Index

1

The Furniture Masterworks of John &Thomas Seymour Index

Note: page numbers in italics refer toillustrations; those in bold type refer to thecatalogue entry; numbers in parenthesisalso refer to catalogue entries; n/s means"not shown" Specifics regardingprovenance, materials, constructionmethods and decorative elements can befound under specific catalogue entries

AAbbot family, worktable descended in (#89), 313acanthus-leaf carvings. See also leaf and flower carvings

as common embellishment, 64, 101, 101, 102, 103first appearance of, 217gilded imitations, 114on mirror brackets, 54by Vose and Coates, 397Wightman’s skill at, 53, 71

account books. See receipts and recordsacorn finials, 109Adam, Robert, 10, 112Adams, Abigail Brooks, 287Adams, Bartlett, 21Adams, Diana, 37Adams, John and Abigail, 15, 237Adams, John Quincy, 236–37Adams, Louisa Johnson, 237Adams, Robert, 373Adams, Samuel, 243Adams family, furniture descended in

chest of drawers (#51), 236–37Grecian card table (#113), 361pier table (#76), 72–73, 73, 286–87

Adams National Historic Site (Quincy, Mass.), furniture incollection of

bowfront chest of drawers (#51), 236circular center table (n/s), 361Grecian card table (#113), 361pier table (#76), 73

Adelphi Club, 15advertisements

announcing Barker’s hiring of Thomas Seymour, 73–74for apprentices, 62for “black Ebony," 70for Boston Furniture Warehouse, 60–61, 66, 67for Casuarina, 88for dining tables, 64for furniture, possibly Seymours’, 34

by Haskins, 311for mahoganies, 85by Seymour, Joseph, 39by Seymour, Thomas, 359for tropical woods, 87

“Age of Joinery," 90, 118Alexander, William, 31Alien Act of 1798, 69Almshouse, Boston, 68, 69American chestnut, limited use of, 203American Furniture at Chipstone (Roque), 191American Furniture of the Federal Period (Montgomery),

37American Furniture (Randall), 381American Republic, iconography representing, 110, 269American Windsor Chairs (Evans), 49Amory, Catherine Willard, 14Amory, John II, 14, 38–39, 38, 53Amory, Katharine Codman, 38–39Amory, Nathaniel, 14Amory, Rufus, 211Amory, Thomas, 14, 29, 49Amory, Thomas Jr., 211Amory-Codman family, furniture descended in

night cabinet (#28), 29, 179secretary bookcase (#22), 179sideboard (#38), 210–11summary of, 38–39tambour secretary (#16), 167, 179

Ann Street (Portland, Maine), 16–17anthemion carvings, 100anti-immigrant sentiments, 29Appleton, Nathan, 84Appleton, Thomas, 61Appleton-Sargent families, furniture descended in

commode chest (1806-10, #57), 91Vose-made Cumberland table, 65

apprentices, apprenticeshipsin Axminster, 6–7in Boston, 33and changing labor relationships, 62limited use of, 47, 49Thomas Seymour’s with father, 33

arch boards, 20arched framing, 39, 224–25Archibald, George, 67architectural decorative elements

in commode chest (#57), 84frieze-like veneer effects, 219as hallmark of neoclassical furniture, 82–84interrupted reeding, 107using contrasting inlays and veneers, 195

armchair (1808-15, #129), 392, 393armchair (1812-17, #130), 359, 394, 395, 415Art Institute of Chicago, lap desk in collection of (n/s), 445artisans. See English immigrant artisans

Index

2

ash woodas basis for attribution, 86use in structural components, carcasses, 247, 249, 401

attribution, bases forcrooks on sofa legs, 108cylindrical feet, 215design approaches, aesthetics, 126, 127, 185, 365family descent, 80foot construction, 239, 419, 425glue blocks, 124–25, 131, 187hardware choices, 301, 353hinging methods, 119, 365inlay techniques, 97–98joinery and construction techniques, unique, 10, 80, 118,

237, 239, 263, 405labels, inscriptions, initials, 115, 147, 335, 373locking mechanisms, 111markings and numbers, 117precision and quality of workmanship, 115, 118, 171,

183, 203, 283, 291, 323receipts and records, 114, 237, 275, 361stringing patterns, 79–80, 92, 143, 341turned feet, hinges, 187veneers and inlays, 88, 96–97, 377, 425,433, 443wood choices, 86, 247

attribution processfor armchair (#131), 397for beds, explanation for, 102–3, 435, 441challenges, cautions, 62, 92–93, 95–96, 115, 118, 132criteria, methodologies for, 10, 80, 133for Cumberland tables, 65for dressing chest with mirror (#64), 263for firescreen (#154), 443for harp-based worktable (#92), 319for Hoy’s dressing glass (#59), 253of library bookcase (#18), 171“probable” versus “possible” attributions, 80for side chair (#123), 381for work produced with journeymen, 329for work produced with subcontractors, 102, 441for works during first decade in Boston, 403for worktable (#88), 311

auctions, 34–36, 66, 237The Aunts (Halsted), 249Austin, Henry, 18Australia, importation of woods from, 87–88Axminster, Devonshire

description, 3, 3economic depression in, 5, 10–11John Seymour’s departure from, 1John Seymour’s work in, 7similarity to Creek Square, Boston, 33

Axminster Carpet Manufactory, 5Ayling, Thomas and Henry

move to Mason Street, 67subcontract work for Thomas Seymour, 55, 106, 169, 347

BBack Cover Farm (Deering residence), furnishings for, 21,

27backer strips, 126backgammon playing surfaces, 365Badlam, Stephen

looking glasses purchased from, 62, 115marketing advantages, 47sale of luxury items, 251use of exotic woods, 46

bag-slide frameson dressing chests, 53–54, 110front-opening, rarity of, 315precision of joinery on, 301strength-enhancing construction methods, 295structure and mechanisms, 129–30, 317woods used for, 130

Bainbridge, William, worktable originally owned by (#92),319

baize lining, blue, 153, 181Baldwin, Aaron and Enoch, Jr., 75, 77Baldwin, Enoch Sr., 52Baldwin, Luke and Mary, 52ball-type feet, 267, 289Baltimore Museum of Art, furniture in collection of

sideboard (#46), 226–27tambour secretary (n/s), 281

bamboo-like, as Regency design element, 327“banding”. See crossbandingBangs, Elisha, original owner of secretary with blind

drawers (#15), 165bankruptcy, frequency of, 66, 70Barker, James

quality of veneer work, 87Seymour work produced under, 64–65, 73–74, 115, 287,

329, 359, 363, 369Barr, Alexander, 19, 22Barrell, Joseph, 29Barrell, Sally Sayward, 135Barrett, Charles, original owner of sideboard (#39), 212barter economy, 24basin stand (1784-93, #26), 20, 105, 123, 124, 186, 187basin stand (1795-1805, #27), 105, 188, 189, 193basin stand (1798-1805, #29), 123, 123, 192, 193basin stand (night cabinet) (1800-1810, #32), 110, 198, 199basin stand (night cabinet) (1804-9, #31), 39, 196, 197, 199basin stands, night cabinets. See also corner basin stands

construction features, 124, 193, 443embellishments, decorations, 199four-legged, 187Sheraton designs for, 105, 189

Bass, Benjamin, 67bastardy bond, 2Bay (Campeche) mahogany, 85

Index

3

Bayou Bend collection (Museum of Fine Arts, Houston,Tex.), tambour secretary in collection of (n/s), 116

Bazin, Abraham and John, 30, 43, 55, 109beads, rings of, 101Beaminster, Dorset, 2bed (1795-1805, #151), 436, 437bed with painted and gilded cornice (1804-14, #153), 437,

440, 441bed with painted and gilded cornice (1808-14, #152), 103,

437, 438, 439, 441bed with painted cornice (1795-1805, #150), 434, 435, 437beds

attribution challenges, 102–3, 435, 441carvings on, 96, 102, 102construction methods, 437cornices, 439iconography, 283, 435Regency-style, 439, 441woods used for, 19, 85, 86

Bee (sloop), 24beech wood, use in rails, 22“beehive terminals," 99beeswax finishing, 321“bee-wing” mahogany, 85Belknap, Jeremy (The Forresters), 31Bell, Shubael, 66bellflower inlays, carvings

on chairs, 103characteristics of, 96–97as neoclassical design element, 82, 83on secretaries, 88, 98

Bennoch, J., 29bent laminated rails, as basis for attribution, 123–27, 189Bere, Samuel, 6bergère (winged armchair) (1804-10, #131), 103–4, 396, 397beveling, of cabinet fronts, 90Bilston enameled hardware, 43birch wood

crotch-birch veneers, 87popularity of, 327as primary wood, 85

bird's-eye-maple veneerson chests, 84period of peak use, 87, 201on worktables, 85

black/white stringing pattern, 91blackwood, East African, 87blossom carvings

on beds, 103Wightman’s skill with, 53, 101

blue-colored interior decoration (”sky blew”), 112–13Boies, John, 112Bolton and Grew, 30bombé chest, 29Bond, Hannah Cranch

patronage of John Seymour, 11

original owner of tambour secretary (#7), 149Bond, Thomas, 75Bond, William

auctions by, 33–34emigration to America, 1, 11–13lawsuit, 24move to Boston, 31, 33patronage of John Seymour, 36–37residence in Milton, 75

Bond, William, furniture originally owned bysofa (#132), 22, 389–99tambour secretary with pediment (#7), 88, 149, 399tambour secretary with pediment (#9), 109

bonnets (hoods) of clock cases, construction features, 131The Book of the Axe (Pullman), 3bookcases

cylinder secretary bookcase (1806-12, #25), 64, 128, 184,185

devices for joining upper and lower cases, 127evolution of designs for, 173library bookcase (1794-1800, #18), 91, 122, 170, 170–71pine, for Robison, Edgar and Reed, 19secretary bookcase (1805-9, #23), 89, 180, 181secretary bookcase (1806-10, #21), 165, 176, 177secretary bookcase (1806-10, #22), 173secretary bookcase with pediment clock (1808-12, #24),

173, 182, 183white pine backings, rarity of, 175

Boott, Kirk, furniture originally owned bychest of drawers (#54), 116, 235, 243summary of, 37–38writing table (#50), 117, 234–35, 235

Boott, Kirk Jr., 235border embellishments. See inlays; stringing patterns;

veneers, veneer workbosses (buttons)

as basis for dating, 319turned-ivory, 113turned-wood, 319

Boston, Massachusetts. See also Boston FurnitureWarehouse

anti-immigrant sentiments, 29Congress Street, 67–68, 69, 72, 311Creek Square, 26, 31–33, 32, 51economic development, 27–28, 40, 75–76gaming, 120growing affluence, merchant elite, 28–29, 36, 48, 62–64,

241immigrant versus native-born artisans, 47looking glasses, 251Orange Street, 67, 74popularity of English styles and designs, 283, 353, 359popularity of morocco leather, 58popularity of red morocco leather, 391popularity of Regency style in, 369Seymours’ first decade in, 26–27, 33–34

Index

4

ties to, in Devon, England, 11–12Washington Street, 74, 75–76

Boston Cabinet Manufactoryadvertising for, 67–68receipts from, 70, 115, 311

Boston Charitable Mechanic Association, 49Boston Furniture Warehouse

advertisements, 60–61building housing, 179Cogswell’s work at, 60complexity of operations at, 66demise, 67dominance of neoclassical style, 84, 371John Seymour’s work at, 65journeymen at, 60labor relationships at, 62opening of, 52peak production period, 71tenants at, 59–60, 315use of subcontractors, 106

Boston Furniture Warehouse, furniture attributed tocard table (#106), 347chest of drawers (#51), 237chest of drawers (#54), 243dressing chest with mirror (#66), 267dressing glass (#59), 252labeled looking glass (n/s), 115worktable (#90), 315

Boston Glass Manufactory, 251Boston in the Age of Neo-Classicism, 1810-1840 (Feld and

Talbott), 319Boston Masonic Lodge, 49Boston Regency style. See Regency-style furniture and

design"The Boston School," 79Boston-born artisans, 31Botany Bay (Australia), use of woods from, 46, 87–88, 241.

See also Casuarinabow and arrow, bow and quiver iconography

on beds, 102, 435meaning of, 283on pier tables, 84, 85

bow-front furniturebasin stands, night cabinets, 105chests of drawers, 64, 84, 129, 129curving glue blocks on, 123popularity of, 239, 241writing tables, 37

bowknot iconography, 103Boylston Market, 75bracket feet. See also French-foot construction

construction techniques, 128–29straight, 20

bracketsknee, 82, 90, 90for mirrors, 115

Brackett, Joshua, 25Bragge, John, 7–8, 8, 21brass hardware. See also hardware

brass pulls, 111, 323circular knob with dome, 110foot sockets, 108lion-mask and ring, 199moldings, 112, 323paw feet, 72, 111, 229, 369stringing using, 359table rims, 85, 283on worktables, 130, 130, 301

Brazil wood (”Sappan” wood), 87“Braziletto” wood (rosewood), 87bridle joints, 118–19, 119, 405Bright, George, 28, 31British Navy, use of Maine trees, 14Brooks, Edward and Elizabeth Boott, patronage of Thomas

Seymour, 72Brooks, Peter Chardon, furniture originally owned by

card table (#111), 73, 357, 369card table (#113), 72, 361morocco upholstered chairs, 58, 391pier table (#76), 72, 73receipts for, 391sideboard made by Barker, 74

brown/white stringing pattern, 345Bryant, John, purchase of Grecian couch (#141), 345, 416Bryant, Nathaniel, 87Bulfinch, Charles

Amory home on Franklin Place, 167Boston Almshouse, 69Boylston Market, 75coffin orders, 23, 47the Colonnade, 67need for skilled artisans, 30Oakley House remodel, 74, 230–31

Bumstead, Jeremiah, 401Bunter, Simon, 6Burden, Joseph, 49bureaus. See chests of drawersburlwood veneer

dates used, 88for table tops, 84

Butler, John, 15–16buttons (bosses), 113

CThe Cabinet Dictionary (Sheraton)

designs taken from, 104, 283marble types, listing of, 100pier table, 84, 283“Quartetto Table," 371“Sofa Table and Sofa," 321

The Cabinet-Maker and Upholsterer’s Drawing Book

Index

5

(Sheraton)designs derived from, 20–21, 56, 409Seymours’ copy of, 34, 81–82

The Cabinet-Maker and Upholsterer’s Guide (Hepplewhite),21, 34, 106, 381

The Cabinet-Maker’s London Book of Prices (Shearer), 34,171

cabriole sofa (1795-1804, #136), 406–7, 406, 409Cahill, Mary Elizabeth, card table in collection of (#108),

