Lot Essay
After the Revolutionary war, Baltimore emerged as a significant port due to its economic stability and growth during the war. Unlike Philadephia, New York and other coastal cities which experienced trade restrictions during the war, Baltimore remained a blockade-free port encouraging a rise in trade. Coinciding with these developments, regional agricultural products enjoyed a greater demand as the growth of wheat replaced tobacco and the number of flour mills increased. This expansion in trade and commerce attracted entrepreneurs of all sorts. In particular, a number of skilled immigrant cabinetmakers and established prosperous businesses in Baltimore supplied the wealthy merchant elite with the most fashionable furniture.
Derived from English design sources, particularly plate 60 from Hepplewhite's The Cabinet-maker and Upholsterer's Guide, (London, first edition 1788), these card tables exemplify the market trend of specialization of trades in Federal Baltimore. Cabinetmakers and chair makers both employed inlay specialists. Three principle inlay makers working during this time in Baltimore were Thomas Barrett (w. 1795-1800), Francis Garrish (fl. 1796-1817), and William Patterson (fl.1796-1818). (See Gregory Weidman, Furniture in Maryland 1740-1940: The Collection of the Maryland Historical Society (Baltimore, 1984) p.70-73).
The eagle inlaid oval lozenges which adorn these tables were inspired by the Great Seal of the United States in 1782. Characteristic of Baltimore inlay, the eagles exhibited here have long necks, full feathered tails, heraldic crests, and banners which float above their heads with stars represented by crosses. Other regional characteristics are the bellflowers which hang from an open loop attached to stringing and are made of three separate petals of graduating size and connected by dots.
A related card table, pembroke table and pair of dining tables which retain similar eagle and bellflower inlay are located in the Diplomatic Reception Rooms of the U.S. Department of State and illustrated in Clement E. Conger, Treasures of State: Fine and Decorative Arts in the Diplomatic Reception Rooms of the U.S. Department of State (New York, 1991) pp. 220-222, no. 130-132. Two card tables with similar inlay all in private collections are recorded in the Winterthur Library: Decorative Arts Photographic Collection, nos. 90.53. and 67.906. A third card table labelled John Shaw and also recorded in the Winterthur Library: Decorative Arts Photographic Collection, no. 80.102, retains similar eagle inlay. A set of eight chairs in the Diplomatic Reception Rooms of the U.S. Department of State with similar eagle inlay are attributed to William Singleton based on one chair in the set which is branded "W.S." Two of the four are illustrated in Conger, p. 192, nos. 101 and 102. Two others are recorded in the Winterthur Library: Decorative Arts Photographic Collection, no. 65.1204. Another chair with similar eagle inlay in The Milwaukee Art Museum is illustrated in Jobe, et al. American Furniture with Related Decorative Arts 1660-1830: The Milwaukee Art Museum and the Layton Art Collection (New York, 1991), p. 212, no. 80.
Derived from English design sources, particularly plate 60 from Hepplewhite's The Cabinet-maker and Upholsterer's Guide, (London, first edition 1788), these card tables exemplify the market trend of specialization of trades in Federal Baltimore. Cabinetmakers and chair makers both employed inlay specialists. Three principle inlay makers working during this time in Baltimore were Thomas Barrett (w. 1795-1800), Francis Garrish (fl. 1796-1817), and William Patterson (fl.1796-1818). (See Gregory Weidman, Furniture in Maryland 1740-1940: The Collection of the Maryland Historical Society (Baltimore, 1984) p.70-73).
The eagle inlaid oval lozenges which adorn these tables were inspired by the Great Seal of the United States in 1782. Characteristic of Baltimore inlay, the eagles exhibited here have long necks, full feathered tails, heraldic crests, and banners which float above their heads with stars represented by crosses. Other regional characteristics are the bellflowers which hang from an open loop attached to stringing and are made of three separate petals of graduating size and connected by dots.
A related card table, pembroke table and pair of dining tables which retain similar eagle and bellflower inlay are located in the Diplomatic Reception Rooms of the U.S. Department of State and illustrated in Clement E. Conger, Treasures of State: Fine and Decorative Arts in the Diplomatic Reception Rooms of the U.S. Department of State (New York, 1991) pp. 220-222, no. 130-132. Two card tables with similar inlay all in private collections are recorded in the Winterthur Library: Decorative Arts Photographic Collection, nos. 90.53. and 67.906. A third card table labelled John Shaw and also recorded in the Winterthur Library: Decorative Arts Photographic Collection, no. 80.102, retains similar eagle inlay. A set of eight chairs in the Diplomatic Reception Rooms of the U.S. Department of State with similar eagle inlay are attributed to William Singleton based on one chair in the set which is branded "W.S." Two of the four are illustrated in Conger, p. 192, nos. 101 and 102. Two others are recorded in the Winterthur Library: Decorative Arts Photographic Collection, no. 65.1204. Another chair with similar eagle inlay in The Milwaukee Art Museum is illustrated in Jobe, et al. American Furniture with Related Decorative Arts 1660-1830: The Milwaukee Art Museum and the Layton Art Collection (New York, 1991), p. 212, no. 80.