual taste and
requirements.
You have the assurance that furniture of such excellent tradi-
tion has withstood the test of time without change of style. It
is a heritage which is our pleasure to carry on, believing that fur-
niture when made by Master Craftsmen and of lasting beavity
leads to a finer and happier liv'ing.
J^s ^?7ge/es, Qalifoimia
BARKER BROS.
2049997
ONE oj the MANY CHARMING HOUSES on BEACON HILL
Designed by Charles Bulfinch i£ once owned i£ lived in
bv the actor Edwin Booth
The Heritage 0/ BEACON HILL
foii MORE than two centuries Beacon Hill, a residential section in Boston,
has typified a certain rest and balance in the fine art of simple and dig-
nified living. The name originated in the days ot the Massachusetts
Bay Colony when early settlers founti a high hill, inland a little from
Boston Harbor, and planted a beacon there. They called the place Beacon Hill.
Beacon Hill is known tar and wide to-day — a place ot high distinction. It is a
symbol that stands for enlightenment, toward which the eyes of culture turn,
reminiscent of the past and hopeful of the future.
A place becomes famous by the important people who live there. Previous
to the settlement of Beacon Hill in i6jo, a first citizen in Boston was one
Blackstone. Blackstone invited Governor Winthrop's colony to leave the low
land of Charlestown and share his hill and his good water in what is now known
as Spring Lane. His generous offer was too freely accepted, and his numerous
neighbors infringed on his privacy, to avoid them he moved away in the general
direction of Providence. But he left an indelible mark. Part of his farm still
remains free anci open — Boston Common.
Other marks made by other important people abound. The Hancock House,
Georgian Colonial, dominating Beacon Hill, was built by Thomas Hancock,
but his famous nephew John, as Governor of Massachusetts and first signer of
the Declaration of Independence, marked it for his own. It was John, citizen of
Boston and wealthy merchant, who caused to be planted the eight huge English
elms that line Beacon Street inside the Common. Prior to the year 1790 do-
mestic architecture fortunately followed closely the teachings of those master
architects, Robert and James Adam of England. However, from the period 1790
to 1 8 18 many buildings of architectural merit were the result of designs by
Charles Bulfinch, himself a resident of Beacon Hill, and the first profes-
sional architect in New England. Number 40 Beacon Street, now the Women's
City Club, is attributed to him, but the Harrison Gray Otis houses, one on Mt.
Vernon and the other on Cambridge Street, are unquestionably his. The latter
is open to the public as a museum and is the home of the Society for the Preser-
vation of New England Antiquities. Here the hospitable Otis provided daily
ten gallons of punch, set out on the beautiful stair landing to be drunk by his
fellow citizens, or failing this, to be allowed to evaporate.
Bulfinch was also our earliest native architect of public buildings, and is best
known for his part in designing the National Capitol in Washington, and for
the design of the beautiful State Houses of Massachusetts and Maine.
Other marks were made by other important people on Beacon Hill. There
was John Singleton Copley, our great pioneer portrait painter and extensive
land owner. It is believed that Elihu Yale, of university fame, was born here.
Louisa Alcott lived during her creative years in Louisburg Square. Jenny Lind,
the Swedish nightingale, was married on Beacon Hill. A parade ot illustrious
people too numerous to mention gave romance and glamour to the Hill, long
after the Beacon had passed into history.
It is the artist craftsmen who evolved the furniture, the furnishings, the in-
timate things associated with the great, and to these we turn with our home-
making longings. It has been said that Furniture History in the United States
begins with the Englishmen who first settled here. Trained woodworkers were
soon numbered among them. The evolution ot cabinetmaking in America is too
lengthy to trace here, but undoubtedly much of the original furniture in the
early Beacon Hill settlement was of local character. On the other hand, close
contact with the Mother Country, England, for reasons of kinship and commerce,
accounted for much of the furnishings during Colonial days. Styles and
other luxuries often arrived in America within a year of their appearance in
London. The residents of Beacon Hill accumulated wealth rapidly, and it was
natural that they should gratify their taste for fine furniture and decorations
by purchases from abroad. In fact, many homes literally became storehouses
for treasures gathered from all parts of the world and brought to Boston, in
some cases, by the owners' own ships. Also coastwise shipping brought many
pieces of furniture from well-known cabinet shops located in other colonies. The
local cabinetmaker contributed his share to Beacon Hill, but it was not until
after the Revolution, with England in disfavor, that the struggling American
craftsman really came into his own. He had served a long apprenticeship.
The Federal period in the United States was the dawn of a golden era in
American furniture. Wherever there was furniture of merit it found its way to
Beacon Hill; but during this particular period it would seem from examples ex-
tant that the chief contributing shops were located mostly in Boston and vicinity,
Salem, Newburyport, and Portsmouth. There was John Seymour and Son ot
Creek Square, Boston, responsible for the unusually delicate and attractive tam-
bour writing desks, of which several styles were made. These desks are outstand-
ing today in point of design and workmanship. Across the Charles River in
Charlestown we have the workshops of Jacob Forster and Benjamin Frothing-
ham. In 1803 Forster advertised the sale of 1400 field and high maple bedposts.
He must have had a shop of considerable size. Major Frothingham, member ot
Washington's stat^' during the Revolutionary War, enjoyed the patronage ot
President and Lady Washington. Labels have been found on his furniture with
the initials of the engraver N. H. Sc. P., doubtless those of Nathaniel Hurd, one
of the first Colonial engravers. There was SamuelMcIntire of Salem, foremost
New England carver, and Abner Toppan of Newburyport, cabinetmaker. The
work of these and other prominent craftsmen, such as Wm. Savery of Phila-
delphia, Townsend and Goddard of Rhotle Island, and Duncan Phyfeof New
York, is still to be found on Beacon Hill.
There exists in most of us a more or less indefinable desire to know more about
the articles which filled the household needs of our forefathers. This has been
fully realized by the First National Bank of Boston, for in one of a series of
illustrations of the work of early New England craftsmen they selected a furni-
ture maker's workroom. This picture, through their courtesy, is shown on the
cover of this book.
The search for the antique in furniture is an absorbing occupation which waxes
and wanes as time and money are available. Antiques are not primarily ot value
simply because they are old. Even the values given by age are not of years only,
but are due to the living character which years have afforded them. Furniture
that has been lived with acquires an aura which is not by any means imaginary.
On the other hand, the good example newly made carries with it all the value
due to tradition, and what it lacks of long human association is frequently
offset by a qualified adaptation to the present. The maker of good furniture is
both artist and craftsman; he is the repository of good tradition, and he has the
skill to preserve and continue it. So that often you will find a new chair beside
an old one, each of the same class and kind, the new only a younger brother of
the old. And you may find both occupied by the descendants ot the original
aristocracy ot Beacon Hill.
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Beacon Hill Collection
^lece .'\urri^t'r
^^^^^^^^^^^^^^'^^^
A MARK 6/ CRAFTSMANSHIP
The real need for a finer type of reproduction which reflects
the spirit of early craftsmanship was the inspiration which
prompted the Beacon Hill Collectiofi. * Many ot the pieces
illustrated are faithjidh reproduced from originals owned by
prominent families, not only from Beacon Hill, but elsewhere
in Boston and New England. We gratefully acknowledge the
interest and assistance rendered by those who have loaned
rare £5? priceless family heirlooms for reproduction purposes.
We also respect the wishes of those who prefer to remain
anonymous in contributing material which appears
in the following pages, ^f Every effort has been
made to reproduce the original piece with
absolute accuracy of detail including
hardware and the soft, mellow,
OLD finishes of the origixal
EACH PIECE FROM THE BEACON HILL COLLECTION-
CARRIES THE ABOVE MARK OF AUTHENTICITY
THE NAME BEACON HILL COLLECTION IS REGISTERED IN THE U. S. PAT. OFF.
SOCIAL GRACE h/rhelAVlSC, ROOM
(syociability &^ '7?epartee
with a background o£ grace/'u//y designed Georgian furniture
having the spirit & mclloiv teeling ot
an older day
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1^
No. 13 BIRCHALL — Sheraton Console, from English design of the period 1795. Mahogany, inlaid with burl maple, satinwood,
and rosewood — L 36, D 13H, H 32.
12
No. 17 ELLIOT -Hepplewhite Card Table, from American design of the period 1785. Philadelphia origin. Mahogany, inlaid
with satinwood, pivoted leg — L 34, D 17, H 30.
13
No. 20 DOROTHEA HENRY — Chippendale Mahogany Card Table, from American design of the period 1770, Philadelphia
origin. Pivoted legs — L33J2, D 17, H 28J2.
14
No. 1004 STEPHENS — Regency Card Table, from English design ot' the period 1800. Mahogany, inlaid with satinwood
lines; swivel top — L 36, D 18, H 30.
No. 711 EDGEWOOD — Regency Sofa Table, from English design of the period 1820. Mahogany, crossbanded with
rosewood, two drawers simulated on reverse side. Drawers and panels mounted with brass beading L 34)^2,
D 26, H 28, leaves down; L 56'^ leaves up.
16
No. 22 MONTAGUE — Sheraton Sofa Table, from English design of the period 1790. Mahogany, inlaid with satinwood, two
drawers simulated on reverse side — L 36, D 25}^, H 27, leaves down; L 57, leaves up.
17
No. 797 BUSWhLL — Hepplewhite Pembroke Table, from English design of the period 1780. Mahogany, inlaid with
satinwood lines, one drawer; swirl mahogany top — L i7>^, D 29, H Tjyi.
18
No. 190 SANDLEIGH — Hepplewhite Pembroke Table, tVom English design of the period 1785. Mahogany, inlaid with
tulipwood — L 29, D lo}-^, H 28, leaves down; D 38 i-^, leaves up.
No. 243 ROGERS — Regency Love Seat, from English design of the period 1815. Front rail 54"
No. 49 PARHAM — Hepplewhite Drop-Leaf Pembroke Table, troni English design of the period 1785. Mahogany, with
figured mahogany top and drawer-front, inlaid with tulipwood — L I7>i, D 20, H 27, leaves down; L 29"^, leaves up.
20
No. 385 STANIFORD — Hepplewhite Pembroke Table, from English design of the period 1785- Figured mahogany top
and drawer-front, crossbanded with mahogany — Lja^^, D 18, H 28, leaves down; D 36, leaves up.
21
No. 194 AMES — Sheraton Drum Table, from English design of the period 1790. Mahogany, with tooled leather top. Two
drawers — Dia. 36, H 29.
