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Lot Essay
A masterful survival of Philadelphia furniture, this high chest demonstrates the vitality of the city’s cabinetmaking trade in the middle of the eighteenth century. Its design, cabinetry, and carved ornament illustrate the sophistication and talents of its creators and is seen here in a remarkable state of preservation. From original finials and brasses to the crispness of the shell carving, the chest is a showcase of its makers’ intent. These makers likely comprised cabinetmakers Henry Cliffton (d. 1771) and Thomas Carteret, and an unidentified master carver. The identity of the first or early owners in the Drinker family can also be surmised through the chest’s unbroken descent in the family. Their experiences as Quakers living in Philadelphia during the Revolution adds to the rich history of this chest and all the stories it has to tell.
The Cliffton-Carteret Shop
From its decorative embellishments to hidden areas of construction, this high chest illustrates the same designs and practices seen on a high chest signed by Henry Cliffton and Thomas Carteret and dated 1753 (fig. 1); the two were undoubtedly made in the same shop. External points of similarity include the profiles of the cornice and mid-moldings, the fluting on the case corners, and the shaping of the skirt on the sides. The pattern for the latter is also seen on a marble-top table and provides the basis for the table’s attribution to the Cliffton-Carteret shop (R. Curt Chinnici, “Pennsylvania Clouded Limestone: Its Quarrying, Processing, and Use in the Stone Cutting, Furniture, and Architectural Trades,” American Furniture 2002, edited by Luke Beckerdite (Chipstone Foundation, Milwaukee, 2002), p. 110, fig. 30; same table sold Christie’s, New York, October 24, 1992, lot 138; for more on the Cliffton-Carteret shop, see Eleanore P. Gadsden, “When Good Cabinetmakers Made Bad Furniture: The Career and Work of David Evans,” American Furniture 2001, edited by Luke Beckerdite (Chipstone Foundation, Milwaukee, 2001), pp. 66-71).
Even more indicative of the work of the same shop are the details seen on the back and inside the case. The tympanums are constructed in the same manner with a single board in the back that echoes the swan’s-neck and rosette profile of the front. In both chests, this board encloses the ends of the bonnet support and interior framework and is nailed from the back to the lower dustboard with a series of rosehead nails. The cases are fitted with full dustboards, variously wedged from below to create a tighter fit, and the three drawers in the lowermost tier have individual dustboards supported by long glueblocks triangular in cross-section. Separating these three drawers are vertical drawer dividers with a walnut strip in front through tenoned to the horizontal rails above and below; the backing board runs at its full height to the backboards where it is housed in a channel. The lowermost edges of the inner skirts are distinctly chamfered, a practice that by reducing the thickness allowed a less obstructed view of the skirt’s profile to be viewed from various vantage points. Consisting of poplar and white cedar boards, the drawers are similarly fashioned and bear the same marking technique of numbers 1-4 inscribed in chalk at each of the four interior corners. This practice, which explicitly indicates the placement of each board, suggests that the shop consisted of multiple workers and used an efficient division of labor with various craftsmen simultaneously working on component parts for a number of products.
The Carved Ornament
Meticulously articulated and retaining crisp definition, the shell-carved drawers illustrate the masterful linear style of a carver whose hand can be seen on the Cliffton-Carteret signed high chest. The overall layout of the ornament, with a shell with a multitude of lobes, five of which are stop-fluted, various incised and gouged embellishments, and flanking acanthus tendrils, was a popular design rendered by a number of carvers working during this time. The particular iteration seen here, notably with gouged cuts to the stem of the looping acanthus leaves, inner tendrils that take a sharp turn outwards, and small, solid volutes at the termini of the leaves in the lower shell, likely illustrates the work of a single carver. In addition to the Cliffton-Carteret high chest in fig. 1, this unidentified carver’s work appears on several other casepieces attributed to the same shop, suggesting an ongoing working relationship between these cabinetmakers and specialist carver. The related pieces include the Biddle-Drinker high chest (fig. 2) and dressing tables that descended in the Wistar, Biddle, and Van Pelt-Robb families (The Bayou Bend Collection, Museum of Fine Arts, Houston, acc. no. B.2023.11; Sotheby’s, New York, 28, 30 and 31 January 1994, lot 1280 and September 26, 2008, lot 9).
