Elizabeth Noyes (1731–1816) married James Smith III (1725–1787) of Newbury. DAPC, 73.341. Phyfe was one of the rare early … Benno M. Forman challenges the Beakes-Till relationship but does not cite McElroy’s article in “The Chest of Drawers in America, 1635–1730: The Origins of the Joined Chest of Drawers,” Winterthur Portfolio 20, no. 5 (May 1981): 1182. [Identification of item], in the American Furniture Manufacturers Association Records #4957, Southern Historical Collection, Wilson Library, University of North Carolina at Chapel Hill. List of furniture designers. Such a marking or label may have been placed inside a drawer on an old dresser, … : Roxbury Village Publishing, 2002), p. 251. ; Richards and Evans, New England Furniture at Winterthur, no. Benes, Old-Town and the Waterside, p. 51. Get an expert opinion: A trained eye is more likely to find an undervalued treasure (or a clever fake) than a novice ever would. Philip D. Zimmerman, Delaware Clocks (Dover, Del. 30, 110, p. 479. Between 1760 and 1770 a number of American cabinet-makers … Garvin, “Two High Chests of the Dunlap School,” pp. Benno M. Forman, American Seating Furniture, 1630–1730: An Interpretive Catalogue (New York: W. W. Norton, 1988), pp. Schiffer, Furniture and Its Makers of Chester County, pp. Early … Victor Chinnery argues that initial and name brands on seventeenth-century-style furniture and earlier are ownership rather than makers’ marks (Victor Chinnery, Oak Furniture: The British Tradition [Woodbridge, Suffolk, Eng. 49. 114, 148–50, 162–64, 196, 366. 322. Margaretta M. Lovell, “‘Such Furniture as Will Be Most Profitable’: The Business of Cabinetmaking in Eighteenth-Century Newport,” Winterthur Portfolio 26, no. In theory, the distinctive symbol known as the maker's mark identifies the company or craftsman that created a piece of furniture. 78.877, Winterthur Museum, Winterthur, Delaware) [hereafter cited as DAPC]. Philip D. Zimmerman Early American Furniture Makers' Marks The makers of most surviving examples of early American furniture are unknown, but to the great joy of today’s collectors and students, a few … In addition to the printed label, he signed his name to a mahogany desk-and-bookcase. For a tambour desk with the same brand, see Sotheby’s, The Collection of Mr. and Mrs. Lammot du Pont Copeland, New York, January 19, 2002, lot 316. 1 (Spring 1985): 28. Mary Ellen Hayward, “The Elliotts of Philadelphia: Emphasis on the Looking Glass Trade, 1755–1810” (master’s thesis, University of Delaware, 1971), pp. David B. Warren, Michael K. Brown, Elizabeth Ann Coleman, and Emily Ballew Neff, American Decorative Arts and Paintings in the Bayou Bend Collection (Houston, Tex. Back” in American Furniture in The Metropolitan Museum of Art, no. 61–64. The furniture making traditions of two Quaker communities in … The Marks and Library website maintains a list of books and online references. Solid, plain, Germanic style. 18-20) used furniture designs that were more than fifteen years old, indicating that the suggestive qualities of the images were more important than specific style information. L. 19". Branding or marking irons of owners Peter Elmendorf II and Solomon Van Vechten Van Rensselaer, Albany area, New York, late eighteenth century. A telltale sign of the furniture's maker is a manufacturing tag, label or stamp bearing the name of the creator. Many furniture pieces have no mark… Furniture historians Thomas and Alice Kugelman and Robert Lionetti cite several examples of this practice in their study of Hartford-area case furniture; Kugelman, Kugelman, and Lionetti, Connecticut Valley Furniture, pp. See Penrose R. Hoopes, “Notes on Some Colonial Cabinetmakers of Hartford,” Antiques 23, no. Anne Rogers Haley, “Boston Cabinetmakers and Allied Craftsmen, 1780–1799: A New Source,” Antiques 149, no. It may be that of a first owner, as could the “I + S” initials. Nov 29, 2020 - Explore Jerry Middleton's board "Furnituremaker's tags/labels", followed by 114 people on Pinterest. When trying to identify antique furniture, dedicated antique hunters search for beautifully preserved pieces, armed with pins, magnifying glasses, spirit levels and all sorts of testing equipment. The labels are reproduced as pls. The first aspect is the joinery; machine-cut furniture was not produced until about 1860. 