Possibly Benjamin Baker (1735-1822), Newport, 1765-1795

Displaying idiosyncratic construction and carving details, this high chest may represent the work of cabinetmaker, Benjamin Baker (1735-1822) whose contributions to Newport cabinetmaking have only recently come to light. Baker worked alongside cabinetmakers John Townsend (1733-1809) and John Goddard (1723/4-1785) on Newport’s Easton Point and his work shows the influence of these renowned craftsmen. Previously attributed to Townsend, a high chest was found to bear Baker's signature and offers insights into his woodworking practices. Unlike Townsend’s known work, the high chest has vertical drawer dividers in the lower case that extend down behind the skirt and are flush with the skirt’s edge. Their ends are sharply tapered and each is flanked by glueblocks that are also flush with and shaped to the contours of the skirt. Identical practices are seen on the high chest offered here. In contrast, Townsend vertical drawer dividers end at the opening of the central drawer and are flanked by short glueblocks. Furthermore, the rear talons on the signed Baker high chest are noted to have a “fleshy bulge” at the top, a detail also seen on the chest offered here (Dennis Andrew Carr, “The Account Book of Benjamin Baker,” American Furniture 2004, Luke Beckerdite, ed. (Milwaukee, 2004), pp. 46-89; Patricia E. Kane et al., Art and Industry in Early America: Rhode Island Furniture, 1650–1830 (New Haven, 2016), pp. 302-305, cat. 58; Eric Gronning and Amy Coes, “The Early Work of John Townsend in the Christopher Townsend Shop Tradition,” American Furniture 2013, Luke Beckerdite, ed. (Milwaukee, 2013), p. 14, fig. 23).

Furthermore, the shells on the signed Baker high chest and a dressing table also signed by him are in keeping with the skirt shell on the chest offered here. While they and this high chest display three different means of embellishing the interior of the C-scrolls, all have the lowermost lobes continuing and forming the volutes in the C-scrolls with the raised lobes above all abutting the edge of the C-scroll (for the dressing table, see Carr, cited above, pp. 52-53, figs. 8-10). Only one other form is known by Baker, a clock case, and differences between details of construction of the signed high chest and dressing table prevent a definitive understanding of Baker’s techniques. On the high chest, Baker marked the drawers with letters on the insides of the drawer backs, a practice of Goddard’s, whereas the dressing table appears to lack such as system (Kane, p. 305; The Rhode Island Furniture Archive at Yale University Art Gallery, RIF981). Here, the drawers are marked with paired numbers in chalk at the interior corners of the drawers, a system similar to that of Goddard’s nephews, Daniel Spencer (1741-1801) and Thomas Spencer (1752-1840) (Kane, pp. 308-313, 358-361, cats. 60, 75).