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New York Furniture the Federal Period 1788-1825

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New York Furniture the Federal Period 1788-1825 The Federal Period 1788-1825 by John L. Scherer New York State Museum The University of the State of New York Cover photograph: Regents of the University Detail of a classical card table, c. 1820. Attributed to Michael Manin C. Barell, Chll11allm, Allison. Sec page 26. B.A., I.A., Ll..B. Muttontown R. Carlos Carballada, Vice Chunccllor, B.S. Rochester Willard A. Genrich, Ll .. B. Buffalo Emlyn I. Criffith, A.B., J.D. Rome Jorge L. Batista, B.A., J.D. Bronx Laura Bradley Chodos, B.A., M.A. Vischer Ferry Louise P. Matteoni, B.A., M.A., Ph.D. Bayside J. Edward Meyer, B.A., LLB. Chappaqua Floyd S. Linton, A.B., M.A., M.P.A. Miller Place Mimi Levin Lieber, B.A., M.A. Manhattan Shirley C. Brown, B.A., M.A., Ph.D. Albany Norma Gluck, B.A., M.S.W. Manhatwn James W. McCabe, Sr., A.B., M.A. Johnson City Adelaide L. Sanford, B.A., M.A., Ph.D. Hollis Walter Cooper, B.A., Ph.D. Rochester Gerald J. Lustig, B.A., M.D. Staten Island President of the University and Commissioner of Education Thomas Sobol Executive Deputy Commissioner of Education Thomas E. Sheldon Deputy Commissioner for Cultural Education Carole F. Huxley Assistant Commissioner and Director of the New York State Museum Martin E. Sullivan Director, Division of Research and Collections NEW YORK r I Paul Scudiere Director of Publications, New York State Museum Miriam S. Soffer THE STATE OF !,EARNING fhc St.He Educrnon Department doc~ not di"cnnun,He on the b,1::,1::, of age, color, rdig1on, creed, d1::,.:ibil1t;, manta! <,LHU'>. vereran <it;_,tu::,, riatiuna! origin, r.icc, or ~c'\. m the e<luc.uio1nl progLtms and actn'JtKS which n opcLltCS. lnquines con­ cernmg this policy of equal opporturnry .Jnd aff1rn1<1t1vc action ,;lwuld be referred to the Department\ Affirnuuve Action Officer, t.ducrnon Building, Albany, NY Phone '.518) 474-1265. Table of Contents Acknowledgements 4 Bicentennial, 1788 1988 4 Introduction 5 Transition, 1788-1795 7 Country Furniture, 1788 J825 9 Hepplewhite, 1790-1815 11 Sheraton, 1800-] 820 15 Fancy Furniture, 1800-1850 21 Classical, 1810-1825 23 Federal Revival, 1876-1895 27 Bibliography 28 Glossary 29 © Copyright 1988 The University of the State of New York The State Education Dep,1rtment New York State Museum Albany, 1\:ew York ISBN 1-55557- 80-8 13 I Acknowledgements The completion of this catalog involved the welcome assistance of Museum staff. John Yost, Museum photographer, tirelessly provided the photographs of furniture needed for the catalog. Curtis Fretz and Emil Schaller, from the Museum restoration shop, employed their fine craft to make the furniture look its best. Joelean Dearstyne, my colleague in Research and Collections, deserves a special thanks for her generous support in preparing this publication. Finally, I wish to thank Paul Scudiere, Director of Research and Collections, for his encouragement. Funding for this catalog was provided by the Wunsch Foundation and the New York State Commission on the Bicentennial of the United States Constitution chaired by Hon. Sol Wachtler, Chief Judge of the State of New York. Eric Martin Wunsch and the Wunsch Americana Foundation, Inc. deserve special praise. Without their endless assistance and support for the Museum's Decorative Arts Collection, neither this catalog nor the exhibit would have been possible. Over half of the items in the exhibit and those illustrated in this catalog were donated to the Museum by the Wunsch Americana Foundation, Inc. No Museum could have a better friend and advisor. Bicentennial 1788-1988 This catalog and the exhibition NEW YORK FURNITURE, The Federal Period 1788-1825 salutes the two hundredth anniversary of New York's ratification of the United States Constitution. On July 26, 1788, New York became the eleventh state to ratify the document. The Constitution had gone into effect in June, when New Hampshire became the ninth state to approve it. With ratification of the Constitution, the thirteen states became one nation, and the Federal period began. When makers of the Constitution were deliberating in Philadelphia during the summer of 1787, they were inspired by the political philosophy of classical Greece and Rome. As the Constitution circulated among the states for ratification, both supporters and opponents of the document engaged in lengthy debates that appeared in the press. Using pseudonyms such as "Cato;' "Brutus," and "Publius;' they extolled the virtues of those early republics and expressed admiration for their dedication to broad citizen participation. Esteemed for their democratic frameworks of government, the ancient city-states fostered imitation that found expression not only in politics but in the decorative arts and in architecture. Furniture shown in this catalog and in the exhibition was culled from the collections of the New York State Museum. New York cabinetmakers played an important part in the history of this