In addition to my business, I write a weekly column for The Lincoln County News.  I hope you find the information helpful.

As always, please feel free to write with your questions, additional information, interesting stories or story ideas for me to research and include in my column.

Index

1. What is a True Antique?

2. Centennial Reproductions

3. Thomas Chippendale

4. Quenn Anne Style

5. The American Windsor

6. Tramp Art

7. The Neo-Classical Period

8.My Father's Ice Box

What is a True Antique?

Welcome to “From My Father’s Knee.” The purpose
of this column is to provide you with some of the
terminology, history, and specific design aspects
for collecting and buying antique and
reproduction furniture. In the columns to follow,
we will cover common myths and misconceptions so
that you feel more confident while hunting
through antique shops. With this information,
your purchases will be more practical, usable,
and beautiful to own.

Together we will explore the many styles,
periods, and embellishments that have developed
over the last three hundred years. While I
personally have favorites, one should remember
that styles of design are much like that of the
fashion industry: each style can come and go, be
in and out of vogue and, yet, some will endure to
become staples and classics.

Here is my first bit of advice for all purveyors
used furniture: buy what you like, are attracted
to, and will use. Unless you are hunting for an
investment, what is the point of paying big bucks
for something you neither like nor can put in a
home that must share space with children, pets,
or an extra-large in-law?

To kick-off our journey, let’s start with the
first of two basic terms that is often
misunderstood and misused: “antique.” What is a
true “antique?”

In researching the word, I found a brief history
of the word’s origin in Frank Farmer Loomis’ IV
work “Antiques 101: A Crash Course in Everything
Antique.“ Paraphrasing, we find that the first
modern usage of the word referred to furniture
and objects from Greek, Roman and Egyptian times.
Today, these items are commonly known as relics
and artifacts. By the 1800’s, antiques as we know
them were called “curios.” This term gained
popularity in 1840 when Charles Dickens penned
his novel, “The Olde Curiosity Shop.” By 1890,
the term antique began to gain favor instead.
Through further research, I found that an
official change came in 1930 when the U.S.
Customs Office needed a definition in order to
determine which items coming into the country
were duty-free and which should be taxed. The
Customs Office began polling antique dealers. The
consensus that was reached was that objects pre-
dating 1830, prior to the mass production of the
Industrial Revolution, were antiques. The U.S.
Customs Office understood this to mean that
anything made over 100 years before was an
antique. As a result this official ruling created
an elastic cutoff date as years moved forward.

What is a true antique? Many people in the
antique business use the U.S. Customs’ definition
in order to accommodate the diminishing amount of
period furniture and other valued objects. This
can then add value to later pieces produced
during and after the Industrial Revolution.
However, I firmly believe that a true antique has
to be made by hand and date before 1820. This
school of thought has been coined by Loomis as
the “elitist” definition. His two reasons to
ignore this “elitist” rule are that antiques made
before 1820 are only affordable to millionaires
and museums and that being old does not guarantee
quality or status. While his second point is
true, one cannot dismiss the fact that U.S.
Customs polling was intended to show that a true
antique is only so if it is handmade and dates
prior to 1830. Items after that date, while they
are not true antiques by definition, still may be
desirable and valuable. In the future, we will
discuss such pieces and their periods of origin.

The second term to clarify is “collector.” Let me
first illustrate the type of collector who truly
is not one: while working with my father at our
shop in Connecticut, we had a client who came to
us mostly for frame restorations. He collected
early paintings and prints of various sailing
vessels and steamships, highly collectable
objects here on the East Coast. One day, my
father came across an early steamship print. He
called our client and after finishing a
description of the print, our client said, “No
thank you, I have enough.” That is when we knew
that he was not a true collector. While he did
have many great examples in his collection, he
had less desirable and less valued ones as well.
This instead makes him what my father calls
an “accumulator.” A true collector always looks
to improve his collection. This can only be done
by adding better examples of what he or she
collects and selling off the lesser valued items.
As a result, one truly builds a desirable and
valued collection.

In our next column, we begin our historical
journey with a visit to the era of Centennial
Reproductions. While these may not be true
antiques as I have defined, they are excellent
buys, well-made, and have many of the same design
aspects and details as their forefathers.

Future discussions will cover “true antique”
periods (Queen Anne, Chippendale, Hepplewhite,
Sheraton, Empire), post-Industrial Revolution
eras (Rococo Revival, Eastlake, Renaissance
Revival, Aesthetic Movement, Centennial
Reproduction) and the twentieth century periods
(Art Nouveau, Arts and Crafts, Art Deco, Mid-
Century).