No. 7?o KIRKLAND — Hepplewhite Wing Chair, from English design of the period 178";. Tufted back — W 28, S.D 22,
H 42>4.
12
No. 427 MONROE — Regency Drum Table, from English design of the period 1810. Mahogany, with tooled leather top,
two drawers — Dia. 3a, H 28'-2.
No. 240 RAWSON — Sheraton Arm Chair, from English design of the period 1700. Spring seat. Color leather optional.
23
No. 270 GERALD — Hepplewhite Mahogany Upholstered Arm Chair, from EngHsh design of the period 1775. Spring seat-
W 23, S.D. 20, H 37.
24
No. 36 DALTON — Queen Anne Wing Chair, from English design of the period 1740.
25
No. 768 MINOT — Chippendale Two-Tier Revolving Book Table, from English design ot" the period 1770; copper tray
insert at top with removable wood cover — Dia. 23, H 53.
No. 728 LOWELL — Hepplewhite Wing Chair, from English design of the period 1780 — W 29, S.D 21, H 45.
26
No. 361 DUITON — Sheraton Mahogany Wing Chair, from English design of the period 1790. Spring back and spring seat -
\V26, S.D 2i,H40.
No. 740 COLBY
H 45-
■ Sheraton Wing Chair. Buttoned barrel back. Also available with channel back — W 291^, S.D. 24,
28
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No. 767 SHEFFIELD — Sheraton Drum Table, from English design of the period 1800. Mahogany, inlaid with satinwood
lines and gold tooled leather top. Two drawers and lift sides enclosing two wells — Dia. 36, H 29K.
29
No. 737 CRABTREE — Hepplewhite Wing Chair, from English design of the period 1785. Tufted back — W 30, S.D 24,
H 30.
No. 1003 COOPER — F"or description of table see page 48.
30
No. 729 NEWTON — Chippendale Wing Chair, from American design of the period 1770, New England origin — W 27,
S.D 19K, H 40.
31
No. 7^1 LONGWOOD - English type overstufFed Side Chair. Tutted spring back and seat - W 28, S.D. zij^, H 34-
No. 647 DUNMORE — For description of chest see page 85.
32
No. 734 PRESCOTT — English Type Club Chair — W 29, S.D iiyi, H 34.
No. ^87 BURNSDALE — Sheraton Mahogany Library Steps, from English design of the period 1800. Cupboard section
under second step. All steps tooled leather, color optional ^ L 16, D 29, H 27.
No. 84 APPLEGATE — For description of desk see page 99.
33
I
No. 777 BENNINGTON — Chippendale Mahogany Pembroke Table from English design of the period 1780 — L 29^^,
D 183^, H 28, leaves down; D 39, leaves up.
No. 744 PEMBERTON — English Type Overstuffed Arm Chair with buttoned back — \V 28, S.D 21, H 31.
34
No. 736 PUTNAM — English Type Overstuffed Arm Chair, square tapered legs — W 29, S.D 24, H J2.
No. 417 ROCKWELL — For description of table see page 65.
35
No. 176 BAMFORD — Regency Table, tVom English design of the period 18 10. Mahogany, with ebonized turnings and brass
gallery; one long drawer — L 27, D 15}^, H 25.
No. 244 GARDNER — English Type Overstuffed Arm Chair.
36
No. 363 JOYCE — English Type Overstuffed Arm Chair, with buttoned back. Square tapered legs — W 28, S.D 22, H 34.
37
No. 235 KINGSLEY — Chippendale Mahogany Arm Chair, from EngHsh design of the period 1770. Buttoned back and seat
optional. Available tufted.
38
No. 42 WELLt.SLL\' — Chippendale Arm Chair, with tufted back and seat, from English design of the period 1760.
39
No. 304 CHATHAM — Regency Mahogany Arm Chair, from Enghsh design of the period 18 10. Painted frame if desired.
No. 13 BIRCHALL — Sheraton Console, from English design of the period 1795. Mahogany, inlaid with burl maple, satinwood,
and rosewood — L 36, D 13^21 H 32.
40
No. 739 NORFOLK — Regency Mahogany Arm Chair, from Enghsh design of the period 1820 — W
No. 387 BURNSDALE — For description see page 2J.
S.D 23, H 33.
41
No. 40 EMERY — Chippendale Wing Chair, upholstered in leather with buttoned back and buttoned seat, from English design
of the period 1 770.
42
No. 434 FORBES — English Type Overstuffed Arm Chair, channel back, inside tufted arms — VV 29, S.D 22, H 31.
43
No. 623 CONRAD — Sheraton Nest of Tables, from English design of the period 1790. Mahogany inlaid with satinwood.
Outside table tooled leather top, banded with satinwood; inside tables all mahogany tops — L 21, D 13K, H 27.
No. 389 TROWBRIDGE — Sheraton Wing Chair. Buttoned barrel back — W 26, S.D 20, H 41.
44
No. 750 MADISON — Hepplewhite Wing Chair, from English design of the period 1785. Tufted back and seat — W 25,
S.D 20, H 221/2.
No. 766 OXFORD — Chippendale Mahogany Table, from EngHsh design of the period 1770 — L 27K, D 20, H 27.
45
No. 598 DAWSON — Adam Mahogany Oval-Back Arm Chair, from English design of the period 1785 — W 24, S.D 20, H 37.
46
No. 597 BURBANK — Hepplewhite Upholstered Arm Chair, from English design of the period 1785 — W 22, S.D 17, H 37.
47
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No. 1003 COOPER — Chippendale Mahogany Two-Tier Dumb Waiter, from Enghsh design of the period 1760. Bottom tray —
Dia. 23><, H 33.
No. 294 SUTTON — English Type Overstuffed .-^rm Chair with tufted back and arms.
No. 46 PLYMOUTH — Chippendale Arm Chair, from English design of the period 1760.
49
t
No. 253 BURGESS — Regency Table, from English design of the period 1810. Mahogany, inlaid with tulipwood — L 24,
D 17, H 281^.
SO
No. 375 LANSFORD — Regency Table, from English design of the period 1810. Mahogany, with ebonized turnings, and brass
gallery; one long drawer — L 27, D I53'2, H 29.
51
No. 254 CODMAN — Sheraton Spider-Leg Table, from English design of the period 1790. Mahogany, inlaid with English
ash — L 29, D 1 2, H 27} 2, leaves down; D t,2 leaves up.
No. 55 CROSSLEY — For description of Sofa see page 66.
=i^-
No. 454 EDWARDS — Hepplewhite I'able, from English design ot the period 1785. Mahogany, with figured mahogany top
cross-banded with mahogany. One drawer — L -9,' 2, D 21 J 2, H 283-2.
No. 472 BARNARD — Lawson Tvpe Sofa, with Greek-key arm. Front rail 75".
S3
No. 682 EVANS — Mahogany Spider-Leg Table, from American origin of the period 1760 — L lo, D ^^H, H 24, leaves
down; L 46, leaves up.
54
No. 453 GRANADA — Adam Tabic, from English design of the period 1785. Top of quartered figured mahogany, cross-
banded with mahogany; one drawer — L 29, D 10, H 18.
55
No. 651 ABERDEEN — Chippendale Mahogany Coffee Table, adapted from butler's tray. English design of the period 1770.
L3g, D27K, H 19.
.__^
No. 288 BEDFORD — Chippendale Coffee Table, adapted from English design of the period 1760. Mahogany, with tooled
leather top — L 34, D 21, H i6J^.
57
No. 367 RADDISON — Chippendale Nest of Tables, adapted from English design of the period 1770. Mahogany, with tooled
leather top — Dia. 27, H i8>2.
58
No. 267 CHILTON — Regency Coffee Table, adapted trom English design of the period 1810. Mahogany, with tooled leather
top. Two small drawers — L 2oM> D 2634) H 18.
No. 243 ROGERS — Regency Love Seat, from English design of the period 1815. Front rail 54".
59
No. 380 GLEASON — Regency Coffee Table, adapted from English design of the period 18 10, for use as a Hobby table. Ma-
hogany, with tooled leather top. Contains two drawers, and center display section, glass with brass grille — L 36,
D 19K, H 19.
60
No. 469 OWENS — Regency Cotfee Table, adapted from English design ot the period 18 10. Mahogany, with gold-tooled leather
top — L36, D ii8'2^ H I7>2.
61
No. 644 RALSTON — Hepplewhite Coffee Table, adapted from English design of the period 1785. Mahogany, with insert
of gold tooled leather — Dia. 36, H iS'i.
No. 498 JEROME — English Type Overstuffed Sofa, kidnev shape, with square tapered legs. Tufted back and seat — L ;%
S.D 20, H 29.
62
No. 605 FRANKLIN — English Type Overstuffed Love Seat — L 52, S.D 22, H 29.
No. 255 BRIMMER — For description of table see page 67.
No. 387 BURNSDALE — For description of library steps see page 23-
63
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No. 776 ADUINGTOX — English Type Overstuffed Love Seat. Tutted back and seat — L 50, S.D 21, H n^^yi.
No. 773 WENDELL — Coffee Table adapted from Chinese Chippendale design. Lacquered mahogany, color optional.
."Mso available in mahogany finish — L 44, D 2j, H l8J^.
64
No. 738 CHOATE — English Type Overstuffed Small Sofa — L 58, S.D 24, H 32.
No. 417 ROCKWELL — Regency Mahogany Canterbury Table, from English design of the period 1815. Figured ma-
hogany top; one long drawer — L 17, D 26, H 26.
65
No. 55 CROSSLEY — Chippendale Sofa, from American design of the period 1770, New England origin. Mahogany, hand
cnrved frame. Front rail 72 .
66
r
No. 255 BRIMMER — Regency Coffee Table, adapted from English design of the period 1810. Mahogany, with gold tooled
leather top — L4I, D 19, H 22.
No. 490 PEARSALL — English Type Overstuffed Sofa, with turned legs — L 79, S.D 23, H 30.
67
No. 274 FIELDING — English Style of Overstufted Sofa, three-section cushion seat. Front rail 80".
No. 774 CRAWFORD — Hepplewhite Mahogany Hunt Table, from English design of the period 1790 — L 54, D 27,
H 23, leaves down; D 37, leaves up.
68
No. 204 FANEUIL — Sheraton Mahogany Sofa, from Enghsh design of' the period 1795. Front rail 79".