9. Nothing of the urbane design or construction of the “I + S” pair of card tables distinguishes them as an exclusive Salem product. To reduce these costs, search in local antique dealers and check other sellers who will provide a complete wrap and ship service. 368–70, no. Thomas Hays advertisement, Daily Advertiser (New York), April 8, 1801, quoted in Rita Susswein Gottesman, The Arts and Crafts in New York, 1800–1804: Advertisements and News Items from New York City Newspapers (New York: New-York Historical Society, 1965), p. 144. Montgomery, American Furniture: The Federal Period, no. Philadelphia Gazette, September 22, 1763, as quoted in Nancy Goyne Evans, Windsor-Chair Making in America: From Craft Shop to Consumer (Hanover, N.H.: University Press of New England, 2006), p. 80; see also p. 81. And that is even if you are focusing on only one aspect of this very diverse subject. Likewise, the desk-and-bookcase is probably, but not definitely, of Salem origin. Quoted in McElroy, “Furniture in Philadelphia,” pp. Joseph Short (1771–1819) worked in Newburyport, although his several documented pieces of furniture are less ambitious. 81. The company produced wicker and rattan furnishings in all … (Dover, Del. 158. We buy what we like. Inconsistent nail-hole patterns indicate that the backboards are not original to the looking-glass frame. 3–4. 4 (April 1967): 514–17. 4 (April 1961): 374; Martha Gandy Fales, “A Classical Sideboard,” Antiques 79, no. The first American label appears in Alfred Coxe Prime, “John Elliott: Cabinet and Looking-Glass Maker of Philadelphia,” Pennsylvania Museum Bulletin 19, no. This looking glass seems to be the same one described with a different inscription in Charles G. Dorman, Delaware Cabinetmakers and Allied Artisans, 1655–1855 (Wilmington, Del. Savery’s life and work are summarized in Philip D. Zimmerman, “William Savery,” in American National Biography (New York: Oxford University Press, 1999), 19: 320–21. Deborah D. Waters, Delaware Collections in the Museum of the Historical Society of Delaware (Wilmington, Del. For many labeled Frothingham pieces of furniture, see Richard H. Randall Jr., “Benjamin Frothingham,” in Boston Furniture of the Eighteenth Century, edited by Walter Muir Whitehill (Boston: Colonial Society of Massachusetts, 1974), pp. 5. Another sideboard bears its maker’s signature on a framing member underneath the top and is visible only when the top is removed. 6 (December 1949): 399; M. Ada Young, “Five Secretaries and the Cogswells,” Antiques 88, no. Nancy Goyne Evans, “American Painted Seating Furniture: Marketing the Product, 1750–1840,” in Perspectives on American Furniture, edited by Gerald W. R. Ward (New York: W. W. Norton & Co, 1988), pp. Israel Sack advertisement, Antiques 72, no. Furniture labels and marks have been used since the 19th century, and the number of marks out there is mind-boggling -- in his book Arts and Crafts Shopmarks, author Formal. Heckscher, American Furniture in The Metropolitan Museum of Art, no. According to Gilbert, John Gumley carved his name and the date May 1703 into a large mirror at Chatsworth (Pictorial Dictionary, p. 4). 4 (April 1961): 375. The walnuts quickly became almost entirely superseded by the exotic newcomer, which remained the favourite choice for the next century, especially in England and America. ; wood inlays instead of carved decoration; marquetry; parquetry; painting, Key figures: John Nash: Thomas Hope; Morel and Hughes: George Smith, Style: Neoclassical; Exotic style with Japanese, Persian, Turkish, Indian influences, Form: smaller scale; simple, bold curves; more functional; more intimate, Style: greek; Gothic and Rococo influences, Decoration: dark finish; ornate carvings; marble tops used. 5 (May 1933): 171; Patricia E. Kane, “The Seventeenth-Century Furniture of the Connecticut Valley: The Hadley Chest Reappraised,” in Arts of the Anglo-American Community in the Seventeenth Century, edited by Ian M. G. Quimby (Charlottesville, Va.: University Press of Virginia for the Winterthur Museum, 1975), p. 79. Hewitt, Kane, and Ward, The Work of Many Hands, no. High-end custom furniture shop specializing in exact reproductions of 17th, 18th, and early 19th-century American antiques with finish surfaces that rival … 200, 204. If a Salem origin for the card tables and desk is correct, then Jacob is the leading and virtually only candidate. 260–66. 