351Caldwell, Margaret, card table in collection of (#100), 335Callender, William, 43, 53Campbell, Andrew and George, 51Campbell, Henry, 31Campbell, Hugh, 21, 33Campbell, James, 31, 51, 55Campbell, Martha Seymour, 33, 77capital, business, difficulties attracting, 48, 49, 53capitals, simulated, 94, 425. See also architectural decorative

elementscard table (1775-86, #100), 9, 116, 334, 335, 375card table (1793-96, #101), 35, 47, 48, 89, 116, 147–48, 147,

331, 336–37, 336, 339card table (1793-96, #102), 35, 91, 338–39, 338card table (1794, #103), 35–36, 97, 340, 341, 351, 405, 409card table (1797-1804, #105), 89, 121, 121, 344, 345card table (1797-1805, #104), 120, 342, 343, 345card table (1798-1804, #108), 350, 351card table (1800-1805, #106), 346, 347card table (1800-1808, #107), 55, 348, 349, 351card table (1805-10, #110), 92, 93, 354, 355card table (1808-12, #109), 289, 352, 353card table (1814-17, #111), 72, 108, 120, 356, 357, 369card table (1817, #114), 74, 74, 351, 357, 362, 363, 369card table, Grecian-style (1816, #113), 72, 75, 287, 351, 357,

360, 361card table with harp-base (1808-15, #112), 57, 357, 358,

359, 413card tables

construction methods, 120–21, 341gilded decoration, 114–15introduction of form to Boston, 72joinery on, 118–19legs and feet, 105, 357popular designs for, 120prices paid for, 115as signature form, 133

Caribbean, use of woods fromfor bag slide frames, 130on Cumberland tables, 65in drawer construction, 126varieties used, 85–86

carpenter’s marks, 117“Carpenters Rules” (1760), 19Carpet Warehouse, 48carvings. See also Wightman, Thomas

acanthus-leaf example, 101as basis for attribution, 209characteristic, 100–104Corinthian-style capitals, 427rings of beads example, 101as sign of wealth, 84on square-backed chairs, 104on therm (spade) feet, 106by Thomas Seymour, 379, 413tools used for, 345

case furnitureback panels, 221, 225blind tenons on, 118chests of drawers, 54, 59, 61, 107, 110, 116commode chests, 84, 91, 101construction methods, 249, 277interior decoration, 112–13production of, in Portland, 19–20secretaries, 20, 89, 90, 136sideboards, 90, 96, 97, 127woods used for, 85–86, 231

cash, scarcity of following Revolution, 24Cassell, J.G., 75caster mounts, 108Casuarina (she-oak, Botany Bay oak) veneers and inlays

as basis for attribution, 46as basis for dating, 273frequent use of, 46, 87–88, 88on tambour doors, 84

Cedrela (Spanish cedar, cigar box cedar)in drawer construction, 126insect-repelling qualities, 86

chairs. See also sofas, settees and couchesarmchair (1808-15, #129), 392, 393armchair (1812-17, #130), 359, 394, 395, 415armchair, oval-backed (1784-93, #120), 22, 335, 374, 375construction and design features, 391curly-mahogany inlays, 87easy chair (1785-95, #121), 376, 377painted chair (1785-93, #119), 22, 275, 372, 373production of, in England, 7–8production of, in Portland, 19, 22secondary woods, 86side chair (1795-1805, #123), 380, 381side chair (1804-10, #124), 57, 87, 87, 112, 179, 382,

383, 385, 387, 410, 411side chair (1804-10, #125), 57, 179, 384, 385, 387, 410side chair (1804-10, #126), 386, 387, 410side chair (1805-12, #128), 58, 390, 391side chair (1808-12, #127), 388, 389, 410side chair, square-backed (1785-95, #122), 22, 108, 108,

378, 379side rail construction, 381Wightman’s carving on, 103–4, 104winged armchair (bergère) (1804-10, #131), 103–4, 104,

396, 397

Index

6

chalk cartoon, on tambour secretary (#8), 117, 151Champlin, Steven M., card table in collection of (#108), 351changeable-surface game table, 367“Charlestown” foot, 129checkerboard playing surfaces, 365checkered-pattern stringing, 92, 92cherry wood

as primary wood, 85as secondary wood, 86, 283

chestnut, Americanmisidentification of ash as, 86rare use of, 203

chests of drawers. See also dressing chests with mirrorschest of drawers (1795-1800, #49), 37, 39–40, 232, 233chest of drawers (1800-1810, #52), 65, 238, 239chest of drawers (1804-10, #53), 37–38, 64, 110, 240,

241, 243chest of drawers (1805-10, #55), 244, 245chest of drawers (1806-10, #54), 37–38, 61, 64, 116, 235,

242, 243chest of drawers, bowfront (1807, #51), 64, 129, 129,

236–37, 236commode chest (1806-10, #57), 68, 69, 84, 91, 123, 124,

248, 249, 255commode chest (1809, #56), 59, 59, 101, 103, 111, 114,

122, 123, 124, 124, 126, 246, 247, 249, 371dressing box with glass (1798-1805, #58), 250, 251dressing chest with mirror (1805-10, #61), 110, 110, 256,

257dressing chest with mirror (1805-10, #64), 128, 262, 263dressing chest with mirror (1806-10, #63), 260, 261dressing chest with mirror (1806-12, #66), 114, 266dressing chest with mirror (1808-10, #62), 54, 101, 126,

128, 247, 258, 259dressing chest with mirror (1808-12, #68), 101, 270, 271dressing chest with mirror (1808-15, #65), 264, 265dressing chest with mirror (1809, #67), 247, 268, 269dressing commode with bookcase, 9turned reeded legs on, 106–7writing table or dressing chest (1796-1803, #50), 64,

234–35. 234Chipstone Foundation (Milwaukee, Wisc.), furniture in

collection offirescreen (#154), 443night cabinet (n/s), 191

Churchill, Lemuel, 243circle inlays

as common decorative element, 22, 94concentric, on feet, 106construction process, 443example, 94

Clap, Samuel, 33–34, 36Clapcott, John, 11Classical-style furniture and design. See also harp-based

furniturecard table (#112), 359

card table (#113), 361dressing glass (#59), 251Grecian couch (#141), 416introduction of, in Boston, 359Thomas’s Seymour’s interpretation of, 72, 363, 395

claw-foot mounts, cast-brass, 111Cleopatra’s Barge (yacht), furnishings for, 74, 363, 369clocks, clock cases

attribution issues, 419carvings on, 101–2, 103Corinthian style capitals, 425French feet, 128Roxbury-style, 131, 423, 431shelf clock (1800-1810, #142), 44, 64, 418, 419shelf clock (1805-12, #143), 44, 55, 91, 420, 421, 423shelf clock (1807-12, #144), 422, 423tall clock (1805-10, #145), 44, 55, 56, 64, 95, 116, 128,

237, 424, 425, 427, 429, 431tall clock (1807-10, #146), 128, 425, 426, 427, 429tall clock (1807-10, #147), 95, 95, 128, 425, 428, 429tall clock (1807-12, #148), 128, 430, 431tall clock (1808-15, #149), 55, 128, 432, 433unique construction features, 425

Coates, Joshuacopying of Seymours’ locking mechanism, 111death and burial, 75immigration to Boston, 40, 55subcontract work for Seymours, 33

Cobb, Smith, 23cockbead molding, 62–63, 131Codman, Catherine Amory, 14Codman, Henry, 14Codman, John III, 14, 16Codman, Richard, 15Codman, Stephen, 14, 16, 31, 38coffins and funerary pieces

production of, in Boston, 47production of, in Portland, 23

Cogswell, Jamespartnership with Stephen Whipple, 62partnership with Thomas Seymour, 60–62, 66piano cases, 61quality of veneer work, 87

Cogswell, John, 222chair made by, 30, 30–31immigration from England, 28

the Colonnade (Boston), 67Colonial Williamsburg, secretary bookcase in collection of

(n/s), 175color. See also inlays; tambour doors; veneers, veneer work

on hardware and interiors, 112–13, 153, 181, 241multicolor stringing and banding, 64, 321, 433tambour secretary example, 153, 165two-color inlays, 139

Columbian Centineldeath notices, 68, 76, 77

Index

7

furniture advertisements, 34, 52column embellishments, 98–100, 167. See also architectural

decorative elements; three-dimensional effectscommode chest (1785, n/s), 21commode chest (1806-10, #57), 68, 69, 84, 91, 123, 124,

248, 249, 255, 371commode chest (1809, #56), 59, 59, 101, 103, 111, 114, 122,

123, 123, 124, 124, 126, 246, 247, 249, 371Congregational Church (Portland, Maine), 6Congress Street, Boston, Furniture Manufactory on, 67–68,

69, 72, 311Connelly, Henry, 58construction methods. See also joinery; journeymen;

precision and quality of workmanshipaesthetic goals, 118attention to detail, 132, 271attention to unseen surfaces, 127backer strips, 126bag-slide frames, 110as basis for attribution, 80, 123, 124, 132, 203, 239, 263,

321as basis for dating, 321beds, 437bent laminated rails, 123–24card tables, 341, 343, 345case backs, 223, 225case furniture, 277circular veneers, 443clocks, 423, 425commode chests, 247cost-cutting techniques, 229, 271, 311Cumberland tables, 65, 327drawers, 124–27, 235, 299, 317durability-enhancing, 118, 125–27, 249, 263, 295, 301,

317English, adaptation of, 10, 337experimentation with, 331folding dining tables, 331frame-and-panel construction, 90, 225, 231frames, for marble slabs, 83French bracket feet, 128–29, 129, 237, 243glue blocks, 123–24, 131, 189hinging techniques, 120–21, 121, 343, 365, 367idiosyncratic details, 341integration with design, 257John Seymour’s versus Thomas Seymour’s, 115labor-intensive nature of, 47, 127, 321lamination, 123–27, 189, 223, 283, 349locking mechanism, 111marble-topped furniture, 209mirrored dressing tables, 128molding attachments, 131–32partitions, 86Pembroke tables, 333, 365precision workmanship, 47, 221, 229rotating table tops, 361

Seymours’ versus journeymen’s, 115strength-enhancing, 122–26, 130–31, 229, 263, 293, 295,

303tambour doors, 127–28tambour lap desks, 445turned “roller ends," 383two-part runner strips, 126use of layout sketches, 117wells, 127–28worktables, 129–31, 295, 297writing, sewing tables, 301

Coolidge, Joseph (lawyer), morocco chairs originally ownedby (n/s), 58

Cooper, Wendy, identification of Seymour works by, 102,441

Copps Hill (North Burying Ground), 68, 77Corinthian-style capitals, 425corner basin stands. See also basin stands, night cabinets

construction features, 105, 443dates produced, 123Sheraton designs for, 105, 189

corners, rounded, 73, 357cornices

on beds, 439on clocks, 427, 429, 431simple, curved, 10

cost-cutting techniquesconstruction methods, 229for middle-market furniture, 271, 311veneer techniques, 165

couch, Grecian (1812-17, #141), 416–17, 416cracking

of drawer bottoms, 125of joints and veneers, in English joinery, 335techniques for preventing, 126–27, 263

craftsman families, 47, 76Cranch, John, 1, 5, 15, 17, 49, 68, 399Cranch, Richard, 1, 11, 205credit problems, ubiquity of, 27Creek Square, Boston, 26, 31–33, 32, 51Crehore, Daniel, 47, 76crossbanding

on card tables, 89, 345, 355on commode chests, 84on drawer fronts, 177in neoclassical furniture, 90–91on pier tables, 84, 283on sideboards, 221use of Casuarina for, 88woods used for, 177, 203

crotch-birch veneers, 87crotch-mahogany veneers

on drawer fronts, 167grain of, as a design element, 161Seymours’ preference for, 85, 88

crotch-satinwood. See satinwood veneers and inlays

Index

8

crotch-veneers, replacement of by stripe-grained woods, 177Crowninshield, George Jr., card table originally owned by

(#114), 74, 363Crowninshield, Hannah, painting on portable writing desk

(#155), 445Crowninshield, Maria, ownership of portable writing desk

(#155), 445C-scroll carvings

on high-end furniture, 363on knee brackets, 100on secretaries, 90on sideboards, 102

Cuban mahogany, 85cuff moldings, 307Cumberland, Duke of, 327Cumberland dining tables

attributable to Vose shop, 75dining table (#96), 327, 329incised Roman numerals on, 116–17introduction of form to Boston, 64–65, 326–27saber legs, 327turned pillar legs, 357

curly-mahogany veneersas basis for dating, 413use of, 85, 87

curly-maple veneersas basis for dating, 277on quartetto tables (#118), 371scorching techniques, 95staining, 95as substitute for satinwood, 87use of, 159on work/sewing tables, 85

curly-satinwood veneersas basis for dating, 347on tambour doors, 167use on high-end furniture, 89, 181

curved-leg designs, 105, 108Curwen, Samuel, 12Cushing family, side chair descended in (#128), 58custom-made hardware, 111. See also hardwarecustom-ordered furniture. See high-end furniture,

showpiecescutting bit, rotating, 94Cutts, Thomas, Pembroke table originally owned by (#115),

21, 21Pembroke table (#115), 365

cylinder secretary (1798-1808, #17), 168, 169cylinder secretary bookcase (1806-12, #25), 64, 128, 184,

185cylindrical feet, 215

DDall, William, 75dark wood, defined, 133

dark/light stringing and veneers, 89, 91dart-pattern stringing

as basis for dating, 255on commode chest, 247on dressing chest, 263on mirror frame, 92, 92, 251on secretaries, 167, 177use by other cabinetmakers, 92

dated furnituredressing (or serving) table (#78), 290lady’s secretary with blind doors (#0), 135

dating furniture, bases forbosses, 319carpenter’s marks, 117forms and ornamental details, 46, 143, 193, 257, 327,

359, 387, 441hardware choices, 112, 301incised dates, 227, 290joinery and construction techniques, 120, 321labels, 337lamination techniques, 123leg and foot designs, 161, 181, 289, 401molding designs, 195, 289multicolor stringing and banding, 64, 321, 433oval inlays, 203painting and gilding, 114receipts and records, 34, 114, 275, 311, 361stringing patterns, 255use of dustboards, 123use of tambour doors, 177use of turned elements, 169wood choice, for veneers, 213wood choices, for veneers, 87, 201wood choices for veneers, 213, 257, 273, 277, 347wood choices, primary woods, 126, 335

Davis, Caleb, 112Davis, Ebenezer, 14, 22, 26Davis, J. L., 29–30Davis, Nathaniel, 67deal wood (fir), 9Deblois, Dorcas Deering, 27Deblois, Thomas Amory, 14, 27debts