69
No. 784 ACRES — English Type Overstuffed Sota, kidney shape. Tutted back and seat. Front rail 84".
70
No. 752 FAYETTE — English Tvpe Overstuffed Sofa, three down pillows, and three down seat cushions — L 87, S.D 22,
H31.
71
No. 789 MOUNTFORT — Chippendale Sofa, from English design of the period 1760. Front rail 7J"
72
No. 790 NEWHALL — Regency Sofa, from English design of tiie period 1820 — L 71, S.D 22, H _5j;>^
73
No. 317 DOUGLAS — Regency Card Table, from English design of the period i8ao. Black and gold decoration, tooled leather
top, two drawers. Also available in mahogany — L 31^^, D 31K, H 29.
No. 69 WALLACE — Hepplewhite Upholstered Arm and Side Chair, from English design of the period 1785. Mahogany frame.
74
No. 749 VALENTINE — Regency Upholstered Side Chair, from English design of the period 1810. Tufted back —
W 20, S.D 16, H 35K-
No. 788 SUFFOLK — Sheraton Mahogany Game Table, from English design of the period 1785. Gold tooled leather top
for cards, reversible for chess or checkers. Top removable revealing gold tooled leather well for backgammon
- L r-'A, D 26, H joj^.
75
No. 589 NEWMARKET — Sheraton Handkerchief Table, from EngHsh design of the period 1790. Inside top of tooled leather
for cards; one reversible drawer, tooled leather, arranged for backgammon or chess — L 21, D 21, H 28.
76
No. 589 NEWMARKET — Illustrating table on opposite page opened — Top 30 x 30.
No. 440 CLAYMORE — Regency Side Chair, trom English design of the period 18 15. Mahogany, with brass rosettes.
77
No. 286 LEVERETT — Regency Commode, Irom English design ot the period 1810. Mahogany, inlaid with tulipwood and
ebony lines; mirror backs in end sections — ^ L 46, D I4M. H 36' 2.
78
No. 6i BURNHAM — Sheraton Commode, from English design ot the period 1790. Mahogany, inlaid with satinwood. Cup-
boards contain sliding silver trays tor use as a dining room piece — L 50)^2, D 23, H 36.
19
No. 458 BELGRAVE — Regency Commode, from English design of the period 18 10. Mahogany, with brass grille — L 35K,
Di6,H34H.
80
No. 260 JACKSON — Hepplewhite Commode, from English design of" the period 1785. Mahogany, inlaid with tulipwood,
brass wire grille. Two drawers — L 34, D 15, H 37.
81
•'♦:♦-*-;
\
No. 763 NOTTINGHAM — Regency Commode, from English design ot" the period 1810. Mahogany and thuya; ebonized
column and feet. Brass grille — L J!iJ^, D 16K, H t,2^.
82
No. Ii8 HASTINGS — Chippendale Mahogany Chest of Drawers, serpentine front, from Enghsh design of the period 1770-
L28, D18, H31.
No. 765 SHAWMUT — Queen Anne Chest, from F.nglish design ot the period 1715. Mahogany, with Australian maple
drawer fronts. Gold tooled leather writing or service slide — L 25^,4, D 15, H 28.
84
No. 647 DUNMORE — Chippendale Mahogany Bachelor's Chest, from English desian of the period 1-60. Five drawers
— L 26>2, D 13, H 29M.
85
iiV-£- v.<t,£i
No. 6io SUMNER — Chippendale Mahogany Chest of Drawers, serpentine front, from English design of the period 1770.
Four drawers and gold tooled leather writing or service slide — L 43}i, D 21M, H 36.
86
No. 621 DWINELL — Hepplewhite Bow-Front Chest ot Drawers, from English design ot the period 1785. Mahogany, inlaid
with satinwood. Gold tooled leather writing or service slide — L 38, D 20, H 34>2.
87
No. 596 CORNWALL — Hepplewhite Mahogany Breakfront Commode, from English design of the period 1785 — L 38,
D 13 --2, H 30.
88
No. 68 1 HOLLINGSWORTH — Regency Mahogany Commode, from English design of the period i8o". Three drawers, two
cupboards and center portion with brass grille — L 48, D 14, H 34.
No. 679 ROLF — Hepplewhite Commode, from English design of the period 1790. Mahogany, inlaid with rosewood. One
drawer, three sliding trays. Suitable size for dining room use — L 41,?^, D l8 5^, H 34.
90
No. 759 DEVON — Hepplewhite Commode, from English design of the period i7!S5. Mahogany, with two gold tooled
leather writing or service slides. Ten drawers — L 503^, D 20, H 35K.
91
No. 404 BEAUPORT — Chippendale Pedestal Writing Desk, from English design ot' the period 1770. Mahogany, with tooled
leather top. File drawer under top drawer in left-hand pedestal — L 54, D 30, H 303^.
No. 466 FARRELL— Chippendale Mahogany Side Chair from English design of the period 1760.
92
No. 68 BUCKINGHAM — Sheraton Writing Desk, kidney shaped, from English design of the period 1790. Mahogany, inlaid
with rosewood, tooled leather top; file drawer lower right — L 49,^2, D 23, H 30.
No. 69 WALLACE — Hepplewhite, Mahogany .Arm Chair from English design of the period 1785.
93
No. 64V NORTHCLIKFE— Chippendale Mahogany Pedestal Writing Desk, from English design of the period 1770. Gold
tooled leather top; file drawer lower right — L 48, D 27, H 29,' 2.
94
No. 633 KILBY — Hepplewhite Mahogany Table Desk, from English design of the period 178s. Gold tooled leather top; six
drawers — L 55, D 2q, H 30V2.
No. 474 BRIGGS — Hepplewhite Mahogany Upholstered Arm Chair, from English design of the period 1785. Color of leather
optional — VV 24, S.D 20, H 23-
95
No. 770 FESSENDEN - Chippendale Pedestal Writing Desk, from English design of the period 1770. Mahogany, with
gold tooled leather top. Two cupboards and three drawers on reverse side — L 60, D 33, H 2914.
q6
No. 3o8 MANCHESTER — Chippendale Pedestal Writing Desk, from English design of the period 1770. Chinese lacquer
decoration with tooled leather top, color optional. File drawer lower right — L n4, D 30, H 30^.
No. 75 HOLBECK — Chippendale Mahogany Ladder-Back .Arm Chair, from English design of the period 1770.
97
No. 723 SAVORY — Sheraton Table Desk, from English design of the period 1800. Mahogany, inlaid with satinwood
p.nd ebony. Gold tooled leather top; four drawers — L 48, D 28, H joi^.
No.
No.
84 APPLEGATE — Sheraton Tambour Writing Desk, from American design of the period 1790. Attributed to John
Seymour and Son, Boston. Mahogany, inlaid with satinwood — L 37, D i8t2, H 34}^.
597 BURBANK — Hepplewhite Arm Chair, tor description see page 47.
99
No. 74 ANDOVER — Chippendale Mahogany Block-front Secretary, from American design of the period 1770, Rhode Island
School. Desk can be had separately — L 36, D 19H. H 84.
No. 75 HOLBECK — Chippendale Mahogany Ladder-back Arm Chair, from English design of the period 1770.
No. 76 HINGHAM — Chippendale Mahogany Secretary, from English design of the period 1765. Desk interior similar to piece
on opposite page; desk can be had separately — • L 36, D 18, H 86.
No. 298 GATESWELL — Sheraton Tambour Secretary, from American design of the period 1790, New England origin. Ma-
hogany, inlaid with satinwood — L 37, D 18^, H 78.
102
No. 781 VERNDALE — Regency Mahogany Shelves, from English design of the period 1810 — L 1,4, D 11, H 25.
No. 780 MIDDLESEX — Regency Mahogany Commode with butler's drawer, from English design of the period 1810
-L 36, D 18^, H 37.
103
No. 459 VAUGHAN — Regency China Cabinet or Bookcase, from English design of the period 1810. Mahogany, with painted
interior, color optional — L 30, D 1 1, H 85.
104
No. 762 KENSINGTON — Regency Mahogany China Cabinet or Bookcase, from English design of the period 1820-
L SI, D IS, H 91.
105
No. 85 BERKELEY — Hepplewhite Bookcase, from English design of the period 1785. Mahogany, inlaid wirh English ash
L ,^6, D I o, H 46.
id6
No. 151 COMPTON — Regency Bookcase, from English design of the period 1810. Mahoaany, with tooled leather writing
slide, and brass grille doors — L 30I-2, D 1 1, H 57.
107
No. 449 JOHNSBURY — Sheraton Mahogany Bookcase, from English design of the period 1790. Two drawers — L 22j^,
D 10, H 45K.
108
HOSPITALITY REIGNS /;/ the DINING ROOM
<?/(a^ friends o/^wine ^ good 'iooA
with the charm of a GEORGIAN DINING TABLE promote
A FLOW OF WIT, A FEAST OF REASON
<£? A HAPPY GUEST
No. 86 DEANSGATE — Chippendale Mahogany Breakfront Bookcase or China Cabinet with butler's drawer, from English
design of the period 1770 — L 56, D 17, H 78.
No. 658 ALGONQUIN — Hepplewhite Breakfront Bookcase with butler's drawer, from English design of the period 1785.
Mahogany, inlaid with satinwood — L 68, D 18, H 91.
This piece also available without the scroll top — H SaK.
No. 769 HOLDEN — Hepplewhite Mahogany Breakfront Bookcase with butler's drawer, from English design of the period
1785 — L 82, D 19^, H.86.
iia
No. 261 HAVILAND — Hepplewhite Mahogany Breakfront Bookcase with butler's drawer, from Enalish design of the
period 1785 — L 76, D 151^, H 85.
"3
No. 379 BEACHAM — Regency Wing-front Bookcase or China Cabinet, from English design ot the period 1815. Mahogany,
with black and gold decorations, painted interior — L65, D 14, H 82.
114
No. 91 WARWICK — Hepplewhite Breakfront Bookcase or China Cabinet, from English design of the period 1785. Mahogany,
with old blue painted interior, paint color optional — L 48, D 14, H 80.
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No. 636L WALTHAM — Chippendale Mahogany Bookcase with butler's drawer, from English design of the period 1770.
Decorated in black and gold or red and gold Chinese lacquer, with interior of jade green; color optional — L 6<
D i7>^, H 87. ^ f i>
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No. 757 WESTBOURNE — Hepplewhite China Cabinet, from English design of the period 1785. Mahogany, with two
gold tooled leather writing or service slides — L 5oJ-^, D 20, H 85.