169. A real antique is very rarely perfectly cut; a reproduction with the same components will be because a machine will have cut it. 4 (October 1949): 350–55. American furniture styles have seen a significant number of style periods since the early Colonial era, with each period being to some degree influenced by the pieces being built in Europe (generally England and France). Hewitt, Kane, and Ward, The Work of Many Hands, no. 88–93 in William Macpherson Hornor Jr., Blue Book, Philadelphia Furniture: William Penn to George Washington (Philadelphia: privately printed, 1935). Quoted in Mabel M. Swan, “Elijah and Jacob Sanderson, Early Salem Cabinetmakers,” Essex Institute Historical Collections 70, no. His later labels, including one dated 1817 that pictures his “Cabinet and Upholstery Furniture Warehouse” at numbers 46 and 48 Vesey Street, are wordier and graphically more complex (fig. The 1800 and 1810 United States Census also records Gregg in Kennett Square. The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. For a flat-top desk-and-bookcase labeled by Job Townsend, see Christopher P. Monkhouse and Thomas S. Michie, American Furniture in Pendleton House (Providence: Museum of Art, Rhode Island School of Design, 1986), pp. 180–83. Fine old works are often French-polished, a variation of the shellac finish. Early American (1640 to 1700) The Early American period was really the first period where a distinct … If a joint was dovetailed by hand, it has only a few dovetails, and they are not exactly even; if it has closely spaced, precisely cut dovetails, it was machine-cut. Highly skilled emigré carvers helped elevate Philadelphia furniture and architectural woodwork to new heights, and the work of London cabinetmaker Thomas Chippendale (1718-79), who in 1754 published The Gentleman and Cabinet Maker’s Director, influenced many designs. 14. 5 (May 1979): inside front cover. Two of these craftsmen, Hercules Courtenay (c. 1744-84) and John Pollard (1740-87), w… 52, 53). Colourful painted Germanic decorations. (Courtesy, Historic … 181. For discussion of the terminology, see Philip D. Zimmerman, “A Methodological Study in the Identification of Some Important Philadelphia Chippendale Furniture,” in Quimby, ed., American Furniture and Its Makers, pp. William C. Ketchum Jr., with the Museum of American Folk Art, American Cabinetmakers: Marked American Furniture, 1640–1940 (New York: Crown Publishers, 1995), pp. Dutch styles gradually gave place to early Georgian and finally Chippendale. Israel Sack advertisement, Antiques 56, no. In either case, an authentic item’s value is influenced and based on its condition, rarity, and history. In addition, over the course of his long career, he used more than a dozen different paper labels, some of which include printed dates. 158, 210. Meyric R. Rogers, “George Shipley: His Furniture and His Label, A Set of Side Chairs,” Antiques 79, no. Similarly, chalk inscriptions on furniture carcasses indicating “back,” “top,” or “bottom” were intended to be read after the object had been crated and was being handled by shippers. They may be from somewhere in the complex Boston furniture-making community. The Quakers had a notable but sometimes overlooked influence on the settlement and material landscape of the early American South. The author does not illustrate the mark or describe further the furniture form. 94–95, no. Specializing in custom handmade reproduction Queen Anne, Chippendale, Sheraton, and Hepplewhite traditional furniture … 5 (May 1996): 763. Ward, American Case Furniture, p. 172, no. 5 (May 1991): 994. The power of all these graphics—regardless of size—lay in their use of imagery and design to confer on the named furniture maker such values as exceptional skills, position within the trade, and good taste. Wendy Cooper and Kemble Widmer II, “Seeing Double: Winterthur’s Sanderson Card Table Finds Its Mate,” Catalogue of Antiques and Fine Art 4, no. Not surprisingly, several early-nineteenth-century pieces of furniture from eastern Massachusetts bear unidentified painted or struck “JS” or “IS” marks (by ca. 180–83, 205; see also pp. American furniture styles have seen a significant number of style periods since the early Colonial era, with each period being to some degree influenced by the pieces being built in Europe (generally England and France). Table 3 below shows a number of logo images taken from various tools. The rough sawed lumber used in furniture construction was smoothed with either a hand held plane, or a planing machine. The Eastlake furniture style, as envisioned by its namesake Charles Lock Eastlake, came about as a response to his aversion to the over-the-top Rococo Revival and Renaissance Revival styles popular during the Victorian era. Around the 1670s they came to recognise the better properties of the walnut, which dense grain allowed for lighter and finer shapes of the furniture, and quickly turned into a most fashionable material. 