With two layers of undulating petals, the rosettes are particularly refined and showcase the talents of their carver. Their floral design is uncommon but is also seen on the Biddle-Drinker high chest in fig. 2, which has both maker and owner links to the chest offered here (for another example of this design, see a high chest in the collection of the Princeton Art Museum, acc. no. PP690). The chest in fig. 2 also features side finials seemingly identical to the three seen here, but differs in its central cartouche ornament; here, the central finial is elevated by a plinth that with quarter-round, coved and ovolo moldings appears identical to that on a related high chest at Winterthur Museum (acc. no. 1959.17.5, also referenced below). Comprising knee returns with a distinctive wavy and scrolled trim, shell-carved knees, and trifid feet, the leg design is stylistically earlier than the related forms with claw-and-ball feet but rather than indicate a strict chronological date of production, may indicate the preferences (and budgets) of the patron. Similar examples are seen on the Wistar and Winterthur forms cited above and below, the dressing table in fig. 3, as well as a set of side chairs with a history in the Shoemaker family (Bayou Bend Collection, Museum of Fine Arts, Houston, acc. no. B.69.65; The Metropolitan Museum of Art, acc. no. 62.171.21).
The Pierced-Skirt Group
An outstanding and rare detail is the pierced skirt, a feature known on only five other casepieces. Based on photographs, the design is identical across all six pieces and it seems likely that all were the products of a single shop, namely the Cliffton-Carteret partnership. This small group, however, displays variations in the shell-carving that indicate the handiwork of several specialists, as well as the use of different decorative devices that may reflect change over time or a client’s preferences. The combination of details seen on this high chest is closest to that on the dressing table in fig. 3; both have shell carving with the same general design, knee returns with a wavy and scrolled trim, shell-carved knees and trifid feet. The shell-carving on this related dressing table varies from the high chest offered here in that its inner tendrils frame the central shell (rather than diverging outwards) and it has larger, more articulated volutes at the termini of the leaves in the lower shell, suggesting the hand of a different carver. Furthermore, its knees lack the pendant husks below the shells seen on this high chest.
The other known examples with the same pierced skirt all feature carved shells more in keeping with the work often associated with carver Samuel Harding (d. 1758). These comprise a high chest and matching dressing table with trifid feet at Winterthur Museum (acc. nos. 1959.17.5 and 1959.3410); a dressing table with claw-and-ball feet, sold Briggs Auction, Garnet Valley, Pennsylvania, 30 May 2025, lot 442; and a high chest en suite with the last in a private collection.
John Drinker, Philadelphia Quaker Merchant
The high chest was very likely the property of Philadelphia Quaker merchant, John Drinker (1733-1800). His ownership is surmised by family history combined with ties between Drinker and the cabinetmaker Henry Cliffton. As recorded by Mary Cope (Emlen) Scattergood (1878-1978), the high chest’s owner for much of the twentieth century, the family had traced its ownership to Thomas Pim (Pym) Cope (1768-1854) (fig. 4) of Philadelphia. Too young to have commissioned the chest, Cope probably inherited it from the previous generation. As his parents lived in Lancaster, it is more likely that the chest was made for the parents of his wife, Mary (Polly) Drinker (1766-1825), the daughter of John Drinker and Rachel Reynear (Renier, Ranier) (1730-1822). John and Rachel married in 1756, around the time this chest was made, and listed third under the bride and groom on their marriage certificate is the name Hannah Cliffton. She was Rachel’s sister, Hannah Reynear (1727-1760), who had married Henry Cliffton in 1749; thus, at the time of the commission, maker and patron may have been in-laws. Furthermore, John’s younger brother Henry (1734-1809), was a likely first owner of the closely related high chest attributed to the same collaboration of makers discussed above (fig. 2).