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No. 93 STAMFORD — Chippendale Corner Cabinet, from American design of the period 1775. New England origin. Mahogany
with painted interior any color desired. Also available with paned glass door — L 30, D 15, H 78.
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No. 722 CLIFTON — Hepplewliite Breakt'ront Commode, from English design of the period 1785. Mahogany, inlaid
with satinwood. Service slide has insert of tooled leather — L 71, D 21, H 37.
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No. 754 HANOVER — Chippendale Mahogany Breakfront Commode from English design of the period 1790. Center
top is hinged to rest on slides. Two lower drawers are single ones simulating two. Left-hand cupboard contains
partitioned bottle drawer — L 72, D 21 J^, H 363^.
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No. 431 RUMFURD — Regency Mahogany Commode, from English design of the period 1810. End sections have hand-made
brass grilles trimmed with brass rosettes — L 68, D 19, H 36.
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No. 99 SOUTHMEAD — Hepplewhite Sideboard, from American design of the period 1785. Connecticut origin. Mahogany,
inlaid with satinwood, ebony and holly lines, and marquetry — L 70, D 23, H 38.
Portrait of Samuel Alleyne Otis, Father of Harrison Gray Otis, both Beacon Hill.
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No. 655 LARCHMONT -- Hepplewhite Serpentine-Front Sideboard, from English design ot the period 178.-. Mahogany, inlaid
with satinwood lines and marquetry. Drawer fronts and doors crossbanded with rosewood. Two lone drawers and
two compartments — L 70, D 25, H 36' 4.
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No. 104 MARLBORO — Hepplewhite Console, or Serving Table, from English design of the period 1780. Mahogany, hand-
carving; one long silver drawer — L 72, D i63^, H 36.
133
Upper left
No. 358 BLAISDELL — Regency Mahogany Side Chair, from Enghsh design of the period 1815. Tufted spring seat.
Upper right
No. 1017 GIBBES — Duncan Phyfe Mahogany Side Chair, from American design of the period 181 5. New York origin.
Lower left and right
No. 359 DRAPER — Regency Arm and Side Chair, from English design of the period 1810. Mahogany, inlaid with satinwood.
134
No. 69 WALLACE — Hepplewhite Upholstered Arm and Side Chair, from English design ot the period 1785. Mahogany frame.
No. 71 KENWOOD — Hepplewhite Mahogany Arm and Side Chair, from English design of the period 1785.
135
Upper left and right
No. 64 HALSEY — Chippendale Mahogany Arm and Side Chair, from American design of the period 1770.
Lower right
No. 419 SAWi'ER — Hepplewhite Mahogany Side Chair, from American design of the period 1785.
136
Upper left
No. 238 ANDREWS — Regency Mahogany Arm Chair, from English design of the period 18 10.
Lower left
No. 440 CLAYMORE — Regency Side Chair, trom English design ot the period 1815. Mahogany with brass rosette.
Lower right
No. 439 BRAEMORE — Regency Mahogany Upholstered Side Chair, from English design of the period 1815.
137
-:1
No. 775 BRADFORD — Chippendale Mahogany Serving Table, from English design of the period 1780. Serving slide
with gold tooled leather top, color optional — L .^8, D 20, H :^3K.
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No. 114 COLTON — Hepplewhite Serving Table, from English design of the period 1785. Mahogany, with ebony lines; three
serving slides with tooled leather tops — L 36, D i8>^, H 32.
139
No. 272 BRISTOL — Regency Serving Table, from English design of the period 1810. Mahogany, inlaid with panels of satin-
wood on the legs and outside uprights — L48, D24, H41.
140
Xk. "
BED ROOMS
BEAUTY & COMFORT in the BEDROOM
graceful (^eo7'gian C^urnitiire
in the bedroom, built with the double motive oi beauty & comfort,
gives an atmosphere o/'restful charm
©■ QUIET LUXURY
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No. 771 STRATHMORE — Hepplewhite Bed, from English design of the period 1800. Mahogany, with ebony lines.
Headboard panel is removable for upholstering. 3'V' and 4'6". Headboard 40, Footboard I2>^.
No. 77;; COLBOURNE — Sheraton Table, from English design on the period 1790. Mahogany, inlaid with satinwood,
ebonized lines; wood gallery — L 22, D i8>^, H 28.
No. 779 PE.'\BOI)Y — Sheraton Book Basket, from English design of the period 1790. Mahogany, inlaid with satinwood;
ivory knobs — L 20, D 8, H 14.
142
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No. 134 SEELER — Sheraton Chest of Drawers, from American design of the period 1790. Philadelphia origin. Mahogany,
inlaid with satinwood, ivory escutcheons — L 43, D 22, H 35.
143
No. 185 RADCLIFFE — Sheraton Dressing Table, from English design of the period 1790. Mahogany, inlaid with satinwood.
One shallow, and one deep drawer on either side in upper case. Top pulls forward for additional space — L 34, D 19,
H57-
No. 128 PAXTON — Hepplewhite Mahogany Stool, from English design of the period 1785. D ii, H 18.
144
No. 184 SELDON — Sheraton High Ghest, from EngHsh design of" the period 1790. Mahogany, inlaid with satinwood; ivory
escutcheons. Four similar drawers and one deep blanket drawer. Toilet slide center — L 35, D 19/2, H 49.
No. 359 DRAPER — For description, see page 134.
U5
No. 758 LEEDS — Hepplewhite Serpentine-Front Chest of Drawers, t'rom English design of the period 1785. Mahogany,
inlaid with satinwood and rosewood lines; ivory escutcheons. Illustration shows two butted together to form
a double chest — Each piece L 4a, D 23, H .55.
146
No. 760 SHREWSBURY — Hepplewhite Serpentine-Front High Chest, from Enghsh design ot the period 1785, Ma-
hogany, inlaid with satinwood and rosewood lines; ivory escutcheons — L 40, D 21, H 49.
147
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No. lyt/ McKEAN — Regency Bed, adapted from Enulish design ot the period iSio. Mahogany, tretted portion black and
gold, or mahogany if preferred, j'j" and 46". Headboard 40, Footboard 28.
148
No. 123 MACOMBER — Hepplewhite Mahogany Bow-Front Chest of Drawers, inlaid with burl maple and ebony lines, from
English design of the period 1785. Toilet slide; reproduction Battersea enamel hardware — L 39, D 22, H 34^-
No. )6 KINROSS — Sheraton Mirror, from English design of the period 1800. Antiqued gold leaf, with eglomise panel —
frame 35 x 23, mirror 27 x i^yi.
149
No. 127 GLENCOE — Hepplewhite Mahogany Powder Table, serpentine front, from English design of the period 1785. Ivory
pulls and paterae — L 27, D 17, H 54.
No. 128 PAXTON — Hepplewhite Mahogany Stool, from English design of the period 1785. Dia. 21, H 18.
150
No. Ill MAYFAIR — Hepplewhite High Chest of Drawers, from English design of the period 1785. Mahogany and burl maple.
Five drawers — L 37' 2, D 21, H 48'2.
151
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No. 125 BAXTER — Hepplewhite Mahogany Carved Field Bed, from American design of the period 1790, Philadelphia origin.
Can be had without canopy frame. 3' 3" and 4' 6". Posts 67".
152
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No. 164 MILLER — Sheraton Mahogany Field Bed, from American design of the period 1795, Salem, Massachusetts, origin.
Original once owned by General Miller of the War of 1 8 1 2, is still in possession of a descendant. Can be had without
canopy frame. 3' 3" and 4' 6". Posts 68".
153
No. 503 BRADBURY — Regenc\%Mahogany Bed, adapted from English design of the period 18 15. j'j" and 4'6". Headboard
42, Footboard 25.
No. 504 BRADBURY — Regency Table, from English design of the period 1815. Mahogany, trimmed with ivory pulls. Three
Drawers — L 16K, D l6>2, H 29.
'54
No. 500 BRADBURY — Regency Chest of Drawers, from English design of the period 1 8 1 5. Mahogany, trimmed with synthetic
ivory ring pulls — L 44, D l^yi, H 38.
No. 505 BRADBURY — Regency Mirror, from Continental design of the period 18 10. Bone white and lavender, gilt decoration.
Also available in mahogany — Frame 41 x 23, Mirror 29^2 x lyH-
155
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No. 502 BRADBURY — Regency Dressing Table, from English design of the period 18 10. Mahogany, trimmed with iyorv pulls.
Five drawers — L 43>^, D 19, H 29.
No. 50b BRADBURY — Regency Oval Gilt Mirror, from English design of the period 1815. Frame 32 x 24, Mirror 29 x 21.
156
No. 501 BRADBURY — Regency Chiffonier, from English design of the period 1815. Mahogany, trimmed with synthetic
ivory ring pulls. Three drawers, two sliding trays — L 36, D 19, H 49.
157
i
No. 625 PORTSMOUTH — Sheraton Bed, from American design of the period 1800, New Hampshire School. Mahoeanv,
inlaid with fancy lines — 3'3" and 4'6". Headboard 41, Footboard 26.
No. 625 PORTSMOUTH — Hepplewhite Table, from American design of the period 1800, New Hampshire School. Mahogany,
inlaid with rosewood — L i7>i, D 17J-2, H 28 ^i.
158
No, 628 CONNECTICUT — Hepplewhite Serpentine - Front Chest of Drawers, from American design of the period 1790.
Mahogany, inlaid with holly lines. Connecticut origin — L 42, D 22, H 36.
159
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No. 764 NEEDHAM — Chippendale Table, from English design of the period 1-80. Tambour front enclosing cupboard;
bottom section with tooled leather top pulls forward. Mahogany, inlaid with holly — L 20, D 18^2, H ji.
No. 771 STRATHMORE — Hepplewhite Bed, from English design of the period 1800. Mahogany with ebony lines.
Headboard panel is removable for upholstering — 3'j" and 4'6". Headboard 40, Footboard I2>2.
160
No. 628 CONNECTICUT — Hepplewhite Serpentine-Front High Chest, from American design of the period 1790. Mahogany,
inlaid with holly lines. Five drawers — L 37, D 21, H 48.
161
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No. 151 BERKSHIRE — Hepplewhite Mahogany Four-Post Bed, from American design of the period 178?. Philadelphia
origin — 3' 3" and 4' 6". Posts 65".