Until then, happy hunting!

David Kosky has over 25 years of experience in
the field of antiques. He owns and operates
Benchmark Repair, Refinishing, and Restoration in
Boothbay. He can be reached Monday through Friday
from 8-4 and Saturday from 8-12 at the Red Lion
Plaza or by calling (207) 837-0296.

e-mail: www.benchmarkme@zoomshare.com

Centennial Reproductions

As mentioned at the end of my last column, this
week we will explore Centennial Reproduction
furniture. While this period does not fit my
definition of a true antique, (handmade and
produced prior to 1820), the works from this era
have been called semi-antiques or the next
generation of antiques. Centennial Reproductions
share the same distinctive styles of Thomas
Chippendale, George Hepplewhite, and Thomas
Sheraton while incorporating new signatures and
twists in design.

The Centennial Reproduction (1876-1900) era
marked the return of the early designs to vogue,
thus creating the first post-Industrial
Revolution period. The word “centennial” has been
commonly misused. Thanks to the infamous U.S.
Customs definition of the word, many people
(including dealers) use the term centennial to
mean anything over 100 years old. In actuality,
it refers to the Centennial Exposition held in
Philadelphia in 1876 honoring the 100th
anniversary of the signing of the Declaration of
Independence. The displays of colonial
furnishings led to a renewed interest in early
American styles. Furniture manufacturers changed
their lines in response to this revived interest.
Companies such as Baker, Berkey and Gay, and John
Widdicomb Company of Grand Rapids, Michigan, and
The Hayden Company of Rochester, New York, and
The Jamestown Chair Company, later known as
Maddox, of Jamestown, New York all produced high
quality pieces. The Robert Mitchell Company and
Henshaw Furniture, both from Cincinnati, also
joined the movement. These reproductions are
usually simple to identify since they use labels
with their company name inside a drawer or on the
back of the piece. Some, like Maddox, use brass
medallions on the back side. While their methods
and styles of producing furniture continued into
the twentieth century, only those items made
between 1876 and 1900 are considered centennial
(also referred to as Classical or Federal).

After the Industrial Revolution, there was an
overlapping of styles and several revivals. In
Joseph T. Butler’s “American Furniture,” he coins
the period between 1865 and 1900 as “historical
revivalism.” During this time of the 19th
century, several important trends occurred.
First, cabinet manufactures began to reference
original books written by the classic furniture
makers. The most popular works used were Thomas
Chippendale’s “The Gentleman and Cabinet-Maker’s
Director”, George [and Alice] Hepplewhite’s “The
Cabinet Maker and Upholsterer’s Guide”, and
Thomas Sheraton’s “Cabinet and Upholsterer’s
Drawing Book.” However, similarities between the
movements led to confusion and combination in new
pieces. For example, a chair might combine a
Chippendale chair splat with Sheraton legs.
Adding to this confusion, the increase in numbers
of immigrants from Ireland, Germany, and France
brought with them their own interpretations of
European designs as well as a competitive nature.
As Butler stated, “ These cabinet makers began to
vie with one another for novelty in production.”

Centennial Reproductions appeared at the height
of the Victorian era, an era when opulence was
flaunted and grandiose scale was the rage. This
need to flaunt wealth is key to identifying
Centennial Reproduction furniture. While a design
may have included Queen Anne cabriolet legs,
Chippendale ball and claw feet, Hepplewhite’s
tapered legs and inlaid veneers, and Sheraton’s
splat-backs and rounded legs, its method of
execution was often ostentatious. Though the
woods used were the same (mahogany and maple
veneer inlays) and the finishes remained true to
the wood’s natural colors, the Victorian eye was
satisfied by adding gold leaf to the classic
Sheraton or Queen Anne styles. In addition,
mother of pearl was often found inlaid in crest
rails, armrests, skirts and legs of tables,
chairs, and settees of both Sheraton and
Hepplewhite designs. By the 1920’s, these
embellishments would fall out of favor.

While these differences are easy for the
layperson to spot, a trained eye can also detect
other less obvious details. As pre-Industrial
Revolution pieces were made by hand, tell-tale
signs of tooling marks were left behind. Some of
these signs (which we will address later when
covering earlier pieces) would be hand-scribed
and cut dovetail joinery throughout a case piece
as well as drawers. Hand-planed marks on the
bottoms of drawers, undersides of tops, and back
panels. Drawer bottoms were usually beveled to
slide into the grooves on the drawer sides. Any
visible nails had square or rectangular heads and
bodies. Carvings with slight irregularities would
prove they were done by hand and not by machine.
In the future, we will cover ways of identifying
early period furniture in more detail.