John Henley Seymour’s, 38–39Thomas Seymour’s, 66, 69–70, 73

Deerfield, Mass. (Historic Deerfield), Todd brothers cardtable in collection of, 243

Deering, Almira Ilsley, pier table originally owned by (#70),21, 27

Deering, Dorcas, 14Deering, James, furniture originally owned by

dining table (#97), 329worktable (#85), 305

Deering, Mary, 14Deering, Nathaniel, furniture originally owned by

for brig Polly, 20

Index

9

mahogany bureau and bedstead (n/s), 19maple dining table (n/s), 21marble-topped pier table (#70), 91, 131, 275small pieces, 23summary of, 19

delicacyas neoclassical design element, 118of Thomas Seymour’s work, 84

Della Calle, Peter, 100demilune furniture

card table (#100), 335card table (#103), 35–36, 341commode chest (#56), 114John Seymour’s preference for, 9

Derby, Elias Hasket. See also West, Elizabeth Derbydeath, 439furniture purchased from Philadelphia, 49Lemon’s work for, 41, 171neoclassical taste, 31

Derby, John, sideboard originally owned by (#36), 83, 207Derby, Richard Crowninshield, sideboard originally owned

by (#40), 45, 107, 207, 214–15Derby family, bed descended in (#152), 103, 439design books. See also Hepplewhite, George; Sheraton,

Thomascopying of designs from, 10, 98–99, 283Sheraton's’, influence on Seymours, 34, 57, 81–82

desks. See also secretariesdesks, produced in Portland, 19, 20Devonshire, England, 1–10, 11, 14Dewhurst, John and George, 64, 70, 79, 95–96, 293diagonal striping, 89, 345dining table (1810-15, #98), 330–31, 330dining table (1810-20, #96), 64, 326–27, 326, 329dining table (1815-25, #97), 27, 305, 327, 328, 329dining table, drop-leafed (1809-12, #99), 61, 116, 243, 332,

332–33dining tables

Cumberland-form, introduction to Boston, 64–65, 326–27produced in Portland, 21quartetto form, 107, 371

Dixwell, Esther Sargent, 52Dixwell, John, sideboard originally owned by (n/s), 52–53Dodge Benjamin, card table furniture originally owned by

(n/s), 115Doggett, John

possible gilding on bedstead (#153), 102, 441prices charged by, 269, 437training, 251

Domett, George, 75Domett, George Jr., 75Domett, Joseph, 15Domett, Philobeth, 15Dominy workshop (Easthampton, NY), 94doors. See also tambour doors

false, on secretaries, 177

flat, 223glazed, on bookcases, 183use of walnut for, 86

Doric-order architectural elementsas basis for attribution, 209inlays for, 99on sideboards, 83, 98–99, 99

double tenons, 325, 337. See also joinerydouble-beaded molding, 139double-bridled joints, 331, 401, 407. See also joinerydouble-tapered legs

appearance on earliest work, 20on card tables, 337, 339on secretaries, 139

Doull, Jamesshelf clock (#144), 423tall clock (#146), 427tall clock (#147), 429tall clock (#148), 431Thomas Seymour’s cases for, 55–56, 183

dove iconography, 103dovetail joints. See also joinery

American-style, 343, 345, 355angled, 137on drawers, 122, 124, 124English-style, 118, 337as locking mechanism, 127, 128markings associated with, 116, 117nontapered, in later furniture, 345Seymours’ variations on, 119–20, 120

Draegert, Ross, armchair in collection of (#120), 375drapery carving, 103drawer fronts

checkered edging, 62cockbead molding, 131crotch-mahogany veneers on, 88, 183false, as design element, , 177, 303ivory keyhole inlays, 113, 113mahogany veneers, 255scratch beads on, 157woods used for, 177

drawer interiorsblue paint on, 112–113blue-paper linings, 241morocco leather linings, 299, 317

drawer pulls, 109–110, 110, 201drawers, drawer construction

double mortises and tenons, 119dovetails, 124, 124English blocking techniques, 118false drawer fronts, 201faux doors, 213full-width, 215glue blocks, 124–25hinged, 249incised numbers on underside of, 117

Index

10

letter drawers, 125primary woods used for, 86, 126secondary woods used in, 86tongue-and-groove strips, 127triangular, 84, 247two-part runner strips, 126typical, 37unusual, 213for wine bottles, 229for worktables, 129

Drawing-Book (Sheraton)“Corner Basin Stand” design, 105, 189dressing table design, 273influence on Seymours, 36, 78

dressing (or serving) table (ca. 1809, #78), 290, 291dressing box with glass (1798-1805, #58), 54, 64, 92, 92,

128, 250, 250–51dressing chest with mirror (1805-10, #60), 55, 254, 255dressing chest with mirror (1805-10, #61), 110, 110, 256,

257dressing chest with mirror (1805-10, #64), 128, 128, 262,

263dressing chest with mirror (1806-10, #63), 54, 260, 261dressing chest with mirror (1806-12, #66), 61, 114, 266, 267,

269dressing chest with mirror (1808-10, #62), 54, 101, 126, 247,

258, 259, 269dressing chest with mirror (1808-12, #68), 101, 270, 271dressing chest with mirror (1808-15, #65), 264, 265dressing chest with mirror (1809, #67), 59, 107, 247, 268,

269dressing commode with bookcase, 9, 36dressing glass (1810-12, #59), 251, 252–53, 252dressing or serving table (1808-12, #79), 70, 291, 292–93,

292dressing tables

construction methods, 128designs for, 54gilding on, 60small, dates produced, 291

D-shaped formscommode chest (#56), 249evolution of, 45pier table (#75), 285sideboard (#34), 39, 203sideboard (#40), 215

Dunton, David, bow-front dressing table in collection of(n/s), 291

durability. See construction methods, typicaldustboards

as basis for dating, 123full, on English furniture, 10

Duxbury Rural and Historical Society, dressing chest in thecollection of (#68), 271

dyes, for papers, 112

Eeagle iconography, 269easy chair (1785-95, #121), 376, 377ebony inlays and veneers

as backplate, 110, 283as basis for attribution, 415crossbanding, 91diamond-shaped, rarity of, 321gilding with, 60increased use of after 1812, 70for keyholes, 113, 113lunette and lunette-precursor designs, 137pilaster inlays, 157on Regency-style furniture, 359on sofa tables, 64, 321on transitional pieces, 199, 201

economic hardshipsin Boston, following Revolutionary War, 28depressions, 66, 74effects on joinery and construction, 81, 118, 132, 179effects on style and design, 107, 311, 313

Edgar, William, 16Edward, Robert (Lord Petre), 4–5eglomise decoration, 175Einhorn, Joel and Linda, furniture in collection of

card table (#111), 357chest of drawers (#54), 243dressing box with glass (#58), 92, 250

The Elms (Brooks estate), furnishing of, 73, 287, 357embargo (1807-1809), effects of

on construction methods, 229, 271on New England economy, 66, 321, 429on style and design, 70on wood availability, 88

embellishments and decorative details. See also carvings;Classical-style furniture and design; hardware; inlays;neoclassical-style furniture and design; Regency-stylefurniture and design; veneers, veneer work

as basis for dating, 189on beds, 102–3, 439color effects, 112–13, 139, 153, 165, 181, 241crossbanding, 91defining edges using, 90on earliest furniture, 275flat, disappearance of, 84harp, lyre designs, 102integrating structural elements with, 111, 113on interior surfaces, 112–13, 299, 317on knee brackets, 100on legs and feet, 104–9marble tops, 100on neoclassical furniture, 82painting and gilding, 114–15on pier tables, 84–85, 104, 283pilasters, 98–100

Index

11

pyramidal shapes, 99shape-defining, 90star-point designs, 231stringing patterns, 91techniques for creating, 99

Emery family, sideboard descended in (#34), 202emigration to America, 1–2, 10–11Emmons, Thomas, 67Empire style. See Classical (Grecian, Empire)-style furniture

and designenameled hardware

as color source, 153iconography on, 109, 110Seymours’ use of, 43, 82, 161

Englandeconomic conditions following Revolution, 10–11exporting colonial furniture to, 15hardware imported from, 109–12, 323inlays imported from, 98John Seymour’s work in, 9–10migration of artisans from, 29, 30post-war influence in Boston, 28, 29, 66, 99–100secondary woods used in, 9

English, William, 55, 66English construction and design elements

bent lamination, 123curved glue blocks, 123–24dovetails, 119drawer construction, 124in furniture made in Portland, 275grooved letter drawers, 125hinged joints, 119, 343interior surface ornamentation, 112introduction to Boston by Seymours, 371laminated rails, 343laminated veneers, 20modified bridle joint, 405popularity of, in Federal Boston, 48, 283reed terminations, 108reflection of, in high-end furniture, 170–71Seymours’ adherence to, 12, 39–40, 47–48, 85, 118, 132,

159, 203, 283stringing patterns, 95wood preferences, 12, 89

English immigrant artisansattraction to Portland, Maine, 14competition from native-born artisans, 47employment of, by Seymours, 53, 169in Federal Boston, 30–31, 40, 55hardware suppliers, 42–43hostility toward, following War of 1812, 69introduction sales methods by, 48, 64number of, in Federal Boston, 49registration of, under Alien Act of 1812, 69Seymours’ ongoing association with, 38skills brought by, 106

sophistication of, 351English-style furniture (”English Provincial”)

armchair (#120), 336–37armchair (#129), 393basin stand (#26), 187card table (# 101), 337card table (#100), 335chest of drawers (#49), 233demand for, in Federal Boston, 29fancy painted chair (#119), 373pier table with marble top (#70), 275side chair (#122), 379winged armchair (bergère) (#131), 397

Etruscan palette, 373Evans, Nancy, 49, 62exchange, barter, 19exotic woods, dates used, 213experimentation

column embellishments, 99–100with color, 139with construction methods, 126, 183curving glue blocks, 123early examples, 44–46, 157hardware designs, 110introduction of styles and furniture forms, 63–65, 72, 111with legs and feet, 105, 245, 297with neoclassical-style design, 37, 55, 57, 82, 84, 101–2with perspective, 177, 181, 183with Regency-style design, 63–64, 72on secretaries, 157, 181with stringing patterns and veneers, 91, 93–95, 157

export, furniture created for, 15, 431

FFalmouth, Maine. See Portland, MaineFalmouth, Now Portland, in Casco Bay, in North America

(Seymour, Jr.), 16false drawer fronts, 201, 303false tambour doors, 165family-based artisan shops, 28family-descendent furniture, as basis for attribution, 80fancy painted chair (1785-93, #119), 22, 275, 372, 373fauteuil. See bergèrefaux bamboo turnings, 107, 371faux panels, 127feather-pattern inlay, 9, 10feet. See legs and feetFeld, Stuart, 319fern carvings, 289finger “knuckle” joints, 120finger pulls, 111. See also hardwarefinials, 109, 109, 171fir (”deal”), knotty, 9firescreen (1785-1800, #154), 109, 123, 442, 443Fisk, William and Samuel, 31, 60, 75, 76

Index

12

Fisk, William Jr., 76Flagg, Elisha, 36Flagg, Josiah Jr., purchase and sale of Seymour furniture, 36Flanigan, Michael, comments on card table #103, 341flat doors, replacement of tambour doors by, 177flat-fronted furniture, 219, 223Flora (coaster), 12floral painting. See also carvings

by John Penniman, 60, 371on quartetto tables (#118), 371on worktable (#90), 114, 114, 315on worktable (#91), 114, 317, 371

Florentino, Carlo, card table in collection of (#110), 335floret carvings, 104–5, 104fluted legs, 107folding dining tables, construction methods, 331Foord, Joseph, 69Foot, Thomas, 33foot and ankle designs, 105forestry products, access to, from Portland, 14forms introduced by Seymours

breadth of, 80card tables, 72Cumberland dining tables, 64–65, 326–27sofa tables, 63, 321tambour secretaries, 45writing tables, 273

The Forresters (Belknap), 31Foster, Jacob, 31Foster, James, 237Foster, Joseph H., 42, 237Foulkes, Carolyn Ryan, pier table in collection of (#70), 275frame-and-panel construction

for case backs, 225crossbanding as suggestive of, 90in Regency-style furniture, 231

frame-like design elements. See also architectural decorativeelements; moldings

as common decorative feature, 84defining edges using, 90door panels, 223

framesfor clocks, 183for marble tops, 209, 275for mirrors, 54

Franklin Music Warehouse, 61fraternal and charitable organizations, 49freehold leases, 5French style. See also French-foot construction

caché associated with, 383Classical-style furniture and design, 67resistance to, in Boston, 29, 48Seymours’ adaptations of, 29, 54–55

French-foot constructionas basis for attribution, 237, 239, 251, 419, 425bracket feet, 64, 128–29, 129, 185, 427

fretwork, delicacy of, 425friezes, 35, 175, 177Frothingham, Benjamin, 31Frothingham, Richard, 32fruit woods, for veneers and inlays, 87Furniture of the Olden Time (Morse), 251furniture repair, by Seymours in Portland, 19furniture trade after War of 1812, 74

Ggadroon molding, 283Gainsborough, Thomas, 7–8gaming, popularity of, 369gaming table (1798-1805, #116), 58, 94, 94, 107, 366, 367gaming table (1815-20, #117), 73, 368, 369gardevin (wine celleret), 211garland designs, 99–101, 101geometric shapes. See also architectural decorative elements;

frame-like design elementsas ideal during Age of Reason, 40, 90Seymours'’ preference for, 83–84

George IV (prince regent of England), 63Geyer, John Just, 205gilding

on carvings, 101, 257, 259on clocks, 431dates used, 114on mirrors and card tables, 60, 114–15subcontractors for, 59

Gill, Melanie, furniture in collection ofarmchair (#129), 393basin stand (#32), 199side chair (#127), 389sofa (#134), 105, 105, 402

glass drawer pulls, 227glazing work, by Seymours in Portland, 23glue blocks

as basis for attribution, 124on clock case interiors, 131curved, 123–24, 124on drawer bottoms, 124–25on French bracket feet, 129with hinged rails, 120meticulous placement of, 189strips for, 159use of white pine for, 86

Goddard family, furniture descended inbed with cornice (#150), 435lady’s writing table with screen (#69), 273

Goldberg, Jesse, basin stand in the collection of (#26), 187Goodwin family, sideboard descended in (#47), 229Goold, William, 17Gore Place Society (Waltham, Mass.), secretary bookcase in

collection of collection of (#24), 183Gorham, Stephen, 287

Index

13

Gothic-arch motifon beds, as basis for attribution, 103, 439over letter holes, 147on secretary doors, 88–89, 181

gouged-reed terminations, 108Gragg, Samuel and Hugh, 31, 67, 371grain orientation, as design element

diagonal stripe designs, 89, 345reversed graining, 161scorching techniques, 95sketches for working out, 117