No. 75 HOLBECK — Chippendale Mahogany Ladder-Back Side Chair, from English design of the period 1770.
162
No. 153 BARRETT — Chippendale Mahogany Chest of Drawers, from American design of the period 1770 — L42, D 20, H 361^.
163
No. 163 DAVIDSON — Hepplewhite Powder Table, in black and gold Chinese lacquer, peach colored interior, from English
design ot the period 1785. Also available in mahogany as No. 142 Davenport — L 36, D 17, H 3lH-
No. 128 PAXTON — For description ot stool, see page 150.
T64
No. 152 BARDWELL — Chippendale Mahogany Block-Front Chest-on-Chest, from American design of the period 1770. Eight
drawers — L 34 ' 2 , D 1 8 J^, H 62.
No. 75 HOLBECK — Chippendale Mahogany Arm Chair, from English design of the period 1770.
165
No. 667 GROSVENOR-Hepplewhite Mahogany Four-Post Bed with Canopy, from English design of the period 1785. 4' 6',
No. 439 BRAEMORE — For description of chair see page 137.
166
No. 720 WIMPOLE- Chippendale Mahogany Double Chest of Drawers, adapted from American design of the period
720 — L 61, D 21, H j6.
167
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No. 753 HANCOCK — Chippendale Mahogany Highboy, from American design of the period l7~o. Connecticut origin
- L iS'A, D 20, H 79.
168
No. 732 ARLINGTON - Chippendale Mahogany Chest-on-Chest, from American design of the period 1780 -L ^g
JU 20i4, H 65. r , OV.
169
No. 665 WHEELOCK — Queen Anne Mahogany High Chest, from American design of the period 1760, Salem type. Con-
tains six drawers — L 36, D io}4, H ^SJ/i.
No. 75 HOLBECK — Chippendale Mahogany Side Chair, from English design of the period 1770.
^iTtv
No. 664 DEVEREAUX — (jueen Anne Mahogany Chest of Drawers, troni American design ot the period 1760. Salem tvpe •
L42, D2i,H37.
171
No. 666 DEVEREAUX — Queen Anne Mahogany Chest-on-Chest, from American design of the period 1760, Salem type.
Contains eleven drawers — L 35,' 2, D 19, H SSyi.
172
The BEACON HILL COLLECTION
as shown in the galleries of B. Altman tV Company of New York City
and Barker Bros, of Los Angeles, California
B. ALTMAN & CO., NEW YORK
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MINIATURES ^////^ BEACON HILL COLLECTION
Being un Accoun r of how Master Craftsmen with meticulous care reproduced
in perfect scale various pieces of the Beaco)! Hill
Collection shown in this hook
AS the Beacon Hill Colltction has grown, so has its
/A national interest, and the craftsmen who make
±. jL. the full-sized Beacon Hill furniture have made
these tiny reproductions in order that they may he
used as a traveling exhihit and give pleasure to as many
people as possible.
They have heen shown from coast to coast wherever
the Beacon Hill Collection is exhibited.
In all of us there is more or less the heart of a child,
and one's first reaction in seeing these intriguing minia-
tures is very similar to a child's delight in seeing for the
first time a new toy.
On examining further, one is conscious of the ex-
treme artistry ami craftsmanship shown in these tiny
reproductions.
F.ach was maile from exact reduced measured draw-
ings. Veneers, fabrics, and decorations were selected
of the same wood and materials as their counterparts.
The same hands made the fireplace frames and
decorative objects, all of necessity with special carving
knives and tools. The diminutive hardware could be
worked only under a magnifying glass. Imagine inlays
reduced to a hair line and fitting casters on a table leg
the size of a match!
Neither word nor picture can reveal the charm and
infinite detail of these miniatures. They must be seen.
mi.
'79
i8o
I8I
LITTLE STORIES of GREAT DESIGNERS
T
"^HF, purpose of these short articles, "Little Stories of
Great Designers," is to present in the briefest possible
form high lights of the various furniture styles which
were developed during the Georgian Period.
Much fine material has been written about furniture since
the beginning of the twentieth century, but unfortunately
there are the usual inaccurate statements, plenty of supposi-
tion, and some guesswork, particularlv in the earlier books.
Writers were frequentlv biased. Research had not progressed
to a point where thev could always write a clear story. As a
result there is considerable confusion in the mind of both the
student and the casual reader. Few writers traced the de-
velopment of furniture design beyond its origin. For in-
stance, Chippendale furniture was Chippendale, and that's
all there was to it. Many a reader has been forever preju-
diced because his intelligence told him that all the so-called
Chippendale "antiques" could never have been made by
one man in a small workshop. They apply the same reason-
ing to the work of other great cabinetmaker-designers.
The historv ot furniture is a lifetime study, and the follow-
ing pages contain woefully few words with which to paint a
complete picture ot such a broad subject. Nevertheless, the
reader may find something ot interest, a clarifying pomt or
two at least, which will make the writing of these articles
well worth while.
182
THOMAS C H J IMM^: N D A L E
hifiiiencc 1740-1775
Interlacing scrolls and Ingh-cresle.i
top rail
"^ NGLAND has produced many
great cabinetmakers, but
Thomas Chippendale is un-
doubtedly the most celebrated.
F"rom obscure records it would
seem that Chippendale was born in
the early eighteenth century. He
died in 1779 at a ripe old age. While
little is known about his early lite, bv
the middle of the eighteenth century,
at least, Chippendale was definitely
established as London's most fash-
ionable cabinetmaker.
It was from his cabinet shop at No.
60 St. Martin's Lane that he pub-
lished in 1754 the first edition of "The
Gentleman and Cabinet Maker's
Director." It was largely due to this
book of furniture designs, a glorified
catalog of its day, that his name has
long stood for the characteristics
found in furniture of the period in
which he worked.
The book, with its subsequent edi-
tions in 1759 and 1762, gives evidence
of a distinguished clientele appar-
ently obtained by years of satisfac-
tory service. We are permitted just
one revealing glimpse within the
walls of Chippendale's workshop,
and that as a result of a fire in the
year 1775.
An old inventory lists the chests ot
twenty-two workmen, which would
certainly indicate a large establish-
ment for those days.
To many it is a mystery how much
antique furniture can lie attributed
to Chippendale. It simply means that
the name of Chippendale has come to
predominate over all the other cab-
inetworkers of his time.
By "Chippendale" furniture, there-
fore, we mean merely furniture de-
signed and produced in the style that
was popular during the periotl of
Chippendale's career. All the good
cabinetmakers of London and else-
where in England were occupied in
making furniture of similar styles.
Many of these cabinet shops made
every bit as excellent furniture as
Chippendale. It is, therefore, a fal-
lacy to attribute the finest to Chip-
pendale's workshop, at the same time
relegating all inferior examples to
makers unknown. The best plan is
to think of "Chippendale" more as
a definite style, or fashion, if you
will, and the whole period as the
Chippendale "School" rather than
as an individual or an individual
workshop.
On the other hand, Thomas Chip-
pendale was a really noted designer
who contributed a wealth of material
to the furniture which so justly bears
his name. He successfully adapted
French, Chinese, and Gothic motives
to give the nation a different type of
Anglicized furniture. The predom-
inating wood was the newly imported
mahogany, highly polished, and en-
riched with exquisite carving. Inlay
had not yet come into vogue. Char-
acteristics of Chippendale design —
the cabriole leg with various termi-
nations, such as the claw-and-ball;
tripod tables with fretted galleries or
pie-crust tops; chairs with ladder
backs or interlacing scrolls, all with
high-crested top rails; frequent use
of the serpentine curve; and above
all, masterly execution of leafage,
ribbon, scroll, and interlacing strap
carving.
In America the ChippendaleSchool
was represented by such worthy
cabinetmakers as William Savery,
Jonathan (lostelowe, Thomas
Tufts, and Henjamin Randolph, all
(Cabriole leg, leujage carved ii'ith ciaw and
hall foot
of Philadelphia, Goddard and
Townsend of Newport, and Major
Benjamin Frothingham of Charles-
town, Mass.
They were able craftsmen all, and
in no sense copyists of a style created
abroad.
In these capable hands the pre-
vailing fashions of the Mother
Country were modified and moulded
with distinction into a Colonial
School of Chippendale of which we,
their descendants, are justly proud.
Scroll top pediment, flame finial
183
St
JL ti-
ROBERT
V If ^HE purjjose of these little
stories of great designers ot
the (jcorgian Period is to por-
tray in a few words salient points
which influence furniture design.
First, we establish a definite style as
"Chippendale" within date limits of
1740-1775, which is roughlv the
known years of popularity accorded
to the ideas of one master craftsman
and his contemporaries.
Quite a different story is that of
Robert and James Adam, important
architects and furniture designers.
Their influence on style, based on
popularity, extended from about the
year 1760 until practically the end of
the eighteenth century. It is immedi-
ately evident that this period not
only includes the date of the Chip-
pendale School, but also overlaps all
the great cabinetmakers of the late
eighteenth century, causing confu-
sion to most minds. The ideas de-
veloped by these talented men were
diametrically opposed to the style ot
Chippendale, and, furthermore, were
being established at the same time.
How can one account for that? It
is really very simple — the Adam
Brothers, having no shop of their
own, let their work out to any cabinet
shop capable of executing their de-
signs. Thus Chippendale not only
worked for the Adams, but actually
helped them in creating a type of
furniture distinctly different from
that known by the name of Chippen-
dale.
Now for the Adam Brothers and
what thev stood for. Educated men,
these, cultured and trained to head a
large organization which not only
dominated the architectural trend of
JAMES
Influence 1760- 1795
the late eighteenth century, but
whose influence is still with us today.
Thev were exponents of classic forms
in furniture and architecture due to
extensive travel in Italy and abroad,
and styled, it not originated, a tre-
mendous new trend in taste. The
Adams were primarily architects, but
at the same time were the cleverest
welders of materials from furniture,
carpets, and furnishings, to complete
architectural interiors. England has
produced none greater.
Furniture intluenced by these fa-
mous brothers should really be di-
ADAM
vidcd into two distinct groups. The
first, or earlier style, followed the
prevailing taste for mahogany, except
the form was more delicate than that
of the Chippendale School. They gave
l-.ngland a more up-to-date rendering
based on classic embellishments. The
second group consists of a further
development influenced by Italian
and French classic design, and a
departure from mahogany made
possible by the importation of rare-
wood veneers. A 30-year period be-
ginning in the seventies is frequently
called the Age of Satinwood.