We must face the cold hard truth: there will
never be more true antiques. Those precious
pieces crafted by the most revered cabinetmakers
in history, that were able to survive the
American Revolution, the Civil War, years of
handling by generations of families and the
buying and selling of antique dealers, are now
very scarce. Because of their rarity, early
period antiques are extremely expensive. When
found in their original condition they can
command seven figures at auction. This being
said, Centennial pieces and those produced later
are great buys. These reproductions of the
masters provide excellent craftsmanship, styles
and history. Remember what I said in my first
column, buy what you like, are attracted to, and
will use.

Next week we will delve into the history of the
most revered cabinet maker. His designs have
become the benchmark for all other adaptations to
follow. His styles can be seen to shape the
creativity of today’s modern furniture designers.

As footnote, interesting questions via e-mail may
become topics of future columns. Until then,
happy hunting!

e-mail: www.benchmarkme@zoomshare.com

Thomas Chippendale

Babe Ruth, Michael Jordan, Wayne Gretzky, and Jim
Brown...legends, icons... each of these stars has
become synonymous with the game in which he
played. Each is inexorably linked in the annals
of his sport’s history. Ask any casual fan to
name the most famous athlete he knows in any of
the four major sports and these are the names you
will hear most often.

Thomas Chippendale attained this level of
legendary status as a designer, master
woodcarver, cabinetmaker, and businessman. Born
in Yorkshire, England, in 1718, he learned the
trade from his father and from working in cabinet
shops before opening his own in London in 1753.
During this year, Chippendale began drawings for
an unprecedented publication: his work, The
Gentleman and Cabinet-Maker’s Director, would
turn the furniture industry on its ear.

Chippendale’s innovative designs endorsed the
popular style of Queen Anne, which he referred to
as “English Style.” His adaptations, borrowed
from the French Rococo style, changed the
delicate Queen Anne cabriolet leg to a heavier
stature and donned it with Rococo-style carvings
of leaves, scrolls, ribbons, paws, and faces of
people and animals. He updated popular Queen Anne
chairs by replacing vase or fiddle-shaped splats
with intricate pierced carvings and ribbon
motifs. Chippendale’s chairs, from the carved and
turned-up ears of crest rails to the precise ball-
and-claw feet, were believed to be inspired by
Chinese designs. Later, he would incorporate the
use of square legs for tables and chairs. These
were unique for the inclusion of carvings on the
edges and pierced carvings (or fretwork) on legs
and stretchers (pieces that support the lower
section between legs). Chippendale then renamed
these Chinese-influenced leg designs Marlborough
legs. In addition to the leaves and scrolls, he
added carvings on the skirts, aprons, crest
rails, and knees of highboys, chests of drawers,
and chairs. This genius in adapting and combining
features of other styles won him distinction
enjoyed by few designers before him. Thus,
the “Chippendale Style” was the first to be
recognized by that of the designer rather than
the reigning monarch of the time.

While these famous design innovations may be
commonly known by the layperson, Chippendale’s
shop produced far more than just furniture.
Through research by Harewood House, commissions
were documented for wallpapers, carpets, fire
grates, and decorative ormolu (gilded brass
adornments). He also designed chimney pieces
(fireplace mantels and surrounds), complete room
schemes, and needlework chair covers.

Chippendale’s association with Robert Adam, of
the architecture firm, Brothers Adam, provided
many commissions for entire rooms and houses, as
did the associations of his first business
partner, James Rannie. But it was his book of
designs that separated him and built his
legendary status. While other design books were
in existence at the time, the carvings found in
The Gentleman and Cabinet-Maker’s Director were
by far the most innovative. In addition, their
application to all areas of design, from chairs
to moldings, made this book the most
comprehensive as well.

While little has actually been written by Thomas
Chippendale, the preface to his singular work
gleans a bit about his belief in his own mastery.
He says, “I have been encouraged to begin and
carry on the Work not only by Persons of
Distinction, but of eminent Taste for Performance
of this Sort: who have, upon many Occasions,
signified some Surprize and Regret, that an Art
capable of so much Perfection and Refinement,
should be executed with so little Propriety and
Elegance.”

