AN

EXEMPLAR
Of

ANTIQUE

FURNITURE
DESIGN

A
COLLECTION
DRAWINGS
THE
OF

OF
OF

MEASURED

FURNITURE
MUSEUM

METROPOLITAN
ART
ACCOMPANIED

WITH

PHOTOGRAPHSANDTEXT
..s 0

By
EDGAR

&

PERIODICAL

VERNA

COOK

RAPIDS
GRAND
PUBLISHING
MCMXXIIT

SALOMONSKY

COMPANY

IN

COPYRIGHT

PERIODICAL

1923

PUBLISHING

COMPANY

GRAND RAPIDS, MICHIGAN

FOREWORD
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 comprehensive knowledge of a few representative pieces of furniture, made in different countries, from the sixteenth
Only
to the early years of the nineteenth century.
such examples as were considered applicable to modern
uses and to the prevailing methods of construction
are included.

T HROUGH

Without

these designs were either the

variation
outgrowth
of a previous or prevailing
style or have
taken their inspiration directly from ancient traditions,
and we therefor present this material in this manner
with the hope that it may be used as a basis of design
furniture.
for contemporary

To give to the user of these plates a clearer understanding 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 Salomonskv.
New York, November, 1922,

LIST

OF

PLATES

PLATE

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.

Cromwellian Type Arm Chair.

Charles II Side Chair.
Banister Back Chair.
American Easy Chair.
Chippendale Chair.
Hepplewhite Style Chair.
Sheraton Settee.
Flemish XVII Century Chair.
Italian XVI Century Chair.
Louis XIV Arm Chair.
Butterfly Table.
Tilt-top Table.
Tripod Table and Queen Anne Stool.
Hepplewhite Card Table.
Hepplewhite Side Table.
Hepplewhite Dressing Table.
Pembroke Table.
Duncan Phyfe Drop-leaf Table.
Louis XV Table.
Fire Screen, Style of Chippendale.
Connecticut Chest.
Chest of Drawers.
Painted Highboy.
American Highboy.
Miniature Tall Clock.

CROMWELLIAN
CHAIR
TYPE
ARM
.

1borlt Il 00

Plate No. I

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 stretchers 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
its proportions, is heightsquareness and sturdiness of
ened by an unusually attractive upholstery of petit
point, with a design of bright flowers in tones of yellow
This material, however, is
on a blue-green field.
later
date
than the chair. The upholundoubtedly of
is
back
not cushioned but stretched and
stery on the
tacked to a heavy framework, exposed from the rear.
Side chairs of this style employ the same design
but with the arms omitted.

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CHARLES
II
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NEW style of furniture was introduced in England

during the reign of Charles II, the predominating note of which was the influence of fashions imported
from the countries of Europe. The changes in proportion, garnishment and contour are faithfully shown in
the chairs of this period.
The back of the Flemish Stuart chair illustrated is
high and narrow, and, as was the custom after 1660,
has panelwork of cane between the broad, carved uprights 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 outThe
ward, a feature borrowed from the Flemish.
broad, horizontal rails uniting the back at the top and
bottom of the splat effect and also the front understretcher 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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BANISTER
BACK
CHAIR
1700

172 5

Male No.

DURING
the reign of Queen Anne, in the early
J
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
The legs and
carved head piece of scroll design.
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
The bulbous
Stuart chair, which preceded this style.
is
feature
another
to be
turning of the underbracing
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
CHAIR
EASY
1725-1750

Plertc No.

./

HIS chair of portly dimensions is of the type

known as "Grandfather's
Chair, " "Easy Chair"
"Saddlecheck
Chair.
"
Chairs
and
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 dfaughts, 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 Chippendale style, with heads of the American eagle carved in
low relief upon the knees. Both the legs and the strong
braces are of mahogany. The front of the arms are
finished in both a horizontal and vertical scroll, a
feature of the early form of this kind of chair.
The upholstering is of leather fastened at all edges
with brass-headed nails very closely spaced. It was not
uncommon, however, for these chairs to be covered
with chintz, with a deep flounce or ruffle nearly hiding
the feet.

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CHIPPENDALE
CHAIR
1760-1770

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 chairback 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
This was followed by a type incorpreceding style.
porating certain Louis 1V" 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
Mitch 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 accompanying 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 Mitch.
This chair is executed in a fine-grain, rich-toned
mahogany, which came into vogue about this time.

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HEPPLEWHITE
STYLE
CHAIR
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Plate No. 6

HIS 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 supports 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
forte)
period (which are considered Hepplewhite's
exceedingly distinguished.

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SHERATON
SETTEE
179 0-I

cS'O0

HE elegant settees made under the influence of

the late Sheraton style are of delicate but strong
The exposed framework of the model
construction.
here shown is of satinwood of an exceedingly decorative 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 ornamentation. The arm supports repeat the outline and decoration of the legs and are carried back to the solid arm
with an easy curve. The legs, arm supports and band
capping the framework are of rosewood. A band of
satinwood inlay is inserted in the front legs at the
height of the seat.
At the time that this settee was executed Sheraton
introduced an intricate design of inlaid diagonal strips
of wood, which appears in this particular piece of furniture in the vertical strips behind the arm supports.
Very narrow bands of ebony and holly inlay border
both sides of the back and 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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FLEMISH
CENTURY

XVII
CHAIR

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
is fixed to the frame with
tapestry weaving-which
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 connected 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.