The Adams were exponents of
acanthus and foliated detail, swags,
testoons, urns, anthemion, and pat-
erae. They were past masters in the
use of fine detail such as beads, flutes,
and dentil work. They drew largely
on animal and mythological subjects,
rams' heads, lions' heads, and sphinx
being carved in realistic manner.
Their later designs, frequently exe-
cuted in satinwood, were ornamented
with marquetry and painted decora-
tion. They were particularly fortu-
nate to have the services of such
artists as Pergolesi, Zucchi, and
Anjelica Kauffmann, who painted
the exquisite panels lending so much
character to this furniture.
In America prior to the year 1790
there were few, if any, professional
architects, so that our Colonial archi-
tecture is greatly indebted to the
teachings of the Adam Brothers. A
New Englander, one Samuel Mc-
Intire of Salem, Massachusetts, was
outstanding in his interpretation of
the Adam stvle as applied to both
furniture and architectural treat-
ments.
Rosette and flute carvingy drapery swags with ribbon
184
GEORGE HEPPLEWHITE
Influence 1760- 1786
Shield back carved with shea] of wheal and
pendant husks
T
"^HERE is a dismaying lack
of actual knowledge about
George Hepplewhite whom
we regard as designer and craftsman
extraordinary. He was apprenticed
at the Gillows furniture factory in
Lancaster, date unknown, and even-
tually opened a business of his own
in London. Even this date is obscure,
but it is certain that he was influ-
encing the craft in the early sixties.
The date of his death is placed as
1786. It was the posthumous publi-
cation of his "Cabinet-Maker and
Upholsterer's Guide" which helps us
trace the history of this firm, and
at the same time elevate the Hepple-
white combine above the names of
his contemporaries such as Sheraton,
Gillow, and others. Owing to the
early death of George Hepplewhite,
furniture by his name should be di-
vided in three classes:
I. George Hepplewhite proper,
1760-1786
1. A. Hepplewhite & Co., 1786
onwards
3. The Hepplewhite School as
followers of the "Guide" de-
signs 1 7 87- 1 800
We are chiefly concerned in listing
the accomplishments of the man
himself, reviewing his aims and am-
bitions, which have contributed so
much to the woodworking craft. The
Hepplewhite style was founded on
lightness and delicacy, and is transi-
tional in character. That is, it began
with the public taste for carved
mahogany and eventuatctl in the
various processes of inlaying and
decoration. Our designer was first of
all a chairmaker par excellence. His
work was so beautifully conceived
and executed that it is rare intleed to
come across a poorly designed Hep-
plewhite chair. Like Chippendale, he
was influenced by the French taste,
but it is easy to distinguish the differ-
ence in contemporary design. Hepple-
white models range from three to five
inches lower, and tend to the curvi-
linear in outline of back and arm.
Later on Hepplewhite's regard for
French design was responsible for
an Anglicized Lmiis X\' and XVI,
French canted Joot, tudanced skirl
often referred to as French Hepple-
white. Hepplewhite is undoubtedly
best known for his many interpreta-
tions of the shield-back chair, which
brings up the old argument as to
whether he or one of the Adam
Brothers was responsible for the de-
sign. Little matter, because the de-
velopment lay in the capable hands
of Hepplewhite. If the Adams did
originate the idea, it was the master
who adapted the designs to practical
use of cabinetmakers. Such delicate
curves cannot be worked out on a
draughting board. They are the
product ot understanding and highly
185
skilled hand labor. Distinguishing
marks of the Hepplewhite shield-
back chair are the gracefully carved
sheaf of wheat and the "Prince of
Wales" feathers. Equally beautiful
is his rendering of the oval-back chair.
Hepplewhite undoubtedly had
much to do with the tievelopment of
the sideboard. To him is also credited
the development of the tambour and
secretaire drawer. Hepplewhite's rep-
utation fortunately does not hinge
on the success of his large pieces, but
rather on beautiful small, delicate
tables, commodes, and the like.
Many a delightful bit of the period
in which he lived can probably be
traced to the influence of this master
craftsman.
Upon the death of George Hepple-
white the business was continued by
his wife Alice, under the name of
A. Hepplewhite and Company, a
commercial success, and the name of
Hepplewhite percolated to the ut-
most corners of the British Isles and
to America.
The acceptance of the Hepplewhite
style in America prompted many
interesting innovations which were
purely local in character. The designs
of the great master were adapted for
home consumption with success and
distinction to our native cabinet-
makers.
Fluted leg with stopbeads, spade foot
THOMAS SHERATON
Influence lygo-iSod
T
■^HOMAS SHERAIXA', the
last of" the eighteenth century
cabinetmaker-designers, was a
native of Stockton-on-Tees in the
north of Enghxnd. Born in 1750 or
175 1, he migrated to London (1780-
1790) to seek fame and fortune in the
metropolis. He could hardly have
selected a more unt(jrtunate time for
his venture. There was not onl\' the
Brnkefi top rail
recent loss ot the .American Colonies,
but the French Revolution and the
fight against the .Aristocrats were
turning the world upside down.
People of wealth and social position
in England were none too sure of
their own future and for a time were
neither fashion minded nor interested
in new furniture styles. How was
Sheraton to cope with this situation,
having no capital and no workshop
with which to seek the patronage of
influential clients? His idea appar-
ently, perhaps born of desperation,
was to create a reputation by writing
books and by his teachings. From
the financial side failure was inevit-
able from the very start.
Sheraton was undoubtedly a
trained cabinetmaker at one time in
his career, but there is no evidence
that he made furniture himself after
his arrival in London. Like the Adam
Brothers he may have actually taken
orders for furniture of his own design
to be made by others under his per-
sonal supervision. For the purpose of
our discussion, however, Sheraton
was a furniture designer and a teacher
of drawing. A man of divided ener-
gies, he spent his time in designing
furniture, teaching pupils perspec-
tive drawing, and preaching on street
corners the doctrines of the Narrow
Baptists. To these accomplishments
he added writings on religious sub-
jects. He was apparently a rather
objectionable person, inclined to the
severest criticism of his predecessors
and his contemporaries. All were out
of step with Sheraton, and he railed
against evervbodv, living in povertv
and without friends. Lender the cir-
cumstances it is indeed strange that
his name has come to mean so much
to late eighteenth century furniture
design. His successes, based on in-
direct influence with the trade, were
due to his various publications which
were in considerable demand with
cabinetmakers and which contained
much valuable material. Whether he
plagiarized the designs of Hepple-
white, Gibbons, Shearer, and others
is a matter of debate, but he was
the first to co-ordinate the designs
which have ever since been known bv
his name. Compared with Hepple-
white, and the two periods overlap,
Sheraton may be said to have ex-
pressed the greater amount of flair
and originality. In the first edition of
his "Cabinetmaker's and Uphol-
sterer's Drawing-Book," published in
1791, he appealed to the public taste
with a collection of new designs for
chair backs. These chairs differed
from the shield back of Hepplewhite
by being square back, with the back
legs extended to meet the top rail.
Some of the popularity of these chairs
may have been due to improved con-
struction and cheaper costs in pro-
duction. Sheraton's style and repu-
tation as a designer must rest on the
"Drawing-Book" of which there were
three editions, the last in 1802. His
general taste was delicate, slender
motives, vertical lines, and long,
sweeping curves. Chairs and case
pieces were supported by narrow-
tapering or slender turned legs. He
advocated the use of solid satinwood
in chairs, and his use of rare wood
inlays throughout his designs adds
much to the charm of a delicate and
pleasing style.
In spite of all the adversity which
followed this man through the sixteen
years of his London residence, his
writings were in real demand. The
"Drawing-Book" found its way into
186
shops all over England where the
designs were worked out at the
bench with sufficient variation to
meet the taste of the countryside,-
thus accounting for the large out-
put of furniture which we know as
"Sheraton."
Sheraton's "Cabinet Dictionary"
was published in 1803, at a time
when he was either converted to the
English Empire Style or trying to
meet the further demand for some-
thing new. It added little or nothing
to his prestige. .Another book pro-
jected in 1806 was never released in
complete form owing to his death in
October of the same year.
Sheraton designs met with almost
immediate approval in the L'nited
States, and the fertile seeds of his
teachings fell on productive ground.
Turned and reeded Fluted leg iiti,i ■ - - ,
/eg rosette and acanthus
leaf carving
Exquisite pieces in this style were
produced by such well-known cabi-
netmakers as John Sevmour of
Boston, William Hook, Salem, Mas-
sachusetts, Abner Toppan of New-
buryport, and many others.
ENGLISH REG K N C Y
T/iis pniod 1 800-1 830 is frequently referred to by collectors as ''Late Georgia)"
T
y If ^HE Regency Style which de-
veloped in England at the
beginning of the nineteenth
century was a neo-classic revival, a
turning away from the over-elaborate
architectural forms of the Adam
Brass gallery, turned Tiirtieii leg wirl: spiral
leg with castor carving
Brothers and their followers. The
urge was tor simplicity and the elimi-
nation of unnecessary ornament; the
inspiration Greek and Roman an-
tiquities.
The new thought was sponsored by
such men as Sir John Soane, who
built the Bank of England, Henry
Holland, architect to the Prince of
Wales, and John Nash who at Hol-
land's death took over the rebuilding
ot Carlton House. Nash also laid out
Trafalgar Square, Regent's Park, and
was the architect of Buckingham
Palace. The name of Thomas Hope is
especiallyprominent as anearlyadvo-
cate of the Regency style in archi-
tecture, furniture, and decorations,
together with Sheraton and George
Smith, designers.
In 181 1 when George became
Prince Regent, the prevailing style
(late Georgian), firmly established by
this time, was named Regency, a
period which began before he was the
Regent and lasted until his death in
iXjo, which includes the ten years of
his life as King George IV'.
During the first ten years English
Regency went along step by step with
French Directoire (a revolt against
the overdecoration of Louis X\'I de-
sign), but during the Twenty Years'
War which followed with no love lost
between the two nations, Regency in
England developed along its own par-
ticular lines.