While speaking about “Faults and Imperfections,”
he says, “I am sensible, there are too many
[faults] to be found in it: for I frankly
confess, that in executing many of the Drawings,
my Pencil has but faintly copied out those Images
that my Fancy suggested, and had they not been
published till I could have pronounced them
perfect, perhaps they had never seen the Light.”
If you look at these drawings, you would wonder
where these faults and imperfections should be. I
wonder if this is self-effacing statement is
genuine, for he later writes, “I am not afraid of
the Fate an Author usually meets on his First
Appearance from a set of Criticks who are never
wanting to show their Wit and Malice on the
Performance on the Performance of others: I shall
repay their Censures with Contempt. Let them
unmolested deal out their pointless Abuse, and
convince the World they have neither Good-nature
to commend, Judgment to correct, nor Skill to
execute what they find fault with”.

Thomas Chippendale’s shop employed as many as 40
workmen at a time. Since Chippendale himself
never came to the “Colonies” and the designs in
his book were available for anyone to copy, it
can be assumed that some of his employees may
have emigrated to the United States, book in tow,
to work in shops that produced some of the most
famous pieces in Boston, New York and
Philadelphia.

In 1779, Thomas Chippendale died after a two year
battle with tuberculosis. His eldest son, Thomas,
continued the business in England for some forty
years after his death.

The Harewood House website, www.harewood.org, is
an excellent resource for information on
Chippendale‘s life and work. This site contains
an in-depth biography as well as photos of actual
pieces produced in his shop. For more
information, check out Franklin H. Gottshall’s,
Period Furniture, Joseph T. Butler’s, American
Furniture and John T. Kirk’s Early American
Furniture from the Wiscasset and Skidompha
libraries. To see actual drawings and read the
entire preface from which I quoted, Skidompha
also has a copy of The Gentleman and Cabinet-
Maker’s Director. When viewing these drawings and
photos, it is amazing to think that such
craftsmanship could be executed today let alone
300 years ago with the use of hand tools.

Next week, we will uncover more of Chippendale’s
roots as we explore the Queen Ann period. Until
then, happy hunting.

e-mail: www.benchmarkme@zoomshare.com
 

The Queen Anne Style

The Queen Anne style can be thought of as
the “Mother” of all furniture designs to come
after 1703. Its style has been reproduced for
hundreds of years and can be found in the finest
high-end furniture galleries to discount stores
such as Wal-Mart. As we previously mentioned, the
Queen Anne design elements directly influenced
Thomas Chippendale.

The Queen Anne style can be seen as a reaction
against the heavier designs of Jacobean and
William and Mary furniture. This new shift in
style emphasized comfort and grace. While the
first pieces produced are rather plain, the style
introduced new key elements to furniture design.
The refinement of these elements would take place
after the Queen’s death at the beginning of the
Georgian periods, referring to the line of kings
by that name.

The first and most notable and acclaimed element
is the cabriole leg. This leg is composed of
reverse curves, known as cyma curves, and
terminates in a simple “pad foot.” The use of
these new cyma curves can be seen throughout the
chair design and in other case pieces of this
time. The movement toward comfortable chairs can
also be seen in the use of horseshoe shaped seat
and spooned back splat. The horseshoe shaped seat
provided a wider sitting space. The curve of the
back splat was designed to nestle one’s back much
like two spoons do when laid upon each other. The
design was further lightened as the William and
Mary practice of using stretchers (or
underbracing) was abandoned. Other decorations
new to this period were “bonnets,” or pediments,
on tall case pieces and carvings of shells on the
knees, aprons, and skirts.

During the time of Queen Anne’s reign, England
and France were not on the best of terms. France
was considered the center of all that was
fashionable. At this time, the Rococo styles of
the Louis reigns were the high style that the
English coveted for their new designs. If one
were to ask an English cabinetmaker of the time,
he would say that the style had been copied from
the Dutch who had borrowed and adapted it from
the French. British cabinetmakers adopted this
perspective because of the aforementioned disdain
of the French. This feud would later prove
influential for the Queen Anne style as walnut,
which was the primary wood of choice, came under
embargo by the French. As a result, mahogany
became the wood of choice and the chief wood used
by 1750.

It is important to know that until Duncan Phyfe
came to America from England around 1784, all of
the great furniture designers resided in London
and had not visited the Colonies. Thus, the time
frames differ when referring to English-made
Queen Anne furniture and that of Early American.
What originated in England took time to emerge in
the Colonies. While the Queen Anne era officially
began with her rule of England in 1702 and ended
with her death in 1714, the style flourished to
1760.