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ITALIAN
CENTURY

XVI
CHAIR

HE furniture of the Italian Renaissance did not

the degree of luxury nor comfort which

was so marked in both France and England.
'T'his small side chair-presumably
made for a
rectangular in form with the back slightly
child-is
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.
attain

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LOUIS
XIV
CHAIR
ARM
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NDER the patronage of Louis XIV

the arts of
It
France were carried to magnificent luxury.

is to the credit of this monarch that the decorative

arts were put on a plane with painting,
architecture
from which resulted the fine art of
and sculpture,
furniture
of its
making in France and the perfection
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 feeling 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 underframing, 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
Upholstery was greatly in favor and was
weaving.
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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BUTTERFLY
TABLE
About

1700

Plate No. ii

HIS well designed and naive example of the

Butterfly table is of early American craftsmanship,
showing in its ample strength and sturdy lines both the
Dutch and English influence.
The slender legs are
slightly raked and are gracefully turned in the baluster
pattern. Plain stretchers, rounded at the top, brace
the legs near the floor, and in the center of the longer
stretchers are pivoted the large wings, whose flaring
form give the name of "Butterfly"
to this type of
The
is
into
divided
table.
three sections, the
oval top
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.

wood from which this table is fashioned is

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

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TILT-TOP
TABLE
flhout

17 00

Plate No. 12

HE gate-leg table was very popular in the colonies

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 gateleg 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
little difference
this time there was comparatively
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.

T during

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TABLE

TRIPOD
1755-1770

O
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1'la/e No. 1,3

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,
of walnut, the wood almost exclusively used
during this period. The undulating lines of the cabriole legs, a feature introduced under this regime, is
here used with the greatest simplicity, which, together
with the lack of ornamentation shows off the beauty
and figures of the wood. The gracefully curved legs
terminate in round Dutch feet.
The seat is built upon a separate removable frame,
upholstered in needlepoint of a bold, all-over pattern,
of red and blue flowers on a huff field.

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HEPPLEWHITE
CARD
TABLE
1770-1790

Plate No. i

HE refined, dignified tables of the style of Hepplewhite 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 cabinetmaker 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
The raised rosettes in the
and a guilloche pattern.
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. 't'his 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 (lark mahogany.

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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 striking 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 hands 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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Plate No. r6

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 mahogany, 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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the variations of the Sheraton style was

the "Pembroke" table, so-called in honor of Lady
Pembroke from whom the first commission came. This
name is applied to a type of table with drop leaves
which are supported, when extended, by two brackets
which swing under the top. When closed these brackets
fold in pockets against the table and allow the drop
leaves to fall in a vertical position.
The charming Pembroke table illustrated is of curly
sycamore veneer on mahogany. The legs are straight
and tapering, edged with lines of holly and ornamented
at the top with inlaid medallions of etched leaves. The
top is cut in serpentine curves around which runs a
band of tulip-wood. Three large oval designs of inlaid
leaves in conventionalized pattern set 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 breakfast tables they were consequently small.

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To

DUNCAN

PHYFE,

the New York cabinet

maker, is credited some of the most beautiful

furniture of American craftsmanship. At first his work
shows inspiration from both Hepplewhite and Sheraton,
but this was combined, in the early years of the 19th
century, with certain features of Directoire
and
Empire origin.
The illustrated example is of that period of his
work which embodies elements of the Sheraton style.
This mahogany drop-leaf table is supported at the ends
by coupled colonnettes, resting upon concave legs,
sweeping outward and terminating in 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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Plate No. 19

HE style of Louis XV was one of gayety, of

luxury, not without charm, and one that was
The straight lines of the
typically French in spirit.
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 ornamental detail was not in accord with the delicious
abandon of these times. On one face the carved spray
from a central shell
of flowers falls naturalistically
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
Opposing curves give a balance to the
energetic.
decoration of each face, a daring principle of design,
which is admirably applied in this particular piece of
furniture.

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

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CONNECTICUT
CHEST
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21

HE accompanying illustration is a fine example

of a two-drawer chest of the well known "Connecticut" 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 overhanging at the front and back, and fastened to moulded
oak cleats at the ends to guide the top and prevent
The panelling, of a bold and interesting
warping.
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 (late, 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
is known as
relief and of a rather crude type-what
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 Americanmade chests of this (late, 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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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 rectangular 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 simplicity of line and ornament with the advantage of
being "generally serviceable in genteel life" as Hepplewhite, himself, has said in reference to his own designs.

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Plate No. 24

INTERESTING
japanned high chest of drawis
here.
In the last years of the 17th
ers
shown
japanning,
imported from the
century the art of
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 highboy. 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
173()-17-19

Plate No. 2
.5

I N THE last years of the 17th century the tall clock

was imported to New England, and from that time
their local manufacture became popular in the Colonies.
Among the many excellent clock makers of this time
and the one to whom the mahogany bonnet-top clock
shown is attributed, was Thomas Claggett of Newport, R. I.
It was the fashion of this time to make miniature
or bijou cased clocks along the lines of the taller clocks
and with works of brass. These were often called
"Grandmother Clocks. " The example shown follows
this fashion, standing approximately five feet high.
A common feature of the 18th century tall clock
is the scroll top and the broken arch surmounted with
wooden balls. In this particular case the inner ends of
the scrolls are finished with turned rosettes and the
wooden balls have the upper half carved and are
surmounted with a delicately carved finial of spiral
flame-like pattern. The fluted columns at the corners
of the hood case are of Chippendale inspiration.
Mahogany as a fashionable wood was introduced
few
a
years previous to the execution of this clock
is
the wood used in this example.
and

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