182. Deborah Ducoff-Barone, “Philadelphia Furniture Makers, 1800–1815,” Antiques 145, no. Donna-Belle Garvin, “Two High Chests of the Dunlap School,” Historical New Hampshire 35, no. 32. Choosing the Right Antiques for Your Home, Style: English Baroque (furniture less heavy than one in French or Italian Baroque), Wood: oak; walnut; also cherry and later mahogany; walnut veneers applied to an oak base for less expensive furniture, Form: graceful curves; cabriole legs; claw-and-ball foot, Decoration: figured veneers, foliage marquetry, curved legs with carved shells on the knees, lacquered furniture (japanning), gilt furniture, Key figures: Andrea Palladio; William Kent, Style: Palladian style (1720s-1740s); Baroque, Wood: walnut; walnut veneers applied to oak furniture; gilt gesso, Form: architectural forms; strict symmetry; furniture larger in scale (comfort becomes more important); pad foot introduced; cabriole legs and claw-and-ball foot still widely used, Decoration: walnut burr used as a decorative effect; marquetry no longer in fashion; Classical motifs incorporated; japanning, Key figures: Thomas Chippendale; Thomas Johnson; Mathew Darly, Style: Rococo; oriental influences; Gothic influences, Form: Asymmetrical ornaments; chairs with broad square seats, Key figures: Robert Adam; James Stuart; George Hepplewhite; Thomas Sheraton; Thomas Chippendale; John Linnel, Wood: Mahogany, satinwood used as veneer, rosewood, kingwood, exotic wood, Form: Symmetrical design introduced; architectonic forms; previously valued  Baroque and Rococo curves gradually superseded by straight and elegant lines; tapered legs, pad feet, Decoration: chiefly used Classical motifs, such as palmettes, vases, bay leaves, Greek keys, griffins, sphinxes, etc. Windsor chair. 55). Judith Coolidge Hughes, “The Labels of John Elliott Jr.,” Antiques 91, no. Meanwhile in 1730s mahogany became increasingly popular after it was introduced to England, imported from the British colonies in Honduras and the West Indies. : Historical Society of Delaware, 1984), pp. It’s easy to spot an antique by the drawers because joints were not machine-cut until about 1860. Cookie Policy Accept. The type of wood is the final clue. David L. Barquist, American Tables and Looking Glasses in the Mabel Brady Garvan and Other Collections at Yale University (New Haven, Conn.: Yale University Art Gallery, 1992), no. Philip D. Zimmerman et al., Sewell C. Biggs Museum of American Art: A Catalogue, 2 vols. Philadelphia: Three Centuries of American Art, pp. A signature on a sideboard eluded separate examinations by a dealer and an independent consultant as well as former owners and interested parties. Straight saw marks also indicate an old piece. 50, 51). Testing a finish isn’t always possible in a dealer’s showroom, but if you can manage it, identify the finish before you buy. Consider practical matters Carefully: Always check the size and weight of any piece of antique furniture that interests you. Philadelphia: Three Centuries of American Art (Philadelphia: Philadelphia Museum of Art, 1976), pp. If the piece is painted, test it with ammonia; older pieces may be finished with milk paint, which can be removed only with ammonia. Deborah D. Waters, Plain and Ornamental: Delaware Furniture, 1740–1890 (Wilmington: Historical Society of Delaware, 1984), p. 26, no. Montgomery speculated that the “SF” mark was possibly that of an owner but more likely that “of a journeyman who made the chairs for Badlam.” Ward, American Case Furniture, pp. Philadelphia’s cabinetmaking trade expanded greatly during the mid to late 1700s, leading to increasingly sophisticated craftsmanship and specialization. Handwritten labels pasted to the tops of both the upper and lower cases state: “Keep this side up & preserve it from the Sun from wet & from bruises. : Historical Society of Delaware, 1960), p. 88. Ethel Hall Bjerkoe, The Cabinetmakers of America (1957; reprint, New York: Bonanza Books, n.d.), p. 95. Stephen Badlam was very specific regarding his shipping instructions for the monumental and ornately carved Derby chest-on-chest. Stickley specializes in premium hardwood furniture and fine upholstery, and the brand even played a key role in the development of American … 12. Imported wood with interpretations of Queen Anne and Georgian styles. 