So, certain lines have been drawn. The Queen Anne
style did not make its emergence in the Colonies
until around 1720. It was not established as a
style until about 1730, well after it came into
being about 1703 in England. However, with its
emergence, began the first true distinction
between what is considered “pilgrim furniture”
and Early American furniture produced for its
wealthy and more style conscious. With the Queen
Anne style gaining prominence in the Colonies,
regional characteristics began to develop in
design and the use of material. These regional
characteristics help us to identify important
pieces crafted in our short history. If you watch
either the Antiques Road Show or Lee and Leslie
Keno’s Find, you will often hear them reference
these regional characteristics. The New England
area produced pieces from walnut, cherry, and
maple while New York and Philadelphia are
associated with the use of mahogany and walnut.
Of course, wood species alone would not be the
best indicator of where a piece was made; each
area also had stylistic characteristics as well.
Massachusetts furniture tended to be more
conservative in design and delicate in stature.
New York, on the other hand, with its Dutch
influence, tended to be heavier in feeling and
more square and squat in construction. In
Newport, Rhode Island, the home of the famous
Goddard-Townsend cabinetmaking family, the
adaptation of the ball-and-claw foot may have
first arrived. Their interpretation is unique
because the ball is oval instead of round. For
further information on regional differences,
check out Joseph T. Butler’s American Furniture.

Furniture produced in the Colonies (later the
States), are unfortunately referred to by purists
and the British as “bastardized,” meaning that
the adaptations of Colonial cabinetmakers
lessened the original designs of the British
masters. Today, when a piece is attributed to an
English cabinetmaker and it finds its way back to
England, the British refer to the piece as “being
repatriated.” Conversely, early American-made
furniture is much more desirable here and brings
larger prices at auction, unless the piece can be
attributed to an original master. Should this be
the case, we are now talking about a priceless
museum quality find.

Reproductions in the Queen Anne style can be
great purchases. However, when they were
manufactured in abundance from 1900-1940,
manufacturers remained true in using mahogany.
Unfortunately, the pieces were stained very dark
losing many of its details. When refinished
correctly, a lighter and warmer natural brown
color of mahogany can be revealed as well as
unique graining, such as “flamed mahogany”
or “crotch mahogany.” Often, I have found
beautiful veneers hidden under these dark
finishes. Early 20th century Queen Anne style
reproductions have become very desirable for
their quality in construction and detail in
design. When shopping, one should overlook the
dark finish of its time and remember what lies
beneath.

Until then, happy hunting!

David Kosky has over 25 years of experience in
the field of antiques. He owns and operates
Benchmark Repair, Refinishing, and Restoration in
Boothbay. He can be reached Monday through Friday
from 8-4 and Saturday from 8-12 at the Red Lion
Plaza or by calling (207) 837-0296.

e-mail: www.benchmarkme@zoomshare.com

The American Windsor

The American Windsor chair is one of the few
furniture designs that can be strictly credited
to being developed in the Colonies. It is by far
my favorite chair to collect. It is comfortable,
versatile, and a true pleasure to own.

The Windsor chair originated in England and may
be attributed to the gardens of Windsor Castle.
Legend has it that King George II, while on a fox
hunt or picnic, became chilled during a rain
storm. He sought shelter and came upon a modest
dwelling. The resident subject provided a simple
chair for His Majesty to sit by the fire. The
King became so enthralled with this simple chair,
that upon he returning to Windsor Castle, he
ordered several to be made of the same design.
This design, the English Windsor, is easily
distinguished. Unlike the American Windsor, the
English version usually had a splat back and was
often pierce carved.

The Windsor most likely appeared in the Colonies
around 1720. While English designs were initially
followed, adaptations and regional differences
developed as popularity grew. By the middle of
the 18th century, the Windsor was being produced
in most major cities and was one of the most
popular items of furniture. Its popularity
stemmed from the fact that the chair was durable,
inexpensive to build, and could be made from a
variety of woods indigenous to one’s area.
Because of these favorable factors, the chair
could be produced anywhere in the colonies and by
anyone with modest tools and knowledge. As a
result, the Windsor became known as a chair for
all people.

Its construction is referred to as “stick built.”
Unlike most chairs, where the back legs and post
are one piece of wood, a Windsor chair top and
bottom sections are separated by a solid plank
seat. The legs, spindles, and bent backs are
driven into holes drilled into the seat. The
joinery is then completed by driving wedges into
the ends of all of the stick parts. Most Windsor
chairs are constructed without the aid of any
nails or dowels. Most of these stick parts were
turned on a lathe creating beautiful legs,
stretchers, and arm supports with large bulbous
turnings. Arm rails and hand holds were cut to
shape. Finer examples of hand holds included
pleasant feeling relief carvings known
as “knuckles.” Bow backs and crest rails were
stemmed and bent over a form. One of the most
desirable aspects of the Windsor was the seat.
They were almost always made of a single board
or “plank.” The plank was then shaped by dishing
out areas to receive ones backside and thighs.
This shape is known as a “saddle seat” and is
what distinguishes a finer Windsor from a less
desirable one. While many styles of Windsor
chairs were produced, some of the most desirable
and recognizable are the bow-back side chair, the
sack-back arm-chair, the low back(often
associated as a pub or tavern chair), the highly
desirable continuous arm Windsor, the brace back,
and the comb back Windsor.

