Lot Essay
Architectural in stance and emblazoned with bold ornament, in its day, this cupboard was a symbol of status. Prominently placed in the household so as to attract the attention and envy of guests, it speaks of the fascination with and adoration of form not often associated with, yet intrinsically a part of, the mindset of the early settlers. Owned by prominent members of society, inventories record the value of cupboards between #1.0.0 to #2.0.0. This is an extravagant sum when compared to the #7 or #8 annual earnings of a typical citizen (Benno M. Forman, "The Chest of Drawers in America," Winterthur Portfolio, (Spring, 1985), no. 1, p. 9). Beyond the impressive appearance of the cupboard itself, a cloth, possibly of serge, would adorn the top. Imported ceramics and plate were displayed upon this to amplify the attainment of wealth as well as to reinforce a link with the fashions overseas.
This cupboard was found in Mattapoisett, Massachusetts, and is one of a small group with serated moldings and related motifs known as Plymouth County cupboards. The craftsmen who made these case pieces emigrated from the southeastern counties of Kent, Surrey, and Sussex, England, and worked in the southeastern Massachusetts towns on Duxbury, Marshfield, and Yarmouth in the middle and latter half of the 17th century (see Robert Blair St. George, The Wrought Covenant, (Brockton, Massachusetts, 1979). The other known related cupboards include the Tracy cupboard at Winterthur, the Prince-Howes cupboard at the Wadsworth Atheneum, an example in the Museum of Fine Arts, Boston, and two examples at the Metropolitan Museum of Art. Several joined chests from this school also survive. Although crafted by different hands, certain construction details are consistent in this group and the high quality of craftsmanship throughout the piece is evident in the finish work of the backboards which are detailed with chamfered rails terminating in a lamb's-tongue (St. George, pp. 25-26).
Classically inspired, with turned elements intended to reflect the orders, the facade reflects a great architectural building with cornice, corbels, glyphs and columns. Upon closer examination, the selection of ornament, applied in contrasting native woods meant to imitate more expensive, exotic varieties, is based on Mannerist motifs of the 16th century brought to England with the Protestant craftsmen who fled religious persecution in northern Europe. Emblematic of the wry, playful Mannerist tradition, the columns or applied split-spindles, at first glance, appear to be supporting the heavy architectural cornice. In fact, they fail to reach their intended goal and if not for the steadfast pillars, the cornice might be at great risk of collapse. (See Robert F. Trent, "The Concept of Mannerism" and "New England Joinery and Turning Before 1700," in New England Begins, vol. 3, (Boston, 1982).
This cupboard was treated at Old Sturbridge Village, in March, 1993. Conservation records available upon request.
This cupboard was found in Mattapoisett, Massachusetts, and is one of a small group with serated moldings and related motifs known as Plymouth County cupboards. The craftsmen who made these case pieces emigrated from the southeastern counties of Kent, Surrey, and Sussex, England, and worked in the southeastern Massachusetts towns on Duxbury, Marshfield, and Yarmouth in the middle and latter half of the 17th century (see Robert Blair St. George, The Wrought Covenant, (Brockton, Massachusetts, 1979). The other known related cupboards include the Tracy cupboard at Winterthur, the Prince-Howes cupboard at the Wadsworth Atheneum, an example in the Museum of Fine Arts, Boston, and two examples at the Metropolitan Museum of Art. Several joined chests from this school also survive. Although crafted by different hands, certain construction details are consistent in this group and the high quality of craftsmanship throughout the piece is evident in the finish work of the backboards which are detailed with chamfered rails terminating in a lamb's-tongue (St. George, pp. 25-26).
Classically inspired, with turned elements intended to reflect the orders, the facade reflects a great architectural building with cornice, corbels, glyphs and columns. Upon closer examination, the selection of ornament, applied in contrasting native woods meant to imitate more expensive, exotic varieties, is based on Mannerist motifs of the 16th century brought to England with the Protestant craftsmen who fled religious persecution in northern Europe. Emblematic of the wry, playful Mannerist tradition, the columns or applied split-spindles, at first glance, appear to be supporting the heavy architectural cornice. In fact, they fail to reach their intended goal and if not for the steadfast pillars, the cornice might be at great risk of collapse. (See Robert F. Trent, "The Concept of Mannerism" and "New England Joinery and Turning Before 1700," in New England Begins, vol. 3, (Boston, 1982).
This cupboard was treated at Old Sturbridge Village, in March, 1993. Conservation records available upon request.