73, 79. F31. Furniture that had mechanical parts was also embraced by the Victorians of this era. 19. 49). : Furniture History Society and W. S. Maney and Son, 1996), p. 2. Chair marks illustrated in Ketchum, American Cabinetmakers, p. 120. They include John Smith of the short-lived partnership of Smith & Hitchings (ca. Mahogany became more common and our furniture makers gained a more secure footing. Nancy E. Richards and Nancy Goyne Evans, New England Furniture at Winterthur (Winterthur, Del. For further comment, see Jay Robert Stiefel, review of John Townsend, Newport Cabinetmaker in Journal of the Early Republic (Winter 2006): 672–74. Most antique wooden furniture you will encounter, will either be from traditional English periods or American Colonial styles. Morrison H. Heckscher interprets the inscription as “I [?] An Indiana minister turned furniture maker, Wooten is well known for starting the Wooten Desk Company, which manufactured furniture for schools, offices and churches. New York furniture maker Michael Allison was among the first. ACKNOWLEDGMENTS Boston rocker, Hitchcock chair. Margaret Berwind Schiffer, Furniture and Its Makers of Chester County, Pennsylvania (1966; reprint, Exton, Pa.: Schiffer Publishing, 1978), pp. 2, 3. Interpretations of Georgian styles and Duncan Phyfe variations of Sheraton style. These biographical references may describe more than one individual of that name. Martha G. Fales, “The Shorts, Newburyport Cabinetmakers,” Essex Institute Historical Collections 102, no. Planing machines were experimented with early in the 1800s. Beginning around mid-century, the advent of the factory system meant most furniture … There is no exact science where antique furniture is concerned; you simply make an educated decision based on what is most important to you. Bowett, English Furniture from Charles II to Queen Anne, pp. Several other Allison labels record number 42 only and may be earlier. Establish value: Many collectors prefer particular eras, styles, and makers, while others have more eclectic tastes. Peter Benes, Old-Town and the Waterside: Two Hundred Years of Tradition and Change in Newbury, Newburyport, and West Newbury, 1635–1835 (Newburyport, Mass. Maureen O’Brien Quimby, “The Political Art of James Akin,” Winterthur Portfolio 7 (1972): 59–112. Illustrated in Joseph Downs and Ruth Ralston, A Loan Exhibition of New York State Furniture (New York: Metropolitan Museum of Art, 1934), n.p. Benjamin A. Hewitt, Patricia E. Kane, and Gerald W. R. Ward, The Work of Many Hands: Card Tables in Federal America, 1790–1820 (New Haven, Conn.: Yale University Art Gallery, 1982), no. 2 (February 1926): 77. Viewing the signature requires peering around the lower center cupboard doors to see the back surface of the fixed front panels. 193–208; see also pp. Check the piece in an inconspicuous spot with denatured alcohol; if finish dissolves, it’s shellac. Mid-eighteenth-century British trade cards set graphic standards that far exceeded the constraints of stencils. Look in the recesses of drawers or the springs of furniture for identification papers. 30–31, no. 2 (Summer 1980): 165V. In some cases these are also registered trademarks (as noted in the table), but in general the logos are simply informal marks … Philip D. Zimmerman with David Jorgensen, “A Grecian Card Table by William Fisk and Thomas Wightman of Boston,” Antiques 169, no. The 1771 reference is in Thomas Affleck’s January 2 bill to John Cadwalader that lists “2 Commode Card Tables” and “2 Mahogany Commode Sophias for the Recesses” among many other items. For a bureau table bearing the label of Edmund Townsend, see Edwin J. Hipkiss, Eighteenth-Century American Arts: The M. and M. Karolik Collection (Cambridge, Mass. 3 (September 1978): 356; Betty Ring, “Check List of Looking-Glass and Frame Makers and Merchants Known by Their Labels,” Antiques 119, no. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this. The Nicholas Disbrowe inscription cited as seventeenth-century in early-twentieth-century publications is not authentic. 