Windsor chairs were most often painted. However,
original bills of sale document chairs that
were “in the white,” or left unfinished to be
painted by the customer. When painted, the most
common color used was green, to blend into one‘s
garden if used outdoors. Other favorite colors
were black, yellow, gray and blue. Paint was
beneficial for several reasons. Paint unified the
overall appearance of chairs made from
combinations of woods. It offered greater
protection from the elements if the chair were to
be used as outside seating. Paint also brought
color into the home. As lighting came from
daylight, candles, and oil lamps, dark furniture
would fade into the dark corners of rooms as
night fell.

Having an period Windsor with original paint
would be nice, but highly unlikely. So, what
should you think if you find a Windsor chair that
is not painted? First of all, it probably was
painted at some point in its life. Even if it has
been striped, there should be some signs of
its “paint history.” When chairs were initially
painted, the maker didn’t miss a spot. Therefore,
paint should be seen in turnings, areas of
joinery, under the seat, and in the grain of bent
sections. If the chair has been stripped and you
can still find some paint history, that is a good
thing. So, now you have a refinished Windsor.
Still very good. After 1876, with the revived
interest in Colonial furniture and the increase
in electrified homes, people began to raid their
attics and barns to retrieve old painted pieces.
They stripped and refinished the pieces to match
the rest of their furniture.(Shabby chic was not
in at the time.) Who knows-maybe if they had
HGTV, we would find more painted Windsor chairs
today.

Buying Windsor chairs can be very tricky. Because
they continue to be popular, their prices are
always high. I am currently working on a
customer’s Windsor. Although it was bought broken
in several places and had been refinished, she
still paid $200 for it. Even with its repair
needs, it is a very nice chair. I have been
attempting to regionalize the chair, but it is a
difficult process. The seat is made of pine,
which usually signifies New England. Its turnings
reflect Philadelphia and its hand holds are cut
like those of Connecticut. Where could this have
been made? I am not entirely sure, but would say
New England- maybe Connecticut or Farmington,
Maine. A great resource for identifying regional
differences is Charles Santore’s The Windsor
Style on America.

Another element to consider when buying a Windsor
is not as well known and is a bit scary: the
American Windsor is the most often faked,
misrepresented, and worked over antique to be
sold in an antique mall and at auction. One must
beware when buying Windsor chairs. As sturdy as
these chairs were, over 200 hundred years of use
and travel frequently resulted in breaks in the
bases, spindles, arm rails and crest rails.
Replacement and/or repair of these types of
breaks can be expected and may not be detrimental
to a chair’s value. Other chairs were converted
to potty chairs. Legs were cut down for use as
slipper chairs and for children. Others were
converted to rocking chairs because of rot to the
end of the legs. These legs were often “ended
out” returning the chair to its normal height.
These issues can detract from its value. In
addition to ending out a chair, a common trick
exploited by dealers was to “marry” sections from
two different chairs. While these tricks are not
desirable, they are a way of returning a chair to
being functional. In my opinion, this becomes
problematic when the chair is being
misrepresented as original, buyer beware.

The Windsor chair is a great piece of Americana.
It can be used in any setting and its charm is
undeniable. When buying, regardless of any issues
it may have, if you feel you are getting a fair
price, then it is a great addition to your home.

e-mail: www.benchmarkme@zoomshare.com

Tramp Art

Recently, after delivering some furniture I had worked on to a local antique dealer, I walked around his shop and came across an unusual mirror.  It was about three feet by three feet and the frame was about six inches wide all of the way around.  What made this mirror unusual was that it was made out of different colored, wooden yard sticks- the old type that would unfold in sections.  The different sections of yardsticks were layered together to create a sort of herringbone pattern of reds, blues, greens, and yellows.  For some reason, I loved it.  The tag read, “Tramp Art Mirror.”  I had heard of tramp art but knew little about it.  Therefore, tramp art is the subject of this week’s column.

Tramp art is a unique form of folk art that flourished between 1860 and 1930 and can be found in all corners of the United States, Canada, and Europe.  Its history contains very few documented facts and is largely based on folklore.