period. They made a large set of chairs for Federal Hall in New York City. These chairs graced the room when George Washington took his oath of office as the first president of the United States. Thomas Burling of New York made chairs for Mount Vernon, and Alexander Hamilton commissioned a New York cabinetmaker to make a set of chairs for The Grange, his New York City residence. Duncan Phyfe produced furniture for many of the major political figures of the Federal period. The fine craftsmanship of Federal furniture and the excellence of its design express the exuberance and pride sweeping through the new nation at that time. Introduction On July 23, 1788, New York City niture in books published by Thomas celebrated the adoption of the United Shearer ( 1788), George Hepplewhite States Constitution with a massive ( 1788 ), and Thomas Sheraton (1793­ parade. Supporters of the document 1794 and 1803 ). American as well as also hoped that the event would British cabinetmakers adopted the favorably influence the delegates at styles promoted in these books. the New York Ratifying Convention, Characterized by light, delicate forms still locked in stalemate at and straight or elliptical lines, these Poughkeepsie. A large contingent of styles were referred to as Hepplewhite cabinetmakers, led by Robert Carter, and Sheraton. They became a hall­ joined the parade. Jacob Smith mark of early Federal period fur­ marched at the head of the chair­ niture. makers. The red and green cockades The late Federal style in America was they wore in their hats were influenced by the tastes of both the emblematic of their trade. English Regency and the French Em­ This parade also ushered in the pire. These furniture styles, which are Federal period, the exciting 37 years reflected in Sheraton's later designs that followed the establishment of the ( published in 1812) were character­ new nation. Pride and prosperity ized by Greco-Roman archaeological were abroad in the land, as citizens of forms, including klysmos and curule the new nation looked with con­ chairs and animal supports. fidence to a promising future. The Although inspired by French and United States was still an agricultural British models, American Federal fur­ nation, but with ratification of the niture has a character of its own. In constitution and the unification of the addition to being simpler versions of 13 colonies, American interest in more sophisticated, European styles, manufacture and trade was on the American furniture of this period upswing. New York cabinetmakers reflects the mood of the new nation. were eager to take advantage of the Symbolizing a sense of pride, the growing opportunities. eagle appears in inlays and is carved Origin of Federal Styles into finials and supports. Cornucopia Although Americans had freed carved and stencilled on the furniture themselves politically, they were not signify abundance and prosperity. ready for artistic independence. Like Furniture with new purposes inspired painters and architects of that time, new forms. They include: they turned to England and France for inspiration. Federal furniture 1111 Sideboards, used in the dining traces its origins to two British ar­ room as servers and for storage. chitects, Robert Adam and James iii Pier tables, to be placed in the pier, Adam. Their book, Works in the area between two windows. Architecture (1773-1779), depicts 111 Butler's desks, a chest of drawers designs derived from the neoclassical with a secretary drawer containing style, a favorite of Louis XVI. A reac­ writing surface and pigeon holes. tion against the elaborate rococo style 111 Tambour desks, where the writing of earlier eighteenth century Euro­ surface and pigeon holes can be pean architecture, neoclassicism was hidden by a sliding screen. influenced by Europe's and America's infatuation with archeological 111 Sleigh beds, with scrolled head and discoveries of Greek and Roman an­ foot boards and deep sides tiquities. resembling a sleigh. 111 Tables designed specifically for The Adams' architectural designs drawing, writing, and other special were transformed into styles for fur­ purposes. Tastemakers Although much furniture was still Throughout the Federal period, Leadership in the design and produc­ custom-made, cabinetmakers began to cabinetmaking was learned through tion of furniture moved from warehouse ready-made furniture for apprenticeship. Excellence depended Philadelphia to New York during the immediate sales. Furniture at on the skill and artistry of in­ Federal period. This was partly showrooms and warehouses was dividuals. With the Industrial Revolu­ because New York, with its advertised as readily available. tion in the 1830s, cabinetmaking flourishing port, assumed leadership Cabinetmakers shipped their goods to began to change from a craft to an in many areas of trade and commerce all sections of the United States and industry of power machines and mass at that time. In 1805, in search of a as far away as Africa and the Carib­ production.
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