Regency furniture is so closely
allied to the interior architecture of
the Period that it is necessary to
study the one for a better under-
standing of the other. Gone were the
heavy paneling and mantelpieces of
the Georgian period, as well as over-
doors and broken arch pediments. In
their place was a classic interior. In
contrast we would probably call it
"streamlined" today. Ornament was
restricted and even severe, with an
absence of carving. Cornices, pilas-
ters, and mouldings were greatly sim-
plified. Plastered walls which ex-
tended from floor to cornice were
either painted or hung with wall-
paper. Marble mantels were the
vogue. Furniture to be effective
against an almost austere back-
ground had to be distinctive and lean
more or less to the spectacular. Re-
gency furniture does just that. There
is a certain amount of simplicity of
design, and considerable charm to be
found in the handling of new mo-
tives, but when all is said and done
this style of furniture is rather so-
phisticated. This very sophistication
was what appealed to the intelli-
gentsia of the time and no doubt
accounts for the rev'ival of interest
felt in England and in our own coun-
try today.
The designers of this Greco-Roman
style were intrigued with the recent
excavations at Pompeii which served
as models for chairs and tripod
candlestands. Sofas were designed
like Roman beds. Bookcases and
china cabinets followed the archi-
tecture of old temples or were orna-
mented with ormolu representing
griffins and classic heads. There was
a strong architectural flavor to prac-
tically all furniture at the beginning
187
of the century, partly due to the
sponsors who were trained architects,
and also becau.se the furniture was
mainly inspired by antiquities.
During the Regency Period there
were undoubtedly thousands of cabi-
net shops in and about London, and
many exquisite pieces of furniture
were made by these craftsmen. The
selection of woods ami veneers, for
the greater part, was faultless, the
construction excellent. Small tables
of all kinds were extremely popular.
These were frequently made of rose-
wood, satinwood, and tulipwood,
inlaid with brass or ebony lines and
ornamented with brass mounts and
brass galleries. Dining tables reached
the point of furthest development
from the viewpoint of comfort. I'or
the first time the pedestal table was
made in sections to accommodate
larger gatherings. There were deli-
cately turned chairs with cane seats,
frequently decorated in black and
gold. Others had the Trafalgar or
scimitar front leg (in-curved), a grace-
ful innovation which came with Re-
' ' ' .' ;..'.t. ,.; .■■;.:/.,;<.'.•,..•.' tied isith ribbon
— Duncan Phyje
gency. There were brackets, foot
stools, work tables, commodes, and
writing desks made in really large
quantities. Many have survived to
be greatly admired today.
In the United States Duncan
Phyfe was the greatest advocate of
Regency design. His finest work
belongs to the period 18 10 onw-ards.
He achieved a type of American Re-
gency with beauty of line and a dis-
tinction unmatched by any other
-American cabinetmaker of his time.
INDEX ^»
Numerical
No.
Page
No.
Page
A^.
Page
13
12
Birchall Console
103
132
Eeighton Dining
260
81
Jackson Commode
13
40
Birchall Console
Table
261
113
Haviland Breakfront
16
149
Kinross Mirror
104
133
Marlboro Console
Bookcase
17
13
Elliot Card Table
106
122
Crosby Dining Table
267
59
Chilton Coffee
20
14
Dorothea Henrv
114
139
Colton Serving Table
Table
Table
118
83
Hastings Chest of
270
24
Gerald Arm Chair
22
17
Montague Table
Drawers
272
140
Bristol Serving Table
36
25
Dalton Wing Chair
121
151
Mayfair High Chest
274
68
Fielding Sofa
40
42
Emery W ing Chair
123
149
Macomber Chest of
286
78
Leverett Commode
42
39
Wellesley Arm Chair
Drawers
288
57
Bedford Coffee Table
46
49
Plymouth Arm Chair
125
152
Baxter Bed
294
48
Sutton Arm Chair
49
20
Parham Table
127
150
Glencoe Powder
298
102
Gateswell Secretary
55
52
Crossley Sofa
Table
304
40
Chatham Arm Chair
55
66
Crossley Sofa
128
144
Paxton Dressing
308
97
Manchester Writing
61
79
Burnham Commode
Stool
Desk
64
124
Halsey Arm Chair
128
15U
Paxton Dressing
317
74
Douglas Card Table
64
124
Halsey Side Chair
Stool
358
134
Blaisdell Side Chair
64
136
Halsey Arm Chair
128
164
Paxton Dressing
359
128
Draper Arm Chair
64
136
Halsey Side Chair
Stool
359
128
Draper Side Chair
68
93
Buckingham Writ-
134
143
Seeler Chest of
359
134
Draper Arm Chair
ing Desk
Drawers
359
134
Draper Side Chair
69
74
Wallace Chairs
151
162
Berkshire Bed
359
145
Draper Side Chair
69
93
Wallace Arm Chair
152
165
Bardwell Chest-on-
361
27
Dutton Wing Chair
69
135
Wallace Arm Chair
Chest
363
37
Joyce Arm Chair
69
135
Wallace Side Chair
153
163
Barrett Chest of
367
58
Raddison Nest of
71
132
Kenwood Arm Chair
Drawers
Tables
71
132
Kenwood Side Chair
163
164
Davidson Powder
375
51
Lansford Table
71
135
Kenwood Arm Chair
Table
379
114
Beacham Bookcase
71
135
Kenwood Side Chair
164
153
Miller Bed
380
60
Gleason Coffee Table
74
100
Andover Secretary
176
36
Bamford Table
385
21
Staniford Table
75
97
Holbeck Arm Chair
184
145
Seldon High Chest
387
33
Burnsdale Library
75
100
Holbeck Arm Chair
185
144
Radcliffe Dressing
Steps
75
162
Holbeck Side Chair
Table
387
41
Burnsdale Library
75
165
Holbeck Arm Chair
190
19
Sandleigh Table
Steps
76
101
Hingham Secretary
194
22
Ames Table
387
63
Burnsdale Library
84
33
Applegate Desk
199
148
McKean Bed
Steps
84
99
Applegate Desk
204
69
Faneuil Sofa
389
44
Trowbridge Wing
85
106
Berkeley Bookcase
235
38
Kingsley Arm Chair
Chair
86
110
Deansgate Break-
238
137
Andrews Arm Chair
404
92
Beauport Writing
front Bookcase
240
23
Rawson Arm Chair
Desk
91
115
Warwick Breakfront
243
19
Rogers Love Seat
417
35
Rockwell Table
Bookcase
243
59
Rogers Love Seat
417
65
Rockwell Table
93
121
Stamford Corner
244
36
Gardner Arm Chair
419
130
Sawyer Side Chair
Cabinet
251
107
Compton Bookcase
419
136
Sawyer Side Chair
96
120
Chestershire Dining
253
50
Burgess Table
427
23
Monroe Table
Table
254
52
Codman Table
431
127
Rumford Commode
98
118
Clayton Dining
255
63
Brimmer Coffee
434
43
Forbes Arm Chair
Table
Table
439
137
Braemore Side Chair
99
129
Southmead Side-
255
67
Brimmer Coffee
439
166
Braemore Side Chair
board
Table
440
77
Claymore Side Chair
INDEX
Numerical
A'o.
I'age
No.
Page
No.
Page
440
137
Claymore Side Chair
636L 117
Waltham Bookcase
752
71
Fayette Sofa
449
108
Johnsbury Boolccase
644
62
Ralston Coffee Table
753
168
Hancock 1 ligh])oy
451
126
Lester Dining Table
647
32
Dunmorc Chest
754
125
Hanover Breakfront
453
55
Granada Table
647
85
Dunmore Chest
Commode
454
53
Edwards Table
649
94
Northcliffe Writing
757
119
Westbourne Cabinet
458
80
Belgrave Commode
Desk
758
146
Leeds Chest of
459
104
Vaiighan China
651
56
Aberdeen Coffee
Drawers
Cabinet
Table
759
91
Devon Commode
459
126
Vaughan China
Cabinet
653
130
Conning Dining
Table
760
147
Shrewsbury High
Chest
466
92
Farrell Side Chair
655
131
Larchmont Side-
762
105
Kensington Cabinet
469
61
Owens Coffee Table
board
763
82
Nottingham Com-
472
53
Barnard Sofa
658
111
Algonquin Bookcase
mode
474
95
Briggs Arm Chair
664
171
Devereaux Chest of
764
160
Needham Table
490
67
Pearsall Sofa
Drawers
765
84
Shawmut Chest
498
62
Jerome Sofa
665
170
Wheelock High
766
45
Oxford Table
500
155
Bradbury Chest of
Chest
767
29
Sheffield Table
Drawers
666
172
Devereaux Chest-
768
26
Minot Revolving
501
157
Bradbury Chiffonier
on-Chest
Table
502
156
Bradbury Dressing
667
166
Grosvenor Bed
769
112
Holden Breakfront
Table
679
90
Rolf Commode
Bookcase
503
154
Bradbury Bed
681
89
Hollingsworth Com-
770
96
Fessenden Desk
504
154
Bradbury Table
mode
771
142
Strathmore Bed
505
155
Bradbury Mirror
682
54
Evans Table
771
160
Strathmore Bed
506
156
Bradbury Mirror
720
167
Wimpole Chest of
772
124
Buckminster Dining
589
76
Newmarket Table
Drawers
Table
589
77
Newmarket Table
721
16
Edgewood Table
773
64
Wendell Coffee Table
596
88
Cornwall Commode
722
123
Clifton Commode
774
68
Crawford Table
597
47
Burbank Arm Chair
723
98
Savory Desk
775
138
Bradford Serving
597
99
Burbank Arm Chair
725
116
Eldredge Dining
Table
598
46
Dawson Arm Chair
Table
776
64
Addington Love Seat
605
63
Franklin Love Seat
728
26
Lowell N\'ing Chair
777
34
Bennington Table
620
86
Sumner Chest of
729
31
Newton Wing Chair
