Mahogany highboy
#21
The first thing that caught my eye was the ornamentation on the top, but the second thing was the odd selection (or lack of selection ) of the wood for the drawer fronts. I wonder why?
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#22
I don't know Phil. With old artifacts it isn't always possible to determine what transpired between the origination date, and the artifact we see. I'm not suggesting this one has been modified/repaired, because I just don't know.
As long as I'm talking about things I don't know I'll offer the following. Philadelphia had carvers who worked as subcontractors to the local cabinetmaker's. One that I know of was Hercule Courtenay. For all I know (and I don't) he carved this.
Another inexplicable thing about this sort of thing is this: 18th century Ireland was in the best place to intercept mahogany bound for England. Some of the Irish pieces exhibit the finest mahogany, since the local cabinetmakers were able to have first pick. Strangely, Irish mahogany cabinetmaking of Mid-Georgian type, the type with cabriole legs, has rather flattish, straightened out profiles. It's as if they were trying to conserve precious (and rare) material. A strange and difficult to explain predilection. On the one hand they intercepted the finest materials before their English competitors could snatch it up, and on the other hand they stretched it thin. It may have been a local preference.
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#23
Interesting point, maybe the guy building the case didn't have the eye that the carver did. Maybe he assumed the quality of the carving would overshadow the mismatched wood of the drawer fronts. The Met appears to think so.
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#24
I have to wonder. In the 1700's, what would that have sold for then compared to today, if it were built by craftsman?

How many did they make or is it just one?
Were the craftsmen really happy with it?
Were they happy with the pay?
Was this just typical workmanship of that time and nothing really special, or were special craftsmen sought out or brought in from afar- from where?
Was there a pressured time specified to finish such work?
What did the shop look like?
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#25
daddo said:


I have to wonder. In the 1700's, what would that have sold for then compared to today, if it were built by craftsman?

How many did they make or is it just one?
Were the craftsmen really happy with it?
Were they happy with the pay?
Was this just typical workmanship of that time and nothing really special, or were special craftsmen sought out or brought in from afar- from where?
Was there a pressured time specified to finish such work?
What did the shop look like?




It's been a while, so I'll answer as best I can. I always answer from memory too, so I might not remember all the details.
In no particular order...
The shop probably had a large wall of windows facing North. Most shops did. The work shift was typically eleven hours.
They worked fast. I remember reading one account in a price book wherein a skilled journeyman was expected to complete a Hepplewhite style, four drawer chest in four shifts. That's forty four hours. I also dimly remember reading that procedure in a step by step fashion. The chest in the description was a crossbanded mahogany chest; no mean feat. (I think I may have read this in one of Ralph Edwards' books)
Working quick meant no time for hobbyist romanticism. Dovetails were not a thing of admiration. Dovetails were chosen because they were quick, cheap, they worked, and they were expeditious. Half blind dovetails were almost always produced by sawing the socket piece past the scribed line. Ugly to modern eyes, but a quick way to get on with production.
Philadelphia had supplanted Boston as the significant trade center in the colonies. Easier routes West made it a more desirable port city. As a result, a lot of folks in shipping got very rich. This affluent clientele wanted what was the best. From this wealth, and this demand, Philadelphia Chippendale is born. I think this piece would be a Cadillac. It's a well made piece, no doubt made for some bigshot. I don't know how to answer about specialists from afar. Philadelphia was a major metropolitan center. I suppose it's best to understand that skilled tradesmen had already traveled there from afar to ply their trade to that clientele.
I have only seen one of this exact construction. Most of these are unique.
Generally speaking, I suppose the craftsmen were happy with it. It was a job. Some folks perhaps cared more than others.*
Era: pre-Revolutionary colonial Pennsylvania.
Most Philadelphia Chippendale is more Chippendale than Chippendale himself. London, Chippendale's town, had moved on to the Neo-Classical style by the time his book of (mostly rococo) designs had been published. In the colonies, this "old fashioned" style was not perceived as old fashioned.

* Every once in a while, for laughs, I think of John Cobb. John Cobb was a London cabinetmaker, a contemporary of Chippendale. By all accounts John Cobb was John Cobb's favorite person. A lot of funny stories even.
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#26
This isn't exactly what you asked, but here is a version of, "The Cabinetmaker's London Book of Prices."
1805
https://archive.org/stream/gri_331250084...mode/thumb
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#27
That's a beautiful piece of craftsmanship , personally I like that the maker used drawers that were plain ,I think figured fronts would take away from all the detail work . JMO My eyes are drawn to all the detail .
Failure is simply the opportunity to begin again, this time more intelligently. "HF"
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#28
Plus one on the drawer fronts, really sticks out.

Slav
"More the Knowledge Lesser the Ego, Lesser the Knowledge More the Ego..."   -Albert Einstein.
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#29
Thanks for taking that time Paul!

I always stare at a piece and try to picture the person doing the work, the atmosphere, the communications, the tools, the sounds and smells and so on. It takes me hours to go through a museum. I try to be there.
Kind of weird I know.
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#30
Here's one with far better wood veneer on the drawers. I don't think the photograph properly depicts the actual color.
Also Philadelphia.
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