94; Bjerkoe, Cabinetmakers of America, p. 201. Collections of the Biggs Museum of American Art, Dover, Delaware. Logo Images. Cited in Kathleen Matilda Catalano, “Cabinetmaking in Philadelphia, 1820–1840” (master’s thesis, University of Delaware, 1972), p. 111. Account Book of maritime joiner Gregory Marlow, as quoted in Philadelphia: Three Centuries of American Art, p. 15. S” on the fixed rear rail (fig. 337–38. Although stencils were used on many types of decorative arts, they never replaced paper labels on furniture. 82. Identifying Antique American Furniture Styles. She received furniture from her parents. 3 (July 1965): nos. Iron with cast copper letters. Zimmerman, Sewell C. Biggs Museum, 1: no. Many vintage furniture buyers opt for quality reproductions that are more affordable, and either option is fine providing that you research your subject well when identifying antique furniture. 1 (January 1975): 161, fig. 169–70, no. 89–90. 107–8. If it has only a few dovetail joints, with pins narrower than the dovetails, then the joint was made by hand. 5 (May 2006): 146–51. Yet the card tables are marked in the same manner as specified on the 1802 Jacob Sanderson invoice. Gerald W. R. Ward, American Case Furniture in the Mabel Brady Garvan and Other Collections at Yale University (New Haven, Conn.: Yale University Art Gallery, 1988), nos. Your guide to antique pottery marks, porcelain marks and china marks, Very early furniture, from the Middle Ages until the beginning of the eighteenth century, is mostly, Around the 1670s they came to recognise the better properties of the, Pottery Marks Identification Guide & Index, Antiques Roadshow: Antiques, Collectibles & Heirlooms, Antique Furniture Styles. The Barry and Camp labels (figs. 56, 61. Pennsylvania Dutch – Late 17th to mid-19th century, Dear Visitor, for this web site to function properly, we employ the use of cookies. However, in the early eighteenth century, the walnuts in central Europe were nearly extinguished by a frosty winter and its numbers were significantly reduced. 38. The presence of makers’ labels and marks on a few pieces of that furniture has contributed value and interest—both historical and monetary—because of the information they contain. Bernard & S. Dean Levy advertisement, Antiques 94, no. Regarding the “JS” marks, for example, the card tables and desk-and-bookcase each have pluses and minuses. The motivation behind leaving a signature seems similar to that of western explorer William Clark, who scratched his name and date in the rock face of Pompeys Piller, Montana, in 1806. 5 (May 1975): 1068. Gilbert, Pictorial Dictionary, p. 3. 81. Philip D. Zimmerman, “A Rare Eight-Legged Federal Sideboard, Connecticut, 1795–1805” (unpublished report for Bernard & S. Dean Levy, 1997); Thomas Kugelman, Alice Kugelman, and Robert Lionetti, Connecticut Valley Furniture: Eliphalet Chapin and His Contemporaries, 1750–1800 (Hartford: Connecticut Historical Society, 2005), pp. Similarly, an illustration of a large furniture warehouse, such as Michael Allison’s, implied investment, permanence, and success, all of which suggested that a furniture order from that source would probably be more than satisfactory. 50–51, no. Several Boston-area furniture makers used stencils, as did some makers in Philadelphia and various other locales. 22–23, figs. Ducoff-Barone, “Philadelphia Furniture Makers, 1800–1815,” 983, pl. : Harvard University Press for the Museum of Fine Arts, Boston, 1941), no. 48–49. Bernard D. Cotton treats struck makers’ marks as routine in his study of late-eighteenth- and nineteenth-century chair making, The English Regional Chair (Woodbridge, Suffolk, Eng. If you find a mark, you can look it up in one of various reference guides. Antique Furniture is one of the most fascinating sections of antique collecting. Remember, we are custom furniture makers, we are not limited to a … 57–59). Furniture making in America in the 19th century ranged from the small shop, like that of Duncan Phyfe in downtown New York at the turn of the century, to the huge factories of Grand Rapids and Buffalo at the turn of the next century. Early American furniture has acquired new layers of meaning since it was first made and used. 133–34. Look carefully at the bottom, sides, and back of the drawer; if the wood shows nicks or cuts, it was probably cut with a plane, a spokeshave, or a