Grant, Mary Gore, secretary bookcase originally owned by(#24), 183

Grant, Samuel and Moses, 28grape leaf cluster carving, 101Gray, Eliza, 73Grecian card table (1816, #113), 75, 360, 361Grecian couch (sofa) (1812-17, #141), 416–17, 416Greek design elements. See also Classical-style furniture and

designGreek-key stringing patterns, 84, 95, 96, 181, 283klismos form, 361, 389, 395meander-pattern stringing, 47, 95, 95, 161, 337on neoclassical furniture, 83, 90

Greenough, Davideviction of Thomas Seymour, 67sofa table originally owned by (#24), 322

Greenwood, Isaac, 15Greenwood, John, 15Gregg, Samuel and Hugh, 59Gridley, William, 60grooved channels

for faux panels, 127for moldings, 131–32wells, for joining furniture elements, 127, 128, 128, 183

guilloche-pattern stringing, 427

HHaggett, William, 24Hains, Adam, on Abigail Adams’ furniture purchases, 237Halsey, John, 69Halsted, Isabella, 249Hancock, John, 39handyman work, by Seymours in Portland, 23hardware

as basis for dating, 112, 301brass, 109–11, 199, 323custom-made, 111elaborate, 110enameled, 43, 82, 109, 110, 141, 153, 161experimentation with, 110imported from England, 30, 54, 109–12ivory drawer pulls, 110lion imagery on, 43, 68–69, 72, 84, 305molded-glass, 227

oval forms, 241Seymours’ attention to, 109stamped, 245suppliers of, in Boston, 42–43swan-motif, 287wooden drawer pulls, 110

Hardy, Thomas, 2harp-based furniture. See also lyre (harp) design elements

card table (#112), 359card table (#114), 74, 363card table (#115), 415worktable (#92), 319

Harrison Gray Otis House, 65. See also Society for thePreservation of New England Antiquities, furniture incollection of

Haskins, Ralph, worktable originally owned by (#88), 70,115, 311

Hathorne, Benjamin, worktable owned by (n/s), 319Havana, Cuba, Boston merchant interests in, 431Hayward, Charles, auction fees paid to, 237head posts. See bedsHeath, William, sideboard originally owned by (#34), 202Hepplewhite, George

curvilinear designs, 21influence on Seymours, 34, 96, 169leg and foot designs, 105, 106neoclassical designs, 105square-back chair, 381

Hewitt, Benjamin, 120hidden drawers, 183, 213high-end furniture, showpieces

basin stand (#31), 197bed with painted and gilded cornice (#152), 439card table (#103), 351card table (#114), 74, 74, 363commode chest (#56), 247costs of production, 249design and construction elements, 221dressing chest with mirror (#60), 255dressing chest with mirror (#62), 259inlays on, 96intricacy of design on, 170–71pier table with marble top (#73), 281as proof of wealth and status, 127, 205settee (1805-10, #139), 410side chair (#123), 381side chair (#124), 383sideboard (#43), 221sideboard (#44), 223sideboard (#45), 225sofa (#137), 56tall clock (#145), 425tall clock (#148), 431tambour secretary (#6), 147

hinging techniquesas basis for attribution, 365

Index

14

for chair legs, 343for rails, 120–21, 121steel hinge pins, 120, 367

Hispaniola mahogany, 85Historic Deerfield (Mass.), Todd brothers card table in

collection of, 243History of the Siege of Boston, and of the Battles of

Lexington, Concord and Bunker Hill (Frothingham), 32Hobby, John and William, 24Hodges, Thomas, 19home furnishings

and changing role of women, 54prices paid for, 237warehouses for, 48

Honduras mahogany, 85Hope, Thomas, 353Hopkins, Thomas, 5, 11–14Howard, Thomas, 114Howe, John and Sons, 28, 31, 106Hoy, James, 252–53Hubbard, Ebenezer, 92–93Humphries, Thomas, 67Hurd, Robert, 60

Iiconography

American symbols, 110, 269on bed with painted and gilded cornice (#152), 103bow and arrow, bow and quiver, 84, 85, 102, 283, 435,

441bowknots, 103doves, 103eagles, 269English symbols, 12, 43, 46, 68–69, 72, 84, 221, 283, 305of neoclassical decorative elements, 83, 109, 110urns, 113

Ilsley, Almira, 14Ilsley, Daniel, 14–16, 19immigrant artisans. See English immigrant artisansInce and Mayhew, 82incurvate end rails, 333indentured servants, 6–7indigo dye, 112initialed, signed, inscribed furniture, by Seymours. See also

markings, numbers, doodlesas basis for attribution, 80as basis for dating, 227, 290card table (#100), 116, 335, 445dressing chest with mirror (#62), 259dressing chest with mirror (#63), 261dressing chest with mirror (#68), 271lady’s tambour secretary (#3), 82lady’s tambour secretary (#4), 143marble-topped sideboard (#35), 46, 204pier table (#76), 286

sideboard (#34), 202sideboard (#35), 204–5sideboard (#36), 83, 116sideboard (#46), 64sofa (#137), 409tall clock (#145), 116, 425tall clock (#148), 431tambour secretary (#3), 116tambour secretary (#9), 153tambour secretary (#12), 158tambour secretary with pediment (#7), 149worktable with painted decoration (#90), 315writing desk, portable (#155), 445

initialed, signed, inscribed furniture, by journeymen andsubcontractors, 61, 243

clock dial, by Doull (#144), 423clock dial, by Doull (#146), 427clock dial, by Doull (#147), 429dressing glass, by Hoy (#59), 252–53lady's work box, by Penniman (n/s), 114sofa upholstery, by Lemon (#133), 400–401sofa upholstery, by Neal (#137), 56

inlays. See also stringing patternsaround keyholes, 113as basis for attribution, 97–98, 163, 375, 377, 415brass and ebony, 359capitals, simulated, 99, 207Casuarina, 46, 84, 87–88, 88, 273circles, 22curly-mahogany, 87curly-satinwood, 35–36, 341ebony, 70, 359, 395experimentation with, 157on flat-surfaced legs, 105on high-end neoclassical furniture, 96ivory and bone, 43, 59, 83, 175, 185, 221marble, 100, 369meticulous execution of, 47, 53mock-fluted pilasters, 83, 83, 207morocco leather work, 58, 367oval, 203, 345Regency-style, 413satinwood, 443Seymours’ manufacture of, 94, 317swags, 27, 141on tambour door secretaries, 98, 98on therm (spade) feet, 106three-dimensional effects, 83tools used for, 317tropical woods in, 87on turned legs, 107on turned wood finials, 109two-color, 139typical, 153white wood, 335, 339

interior decoration

Index

15

blue paint and linings, 112–13, 199integration with design, 153morocco leather linings, 299, 317

interrupted reeding, 107Isaac Vose and Son

Thomas Seymour’s work for, 75, 115, 287, 329, 359Wightman’s carvings for, 363

Island mahogany, 85. See also mahogany (-ies)Italy, marble from, 100, 279ivory and bone

in carved rosettes, 113in drawer pulls, 110keyhole inlays, 82, 83, 113, 175, 185letter hole inlays, 113Seymours’ use of, 43–44, 44, 59turned, for buttons (bosses) and feet, 113

JJames, George, 31, 55Jarvis, John, 31, 51, 55Jefferson, Thomas, 66John (trans-Atlantic ship), 12John and Thomas Seymour, Cabinetmakers in Boston

(Stoneman), 79, 239, 245, 381“John Seymour & Son” label

as basis for dating, 337on card table (#101), 147on card table (#102), 338creation of, 38on lady’s tambour secretary (#3), 82, 82, 116on tambour secretary (#5), 115, 116

joineryaesthetic goals, 118for attaching molding, 131as basis for attribution, 118, 405, 409as basis for dating, 120on card tables, 120–21debt to English traditions, 118double tenons, 325, 337double-bridle joints, 331, 401, 407double-tenoned medial rails, 183dovetail joints, 118–20, 120, 122, 124, 124by John Seymour, in Axminster, 6modified double-bridle joint, 399, 401, 403, 409mortise-and-tenon joints, 118–19on Pembroke tables, 333in Portland, 23precision workmanship, 118, 301, 337screws and screw pockets, 283on side chairs, 389on sideboards, 132versus cabinetmaking, 118

Jones, William, dressing chest originally owned by (#64),263

journeymen

examples of work by, 175, 179, 241, 243Hoy, James, 252–53mobility of, 62, 67Piquot, William, 61, 116, 333quality of work, 80, 118, 132, 291, 311, 347, 355Ruggles, Levi, 60, 61, 67Seymours’ employment of, 47, 49, 60, 261Todd, John, 243wages, 19work on middle-market pieces, 239

KKahn, Benjamin Franklin, tambour secretary in collection of

(#6), 89, 147Kane, Patricia E., 120Karolik, Martha Codman, 38, 39Karolik Collection of Eighteenth-Century American Arts.

See Museum of Fine Arts, BostonKatahira, Bruce, side chair in collection of (#122), 379Kaufman, Mrs. George M., furniture in collection of

card table (#103), 341card table (#109), 353gaming table (#116), 94, 367quartetto tables (#118), 371side chair (#126), 387square-backed chair, 104tambour secretary with pediment (#8), 96, 109, 117, 151worktable (#81), 130, 297

Keily, Mark and Sandra, furniture in collection ofsideboard (#34), 222sideboard (#44), 222

Kellogg, Elijah, 25Kellogg, Eunice McLellan, 25Kenney, Richard, dining table in collection of (#99), 332keyholes, 113, 113Kimball, John, 27kin-based businesses, 49, 52kingwood veneers and inlays, 87Kirk, John, 92Kitwhistle (Beaminster). See Travellers Rest (Seymour farm,

Beaminster)klismos form, 361, 389, 395knee brackets

bookmatched veneers on, 90on commode chests, 84ebony-inlay on, 199as embellishment, 82on flat-fronted furniture, 219gouged-reed terminations on, 108pierced and carved, 90, 100on secretaries, 90, 177

kneehole, arched, 37knotty fir and spruce, 9knuckle joints, 337

Index

16

Llabeled furniture

as basis for attribution, 80as basis for dating, 337from Boston Furniture Warehouse, 115card table (#101), 35, 47, 116, 147, 336–37card table (#102), 35, 338–39card table (#103), 35–36, 341lady’s tambour secretary (#3), 116, 141, 145shelf clock dial (#143), 421tambour secretary (#3), 82, 82tambour secretary (#5), 111, 116, 145tambour secretary (#6), 145

labor-intensive construction techniques. See constructionmethods, typical

ladies secretary, in England, attribution to John Seymour, 10lady’s secretary with blind doors (1784-1793, #0), 20, 85,

118, 124, 134, 134–35lady’s tambour secretary (1790-96, #2), 20, 97, 138, 139lady’s tambour secretary (1793-96, #3), 27, 34, 43, 79, 82,

82–83, 83, 90, 100, 103, 109, 110, 116, 140, 141, 143, 149,151, 153, 155, 159, 161, 365

lady’s tambour secretary (1793-96, #4), 142, 143, 151, 159lady’s writing table with screen (”screen table”) (1798-1808,

#69), 272, 273lamb’s-tongue carvings, 74, 363laminated-veneer construction

as basis for attribution, 20, 283as basis for dating, 123bent rails, 121, 121, 123, 193use for top boards, 283

lap desks, 445leaf and flower carvings. See also acanthus-leaf carvings

on bed with painted and gilded cornice (#152), 103, 439on commode chest (#56), 103faux, using gilding, 114grape leaf clusters, 101on pier table (#74), 283on sideboard (#43), 221winterleaf designs, 285

leather (morocco) workcosts of furniture using, 391subcontractors for, 58on worktables, 299, 317

leaved tables, 21, 327Lee, Robert E. Lee, Estate of (Stratford Hall, Va.), pier table

in collection of, 91, 275Legg, Michael

inlaid box in collection of (n/s), 93report on restoration of Seymour secretary, 10

Leghorn “Scagliola table," 100legs and feet

angling of, 429ball-type feet, 267, 289as basis for attribution, 357

as basis for dating, 161, 181, 289, 401bellflower inlays on, 96brass paw feet, 63, 72, 229brass-paw feet, 111on card tables, 337carved, 343, 417on clocks, integration with lower apron, 423crooked legs, 108, 401on Cumberland-form tables, 327curved leg designs, 105, 189double-tapered legs, 20, 139, 337, 339embellishments, inlays on, 105, 108, 141, 167faux bamboo turnings, 65, 107fluting on, 107foot and ankle design variations, 105French bracket feet, 64, 128–29, 129, 185, 237, 239, 243,

251, 433hinged legs, 343incised numbers on underside of, 116–17inlaid cove niches, 96innovative treatments of, 45, 215ivory, 113leg-rail joints, 337lion engravings, 323mahoganies used for, 86Marlboro-style, 377neoclassical style, 231outsized, 185pear-shaped feet, 311plain-turned, inlays in, 107rectangular leg block, with curved upper edge, 103Regency-style, 108saber legs, 74, 108, 321, 325, 327, 369satinwood inlays, 22scrolled, 361on secretaries, 139straight bracket, 20swing legs, on folding tables, 331tapered, 84, 105, 177, 335therm (spade) feet, 39, 40, 105–6, 175turned, 20, 21, 183, 349, 257, 221turned and bulbed, 181, 269turned and reeded, 55, 106–7, 209, 271, 275, 287, 299,

323, 329, 345, 355turned, without reeding, 107turned-foot designs, 187unembellished, from Casuarina , 213unusual designs for, 70, 215

Lemon, Charles and John, 31, 86, 171Lemon, William

advertisement for, 383career, 41–42, 66, 401furnishings warehouse, 53immigration to Boston, 41subcontract work for Seymours, 53, 55work signed by, 399, 400–401

Index

17

work subcontracted by, 102Lerman, Frances, basin stand in collection of (#27), 189letter drawers, 125, 183letter holes, 113, 157, 175Leverett, William, 48, 66, 69library bookcase (1794-1800, #18), 91, 109, 109, 122, 170,

170–71lifting device, innovative, 181light wood, defined, 133Lignum vitae veneers and inlays, 87, 413line stringing, 64, 95, 185linings, for drawers, 86, 112–13, 112lion iconography, 68–69, 84, 110, 323, 353lion-mask and ring hardware, 72, 110, 199Little, Isaac, 23Liverman, E.S., 72locking mechanisms

custom-made, as basis for attribution, 111dovetail joints, 127, 128use of steel rods in, 163

