I’m going to write up my Connecticut trips backwards. The 2nd stop was to a Friday afternoon demo at the Yale University Art Gallery’s Furniture Study. What a spot. Readers and students often want to know where they can see period pieces in person. The Furniture Study is just such a place.
These are the works that are not on display in the museum, but are there specifically for study. Tons of them. Over 1,000 items maybe.
You want to see some Guilford, Connecticut carved oak chests? Why not see 3 of them together – then you get to see what’s common, what’s idiosyncratic…
This one they had pulled out so we could look at it in detail; I have only generally studied Connecticut furniture, so it’s fun to look again at these. They are large, heavy stock – the stiles are over 2″ thick, by close to 4″ wide. Note the side top rail, how it has no relationship to the front one. Most often the top rails are equal in height, but they don’t have to be. The linen is not going to leak out of the chest.
I always refer to these chests as prime examples of the use of a scratch-stock to produce the abbreviated moldings above the panels here. A plane would not be able to get the full profile then blend out and in so quickly. This molding was scraped – we just don’t know what the tool looked like, nor what it was called. I’ve been working lately on carving these designs, they are so simple, but very effective too. Maybe 20 minutes of carving? Notice the nail holes in the panels – not from a now-missing applied molding – the beveled framing means there was no molding applied; so I think it’s to fix the piece to the bench for carving. Didn’t see those when I was there, just picked them out in the photos.
The till lid detail is nice; I usually put the pintle/hinge pin way out on spine of the till lid. Here the joiner shifted it about an inch or more in from the edge. Makes boring the holes for it easier; might make the whole thing simpler. I had done some like this years ago, then forgot it. So next time I make a till for a chest….
It goes on & on. I had wanted to concentrate my carving portion of my demo on these patterns – they are quite simple, but I like the result a lot. Some go for this understated approach to 17th-century carvings; unlike the “every-blessed-surface-carved” approach of my usual inspiration.
Let’s not forget these drawer fronts – always picked on because they show what can happen!
If you are in the area some time, contact the folks there through the website – once you start looking around, you’ll have a hard time leaving. My thanks to the staff there for such a nice visit.