Hailing from one of the earliest Quaker families to settle in Pennsylvania, John Drinker began his career as a hatter and later became a successful merchant. Prior to the Revolution, he was a prominent member of his community; in addition to leading several charitable causes, he held distinguished positions such as director of the Library Company and elected member of the American Philosophical Society. As the country moved toward independence, he made his opposition to violent rebellion clear and beginning in 1774 published a number of tracts arguing the case for peaceful negotiation rather than war. As such, he was a target for the more zealous advocates of the patriot cause and on several occasions was harassed by the mob, physically attacked, and his property robbed. One of these, in early 1776, was recorded by Drinker in harrowing detail in his account book. He notes that men from the Committee of Safety came to his store, shuttered his windows and demanded he relinquish his business records. Drinker writes, “Robert Lewis, Thomas Penrose & John Morton came into our house & notwithstanding our using all our Endeavours to prevent & dissuade them… they persisted resolutely in their intention of searching the house in quest of our Books.” Their justification, Drinker notes, was “a fear that our House & Selves might be destroyed the next day by the Mob, or that if the Mob should be opposed Blood would be shed” (John Drinker account book, 1776-1796, p. 2, Amb.2945, Historical Society of Pennsylvania).
While John was spared the fate of his brother, Henry, who was one of nineteen Quakers taken prisoner and held for eight months in Virginia, he was the victim of subsequent mob attacks. He was among a few who were paraded through the streets “with the Drum after ‘em beating the Rogues March.” In 1781, after the victory at Yorktown, Philadelphia streets were again the scene of mob violence and twenty-four year old Anna Rawle recorded “John Drinker has lost half the goods out of his shop and been beat by them.” Several accounts, including that by John’s sister-in-law, the famed diarist Elizabeth Drinker, noted the destruction of property: “some Houses, after braking the door, they enterd, and distroy’d the furniture, &c.” (see Gary B. Nash, “When We Were Young: The American Philosophical Society in the 18th Century,” Proceedings of the American Philosophical Society, vol. 163, no. 1 (March 2019), pp. 32-41; Judith Van Buskirk, “They Didn’t Join the Band: Disaffected Women in Revolutionary Philadelphia,” Pennsylvania History, vol. 62, no. 3 (July 1995), pp. 319-20; Anna Rawle and William Brooke Rawle, “A Loyalist's Account of Certain Occurrences in Philadelphia after Cornwallis's Surrender at Yorktown,” The Pennsylvania Magazine of History and Biography, vol. 16, no. 1 (April 1892), p. 106; The Diary of Elizabeth Drinker (abridged edition), edited by Elaine Forman Crane (Philadelphia, 1994), p. 92).
The Descent in the Family
Surviving the war unscathed, the high chest has subsequently descended through two hundred and fifty years and seven generations of John Drinker’s descendants to the present day. As identified by the family, Thomas Pim Cope, Drinker’s son-in-law, may have been the next owner of the chest. He married Mary (known as Polly) Drinker in 1792 and eight years later noted in his diary that soon after his father-in-law’s death, the family gathered to hear the reading of his will (Eliza Cope Harrison, Philadelphia Merchant: The Diary of Thomas P. Cope 1800-1851 (South Bend, Indiana, 1978), pp. 5-6). Thomas and Polly may have inherited the chest at that time, or it may have come to them after the passing of John Drinker’s widow, Rachel, in 1822. Interestingly, and seemingly in contrast to his father-in-law’s views on the Revolution, his diary also includes a vivid and riveting description of a visit to Mount Vernon on May 20, 1802, just two days before Martha Washington died. While their hostess was too unwell to meet, he and Polly and others in his party were greatly moved by being in the presence of tomb of Washington, described by Cope as “the greatest man on earth” (Harrison, pp. 111-114).
Thoms P. Cope was one of the most prominent inhabitants of Philadelphia during the first half of the nineteenth century. Raised in Lancaster, he moved to Philadelphia in 1785. There, he entered the counting house of an uncle and embarked on what was to be a highly profitable mercantile career, In 1821, he established Philadelphia’s first packet line, with regular service to and from Liverpool, and for the next fifty years, the Cope Line dominated Philadelphia’s shipping trade. An instrumental figure in local politics, he served as a Pennsylvania State Legislator and promoted the region's infrastructure by spearheading endeavors such as the construction of the Pennsylvania Railroad and the building of Fairmont Park. President of the Mercantile Library Company and a founder of Haverford College, he was a member of a number of organizations, including the American Philosophical Society and the Pennsylvania Abolition Society, and donated extensively to a wide array of charitable causes (Introduction, Cope Family papers, Historical Society of Pennsylvania).