London Chair-Makers’ and Carvers’ Book of Prices forWorkmanship, 57, 383

Long, Stephen, 77looking glass, gilded, from Boston Furniture Warehouse

(n/s), 115Los Angeles County Museum of Art, tambour secretary in

collection of (n/s), 149Lothrop, Edward and Stillman, 251Loud, Solomon, 87Loyalists, during Revolutionary War, 15lozenge and dot stringing pattern, 95, 96lumber trade, 16Lunenburg, Massachusetts, 77–78lunette-pattern stringing

as basis for attribution, 92–93, 209as basis for dating, 263on card tables, 21on clock cases, 131double lunettes, 315elaborate example of, 425on English furniture, 92as neoclassical design element, 227Seymours’ skill with, 92, 317techniques for creating, 94variations on, 93–95on worktables, 111

lunette-precursor stringingas basis for attribution, 205example of, on box, 93features and use of, 93–94John Seymours’ preference for, 243variations on, 95

luxury items, demand for, 6, 29, 54, 64–65, 251Lyman, Arthur T., sideboard owned by (n/s), 231lyre (harp) design elements

on card tables, 60, 74, 359, 363, 415

carved, on beds, 102, 102, 441gilded decoration on, 114Thomas Seymour’s adaptations of, 57, 359on worktables, 319

MM. and M. Karolik Collection of Eighteenth-Century

American Arts. See Museum of Fine Arts, Boston,furniture in collection of

mahogany (-ies)availability of, in Boston, 85availability of, in Portland, 21for bag slide frames, 130flitches of, on multiple pieces, 179as Seymours’ primary wood, 85–86use of, in drawer construction, 126for veneers, 20, 87

Maine Historical Society, invoices and account books, 13the Mall, Boston, MA, 52, 53Mannion, Michelle, lady’s secretary in collection of (#0), 20,

134–35manorial property system, 4–5maple. See also bird's-eye-maple veneers

as primary wood, 21, 85, 327as secondary wood, 86substitution for satinwood, 87for veneers and inlays, 191

marbleantico roso inlays, 369availability of, in Boston, 29–30availability of, in Portland, 21as basis for attribution, 46, 100prices for, 116sources for, 100, 205, 209, 279table tops, wood frames for, 83, 209use of, as signature feature, 133, 275

marble-topped furniture. See basin stands, night cabinets;pier tables; sideboards

markings, numbers, doodlesas basis for attribution, 331numbers, 117, 295, 313, 337purpose of, 116–17

Marlboro-style legs and feet, 377Massachusetts Charitable Mechanic Association, 66McLellan, Arthur, 16McLellan, Hugh, 25McNabb, Gordon and Elizabeth, card table in collection of

(#106), 347meander-pattern stringing, 47, 95, 95, 161, 337Merrill, Almira Deering, 27Merrill, Henry, 27Merrimack Manufacturing Company (Lowell, Mass.), 235Metropolitan Museum of Art (New York, N.Y.), furniture in

collection ofbed with painted and gilded cornice (#152), 439

Index

18

sideboard (#43), 220tall clock (#147), 429

Metropolitan Museum of Art (New York, N.Y.), furniture onloan to

card table (#101), 147, 336–37tambour secretary (#12), 159

middle-market furniturecard table (#102), 339chest of drawers (#52), 239chest of drawers (#53), 241cost-cutting techniques, 271, 311dining table (#99), 333dressing chest with mirror (#65), 265dressing or serving table (#79), 70increased production of after 1812, 70–71quality of work on, 48, 81secretary bookcase (#24), 183secretary with blind drawers (#15), 165sideboard (#35), 205tambour secretary (#1), 137tambour secretary (#2), 139woods used, 85worktable (#88), 70

Mill Pond (Boston), 29, 32Miller, Christian, 76Mills, Mary, 2Milton, Massachusetts, 73Minerva (merchant ship), 16mirrored forms, frames

construction methods, 128, 128dressing chests, 133, 257gilding on, 114–15popularity of, in Federal Boston, 54, 251scrolled support brackets for, 54stringing patterns, 263turned ivory buttons (bosses) on, 113

Mitchell, Thomas, 6moldings

adjacent to beveled edges, 90attachment methods, 131–32as basis for attribution, 127as basis for dating, 195, 289beaded, 213, 331brass, 112, 323carved, replacement of inlays by, 177, 181as covers for backer strips, 126cuff, 307gadroon, 283pegged, 275reeded, 82, 223Regency-style, 355

Montgomery, Charlescomments on night stand #30, 195comments on pier table #73, 281comments on settee #138, 57, 410comments on worktable #86, 307

comments on worktable #87, 309morocco leather work

costs of furniture using, 391popularity of, in Boston, 58on worktables, 299, 317

Morse, Francis Clary, 251Morse, Joseph N., 60Morse-Libby (Victoria) Mansion (Portland), 18mortises and tenons, 118–19, 119Morton, Perez, 29Morton, Susan Wentworth Apthorp, 29multicolor stringing and banding, 64, 321, 43Munroe, Nathan W.

decorative painting by, 59gilding by, 60, 115move to Marlboro Street, 67subcontract work for Seymours, 175

Museum of Art, Rhode Island School of Design, carvedbedstead in collection of (n/s), 113–14

Museum of Fine Arts, Boston, furniture in collection ofarmchair (#130), 395basin stand (#31), 197bed with painted and gilded cornice (#153), 441card table with harp-base (#112), 359commode chest (#56), 123, 247dressing chest with mirror (#67), 269examples from “School of Seymour” (n/s), 61, 98lady’s writing table from England (n/s), 359late Federal sideboard (n/s), 211pier table (#74), 282–83satinwood table from England, 273secretary bookcase (#19), 173secretary bookcase (#22), 179sideboard (#38), 210–11sideboard (#45), 102, 224tambour secretary (#16), 89, 167, 183tambour secretary (#5), 145tip-top candlestand (n/s), 443winged armchair (bergère) (#131), 397

Museum of Fine Arts, Boston, Seymour-owned books incollection of, 34

Museum of Fine Arts, Houston, tambour secretary in thecollection of (#4), 143

Mussey, Robert, approach to attribution, research methods,80–81

Mussey, Robert, furniture in the collection ofchest of drawers (#53), 241corner basin stand (n/s), 189dressing glass (n/s), 253sideboard (#47), 122, 228

Nnails

forged, rose-headed, 124, 341for joining rails, 120, 337, 355, 359

Index

19

National Insurance Company, 77Neal, John, 19Neal, William

inscribed sofa (#137), 409side chair (#128), 58subcontract work for Thomas Seymour, 56, 57under-upholstery, 56workmanship, 56, 57, 383

neoclassical-style furniture and designaesthetic goals, design principles, 82, 90, 118Americanized, evolution of, 45–47Americanized, simplicity and elegance of, 55, 57, 83–84,

255appearance of, in Boston, 31architectural decorative elements, 82–83, 99beds, 435carved designs, 59, 101, 104, 283, 343dining tables, 327interior surface ornamentation, 112John Seymour’s exposure to in England, 8, 10keyhole inlays, 113lady’s dressing glasses, 54during later Federal period, 211leg and foot designs, 104–5, 106ongoing production of, 291outline framing, 261pale blue interior decorations, 112pier table, 281planar nature, 82–83popularity of, in England, 10proportion among architectural elements, 84semi-elliptical skirts, 235Seymours’ interpretations of, 37, 55, 57, 82, 84, 101–2,

225, 255, 359Sheraton’s role in development of, 34side chairs, 410sideboards, 225stringing patterns, 97, 227three-dimensional effects on planar surfaces, 83, 98–99,

114, 167, 207transition to Regency style from, 64, 267, 353veneer embellishments, 82–83, 99, 145, 167worktables, 295

New Brunswick, Canada, 33New Scotland (Robison’s house), 17, 22, 23“New Town” (Portland, Maine), 16Newark Museum of Art, dressing table in collection of, 115Nichols House Museum (Boston, Mass.), furniture in

collection ofcard table (n/s), 357dressing table with mirror (n/s), 357

night cabinet (1797-1804, #28), 29, 38, 100–101, 179, 190,191, 195

night cabinet or “pot cupboard” (1804-12, #33), 110, 200,201

night stand or night cabinet (1798-1807, #30), 194, 195

Noah, Eric, worktable in collection of (#83), 301North Burying Ground (Copps Hill), 77North Cemetery (Lunenberg), 77North End (Boston), 32numbers, incised, 116–17, 117, 295, 313, 337

Ooak

access to, from Portland, 14as secondary wood, 86use of in England, 337

Oak Hill (Danvers, Mass.), furnishings for, 371, 441Oakley House (Watertown, Mass.), furnishings for, 38, 74,

230–31Orange Street, Boston, 67, 74ornamentation. See embellishments and decorative detailsOtis, Harrison Gray, 74, 230Outwin, Charles P.M., 15oval forms

as basis for dating, 203on finger pulls, 111inlays, 46, 88, 203, 205rarity of, 110, 241

oval-backed armchair (1784-93, #120), 22, 335, 374, 375overseers of the poor (Axminster), 6ovolo forms, 89, 337, 343Oxnard, Edward and Thomas, 14, 15

PPaine, Robert Treat, 74, 230painted furniture. See also Penniman, John Ritto

artisans producing, 58as basis for dating, 114bed cornices (#150), 435commode chest (#56), 114, 247, 371commode chest (#57), 371portable writing desk (#155), 445production of, in Portland, 22quartetto tables (#118), 107, 114, 371worktable (#90), 114, 315worktable (#91), 114

Palmer, Joseph, 205paneled construction, as hallmark of English furniture, 10paneled feet, 106, 173, 335paper drawer linings, 86, 112–13Parker, John, 76Parker family, furniture descended in

card table (#104), 343tambour secretary (#1), 137

Parris, Alexander, 14, 21, 27Parsons, Ebenezer, 163Parsons, Gorham, furniture descended in family of

pier table with marble top (#73), 281tambour secretary (#14), 281tambour secretary (n/s), 281

Index

20

partnerships, among artisansand attribution challenges, 72, 80as tool for raising capital, 49

pass-throughs, on sofas, 401“Patent Screw Augurs," 349patronage

dependence of Seymours on, 36in England, 7–8importance of, 13by wealthy Boston families, 39, 84, 283

paw-foot mounts, cast-brass, 111Payson, Samuel, 60Peabody Essex Museum (Salem, Mass.), furniture in

collection ofcard table (#114), 74, 363dressing chest (#62), 54dressing chest with mirror (#67), 269painted chair (#119), 373portable writing desk (#155), 445sideboard (#41), 216tambour secretary (#10), 155

Peabody family, marble-topped sideboard in collection of(#36), 207

Peale, Raphael, 77Pearce, Clark, cabriole sofa in collection of (#136), 406pediments

curving, 37, 45flat, from veneers, 99neoclassical treatments, 83–84as option, on secretaries, 163on tambour secretaries, 36–37, 45, 149walnut inlays, 86

pegged moldings, 275Pembroke table (1785-93, #115), 21, 21, 363, 364, 365Pembroke tables, 61, 333pencil sketches, 235Penniman, Elisha and William, 69Penniman, John Ritto

clock dial (#147), 429commode chest (#56), 59, 114, 114, 247gilding by, 60quartetto tables (#118), 371studio at Boston Furniture Warehouse, 315subcontract work with Seymours, 175worktable (#90), 371worktable (#91), 114, 247, 317, 371worktable with painted decoration (#90), 59–60, 315

Pennsylvania, marble from, 100Perkins, Thomas Handasyd

Isaac Vose & Sons, purchases from, 62, 98pine wardrobe (n/s), 85prices paid for furniture, 133original owner of morocco upholstered chairs, 391original owner of Vermont marble quarry, 29–30, 279

perspectiveexperimentation with, 177, 181

Sheraton’s command of, 34, 82perspective, Seymours’ experimentation with, 177, 181, 183petal-pattern drawer pulls, 110, 110, 257Petre Manor, 4–5Phene, Nicholas, 20Philadelphia, furniture made in

popularity of, in Boston, 48–49Regency-style furniture, 393

Phyfe, Duncaninterpretation of Regency style, 63use of paw feet, 72, 229

pier or side table (1806-12, #77), 267, 288, 289, 293pier table (1803-10, #75), 284–85, 284pier table (1804-9, #74), 84–85, 85, 95, 96, 104, 282–83,

282pier table, marble topped (1784-93, #70), 20, 21, 91, 118,

131, 274, 275, 279pier table, marble topped (1800-1807, #72), 278–79, 278pier table, marble topped (1800-1807, #73), 42, 72, 280–81,

280pier table, marble-topped (1816, #76), 72–73, 73, 108, 108,

110, 286–87, 286, 361pier table with marble top (1798-1805, #71), 276, 277, 279pier tables

function of, 84, 275laminated top boards, 126length of, 289

Pierce, Rufus, 253pilasters, planar inlaid

as basis for attribution, 209“beehive terminals," 99function of, 98mock fluting, 83, 207as neoclassical design element, 82–84replacement of with carved molding, 181techniques for creating, 98–99, 98variations on, 99workmanship on, 207

pillar frame mirror, with Boston Furniture Warehouse label(n/s), 115

pillar legstapered, on secretary bookcase (#21), 177turned, as basis for attribution, 357

Pillsbury, M. (Moses?), furniture inscribed with name of, 46,205

“pinch dogs," 345pine, Eastern white (Pinus strobus)

access to, from Portland, 14as primary wood, 85, 231

pine, red, John Seymour’s preference for, 9pine furniture, Seymours’ production of, 133Piquot, William (journeyman), signed dining table (#99), 61,

116, 333A Plan for the Town of Boston (map), 32Plan of Ann Street (Robison), 17, 18planar surfaces, three-dimensional effects, 83, 90, 98–99, 99,

Index

21

207, 219plaque veneers, 105plinths, 167, 427”plum pudding” mahogany

dimensional instability, 85–86on dressing glass box, 253on sideboard top, 211on table tops, 307, 327

Plymouth, Devonshire, 1Poignand, David, 30, 55

immigration and career, 42–43Seymours’ purchases from, 109use of toothed stringing pattern, 94

Pollock, Allan, 29polls, taxable, 33, 58, 74–75Polly (brig), Seymour table on, 20poplar, use as secondary wood, 283portable writing desk (1810-14, #155), 444, 445Portland, Maine

attraction of entrepreneurs and artisans to, 14–15burning of, by British, 13economic conditions, 26–27“New Town” development, 16–17ties to, in Devon, 11–12use of forged rose-headed nails, 124use of tenon pins, 118wages, 19wood choices in, 335

