Cupboard

CultureAmerican
Titles
  • Cupboard
Datec. 1670–1700
Made inBoston area, Massachusetts, United States
MediumRed oak and red maple; white pine and western red cedar
Dimensions60 × 49 3/4 × 23 1/4 in. (152.4 × 126.4 × 59.1cm)
Credit LineThe Bayou Bend Collection, museum purchase funded by the Theta Charity Antiques Show
Object numberB.93.11
Current Location
Bayou Bend Collection and Gardens
Murphy Room
Exposé

Explore Further

Department
Bayou Bend
Object Type
Description

The joined cupboard was among the most expensive furniture forms found in the seventeenth-century colonial American house, exceeded only by joined presses, elaborate chests of drawers, and uphol­stered pieces. These cupboards appear to have been placed in a room used for din­ing that also usually served as the parlor. While most seventeenth-century case furniture was rather utilitarian, this par­ticular form, with its partially open upper section, provided the opportunity to show off expensive silver, glass, or ceramics, and its possession clearly indicated that the owner was both affluent and an im­portant member of the community.

The upper section of this cupboard is architectonic, as is typical of the form. The frieze, which features a dentil course and moldings, is supported by vase forms that evoke the reverse tapering shape of columns in Mannerist architecture. Simi­larly, the applied spindles of the upper case take the form of Tuscan columns, which, in the unsettling anticlassical mode of Mannerism, have no architectural sup­port. The three corbels of the frieze are repeated in dentil form along the top frame of the lower case.

Although this cupboard has previously been associated with the Harvard College joiner tradition of Middlesex County, differences of construction technique and ornament suggest that it is more closely related to the Boston school. The dis­tinctive decorative motifs of this cup­board—bold corbels and dentils in the upper frieze and mitered cruciform panels on the doors—represent elements origi­nating in England in the mid-seventeenth century. Scholars believe that London-trained craftsmen in the Mason-Messinger shops introduced these innovations to Boston. Incorporation of these decora­tive motifs on the Bayou Bend cupboard suggest that its maker was emulating their new and fashionable designs. Yet not totally at home with them, he has used the turned vase-shaped columns and recessed upper cupboard arrangement that represents an earlier, more conserva­tive taste. The turning of the vase-shaped pillars and applied spindles, which also re­late to the Boston style, further strength­ens a Boston or Boston-area attribution

Technical notes: Red oak, red maple (right column); white pine (drawer bottom), western red cedar (replacement moldings). Three cor­bels replicate originals over turned balusters; applied mitered moldings on the panels and dentils at the top of the lower section were re­stored following the ghost images left by the originals. The loss of about three inches at the bottom of the legs was also restored. Knobs, although old, are not original. The drawer is side-hung. The drawer construction is dove­tailed, the bottom board let into the sides and front, with grain running side to side. The drawer back is butt-jointed to the sides

Related examples: Winterthur (Trent 1975, fig. 4), a cupboard with open lower section and an Essex County cupboard with drawers that incorporate similar corbels and serrated toothlike dentils (Nutting 1965, no. 199); Art Institute of Chicago, a one-drawer chest that incorporates similar construction techniques of double inset end panels and has one section of mitered molding (Trent 1975, fig. 5). For an English example with a similar combination of new and old ideas, see Kirk 1982, p. 201, no. 587.

Book excerpt: David B. Warren, Michael K. Brown, Elizabeth Ann Coleman, and Emily Ballew Neff. American Decorative Arts and Paintings in the Bayou Bend Collection. Houston: Princeton Univ. Press, 1998.


ProvenanceLouise Crowninshield Bacon (1842–1927); Mrs. Francis B. Lathrop; consigned to [Christie's, New York, sale 7710, June 23, 1993, lot 140]; purchased by MFAH, 1993.
Exhibition HistorySaugus, Massachusetts, National Historic Site, 1951–1993.

"Theta Antique Show" at the Reliant Astrohall, September 11–15, 2002.


Inscriptions, Signatures and Marks
[no inscriptions]
[no marks]

Cataloguing data may change with further research.

If you have questions about this work of art or the MFAH Online Collection please contact us.

Scorch
Donald Fortescue
1995
Silver ash and western red cedar
2014.967.1-.3
Breakfront Bookcase
William Vile
c. 1727–1760
Mahogany
94.1192
Bureau Table
Thomas Spencer
c. 1780–1785
Mahogany; mahogany, eastern white pine, chestnut, soft maple, and yellow poplar
B.92.6
Armchair
c. 1640–1690
Black cherry and hickory
B.98.19
Corner Cabinet
Henry Lindley Fry
1870–1880
Oak and pine
2002.3547
Desk and Bookcase
c. 1760–1790
Mahogany; eastern white pine, soft maple, chestnut, red cedar, poplar-aspen or cottonwood, white oak, and Spanish cedar or cedrela
B.69.22
scan from file photograph
c. 1760–1800
Black walnut; red gum, Atlantic white cedar, yellow-poplar, southern yellow pine, and eastern white pine
B.69.527
Side Chair (one of a pair)
c. 1750–1800
Mahogany and red gum; black cherry, eastern white pine, and Atlantic white cedar
B.69.23.2
Side Chair (one of a pair)
c. 1750–1800
Mahogany and red gum; black cherry, eastern white pine, and Atlantic white cedar
B.69.23.1
Miniature Mask
1200–1350
Red cedar and shell
63.180
scan from file photograph
c. 1730–1800
Black walnut; yellow-poplar, red oak, Atlantic white cedar, chestnut, eastern white pine, and black walnut
B.61.82
Card Table
John Goddard
c. 1755–1785
Mahogany; soft maple, eastern white pine, and red cedar
B.69.88