In the second half of the nineteenth century, the chest descended directly to Cope’s eldest son Henry Cope (1793-1865), who built a family estate, Awbury, in Germantown and thence to Henry’s son, Thomas Pim Cope (1823-1900) both of whom worked in the family’s shipping business. The high chest continued to descend directly along the female lines during the twentieth century in the Emlen and Scattergood families. As noted, Mary Cope (Emlen) Scattergood recorded the chest’s history from Thomas P. Cope, her great-grandfather, and it is currently being offered by her grandson, a direct descendant of John Drinker.
The Cliffton-Carteret Shop
From its decorative embellishments to hidden areas of construction, this high chest illustrates the same designs and practices seen on a high chest signed by Henry Cliffton and Thomas Carteret and dated 1753 (fig. 1); the two were undoubtedly made in the same shop. External points of similarity include the profiles of the cornice and mid-moldings, the fluting on the case corners, and the shaping of the skirt on the sides. The pattern for the latter is also seen on a marble-top table and provides the basis for the table’s attribution to the Cliffton-Carteret shop (R. Curt Chinnici, “Pennsylvania Clouded Limestone: Its Quarrying, Processing, and Use in the Stone Cutting, Furniture, and Architectural Trades,” American Furniture 2002, edited by Luke Beckerdite (Chipstone Foundation, Milwaukee, 2002), p. 110, fig. 30; same table sold Christie’s, New York, October 24, 1992, lot 138; for more on the Cliffton-Carteret shop, see Eleanore P. Gadsden, “When Good Cabinetmakers Made Bad Furniture: The Career and Work of David Evans,” American Furniture 2001, edited by Luke Beckerdite (Chipstone Foundation, Milwaukee, 2001), pp. 66-71).
Even more indicative of the work of the same shop are the details seen on the back and inside the case. The tympanums are constructed in the same manner with a single board in the back that echoes the swan’s-neck and rosette profile of the front. In both chests, this board encloses the ends of the bonnet support and interior framework and is nailed from the back to the lower dustboard with a series of rosehead nails. The cases are fitted with full dustboards, variously wedged from below to create a tighter fit, and the three drawers in the lowermost tier have individual dustboards supported by long glueblocks triangular in cross-section. Separating these three drawers are vertical drawer dividers with a walnut strip in front through tenoned to the horizontal rails above and below; the backing board runs at its full height to the backboards where it is housed in a channel. The lowermost edges of the inner skirts are distinctly chamfered, a practice that by reducing the thickness allowed a less obstructed view of the skirt’s profile to be viewed from various vantage points. Consisting of poplar and white cedar boards, the drawers are similarly fashioned and bear the same marking technique of numbers 1-4 inscribed in chalk at each of the four interior corners. This practice, which explicitly indicates the placement of each board, suggests that the shop consisted of multiple workers and used an efficient division of labor with various craftsmen simultaneously working on component parts for a number of products.
The Carved Ornament
Meticulously articulated and retaining crisp definition, the shell-carved drawers illustrate the masterful linear style of a carver whose hand can be seen on the Cliffton-Carteret signed high chest. The overall layout of the ornament, with a shell with a multitude of lobes, five of which are stop-fluted, various incised and gouged embellishments, and flanking acanthus tendrils, was a popular design rendered by a number of carvers working during this time. The particular iteration seen here, notably with gouged cuts to the stem of the looping acanthus leaves, inner tendrils that take a sharp turn outwards, and small, solid volutes at the termini of the leaves in the lower shell, likely illustrates the work of a single carver. In addition to the Cliffton-Carteret high chest in fig. 1, this unidentified carver’s work appears on several other casepieces attributed to the same shop, suggesting an ongoing working relationship between these cabinetmakers and specialist carver. The related pieces include the Biddle-Drinker high chest (fig. 2) and dressing tables that descended in the Wistar, Biddle, and Van Pelt-Robb families (The Bayou Bend Collection, Museum of Fine Arts, Houston, acc. no. B.2023.11; Sotheby’s, New York, 28, 30 and 31 January 1994, lot 1280 and September 26, 2008, lot 9).