            According to the stories, tramp art was made by wandering railcar riding vagabonds.  These hobos and tramps created unique objects which they then bartered for food and lodging.  While highly decorative, these new objects were created as utilitarian pieces such as dresser boxes, comb cases, picture frames, jewelry boxes and sewing kits.  Others reports say that German and Middle European immigrants introduced “chip carving” to local craftsman and most of the objects and furniture were actually created by these skilled individuals.

This new form of carving was accomplished by using a pen knife and cutting away V or U shaped sections from scrapes of wood.  The most common wood used was cedar and mahogany obtained from discarded cigar boxes.  Interestingly, in Helaine Fendelman’s book, Tramp Art: A Folk Art Phenomenon, she states that at the height of cigar smoking, there were an estimated 276 million discarded boxes by 1910.  Once the chips were created, the artist then glued or nailed the pieces to an acquired object embellishing the original into this new form of art.  The arrangement of the chips often followed what was known as the “crown-of-thorns” pattern.  Other materials often used were fruit crates, Popsicle sticks, glass, buttons, broken pieces of china and even animal horns.  This complex and artful method of chipping, notching, and layering characterizes this art and setting it apart from other forms of folk art. 

Tramp art popularity faded during the Great Depression.  There are two possible contributing factors.  The first was when cigar makers began to use cardboard rather than the more expensive cedar and mahogany for their boxes.  Second, companies such as Sears Roebuck made furniture and decorative objects more affordable to the masses through the mass merchandising movement.

Regardless of who can be actually credited with making this new form of decorative art, the stories still persist that tramp art was made by largely anonymous gypsy-like railcar riders that bartered their wares for food and shelter.  This folk-history still attracts collectors to decorate walls and corners of their homes with these unique furnishings.  I believe there is something to be said for owning a piece of Americana made in a simple manner by simple people in order to secure one’s next meal.

Until next week, happy hunting and keep the e-mails coming.