Portland, Maine, furniture produced inattribution challenges, 81, 91basin stand, night cabinet (#26), 20, 187lady’s secretary with blind doors (#0), 135lady’s tambour secretary (#2), 20, 139pier table with marble top (#70), 275side chair (#122), 379summary of, 19, 21–23

Portsmouth, New Hampshire, 211poverty

of John Seymour, at time of death, 69of Seymours, during first decade in Boston, 47, 51

Pratt, William H.barter with Seymours, 24emigration to America, 1, 11–12, 30partnership with Kirk Boott, 38, 235sideboard originally owned by (#48), 38, 74, 230–31

Preble, Edward, 14Preble, Jedediah, 15Preble, Mary Deering, 14, 21precision and quality of workmanship. See also construction

methods, typicalin bag slide construction, 301as basis for attribution, 115, 118, 171, 183, 203, 283, 291construction techniques, 47, 221, 229joinery techniques, 118, 301, 323, 337lack of, in John Seymour, Jr.’s work, 373screw placements, 351

as Seymour hallmark, 108, 118, 179, 201, 229table examples, 337, 343, 369

prices. See also receipts and recordsfor bird's-eye-maple chairs, 381for Boston Cabinet Manufactory tables, 115for card table (#114), 363for chest of drawers (#51), 237for Doggett’s cornices, 437for dressing chest with mirror (#67), 269for gilding work, 441for Grecian card table (#113), 361for leather-covered dining chairs, 391for mahoganies, in Boston, 85for marble slabs, 46for night cabinet (#28), 191paid by Greenough, 67paid by Adams, 237paid by Crowninshield, 363paid by Perkins, 133paid to Tuttle and Thomas, 237paid to Vose, 98for pine wardrobe (1806), 85in Portland, 19–20, 22–23, 26ranges for, 45for secretary #15, 165for upholsterer’s “striped hair bottoms," 403

Priest, Nancy W., gaming table in collection of (#117), 369primary woods

as basis for dating, 126, 335privateers, 11“probable” attribution, basis for, 80Proctor, Benjamin

original owner of tambour secretary with pediment (#8),37, 109, 151

Thomas Seymour’s partnership with, 51proportion

of architectural elements, on neoclassical furniture, 84in dressing chest (#60), 255as hallmark of Seymours’ style, 82, 83, 185in pier table (#73), 281in tambour secretary (#116), 39, 167

Providence, Rhode Island, School of Seymour furniture in,114, 263

pulls, drawer. See hardwarePulman, George R. (The Book of the Axe), 3Puritan tradition, movement away from, 6purpleheart wood veneers, 89Purzebrook (Axminister), 7Putnam family, sideboard descended in (#36), 83pyramidal shapes, on neoclassical furniture, 99

Qquarter-circle stringing, 171quartetto tables (1804-10, #118), 107, 114, 370, 371

Index

22

Rradiating-veneer design, as basis for attribution, 443rails

combining foot brackets with, 427curly-mahogany inlays, 87for drawers, 119incurvate, 333laminated, 121, 123–27, 189, 193, 343woods used for, 86

Rainey, Michael, card table in collection of (#102), 338–39Rainville, Daniel, lady’s secretary in collection of (#0), 20,

134–35, 135Rand, John, 31Randall, Richard

attribution of “snap-table” candlestand, 433critique of Stoneman’s attribution methods, 79

Ranger (brig), 23–24Rawson, Joseph, furniture attributed to, 263receipts and records. See also prices

account books, 19, 24, 62, 67as basis for attribution, 19, 247, 275, 441as basis for dating, 34, 114, 275, 311, 361from Boston Cabinet Manufactory, 115for commode chest (#56), 103for Grecian card table (#113), 361information about collaborations from, 371from Maine Historical Society, 13for Penniman’s work, 114for pier table (#76), 72Robison’s, 19for Seymour furniture, 1793-1804, 34signed by Thomas Seymour, 70, 311

rectangular forms, 82–83. See also architectural designelements

red pine, 9, 10Reed, Hannah, 23Reed, Thomas

partnership with Robison, 16Seymours’ work for, 19, 21, 23

reeded decoration, reedingappearance of, on Seymours’ furniture, 169on armchair #129, 393as basis for attribution, 435discontinuous, 107, 345fancy terminations for, 108flush, 99mock pilasters, 221on Regency-style furniture, 108, 409as Seymour hallmark, 379on turned legs, 106–7, 107, 353

Regency-style furniture and designanimal-paw foot mounts, 301basin stand (#31), 197beds, 439, 441card tables, 353

complex moldings, 309Cumberland tables, 65curved legs, 189diminished reeding on, 107dining tables, 331dressing chests, 257, 267, 271early examples, 63, 169, 199, 257, 261, 263, 293elaborate showpieces, 73, 74embellishments and decorative details, 263faux-bamboo effects, 327faux-paneled effects, 131full dust boards, 123gaming tables, 369interpretations of, 63–64, 72, 199, 223, 227, 319, 324,

357night cabinets, 201pier tables, 287red morocco leather on, 391saber legs, 108secretaries, 183settees and sofas, 41, 56, 57, 58, 409, 413, 415Seymours' introduction of, to Boston, 199, 217side chairs, 58, 383, 387sideboards, 228, 231sofa tables, 63, 64, 322, 323, 324transition from neoclassical style, 64, 311, 355turned-wood bosses, 319veneers, 91, 273writing desks, 445

religious dissenters, 6reverse grain veneers, 88reverse-glass painting, 59Rhode Island School of Design Museum of Art (Providence,

R.I.), tambour secretary in collection of (#113), 161Richardson, Henry H., 74Ring, Diana, 18ring pulls, 110Robert Treat Paine Estate, sideboard in collection of (#48),

74, 230Robison, Ann Ellis, Seymour chairs for, 22Robison, Edgar and McLellan, 19Robison, Edgar, and Reed, 23, 24Robison, Elizabeth, 23Robison, Hannah, 14Robison, Hannah Cartwright, 17Robison, Jane, 16Robison, Thomas

business records, 19history, in Portland, 14, 16, 26John Seymour’s work for, 16, 19, 21–23New Scotland, 17partnership with Edgar and Reed, 16patronage of Seymours, 13, 19Plan of Ann Street , 17, 18Scottish heritage, 16

Roman numerals, incised, as construction aid, 116–17

Index

23

Roman-style embellishments, 83rope stringing, 92, 94, 94Roque, Oswaldo Rodriguez, 191rosette carvings, forms

cast from composition, 253on Classical-style furniture, 219gilded, 114inlays in, 113on pier tables, 283on Regency-style furniture, 217on side chairs, 104Wightman’s skill at, 283

rosewood (”Braziletto” wood) veneers, 87, 167rotating cutting bit, 94Rowlandson, Thomas, 3Roxbury-style clock cases, 131, 423, 431Ruggles, Levi, 60, 61, 67rum, use of, in barter economy, 24runner strips

grooved, notched joints, 126, 130, 147, 259pine, nailed, 311tenoned joints, 267

Ssaber legs

on card table, 74on Cumberland tables, 327on gaming tables, 369reeded, 325as Regency-style form, 108on sofa tables, 321

Sabicu wood (horseflesh), as substitute for mahogany, 85Saco Museum (Maine), furniture in collection of

marble-topped pier table (#72), 278Pembroke table (#115), 365

Sadborow House (Thorncombe), 7–8, 8, 10Saint Louis Art Museum, Grecian-style card table from Vose

shop (n/s), 75Saktran House (Plymouth, Devon), 10sand-shading technique. See also scorched elaboration

on architectural garlands, 99on clock cases, 131on faux-fluted columns, 207with lunette-pattern stringing, 92, 95, 95with lunette-precursor stringing, 93on pilasters, 98three-dimensional effects, 98, 207

Sans Souci Club (Boston), 29Santo Domingo mahogany, 85“Sappan wood” (Brazil wood) veneers and inlays, 87Sargent, Daniel III, and Mary Turner Sargent, worktable

originally owned by (#80), 295satinwood veneers and inlays

on basin stand (#32), 199as basis for attribution, 435

as basis for dating, 87, 347crotch-, 21, 275, 343, 355curly-, 35–36, 89, 145, 181, 341diagonal stripe designs, 89, 345on feet and legs, 22on firescreen, 443for keyholes, 113oval, 345on tambour doors, 84, 167on worktables, 301

sawmills, steam-powered, 29Scagliola table, 100scholarship about Seymours, 79–81“School of Seymour” furniture

and attribution challenges, 132examples of, 98in Providence. R.I., 61–62

Schuyler Mansion (Albany, NY), sideboard in collection of(n/s), 207

scorched elaboration. See also sand-shading techniqueas basis for attribution, 95, 421, 425on card tables, 363, 369on clocks, 95, 429on drawer fronts, 167on gaming tables, 74on secretaries, 89, 95, 177on sideboards, 83

Scott, Dorothy (Quincy) Hancock, side chair originallyowned by (#123), 381

Scottish design forms, adaptations of, 39, 211, 219scratch beads, 157screen, fire (1785-1800, #154), 109, 123, 442, 443screen tables, 273screws and screw pockets (gains)

example of, 121precision and neatness, 203, 283prices charged for, 21in Seymour inventory, 24as strengthening device, 343, 346uses for, 121–22

scribe lines, 118, 121scroll carvings, 101S-curves, 99Seamore, John (Thatcher), 2season iconography, on enameled hardware, 109, 110Second Parish Church (Portland, Maine), 24–25, 25secondary woods

as basis for attribution, 319as basis for dating, 335English, 10, 22, 86from New England, 22Seymours’ preferences in, 179, 283, 323, 357

secretariesattribution challenges, 10cylinder secretary (1798-1808, #17), 168, 169cylinder secretary bookcase (1806-12, #25), 64, 128, 184,

Index

24

185lady’s secretary with blind doors (1784-1793, #0), 20,

118, 124, 134, 135, 157lady’s tambour secretary (1790-96, #2), 20, 97, 97, 138,

139lady’s tambour secretary (1793-96, #3), 27, 45, 79,

82–83, 82, 83, 90, 100, 103, 109, 110, 116, 140, 141,143, 149, 151, 153, 155, 159, 161, 365

lady’s tambour secretary (1793-96, #4), 142, 143, 151,159

secretary bookcase (1798-1805, #19), 172, 173secretary bookcase (1798-1808, #20), 59, 112, 113, 174,

175secretary bookcase (1805-9, #23), 89, 173, 180, 181secretary bookcase (1806-10, #21), 165, 176, 177secretary bookcase (1806-10, #22), 38, 39, 127, 173, 178,

179, 181secretary bookcase with pediment clock (1808-12, #24),

88–89, 126, 126, 173, 182, 183secretary with blind doors (1797-1804, #15), 164, 165as signature form, 45, 133tambour secretary (1790-96, #1), 20, 89, 135, 136, 137,

139tambour secretary (1793-96, #5), 35, 79, 90, 100, 111,

115, 116, 125–26, 127, 144, 145, 147tambour secretary (1793-96, #6), 89, 89, 95, 106, 111,

111, 145, 146, 147tambour secretary (1793-98, #13), 43, 47, 88, 95, 160,

161, 337tambour secretary (1794-1800, #11), 96, 120, 156, 157tambour secretary (1797-1804, #14), 37, 90, 90, 125, 125,

125–26, 162, 163tambour secretary (1798-1805, #10), 43, 90, 153, 154,

155tambour secretary (1798-1806, #12), 45, 110, 158, 159,

163tambour secretary (1804-10, #16), 38, 39, 88–89, 89, 166,

167, 179tambour secretary with pediment (1793-98, #7), 36, 45,

88, 117, 148, 149, 151, 153, 399tambour secretary with pediment (1793-98, #8), 37, 95,

96, 98, 109, 109, 112, 112, 116, 117, 117, 127, 150, 151,153

tambour secretary with pediment (1793-98, #9), 37, 45,98, 98, 109, 113, 149, 151, 152, 153

unique construction features, 127See the Fata Quitclaim Signing (Jos. Seymour), 31semiovolo forms

for card tables, 120–21combined with serpentine forms, 289, 343notched joints, 121for worktables, 309

serpentine formson card tables, 120–21, 347combined with semiovolo fronts, 343for knee brackets, 90

in neoclassical furniture, 353notched joints, 121popularity of, in Federal Boston, 29on secretaries, 139on sideboards, 53, 211, 217on sofas and settees, 417variations on, 89, 355

settee (1805-10, #139), 57–58, 179, 359, 385, 410, 412,412–13

settee or sofa (1805-10, #138), 57, 179, 385, 410–11, 410,413

settees. See also sofas“Seymore’s Bottoms” (Beaminster), 2Seymour, Benjamin, 2Seymour, Edward A., 70, 77, 78Seymour, Eliza B., 51, 70Seymour, Elizabeth. See Washburn, Elizabeth Seymour

(Betsy)Seymour, Frances Amelia, 70Seymour, Grace Lumbard, 5–6Seymour, Henry, 2, 70, 73, 75Seymour, Jane, 5–6, 13, 68Seymour, John

aesthetic preferences, 82, 169ambitions, 26, 27apprentices trained by, 6attribution challenges, 81auctions of furniture, 33–34, 36breadth and sophistication of designs, 9–10, 9, 36–37,

44–46, 80–81, 85, 93carving abilities, limited, 379children, 5coffins and funerary pieces, 23color sense, 112construction methods, typical, 37, 115, 351death and burial, 68dispersion of designs throughout New England, 61–62,

263distinctive construction and design features (master

template), 80double-tapered legs, 139earliest known work, 91embellishments, typical, 95, 118emigration to Portland, Maine, 1, 10–11, 13English construction and design, adherence to, 12, 68–69,

86exotic woods, use of, 46familiarity with neoclassical style, 8family and family background, 2, 4–5, 11final works by, 201, 271fundamentalist views, 6handwriting, 117household as of 1790 census, 18imports from England, 43influences, 10initialed, inscribed furniture, 9, 44, 55, 56, 82–83, 116,

Index

25

141, 207, 335, 445introduction of new forms by, 63labeled furniture, 34marketing problems, competition, 48move to Boston, 26, 47, 52prices, 19, 26retirement, 38, 60, 65, 243solitary nature, 49–50technique, comparisons with Thomas, 115training, 2, 118use of burlwoods, 88veneering skill, 84, 87wives, 5–6work in England, 6–10, 335work in Portland, 8–19, 23–24, 203work with subcontractors, 41–42, 80

Seymour, John Jr.birth, 5, 13death, 26, 373Falmouth, Now Portland, in Casco Bay, in North

America, 16, 17fancy painted chair (#119), 22finishing and painting work, 23marriages, 18settlement of estate of, 33work in Portland, 17–19

Seymour, Joseph Henleybirth, 5, 13career in Philadelphia, 33, 77Creek Square residence, 31daily wages, in Portland, 19, 24debt to John Amory, 38–39marriage, 18work in Boston, 26, 31