With two layers of undulating petals, the rosettes are particularly refined and showcase the talents of their carver. Their floral design is uncommon but is also seen on the Biddle-Drinker high chest in fig. 2, which has both maker and owner links to the chest offered here (for another example of this design, see a high chest in the collection of the Princeton Art Museum, acc. no. PP690). The chest in fig. 2 also features side finials seemingly identical to the three seen here, but differs in its central cartouche ornament; here, the central finial is elevated by a plinth that with quarter-round, coved and ovolo moldings appears identical to that on a related high chest at Winterthur Museum (acc. no. 1959.17.5, also referenced below). Comprising knee returns with a distinctive wavy and scrolled trim, shell-carved knees, and trifid feet, the leg design is stylistically earlier than the related forms with claw-and-ball feet but rather than indicate a strict chronological date of production, may indicate the preferences (and budgets) of the patron. Similar examples are seen on the Wistar and Winterthur forms cited above and below, the dressing table in fig. 3, as well as a set of side chairs with a history in the Shoemaker family (Bayou Bend Collection, Museum of Fine Arts, Houston, acc. no. B.69.65; The Metropolitan Museum of Art, acc. no. 62.171.21).
The Pierced-Skirt Group
An outstanding and rare detail is the pierced skirt, a feature known on only five other casepieces. Based on photographs, the design is identical across all six pieces and it seems likely that all were the products of a single shop, namely the Cliffton-Carteret partnership. This small group, however, displays variations in the shell-carving that indicate the handiwork of several specialists, as well as the use of different decorative devices that may reflect change over time or a client’s preferences. The combination of details seen on this high chest is closest to that on the dressing table in fig. 3; both have shell carving with the same general design, knee returns with a wavy and scrolled trim, shell-carved knees and trifid feet. The shell-carving on this related dressing table varies from the high chest offered here in that its inner tendrils frame the central shell (rather than diverging outwards) and it has larger, more articulated volutes at the termini of the leaves in the lower shell, suggesting the hand of a different carver. Furthermore, its knees lack the pendant husks below the shells seen on this high chest.
The other known examples with the same pierced skirt all feature carved shells more in keeping with the work often associated with carver Samuel Harding (d. 1758). These comprise a high chest and matching dressing table with trifid feet at Winterthur Museum (acc. nos. 1959.17.5 and 1959.3410); a dressing table with claw-and-ball feet, sold Briggs Auction, Garnet Valley, Pennsylvania, 30 May 2025, lot 442; and a high chest en suite with the last in a private collection.
John Drinker, Philadelphia Quaker Merchant
The high chest was very likely the property of Philadelphia Quaker merchant, John Drinker (1733-1800). His ownership is surmised by family history combined with ties between Drinker and the cabinetmaker Henry Cliffton. As recorded by Mary Cope (Emlen) Scattergood (1878-1978), the high chest’s owner for much of the twentieth century, the family had traced its ownership to Thomas Pim (Pym) Cope (1768-1854) (fig. 4) of Philadelphia. Too young to have commissioned the chest, Cope probably inherited it from the previous generation. As his parents lived in Lancaster, it is more likely that the chest was made for the parents of his wife, Mary (Polly) Drinker (1766-1825), the daughter of John Drinker and Rachel Reynear (Renier, Ranier) (1730-1822). John and Rachel married in 1756, around the time this chest was made, and listed third under the bride and groom on their marriage certificate is the name Hannah Cliffton. She was Rachel’s sister, Hannah Reynear (1727-1760), who had married Henry Cliffton in 1749; thus, at the time of the commission, maker and patron may have been in-laws. Furthermore, John’s younger brother Henry (1734-1809), was a likely first owner of the closely related high chest attributed to the same collaboration of makers discussed above (fig. 2).
Hailing from one of the earliest Quaker families to settle in Pennsylvania, John Drinker began his career as a hatter and later became a successful merchant. Prior to the Revolution, he was a prominent member of his community; in addition to leading several charitable causes, he held distinguished positions such as director of the Library Company and elected member of the American Philosophical Society. As the country moved toward independence, he made his opposition to violent rebellion clear and beginning in 1774 published a number of tracts arguing the case for peaceful negotiation rather than war. As such, he was a target for the more zealous advocates of the patriot cause and on several occasions was harassed by the mob, physically attacked, and his property robbed. One of these, in early 1776, was recorded by Drinker in harrowing detail in his account book. He notes that men from the Committee of Safety came to his store, shuttered his windows and demanded he relinquish his business records. Drinker writes, “Robert Lewis, Thomas Penrose & John Morton came into our house & notwithstanding our using all our Endeavours to prevent & dissuade them… they persisted resolutely in their intention of searching the house in quest of our Books.” Their justification, Drinker notes, was “a fear that our House & Selves might be destroyed the next day by the Mob, or that if the Mob should be opposed Blood would be shed” (John Drinker account book, 1776-1796, p. 2, Amb.2945, Historical Society of Pennsylvania).
