Lot Essay
Named for a town where in 1883 the collector Henry Wood Erving discovered a similar joined chest embellished with carved elements,
Hadley chests have been the subject of numerous investigations driven by curiosity relating to their creators, owners, decoration and symbolism. These chests were made in communities that stretched from the borders of Vermont and New Hampshire into Connecticut, and hold with them romanitic notions and mystique about life in rural New England. It is hypothesized that the popularity of this particular motif was encouraged by the wealthy Pynchon family of Springfield, Massachusetts. Their patronage and influence was far-reaching and aided by a network of craftsmen bound to traditions tightened by family ties (Zea and Flynt, Hadley Chests, Deerfield, Massachusetts, 1992; Zea, The Fruits of Oligarchy," in Old-Time New England, Vol. 72, (Boston, 1987), pp. 1-65.
This particular chest is one of 65 related examples from at least six different shops identified by the "repetition of the Hadley motif on all the parts of the facade, the exclusive use of incised lines, and the absence of crescent-shaped gouges...and the assembly of the ends with two vertical panels on the two-drawer chests." (Kane, "The 17th Century Furniture from the Connecticut Valley: The Hadley Chest Re-Appraised," Quinby, ed., Arts of the Anglo-American Community in the 17th Century, (Virginia, 1975), pp. 79-122). The joined construction of this example is similar to techniques used in related chests. For example the divider between the well compartment and drawers is set into the back and nailed into the front, the sides of the drawer fronts are chamfered to act as drawer stops, and a horizontal rough chamfered board is nailed across the lower back.
The characteristic Hadley motif, or stylized tulip-and-leaf pattern (used also on chests from other Hadley groups) that decorates these chests, is rooted in Seventeenth century mannerist design. In addition to the above characteristics and recognizable overall pattern, the use of the inverted heart is a distinctive motif that relates this chest to others made in the Hadley, Hatfield, and Deerfield, Massachusetts area.
Simply called "oak" or "carved" chests by their owners (Luther, "The
Hadley Chest," in Pilgrim Century Furniture, 1976, p. 97), these chests were costly expressions of status and are associated with dower chests for young women. This example is inscribed with the initials
"S.S." on the central panel. Probably the initials of an unmarried woman, this chest would have been brought with her into marriage and remained her personal property throughout her life, a rare occurrence in the male dominated society in which it was made (Jeannette Lasansky, A Good Start The Aussteier or Dowry, (Pennsylvania, 1990).
Still retaining some hints of red paint, this chest would likely have been decorated in red and black, heightening the emphasis of the carving and visual vibrato. A bold and grand statement of artistic expression, the Hadley chest commands respect and portrays social status as well as being a utilitarian object. Although there are over 250 known related Hadley pieces (Zea and Flynt, p. 5), each is a unique expression crafted for individuals who desired recognition and appreciated tradition.
Hadley chests have been the subject of numerous investigations driven by curiosity relating to their creators, owners, decoration and symbolism. These chests were made in communities that stretched from the borders of Vermont and New Hampshire into Connecticut, and hold with them romanitic notions and mystique about life in rural New England. It is hypothesized that the popularity of this particular motif was encouraged by the wealthy Pynchon family of Springfield, Massachusetts. Their patronage and influence was far-reaching and aided by a network of craftsmen bound to traditions tightened by family ties (Zea and Flynt, Hadley Chests, Deerfield, Massachusetts, 1992; Zea, The Fruits of Oligarchy," in Old-Time New England, Vol. 72, (Boston, 1987), pp. 1-65.
This particular chest is one of 65 related examples from at least six different shops identified by the "repetition of the Hadley motif on all the parts of the facade, the exclusive use of incised lines, and the absence of crescent-shaped gouges...and the assembly of the ends with two vertical panels on the two-drawer chests." (Kane, "The 17th Century Furniture from the Connecticut Valley: The Hadley Chest Re-Appraised," Quinby, ed., Arts of the Anglo-American Community in the 17th Century, (Virginia, 1975), pp. 79-122). The joined construction of this example is similar to techniques used in related chests. For example the divider between the well compartment and drawers is set into the back and nailed into the front, the sides of the drawer fronts are chamfered to act as drawer stops, and a horizontal rough chamfered board is nailed across the lower back.
The characteristic Hadley motif, or stylized tulip-and-leaf pattern (used also on chests from other Hadley groups) that decorates these chests, is rooted in Seventeenth century mannerist design. In addition to the above characteristics and recognizable overall pattern, the use of the inverted heart is a distinctive motif that relates this chest to others made in the Hadley, Hatfield, and Deerfield, Massachusetts area.
Simply called "oak" or "carved" chests by their owners (Luther, "The
Hadley Chest," in Pilgrim Century Furniture, 1976, p. 97), these chests were costly expressions of status and are associated with dower chests for young women. This example is inscribed with the initials
"S.S." on the central panel. Probably the initials of an unmarried woman, this chest would have been brought with her into marriage and remained her personal property throughout her life, a rare occurrence in the male dominated society in which it was made (Jeannette Lasansky, A Good Start The Aussteier or Dowry, (Pennsylvania, 1990).
Still retaining some hints of red paint, this chest would likely have been decorated in red and black, heightening the emphasis of the carving and visual vibrato. A bold and grand statement of artistic expression, the Hadley chest commands respect and portrays social status as well as being a utilitarian object. Although there are over 250 known related Hadley pieces (Zea and Flynt, p. 5), each is a unique expression crafted for individuals who desired recognition and appreciated tradition.