e-mail: www.benchmarkme@zoomshare.com

The Neo-Classical Period

Before we begin, let me say that I have decided
to make From My Father’s Knee a bi-weekly
column.  Because of the time and research
required, it is becoming increasingly difficult
to write them every week.  Your ideas are still
very much welcomed and I have based such entries
as those on the American Windsor and Tramp Art on
your e-mail inquiries.
To review, we have previously discussed the Queen
Anne period, Thomas Chippendale, and then skipped
ahead in time to Centennial Reproductions.  Now,
we return to the era that overlaps and follows
Mr. Chippendale – the neo-classical period.
Many antique dealers and some antique books refer
to this period using several different terms. 
Some call it the “Federal” period, the “Regency”
period, or the “Classical” period.  However, the
term “Federal” actually refers to the development
of the newly formed United States government. 
English pieces produced in the later part of this
era are often referred to as Regency, but this
term does not apply to American-made furniture. 
Finally, “Classical” is a period but refers to
Greek and Roman times, which is why “Neo-
Classical” is the correct term for furniture-
making as it signifies the return of Greek and
Roman influences.  It was the unearthing of
ancient artifacts from Pompeii and Herculaneum in
1748 that began the new movement.  The discovery
of homes, buildings, and decorative items led
Robert Adam, a British architect, to spend four
years studying the archeological sites.  Upon
return, Adam’s architectural and furniture
designs demonstrated influence from the sights of
his travels.  The curved lines associated with
the Queen Anne and Rococo designs were replaced
with more delicate tapered legs.  Pilasters and
moldings were used to emphasize structural lines
of case pieces and heavy carvings were omitted
altogether.  Adam’s influence was also seen in
the work of artists, potters, and silversmiths of
the time.  For example, Josiah Wedgewood’s famous
line of Jasperware dates from this time and
reflects the neo-classical ideals.
 In the realm of furniture design, two
names emerged as the leaders in production of neo-
classical pieces.  They were two of England’s
finest cabinetmakers: George Hepplewhite and
Thomas Sheraton.
George Hepplewhite was a master.  His
unmistakable style appeared in his book, Cabinet-
Maker and Upholster’s Guide, published
posthumously by his widow in 1788.  In this book,
he credits Robert Adam for starting the new style
of craftsmanship.  The chief characteristic of
his work was the square tapered leg that
terminated in a spade foot.  While Chippendale
and Hepplewhite both used mahogany, Hepplewhite’s
pieces were more delicate and fragile.  He
discarded fancy carvings, choosing instead to
embellish his pieces with satinwood inlays.  The
motifs of these inlays were often Prince-of-Wales
feathers, medallions, and drapery.  In addition,
the inlay would often trace around the insides of
legs, doors, and drawer fronts.  Hepplewhite’s
chair designs included yet another innovation--
the “shield-back.”  This new chair design
differed from that of previous chairs by the
configuration of the stiles of the back support. 
Instead of the stiles running up the full height
of the back support, they end after only six or
seven inches and merge with a “shield” shaped
back support.  The shield often held pierce and
ribbon motif carvings.
 Thomas Sheraton was a contemporary of
Hepplewhite’s and was known as a highly skilled
cabinetmaker.  His publication, Cabinet-Maker and
Upholster’s Drawing Book, was published in 1791
and 1794.  Sheraton, like Hepplewhite, crafted
his furniture from mahogany.  While Hepplewhite
favored the square tapered leg, Sheraton employed
the round turned leg and often incorporated reeds
or flutes into its design.  Sheraton’s chairs,
instead of having shields as back supports,
usually held three horizontal splats and were
square on top rather than curved.  Unfortunately,
none of Sheraton’s work has been authenticated as
being crafted from his own hand.
After the American Revolution, a new wave of
cabinetmakers immigrated to the United States
from England, Ireland, and Scotland.  The
cabinetmakers, while following the design books
of Hepplewhite and Sheraton, were often confused
by their similarities and began combining
elements into some hybrid pieces.  In spite of
the occasional design confusion, the most
important new form created was the “sideboard.” 
The sideboard evolved from the commonly
used “side” or “mixing” table.  Added to this
form were doors, drawers, and compartments
creating a more practical piece for the
new “dining room,” used for formal entertaining
by the wealthy.
Unlike furniture from previous periods, much is
known about the American neo-classical
cabinetmakers.  Many of their pieces have
survived with their original labels, brands, or
other documentation (bills and invoices) intact. 
Charles Montgomery’s book, American Furniture:
The Federal Period, addresses and catalogs these
markings from the collection of neo-classical
furniture held at the Winterthur Museum in
Delaware.
Three of the finest known American designers are
the Seymour family, Samuel McIntire, and Duncan
Phyfe.  McIntire’s work was produced in Salem,
Massachusetts.  The Seymour family arrived in
Boston from Portland, Maine.  Their work can be
identified by their label, “John Seymour & Son,”
and by their characteristic robin’s–egg blue
paint on compartment interiors. 
 Duncan Phyfe, of New York, was one of the
first to incorporate the “factory” method of
production.  While the furniture was not machine-
produced (as this was still pre-Industrial
Revolution), Phyfe utilized a division of labor
employing carvers, turners, and upholsterers. 
His favorite decorative motifs were the lyre,
(often seen in the backs of chairs and in the
bases of tables), carvings of acanthus leaves,
flutes, and reeds, inlays of cornucopia baskets,
thunder bolts, bow knots, trumpets, harps, and
rosettes.  Phyfe adorned his pieces with brass
pulls and brass capped feet.  Phyfe’s
interpretation of the klismos chair incorporated
the saber leg design and his famous lyre back
support.  The curlue chair was constructed with
an X-shaped support that meets the bottom of the
seat and supports the structure from the floor. 
The Duncan Phyfe table continues to be one of the
most commonly used dining room table designs
today.  Usually made from mahogany, it can be
found as either a sliding table that opens to
take leaves to increase its length or as a drop
leaf table that may open to receive additional
leaves.  Either can be identified as Duncan Phyfe
by its curved, often reeded, legs of its pedestal
base.  These legs are then finished off with
plain, capped brass feet or variations of more
ornate hairy paw brass casters.
Today, the neo-classical design continues to be
one of the most desirable styles to collect. 
Late 19th century and early 20th century
reproductions are often very well made and
demonstrate original design elements.  It is also
some of the most common furniture I encounter
here at the shop.  Because of the quality of
craftsmanship, these pieces refinish
beautifully.  I recently repaired and refinished
a very nice Hepplewhite-style drop leaf stand
with wonderful inlay that depicted cherubs,
griffins, leaves, flowers, and trumpets.  We have
also worked on a late 19th century Duncan Phyfe-
style dining room table of solid mahogany with
great hairy paw brass casters and a terrific
Hepplewhite-style breakfront from the early 20th
century.
Pieces from this era prevail at auction and in
antique stores and malls.  One should definitely
consider these well-made pieces of furniture when
shopping.  They are better crafted than much of
the furniture produced today and far more
affordable even if they need some repair work or
refinishing.