While John was spared the fate of his brother, Henry, who was one of nineteen Quakers taken prisoner and held for eight months in Virginia, he was the victim of subsequent mob attacks. He was among a few who were paraded through the streets “with the Drum after ‘em beating the Rogues March.” In 1781, after the victory at Yorktown, Philadelphia streets were again the scene of mob violence and twenty-four year old Anna Rawle recorded “John Drinker has lost half the goods out of his shop and been beat by them.” Several accounts, including that by John’s sister-in-law, the famed diarist Elizabeth Drinker, noted the destruction of property: “some Houses, after braking the door, they enterd, and distroy’d the furniture, &c.” (see Gary B. Nash, “When We Were Young: The American Philosophical Society in the 18th Century,” Proceedings of the American Philosophical Society, vol. 163, no. 1 (March 2019), pp. 32-41; Judith Van Buskirk, “They Didn’t Join the Band: Disaffected Women in Revolutionary Philadelphia,” Pennsylvania History, vol. 62, no. 3 (July 1995), pp. 319-20; Anna Rawle and William Brooke Rawle, “A Loyalist's Account of Certain Occurrences in Philadelphia after Cornwallis's Surrender at Yorktown,” The Pennsylvania Magazine of History and Biography, vol. 16, no. 1 (April 1892), p. 106; The Diary of Elizabeth Drinker (abridged edition), edited by Elaine Forman Crane (Philadelphia, 1994), p. 92).
The Descent in the Family
Surviving the war unscathed, the high chest has subsequently descended through two hundred and fifty years and seven generations of John Drinker’s descendants to the present day. As identified by the family, Thomas Pim Cope, Drinker’s son-in-law, may have been the next owner of the chest. He married Mary (known as Polly) Drinker in 1792 and eight years later noted in his diary that soon after his father-in-law’s death, the family gathered to hear the reading of his will (Eliza Cope Harrison, Philadelphia Merchant: The Diary of Thomas P. Cope 1800-1851 (South Bend, Indiana, 1978), pp. 5-6). Thomas and Polly may have inherited the chest at that time, or it may have come to them after the passing of John Drinker’s widow, Rachel, in 1822. Interestingly, and seemingly in contrast to his father-in-law’s views on the Revolution, his diary also includes a vivid and riveting description of a visit to Mount Vernon on May 20, 1802, just two days before Martha Washington died. While their hostess was too unwell to meet, he and Polly and others in his party were greatly moved by being in the presence of tomb of Washington, described by Cope as “the greatest man on earth” (Harrison, pp. 111-114).
Thoms P. Cope was one of the most prominent inhabitants of Philadelphia during the first half of the nineteenth century. Raised in Lancaster, he moved to Philadelphia in 1785. There, he entered the counting house of an uncle and embarked on what was to be a highly profitable mercantile career, In 1821, he established Philadelphia’s first packet line, with regular service to and from Liverpool, and for the next fifty years, the Cope Line dominated Philadelphia’s shipping trade. An instrumental figure in local politics, he served as a Pennsylvania State Legislator and promoted the region's infrastructure by spearheading endeavors such as the construction of the Pennsylvania Railroad and the building of Fairmont Park. President of the Mercantile Library Company and a founder of Haverford College, he was a member of a number of organizations, including the American Philosophical Society and the Pennsylvania Abolition Society, and donated extensively to a wide array of charitable causes (Introduction, Cope Family papers, Historical Society of Pennsylvania).
In the second half of the nineteenth century, the chest descended directly to Cope’s eldest son Henry Cope (1793-1865), who built a family estate, Awbury, in Germantown and thence to Henry’s son, Thomas Pim Cope (1823-1900) both of whom worked in the family’s shipping business. The high chest continued to descend directly along the female lines during the twentieth century in the Emlen and Scattergood families. As noted, Mary Cope (Emlen) Scattergood recorded the chest’s history from Thomas P. Cope, her great-grandfather, and it is currently being offered by her grandson, a direct descendant of John Drinker.