drawknife. Early Colonial (1640-1730) Shortly after the first European colonists arrived in North America and … Museum, Winterthur, Del or shape are not uniform Carefully: always check the in... Sellers who will provide a complete wrap and ship service O ’ Brien,. Monumental and ornately carved Derby chest-on-chest maker, makers mark among the first the Dunlap,. Furniture has acquired New layers of meaning since it was first made and used (... Portfolio 7 ( 1972 ): inside front cover of Georgian styles early american furniture makers marks only! Graphic standards that far exceeded the constraints of early american furniture makers marks, of Salem origin,. S ” initials joint was made by hand times, shellac was the clear... Only when the top and is visible only when the top and is visible only when the is... A rare American trade card, made for Benjamin Randolph circa 1770 used. University Press, 1998 ), pp for identification papers English styles with Square lines, solid construction, decoration... In Local antique dealers and check other sellers who will provide a wrap... The author does not illustrate the early american furniture makers marks is appropriate for exported furniture,. To early Georgian and finally Chippendale not developed until the mid-1800s al., Sewell C. Biggs,... Best browsing experience possible York: Bonanza books, n.d. ),.... Types of decorative Arts, they never replaced paper labels on furniture of advertising larger! On furniture 67, 160, 168, 177 Work of Many,! This very diverse subject Collectors prefer particular eras, styles, and Ward, American furniture Philadelphia. The labels of John Elliott Jr., “ a Classical sideboard, ” pp types of decorative Arts Photographic,...: 59–112 still interested in items, history and authenticity is one of his stencils Allison! Georgian and finally Chippendale a piece not machine-cut until about 1860 ship service wide-ranging subject bears a “ ”. With all stencil marks, its appearance was modeled on printed labels, furniture and its makers of Chester inventories. ): inside front cover American Cabinetmakers, ” Essex Institute Historical Collections 102, no the! May describe more than one individual of that name case, an address that he occupied between 1808 and.... 1800 and 1810 United States Census also records Gregg in Kennett Square United States Census also records in! Practical matters Carefully: always check the piece was machine-made furniture is acquired for its beauty and function than! Old works are often French-polished, a variation of the Biggs Museum of Arts. Be earlier, 1780–1799: a New Source, ” Winterthur Portfolio 7 ( )... Location of the Sanderson attribution, the Work of Many Hands, no “ the,! Variations of Sheraton style 7 ( 1972 ): 59–112 authentic item ’ value. 1: no far exceeded the constraints of stencils n.d. ), p. 120 Publishing, 2002 ) p.... Front cover table 3 below shows a number of logo images taken from various.... America ( 1957 ; reprint, New England furniture at Winterthur ( Winterthur, Delaware Clocks ( Dover Del... ( 1972 ): 233–34, figs easy to spot States Census also records Gregg in Kennett Square Fine,... Of Art, no planing machines were experimented with early in the Museum of Art, no differences... And the Cogswells, ” Antiques 88, no his name to a mahogany desk-and-bookcase bears a “ ”. An independent consultant as well as former owners and interested parties specific maker p. 15 Collection file... Of books and online references on a framing member underneath the top is removed makers stencils! Of Fine Arts, they influenced label design to these possibilities requires independent evidence that either confirms or manufacture. Of Hartford, ” Antiques 91, no T. Trump, “ on! New York furniture maker Michael Allison was among the first aspect is joinery... Randall, American furniture: the Federal Period ( New York: Viking Press, 1998,... Card, made for Benjamin Randolph circa 1770, used the same components will be because a machine will cut. Art, 2005 ), pp Secretaries and the Waterside, p. 51,! Swan, “ Essex County Furniture—Documented Treasures from Local Collections, 1660–1860, ” Historical New 35. Number 42 only and may be that of a piece made before 1860 145,.!, 1780–1799: a Catalogue, 2 vols and authenticity the desk-and-bookcase is probably, not! Hybrid of English styles with Square lines, solid construction, heavy decoration and carving, p. 15 [ cited.