778
142
Colbourne Table
Drawers
730
22
Kirkland Wing Chair
779
142
Pea body Book
621
87
Dwinell Chest of
731
32
Longwood Side Chair
Basket
Drawers
732
169
Arlington Chest-on-
780
103
Middlesex Commode
623
44
Conrad Nest of
Chest
781
103
Verndale Shelves
Tables
734
33
Prescott Club Chair
784
70
Acres Sofa
625
158
Portsmouth Bed
736
35
Putnam Arm Chair
788
75
Suffolk Game Table
625
158
Portsmouth Table
737
30
Crabtree Wing Chair
789
72
Mountfort Sofa
627
128
Gregory Dining
738
65
Choate Sofa
790
73
Newhall Sofa
Table
739
41
Norfolk Arm Chair
797
18
Buswell Table
628
159
Connecticut Chest of
740
28
Colby Wing Chair
1003
30
Cooper Dumb Waiter
Drawers
744
34
Pemberton Arm
1003
48
Cooper DumbW alter
628
161
Connecticut High
Chair
1004
15
Stephens Card Table
Chest
749
75
Valentine Side Chair
1017
134
Gibbes Side Chair
633
95
Kilby Desk
750
45
Madison Wing Chair
189
INDEX m
Alphabetical
No. Page
651 56
784
776
658
194
74
2.VS
84
84
176
152
472
153
125
379
404
288
458
777
85
151
13
13
358
503
500
501
502
505
506
504
775
439
439
474
255
70
64
111
22
100
137
99
732 169
36
165
53
163
152
114
92
57
80
34
106
162
12
40
134
154
155
157
156
155
156
154
138
137
166
95
63
255 67
Aberdeen Coffee
Table
Acres Sofa
Adtiington Love Seat
Algonquin Bookcase
Ames Table
Andover Secretary
Andrews Arm Chair
Applegate Desk
Applegate Writing
Desk
Arlington Chest-on-
Chest
Bamford Table
Bardwell Chest-on-
Chest
Barnard Sofa
Barrett Chest of
Drawers
Baxter Bed
Beacham Bookcase
Beauport Writing
Desk
Bedforci Coffee Table
Belgrave Commode
Bennington Table
Berkeley Bookcase
Berkshire Bed
Birchall Console
Birchall Console
Blaisdell Side Chair
Bradbury Bed
Bradbury Chest of
Drawers
Bradbury Chiffonier
Bradbury Dressing
Table '
Bradbury Mirror
Bradbury Mirror
Bradbury Table
Bradford Serving
Table
Braemore Side Chair
Braemore Side Chair
Briggs Arm Chair
Brimmer Coffee
Table
Brimmer Coffee
Table
304
40
96
120
267
59
738
65
440
77
440
137
98
118
722
123
254
52
778
142
740
28
114
139
251
107
628
159
No. Page No. Page
in 140 Bristol ServingTable 163 164
68 93 Buckingham Writ- 598 46
ing Desk 86 110
772 124 liuckminster Dining
Table 664 171
597 47 Burbank Arm Chair
597 99 Burbank Arm Chair 666 172
253 50 Burgess Table
61 79 Burnham Commode 759 91
387 ?,i Burnsdale Library 20 14
Steps
387 41 Burnsdale Library 317 74
Steps 359 128
387 63 Burnsdale Library 359 128
Steps 359 134
797 18 Buswell Table 359 134
359 145
Chatham Arm Chair 647 32
Chestershire Dining 647 85
Table ^ ! 361 27
Chilton Coffee Table 621 87
Choate Sofa
Claymore Side Chair
Claymore Side Chair 721 16
Clavton Dining 454 53
Table 725 116
Clifton Commode
Codman Table 17 13
Colbourne Table i 40 42
Colby Wing Chair 682 54
Colton ServingTable
Compton Bookcase
Connecticut Chest of
Drawers
628 161 Connecticut High
Chest
653 130 Conning Dining
Table
623 44 Conrad Nest of
Tables
Cooper Dumb Waiter
Cooper Dumb Waiter
Cornwall Commode
Crabtree Wing Chair
Crawford Table
Crosby Dining Table
Crossley Sofa
Crossley Sofa
36 IS Dalton Wing Chair ' 667 166
1003
30
1003
48
596
88
737
30
774
68
106
122
55
52
55
66
204
69
466
92
752
71
770
96
274
68
434
43
605
63
244
36
298
102
270
24
1017
134
380
60
127
150
453
55
627
128
Davidson Table
Dawson Arm Chair
Deansgate Break-
front liookcase
Devereaux Chest of
Drawers
Devereux Chest-on-
Chest
Devon Commode
Dorothea Henry
Table
Douglas Card Table
Draper Arm Chair
Draper Side Chair
Draper Arm Chair
Draper Side Chair
Draper Side Chair
Dunmore Chest
Dunmore Chest
Dutton Wing Chair
Dwinell Chest of
Drawers
F.dgewood Table
Edwards Table
Eldredge Dining
Table
Elliot Card Table
Emery Wing Chair
Evans Table
Faneuil Sofa
Farrell Side Chair
Fayette Sofa
Fessenden Desk
Fielding Sofa
Forbes Arm Chair
Franklin Love Seat
Gardner Arm Chair
Gateswell Secretary
Gerald Arm Chair
Gibbes Side Chair
Gleason Coffee Table
Glencoe Powder
Table
Granada Table
Gregory Dining
Table
Grosvenor Bed
190
INDEX
Alphabetical
No.
P"X>'
No.
Pa^e
No.
Pa^e
64
124
Halsey Arm Chair
30S
97
Manchester Desk
679
90
Rolf Commode
64
124
Halsey Side Chair
104
133
Marlboro Console
431
127
Rumford Commode j
64
136
Haisey Arm Chair
121
151
Mayfair High Chest
64
136
Halsey Side Chair
199
148
Mckean Bed
190
19
Sandleigh Table
753
168
Hancock Highboy
780
103
Middlesex Commode
723
98
Savory Desk
754
125
Hanover Breakfront
164
153
Miller Bed
419
130
Sawyer Siile Chair
Commode
768
26
Minot Revolving
419
136
Sawyer Side Chair
118
83
Hastings Chest of
Table
134
143
Seeler Chest ot
Drawers
427
23
Monroe Table
Drawers
261
113
Haviland Breakfront
22
17
Montague Table
184
145
Seldon High Chest
Bookcase
789
72
Mountfort Sofa
765
84
Shawmut Chest
76
101
Hingham Secretary
767
29
Sheffield Table
75
97
Holbeck Arm Chair
764
160
Needham Table
760
147
Shrewsbury High
75
100
Holbeck Arm Chair
790
73
Newhall Sofa
Chest
75
162
Holbeck Side Chair
589
76
Newmarket Table
99
129
Southmead Side-
75
165
Holbeck Arm Chair
589
77
Newmarket Table
board
769
112
Holden Breakfront
729
31
Newton Wing Chair
93
121
Stamford Corner
Bookcase
739
41
Norfolk Arm Chair
Cabinet
681
89
HoUingsworth Com-
649
94
Northclifte Desk
385
21
Staniford Table
mode
763
82
Nottingham Com-
mode
1004
771
15
142
Stephens Card Table
Strathmore Bed
260
81
Jackson Commode
771
160
Strathmore Bed
4')8
62
Jerome Sofa
469
61
Owens Coffee Table
788
75
Suffolk Game Table
449
108
Johnsbury Bookcase
766
45
Oxford Table
620
86
Sumner Chest of
363
37
Joyce Arm Chair
Drawers
49
20
Path am Table
294
48
Sutton Arm Chair
762
105
Kensington Cabinet
128
144
Paxton Dressing
71
132
Kenwood Arm Chair
Stool
389
44
Trowbridge Wing
71
132
Kenwood Side Chair
128
150
Paxton Stool
Chair
71
135
Kenwood Arm Chair
128
164
Paxton Stool
71
135
Kenwood Side Chair
779
142
Peabody Book
749
75
X'alentine Side Chair
633
95
Kilby Desk
Basket
459
104
\'aughan China
235
38
Kingsley Arm Chair
490
67
Pearsall Sofa
Cabinet
16
149
Kinross Mirror
744
34
Pemberton Arm
459
126
\'aiighan China
730
22
Kirkland Wing Chair
Chair
Cabinet
46
49
Plymouth Arm Chair
781
103
\"erndale Shelves
375
51
Lansford Table
625
158
Portsmouth Bed
655
131
Larchmont Side-
625
158
Portsmouth Table
69
74
Wallace Chairs
board
734
7,7<
Prescott Club Chair
69
93
Wallace Arm Chair
758
146
Leeds Chest of
Drawers
736
35
Putnam Arm Chair
69
69
135
135
^^'allace Arm Chair
Wallace Side Chair
103
132
Leighton Dining
185
144
Kadcliffe Dressing
636L 117
Waltham Bookcase
fable
Table
91
115
Warwick Breakfront
451
126
Lester Dining Table
367
58
Raddison Nest of
Bookcase
286
78
Leverett Commode
Tables
42
39
Wellesiev Arm Chair
731
32
Longwood Side Chair
644
62
Ralston Coffee Table
773
64
Wendell'Table
728
26
Lowell Wing Chair
240
23
Rawson Arm Chair
757
119
Westbourne Cabinet
417
35
Rockwell Table
665
170
Wheelock High
123
149
Macomber Chest of
417
65
Rockwell Table
Chest
Drawers
243
19
Rogers Love Seat
720
167
Wimpole Chest of
75(1
45
Madison Wing Chair
243
59
Rogers Love Seat
Drawers
Designed &• Printed
under the direction of Edgar B. Sherrill
at the
UNIVERSITY PRESS
CAM BRIDGE, MASSACHUSETTS
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3 "David Sears
4 Jofcw ThilUp*
5 3«H/<(iniH 3/om«r
6 Dr. John Joy
7 Jofcn JIa-ncoek,
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BELKNAP ST.
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2 Wm. Lancaster
BOWDOIN SO..
1 Samuel'Peir\wan
2 Kfvere Tlouse
3 Christopher Qore
4 Tf<f r CljandUy
5 (^ftar/rc Bulfinch
CAMBRIDGE ST.
1 Tark»>an Market
2 "Jimrriton Qreif Otit
3 West Church
4 Joseph CooUdge
CHARLES 6T.
1 Church
Z Abnerltouse
CHESTNUT ST.
1 Lincoln & Stoddard
2 "Btnjamin Joy
3 Hichavd €■ Derbtf
4 Jeremiah (iafdner
5 Jicpzibah Swan
6 Charlts Taine
MYRTLE ST.
1 Wmdiomer
OLIVE ST.
1 T)avidJ{uniphreifS
2 Stephen'J{igjinson,Ir.
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4 "Jiarriton Qtaif Otis
5 Jonaiha^ Mmok
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PARK ST.
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3 Tark Si. Church
PINCKNEY ST.
1 Toivder Oiouse
2 WaichJiouse
3 Middleion & (iUpion
S- RUSSELL ST.
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TEMPLE ST.
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TREMONT ST.
1 Tremottt Jlouse
1 Teicr Taneuil
WALNUT ST.
1 Uriah CoHing
LOUISBURG SCL.
1 Jennij Und married
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