Seymour, Maria, 70Seymour, Martha, 5, 13, 18, 21Seymour, Mary Baldwin

children, 70death in Lunenburg, Massachusetts, 77marriage to Thomas Seymour, 51parents, 52possible move to Milton, 75residence in property owned by Thomas Hugh, 76

Seymour, Mary Caroline, 70, 75Seymour, Robert, 18Seymour, Samuel, 5, 13, 18, 77Seymour, Sarah Rand, 31Seymour, Thomas. See also construction methods, typical;

experimentation; precision and quality of workmanshipadaptation of Regency designs, 57–58aesthetic and design principles, 39, 82, 159, 173ambitions, 27, 52American citizenship, 12, 69Americanized style, features of, 52, 55, 167, 179, 225,

255, 257, 277association with Vose, 76

birth, 5, 13Boston Furniture Manufactory, 72Boston Furniture Warehouse, 52, 55, 60–67, 71, 84,

106,179business partnerships, 37, 60–61, 211carving skills, limits to, 379children, 70color sense, 112construction techniques, comparison with John, 115cross-grained lamination techniques, 283daily wages, in Portland, 19death, 77debts and lawsuits, 69–70, 73dispersion of designs throughout New England, 61–62,

132, 263distinctive construction and design features (master

template), 80dressing table designs, 54English construction and design, adherence to, 12, 22entrepreneurial activities, 51experimentation and innovation, 54, 63–65, 95, 231,

326–27, 363, 397final years, 76forms, typical, 36–37Grecian-style designs, 72imports from England, 43independent career, end of, 287, 363initialed furniture, 116, 143journeymen hired by, 60labeled furniture, 34loss of taxable assets, 73marketing problems, competition, 48, 359marriage, 51patrons, 14, 72period of peak success, 27, 60, 66–72, 155, 221, 227poverty during first decade in Boston, 47preferred secondary woods, 179prices for furniture, 237simplification of neoclassical forms, 46, 70–71styles applied in later career, 357support of aging parents, 65tax assessments, 1819-1824, 76training, 33, 118variety of forms and embellishments, 44–46, 80–81, 85,

265veneering skill, 84, 87wood preferences, 46, 86–88work for Barker, 64–65, 73–74, 115, 287, 329, 359, 363,

369work with journeymen and subcontractors, 41–42, 62, 80work in Portland, 18–19, 23work for Vose, 65, 75

Seymour, Thomas Hugh, 70, 76–77Seymour, William, 18Seymour surname, 2Sharp, Edward, 48, 53

Index

26

Sharp, James, 53Shaw, Mercy, 18Shearer, George

influence on Seymours, 34“Library Book-Case” design, 171neoclassical designs, 105

shelf clock (1800-1810, #142), 64, 418, 419shelf clock (1805-12, #143), 44, 55, 91, 420, 421, 423shelf clock (1807-12, #144), 422, 423she-oak. See CasuarinaSheraton, Thomas

carvings derived from, 104, 397“Corner Basin Stand," 20–21, 105, 189design for bergères (fauteuils), 397design for cabriole sofa, 407design for cylinder desk and bookcase, 169design for dressing table, 273Doric-order column design, 99“Gentleman’s Secretary," 62influence on Neal, 56influence on Seymours, 34, 36, 82, 399listing of marble types and sources, 100neoclassical designs, 82, 105, 283pier table design, 84, 283“Quartetto Table," 371“Sofa Table and Sofa," 321

Sherburne, Thomas, 28, 31ship carvers, 101ship joinery, 19showpieces. See high-end furniture, showpiecesshrinkage cracks, techniques for preventing, 126–27side chair (1795-1805, #123), 380, 381side chair (1804-10, #124), 57, 87, 87, 112, 179, 382, 383,

385, 387, 410, 411side chair (1804-10, #125), 57, 179, 384, 385, 387, 410side chair (1804-10, #126), 386, 387, 410side chair (1805-12, #128), 58, 390, 391side chair (1808-12, #127), 388, 389, 410side chair form, variations on, 122–28side chair, square-backed (1785-95, #122), 378, 379sideboard (1795-1800, #34), 39, 40, 45, 72, 87–88, 90, 91,

96, 97, 106, 108, 108, 202–3, 202, 209sideboard (1800-1808, #40), 45, 107, 207, 214–15, 214sideboard (1800-1812, #38), 38, 39, 210–11, 210, 212, 219sideboard (1800-1812, #39), 107, 210, 212–13, 212, 219sideboard (1802-8, #41), 53, 216–17. 216sideboard (1804-8, #42), 218–19, 218sideboard (1805-10, #43), 53, 54, 92, 106, 107, 111, 113,

113, 220–21, 220sideboard (1805-10, #44), 112, 222–23, 222sideboard (1806-10, #45), 39, 100, 101, 102, 112, 207, 224,

224–25sideboard (1808-10, #46), 211, 226–27, 226, 229, 231sideboard (1810-17, #47), 72, 75, 122, 122, 127, 131, 132,

207, 228–29, 228sideboard (1810-17, #48), 38, 72, 74, 75, 85, 122, 127, 131,

230–31, 230sideboard, marble-topped (1798-1805, #35), 46, 110, 116,

204–5, 204, 207sideboard, marble-topped (1798-1808, #36), 83, 88, 88, 98,

98–99, 99, 116, 205, 206, 207sideboard or server (1800-1808, #37), 100, 100, 118, 205,

208–9, 208sideboards

faux-paneled effects, 131laminated top boards, 126as signature form, 133

signature forms, 133signed, inscribed pieces. See initialed, signed, inscribed

furnitureSilsbee family, painted chair descended in (#119), 373silversmithing, 15simplicity and proportion, as hallmark of Thomas Seymour’s

style, 55, 70, 84, 221, 249, 285sketches, for working out construction details, 235Skilling family, 28, 100skirts, semi-elliptical, 235”sky blew” paint, 112–13slab tables, 275. See also pier tablesslides, for bag drawers, 129, 129, 130Smith, Isaac, 12Smith, John, 48Smith, Thomas, 14, 16Smith, William, 16, 100Snow, William, 76Society for the Preservation of New England Antiquities

(Boston, Ma.), furniture in collection ofbed with painted cornice (#150), 435corner basin stand (n/s), 189Cumberland table by Isaac Vose, 65lady’s tambour secretary (#2), 20, 97, 138–39lyre-based card table (n/s), 60sideboard (#39), 212sofa (#137), 408

sofa (1795-1800, #132), 22, 37, 119, 119, 398–99, 398, 401,403, 407, 409

sofa (1795-1804, #133), 41, 42, 391, 399, 400–401, 400,407, 409

sofa (1795-1804, #134), 105, 105, 402–3, 402, 407, 409sofa (1798-1805, #135), 399, 404–5, 404sofa (1803-9, #137), 56, 408–9, 408sofa (1805-12, #140), 414–15, 414sofa, Grecian couch (1812-17, #141), 416–17, 416sofa, Regency-style (1803-9, #137), 383, 391, 393sofa table (1805-10, #93), 63, 64, 96, 118, 119, 320–21, 320,

325sofa table (1810-17, #95), 72, 119, 120, 122, 324–25, 324sofa table (1812-20, #94), 71, 71, 94–95, 94, 112, 319, 322,

322–23sofa tables

Seymours’ introduction of, to Boston, 63, 321turned stretchers on, 323

Index

27

sofas, settees and couches. See also setteescrooked legs, 108flexible backrest design, 417production of, 57quarter-round brass molding, 112secondary woods used in, 86single bridle joints, 118–19unusual construction methods, 56, 403

South Boston (South End), development of, 75–76South Burying Ground, 68Southworth, Thomas, 68spade feet. See therm (spade) feetspandrels, 88–89Spreat, W., 3spruce, knotty, 9square-backed side chairs (1785-95, #122), 22, 108, 108,

378, 379square-paneled therm feet, 255stability, construction methods for, 120stamped hardware, 245Stanley Weiss Collection (Providence, R.I.), furniture in

collection ofchest of drawers (#49), 233cylinder secretary bookcase (#25), 185

star-point decoration, 231Starr, Joseph, 33Starshak, Robert, armchair in collection of (#120), 375steel hinge pins, 120Stevens, Francis G., 12stiles (chairs), 87Stillman, Mary Baldwin, 52Stillman, Samuel, 51Stocker, Carol, furniture in the collection of

chest of drawers (#53), 241corner basin stand (n/s), 189dressing glass (n/s), 253sideboard (#47), 228

Stoneman, Vernonattribution methodology, 79–80, 95–96“beehive terminals," 99errors made by, 80furniture in collection of, 36on link between lunette-precursor and toothed stringing

patterns, 93–94scholarship by, 9–10, 17, 92, 239

stools, 19–20Storer, Ebenezer, worktable descended in family of (#90),

315Stratford Hall (Robert E. Lee Estate, Va.), pier table in

collection of (#70), 91, 275strength-enhancing construction methods

for bag drawer slides and frames, 130–31, 295, 303and costs of production, 118double-tenoned medial rails, 183on drawer bottoms, 124–25on dressing chests and tables, 263, 293

experimentation with, 331for French bracket feet, 128–29glue blocks, 122–23on letter drawers, 125–26two-part runner strips, 126use of screws, 343, 346

stretchers, turned, on sofa tables, 323stringing patterns. See also inlays; lunette-pattern stringing;

lunette-precursor stringing; veneers, veneer workas basis for attribution, 79–80, 92–93, 95–96, 341as basis for dating, 255, 321, 433bellflowers, 96–98, 175, 341black/white, 91, 147brown/white, 345checkered-pattern stringing, 239, 241, 293chevrons, 141, 161complex, as Seymour hallmark, 63, 64, 91, 335curving, special construction needs, 321dark/light, 84, 91, 283ebony, 91, 201English, Seymours’ adaptation of, 95Greek-key, 95, 96, 295, 297green/white checkers, 293guilloche-pattern, 427lozenge and dots, 95, 96line stringing, 64, 185lunette-pattern, 64, 92, 301, 427lunette-precursor stringing, 44meandering-pattern, 95, 337multicolor stringing and banding, 64, 321, 433on neoclassical furniture, 83, 90pre-cut, 91replacement with carved molding, 177as Seymour hallmark, 92–93sideboard (#44), 223“toothed” stringing pattern, 43undulating, 161unusual, 171, 195, 297vertical, 297white/black/white, 91, 91

striped hair bottoms, 403stripe-grained woods, 177Strole, William, sideboard in collection of (#42), 219Stuart, Gilbert, 38subcontractor artisans

attribution of work to, 102, 441at Boston Furniture Warehouse, 59, 65enhancement of Seymours’ output, 85

Sumner, Samuel, 113A Supplement to John and Thomas Seymour (Stoneman), 79Survey Map of the Manor of Axminster, 4Suter, Henry, 55, 106Swan, James, furniture descended in family of

armchair (#130), 395card table with harp-base (#112), 359

Swan, Mrs. James, 29

Index

28

swan-motif hardware, 110, 287sweep legs. See saber legsSweetser, Henry, 67“swing glasses," 54, 251. See also mirrored forms, framesSylvester, Joseph, 22symbolism. See iconography

Ttabernacle frame mirror, labeled (n/s), 115table tops. See also laminated-veneer construction

changeable, 365construction methods, 361marble, 83, 209rotating, 120, 361woods used for, 84, 307, 327

tables. See also sideboardscard table (1775-86, #100), 116, 334, 335, 375card table (1793-96, #101), 35, 89, 116, 147–48, 147,

331, 336–37, 336, 338, 339card table (1793-96, #102), 35, 48, 91, 338, 338–39card table (1794, #103), 35–36, 97, 340, 341, 351, 405card table (1797-1804, #105), 89, 121, 121, 344, 345card table (1797-1805, #104), 120, 342, 343, 345card table (1798-1804, #108), 350, 351card table (1800-1805, #106), 346, 347card table (1800-1808, #107), 55, 348, 349, 351card table (1805-10, #110), 92, 93, 354, 355card table (1808-12, #109), 289, 352, 353card table (1814-17, #111), 72, 108, 120, 356, 357, 369card table (1817, #114), 74, 74, 351, 362, 363, 369card table with harp-base (1808-15, #112), 57, 358, 359,

413construction methods, 337, 343, 369dining table (1810-15, #98), 330–31, 330dining table (1810-20, #96), 64, 326–27, 326, 329dining table (1815-25, #97), 27, 305, 327, 328, 329dining table, drop-leafed (1809-12, #99), 61, 116, 243,

332–33, 332dressing (or serving) table (ca. 1809, #78), 290, 291dressing or serving table (1808-12, #79), 70, 291, 292–93.

