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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. 
 (3) MT.VERNOK-(C) COTTON HIH 
 
 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- 
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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.
 
 
 .^ 
 
 m 
 
 
 h^S^Mm^z^. 
 
 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
 
 H 
 
 f 
 
 '^J 
 
 '7 ^,. " 
 
 
 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
 
 '■'-iffpf'" 
 
 r. 
 
 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
 
 fiHWUfrTWTfw if I. 
 
 
 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.
 
 I .t: ^ -2 'C -£ CO _ 3-;> u n 
 
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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. 
 
 123
 
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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^. 
 
 125
 
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 126
 
 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. 
 
 127
 
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 128
 
 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. 
 
 129
 
 
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 130
 
 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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 132
 
 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 
 
 "8?
 
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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
 
 tMb^ffiBKi^.^u... ^ . . 
 
 J 
 
 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
 
 "% 
 
 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
 
 ^^■^«*«iSM«»;^:3SS!l»»a!^,i -;<j>K;«ra^ 
 
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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
 
 n 
 
 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
 
 '¥ ^'"' 
 
 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
 
 t 
 
 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
 
 w 
 
 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 
 
 173
 
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 176
 
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 178
 
 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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 2 Wm. Lancaster 
 
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 1 Samuel'Peir\wan 
 
 2 Kfvere Tlouse 
 
 3 Christopher Qore 
 
 4 Tf<f r CljandUy 
 
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 2 "Jimrriton Qreif Otit 
 
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 4 Joseph CooUdge 
 
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 2 "Btnjamin Joy 
 
 3 Hichavd €■ Derbtf 
 
 4 Jeremiah (iafdner 
 
 5 Jicpzibah Swan 
 
 6 Charlts Taine 
 
 MYRTLE ST. 
 
 1 Wmdiomer 
 
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 2 Stephen'J{igjinson,Ir. 
 
 3 Moics (Irani 
 
 4 "Jiarriton Qtaif Otis 
 
 5 Jonaiha^ Mmok 
 
 6 John Callender 
 
 7 Stephen Dligginsonjr. 
 
 8 Thomas Tcrfons 
 
 9 Jeremiah (iardner 
 
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 1 Thomas Amorg 
 
 2 Josiah Qtiincy 
 
 3 Tark Si. Church 
 
 PINCKNEY ST. 
 
 1 Toivder Oiouse 
 
 2 WaichJiouse 
 
 3 Middleion & (iUpion 
 
 S- RUSSELL ST. 
 1 Joseph "Ditton 
 
 TEMPLE ST. 
 1 "Bela Clapp 
 
 TREMONT ST. 
 1 Tremottt Jlouse 
 1 Teicr Taneuil 
 
 WALNUT ST. 
 1 Uriah CoHing 
 
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