292gaming table (1798-1805, #116), 58, 94, 94, 107, 366,

366, 367gaming table (1815-20, #117), 73, 368, 369Grecian card table (1816, #113), 72, 75, 351, 360, 360,

361, 361for John’s daughter Martha, 21lady’s writing table with screen (”screen table”) (1798-

1808, #69), 272, 273Pembroke table (1785-93, #115), 21, 21, 364, 365pier or side table (1806-12, #77), 267, 288, 289, 293pier table (1803-10, #75), 284–85, 284pier table (1804-9, #74), 84–85, 85, 95, 96, 104, 282,

282–83pier table (1816, #76), 72–73, 73, 108, 108, 110, 286–87,

286pier table with marble top (1784-93, #70), 21, 91, 118,

131, 274, 275, 279pier table with marble top (1798-1805, #71), 276, 277,

279pier table with marble top (1800-1807 #72), 278, 278–79pier table with marble top (1800-1807, #73), 42, 280,

280–81pine and maple tables, 21–22quartetto tables (1804-10, #118), 107, 370, 371secondary woods used in, 86sofa table (1805-10, #93), 63, 64, 96, 118, 119, 320,

320–21, 325sofa table (1810-17, #95), 72, 119, 120, 122, 324–25, 324sofa table (1812-20, #94), 71, 71, 94, 94–95, 112, 319,

322, 322–23worktable (1800-1810, #80), 294, 295, 297, 299, 303worktable (1800-1810, #81), 95, 130, 130, 296, 297, 299worktable (1805-10, #84), 302, 303worktable (1805-10, #86), 306, 307worktable (1805-10, #87), 308, 309worktable (1805-12, #83), 111, 300, 301, 303worktable (1808-12, #85), 27, 107, 129, 129, 304, 305worktable (1810-17, #92), 318, 319worktable (1812-15, #89), 312, 313worktable (1814, #88), 70, 70, 310, 311, 313worktable (ca. 1795, #82), 58, 88, 124, 124, 126, 130,

130, 298, 299, 303worktable with painted decoration (1802-10, #91), 60,

247, 315, 316, 317, 371worktable with painted decoration (1805-11, #90), 59–60,

114, 314, 315, 317writing table or dressing chest (1796-1803, #50), 37, 117,

234–35, 234tabs, brass, in worktable construction, 130, 130Talbott, Page, 319tall clock (1805-10, #145), 44, 55, 56, 64, 95, 116, 128, 237,

421, 424, 425, 427, 429, 431tall clock (1807-10, #146), 128, 425, 426, 427, 429tall clock (1807-10, #147), 95, 95, 128, 425, 428, 429tall clock (1807-12, #148), 128, 430, 431tall clock (1808-15, #149), 55, 128, 432, 433tambour doors

as basis for dating, 177bellflower inlays, 98, 157black/white stringing, 199Casuarina inlays, 88construction methods, 127–28dark/light veneers, 82dates used, 177early Portland examples, 20early production of, by Ince and Mayhew, 82faux, 165on lap desks, 445locks for, 111, 147plain-fronted, 89, 139

Index

29

reeded, 141replacement of, by flat “blind” doors, 177as Seymour hallmark, 10weak points, 128

tambour secretariesconstruction methods, 127–28foot designs, 105function of, 82Seymours’ introduction of, to Boston, 336–37as signature form, 133toothed stringing pattern on, 94, 94

tambour secretary (1790-96, #1), 20, 89, 136, 137, 137, 139tambour secretary (1793-96, #5), 35, 79, 90, 100, 111, 111,

115, 116, 125–26, 127, 144, 145, 147tambour secretary (1793-96, #6), 89, 89, 95, 106, 111, 111,

145, 146, 147tambour secretary (1793-98, #13), 43, 47, 88, 95, 160, 161,

337tambour secretary (1794-1800, #11), 96, 120, 156, 157tambour secretary (1797-1804, #14), 37, 90, 90, 125, 125,

126, 162, 163tambour secretary (1798-1805, #10), 43, 90, 153, 154, 155,

161tambour secretary (1798-1806, #12), 45, 110, 158, 159, 163tambour secretary (1804-10, #16), 38, 39, 88–89, 89, 166,

167, 179, 223, 225tambour secretary with pediment (1793-98, #7), 88tambour secretary with pediment (1793-98, #8), 37, 45, 49,

95, 96, 98, 109, 109, 112, 112, 116, 117, 117, 127, 127,150, 151, 153

tambour secretary with pediment (1793-98, #9), 37, 43, 45,47, 98, 98, 109, 113, 149, 151, 152, 153, 161, 181, 281

tambour secretary with pediment (1796-1800, #7), 36, 45,117, 148, 149, 151, 153, 399

tapered legs. See legs and feetTatlock, John, Grecian couch in the collection of (#141), 416Taunton, Thomas, 7tax assessments, 33, 60, 65, 67, 69, 72–76tax records

as basis for dating and attribution, 114inaccuracies, omissions in, 243as research resource, 96, 253, 333, 423

template of defining features (master template), 80tenon blocks and pins, as basis for attribution, 20, 118, 127terminations, of reeds, 108Tess of the D’Urbevilles (Hardy), 2Thayer, Ziphion, 28therm (spade) feet

on dressing chests, 255on firescreen, 443on night cabinets, 201replacement of by turned reeded legs and feet, 177as Seymour hallmark, 10, 105–6square-paneled, 255

Thorncombe, Devon, 7Thornton-Cutts family, tambour secretary descended in

family of (#3), 21, 27, 141, 425three-dimensional effects. See also perspective

on columns, 98–99, 99from glazed gilding, 114from sand-shading technique, 207sand-shading techniques, 203as Seymour hallmark, 83use of veneers to achieve, 167

tilt-top table, 21Todd, John

furniture signed by, 61, 116, 243work under Seymours, 60

Todd, William, 33, 243, 244Toledo Museum of Art, sideboard in collection of (n/s), 229tools

carving, 345inventory of, 24“Patent Screw Augurs," 349rotating cutting bit, 94sources for, in Portland, 24

toothed-pattern stringing, 93–94, 99top boards, laminated

as basis for attribution, 283construction methods, 126

Trachtenburg, Daniel, night cabinet in collection of (#33),201

transitional pieces, 56, 62–65, 199, 201Travellers Rest (Seymour farm, Beaminster), 2, 5Treaty of Paris

economic effects in England, 1, 10–11emigration following, 1Joseph Seymour’s cartoon about, 31

triangular/herringbone stringing pattern, 96triple-bead molding, 289tropical woods, use of, 86Tuck, Samuel Jones

advertisements by, 33, 88chairs purchased from, 62, 389furnishings warehouse, 48move to Boston, 31partnership with Thomas Seymour, 53, 211

Tucker, Jonathan and Hannah Scamman, pier tableoriginally owned by (#72), 27, 278–79

Tucker, Richard D., 60Tudor, Mrs. James, 29tulipwood veneers and inlays, 87, 203turned elements

as basis for dating, 169bosses (buttons), 319feet, 311legs, reeded, 106–7, 107, 219, 299legs, without reeding, 107rails, 383

turreted corners, 299, 315Tuttle, Charles, 60, 67Tuttle and Thomas, 237

Index

30

Two Sisters (coaster), 12two-color inlays, 139

UUgbrooke House (Chudleigh, Devon), 10, 20underuphosltery, 56undulating white line stringing, 161United States State Department, furniture in collection of

library bookcase (#18), 170–71sofa table (#94), 322

Upholsterer’s Drawing-Book (Sheraton), 21upholstery. See also Neal, William

leather (morocco) work, 391original, on side chair (#124), 57, 383prices paid for, 237on side chair (#127), 389on sofa (#137), 56

urn-shaped decoration, 113. See also keyhole inlaysUSS Constitution, 14

Vvariety, as hallmark of Seymours’ work, 82vasiform finials, 109veneers, veneer work. See also inlays; stringing patterns

atypical shapes and forms, 39, 203, 235on basin stands, night cabinets, 20as basis for dating, 87, 201, 213, 257, 273, 277, 347bird's-eye-maple, 27, 84, 87, 89, 211burlwood, 301circular, bowed shapes, 443complex, as Seymour hallmark, 87, 91, 221, 247contrasting, 84, 219crossbanding, 91crotch-mahogany, 20, 167, 183curly-maple, 159, 205design elements, typical, 89, 145diamond-ended, 273figured, 88on flat panels, 301frieze-like effects, 165, 219grain orientation, 89, 147, 161ivory and bone, 43lamination using, 123–27, 223, 349on leg blocks, 91mahogany, 72, 229, 255mock-fluted pilasters, 83, 207multicolor stringing and banding, 64, 321, 433on neoclassical furniture, 83, 90, 263, 295plaques, on flat-surfaced legs, 105precision and quality of workmanship, 21, 47, 131, 343pre-cut, 91preparation, planning for, 88production of, during early Federal period, 87radiating, 247on Regency-style furniture, 91

reverse grain, 88scorched, 369on secretaries, 20from single flitch, on multiple pieces, 199on tambour doors, 82on therm (spade) feet, 106on turned wood finials, 109white/black/white, 91, 91woods used for, 86, 87–88,191

Vermont, marble from, 100Vose, Isaac

adoption of Seymours’ designs and methods, 61–62, 75,98, 111

death, 76furniture from, 102Grecian-style design, 72move to Boston, 31Piquot’s work for, 61, 333rope pattern stringing, 92Thomas Seymour’s work for, 65, 75

Vose, Isaac Jr., 75, 76Vose and Coates

acanthus carvings, 397establishment of, 40–41, 55quality of veneer work, 87radiating-veneer designs, 443receipt for bed canopy and posts, 102, 441

Wwages, in Portland, 19, 23–24Waite, William, 24wallpapers, blue, popularity of, 112walnut, use of as secondary wood, 86War of 1812. See also embargo (1807-1809)

economic hardships associated with, 72, 401effects materials and construction, 70, 253, 271, 311pressure on artisans, 229Seymour furniture produced during, 62–65

Ward, Gerald W. R., 120warehouses, for household furnishings, 48, 51, 74wash stand (1782-93, Thorncombe), 20–21Washburn, Elizabeth Seymour (Betsy), 5, 13, 67, 77, 78Washburn, Jane, 77Washington, George, funeral parade in Boston, 52Washington Street (Boston, MA), 74, 75–76watch box, neoclassical, 43Waterfront, Falmouth in Casco Bay, ca. 1769-1775

(Outwin), 15Wedsworth, Peleg, 14Weiss Collection (Providence, R.I.), furniture in collection

ofchest of drawers (#49), 233cylinder secretary bookcase (1806-12, #25), 185

wells, groovesas basis for attribution, 127

Index

31

on mirror frame, 128, 128on secretaries and bookcases, 183

Wentworth, Mark H. G., 16West, Elizabeth Derby, furniture originally owned by

bed (#151), 437bed with painted and gilded cornice (#153), 102bergère (wing chair) (#131), 103commode chest (#56), 59, 111, 122, 247dressing chest (#62), 101, 259dressing chest with mirror (#67), 59elaborateness of, 59, 101–2, 114, 207lack of receipts for, 102pier table (#74), 84, 104, 282–83quartetto tables (#118), 371sideboard (#45), 101, 207, 225Vose and Coates wine cooler, 211, 443

West Country, Englandemigration to Portland from, 14Seymour surname in, 2styles and embellishments adopted from, 99–100

West family, bergère (winged armchair) descended in(#131), 397

wheat-ear carving, 101, 221Wheaton, Mary, 263Whipple, Stephen, 62White, J., 60White House, furniture in collection of

armchair with bentwood arms (n/s), 373bowfront chest of drawers (n/s), 239card table (#107), 349card table (n/s), 101, 106, 107, 343chest of drawers (#52), 239dining table, Cumberland-form (#96), 326–27dressing chest with mirror (#63), 261dressing chest with mirror (#64), 128, 263dressing commode with bookcase, 9, 10dressing or serving table (#78), 291easy chair (#121), 22, 377painted chair (#119), 373secretary bookcase (#20), 175secretary bookcase (#21), 177sofa table (#95), 120, 324tall clock (#145), 425tambour secretary (#7), 36, 149worktable (#84), 303worktable (#88), 311worktable (n/s), 313

white pine, Eastern (Pinus strobus)access to, from Portland, 14stringing using, 91use of, as secondary wood, 86use of, for British masts, 14

white/black stringing, 301white/black/white stringing, 91, 91Whitty, Thomas, 5Whitwell, Samuel and William, 30, 43, 55

Widmer, Kembell, sofa in collection of (#133), 41, 400Wiggin, James, 77Wightman, Mrs. Thomas, 75Wightman, Thomas

acanthus-leaf carvings, 46, 191, 257background, 42bellflower carvings, 96blossom-carvings, 223, 257carving skill, 42, 53, 217, 393chair carvings, 103–4death, 75design elements, typical, 100–101diversity and elaborateness of designs, 74, 259, 281, 283documentation of links to Thomas Seymour, 59Federal style carvings, 227fern motif, 289immigration to Boston, 30, 41knowledge of plating, 30lamb’s-tongue pattern, 363London-style carving, 84, 103, 225, 439pier table carvings, 42precision and quality of workmanship, 163, 191, 225,

230, 259receipt for carving work, 247subcontract work for Seymours, 42, 53, 55, 100–101, 217,

379winterleaf carvings, 285

Wilder, Joshua, 92Willard, Aaron, 131, 183

dial for tall clock (#149), 433Doull’s work as journeyman for, 423Roxbury-style case, 131Seymours’ cases for, 44, 55–56, 433shelf clock (#142), 44, 419shelf clock (#143), 421

Willard Clock Museum (Grafton, Mass.), shelf clock on loanto (#142), 419

Williamson, Roberta, sideboard in the collection of (#47),228

Windsor chairs, 22, 375wine-bottle drawers, 229wine coolers, cellerets, 211winged armchair (bergère) (1804-10, #131), 103–4, 104,

396, 397winterleaf carvings, 285Winterthur Museum (Winterthur, Del.), furniture in

collection ofbed (#151), 437bow-front dressing table (n/s), 291dressing chest with mirror (#65), 265dressing glass (#59), 252dressing table (n/s), 291lady’s tambour secretary (#3), 27, 141night stand (#30), 195pier table, marble topped (#73), 280, 286settee (#139), 412

Index

32

settee or sofa (#138), 410side chair (#125), 385sofa (#132), 398sofa (n/s), 399tambour secretary (#14), 37, 163, 281worktable (#86), 307

Wolcott, Oliver, worktable originally owned by (#82), 299Wood, Abiel, secretary originally owned by (#0), 20, 135Wood, Mary, sideboard originally owned by (#46), 64, 226wood carving. See carvingsWood family, lady’s secretary descended in (#0), 85wooden dots, as decorative element, 157wooden pegs, for attaching molding, 131woods

American versus English, 187Caribbean, for bag slide frames, 130choice of, as basis for attribution, 247, 257choice of, as basis for dating, 87, 126, 201, 213, 257, 273,

277, 335, 347primary woods, 85–86Seymours’ preference for, 22, 85Seymours’ understanding of, 126tropical, in drawer construction, 126used in England, 9for veneers and inlays, 87

The Work of Many Hands: Card Tables in Federal America,1790-1820 (Hewitt, Kane and Ward), 120

workmanship. See construction methods; precision andquality of workmanship

worktable (1800-1810, #80), 294, 295, 297, 299, 303worktable (1800-1810, #81), 95, 130, 130, 296, 297, 299worktable (1805-10, #84), 302, 303worktable (1805-10, #86), 306, 307worktable (1805-10, #87), 308, 309worktable (1805-12, #83), 111, 300, 301, 303worktable (1808-12, #85), 27, 107, 129, 129, 304, 305worktable (1810-17, #92), 318, 319worktable (1812-15, #89), 312, 313worktable (1814, #88), 70, 70, 310, 311, 313worktable (ca. 1795, #82), 58, 86, 88, 94, 124, 124, 126,

130, 130, 298, 299, 303, 371worktable with painted decoration (1802-10, #91), 60, 247,

315, 316, 317, 371worktable with painted decoration (1805-11, #90), 59–60,

114, 247, 314, 315, 317worktables

burlwood veneers, 88construction methods, 129–31incised numbers on, 117prices paid for, 115as signature form, 133square, 307

writing desk, portable (1810-14, #155), 444, 445writing surfaces, coverings for, 113writing table form, Seymour’s introduction to Boston, 273writing table or dressing chest (1796-1803, #50), 37, 117,

234–35, 234, 243Wunsch Americana Foundation, Inc. (Albany, N.Y.), card

table in collection of (#101), 336–37