Butler's Desk and Etagére, New York, Possibly Duncan Phyfe

One of the signature forms of the Neo-Classical period, the pier (or console) table received its name from its typical use against the wall, or pier, between two windows. Pier tables...

RECORDED: cf. Anna Tobin D’Ambrosio, ed., Masterpieces of American Furniture from the Munson-Williams-Proctor Institute (Syracuse University Press, Utica, New York, 1999), pp. 85, 86, 87 illus. the Munson-Williams-Proctor tables // cf. The Metropolitan Museum of Art, New York, 19th Century America–Furniture and Other Decorative Arts (1970), exhib. cat., [n.p.] no.133 This table is identical to a pair of card tables bearing the stenciled label of Charles A. Baudouine of 335 Broadway, New York, which were acquired by James and Helen Munson Williams of Utica, New York, in May 1852 for their home, Fountain Elms, which is where they remain today as part of the Munson-Williams-Proctor Art Institute collection. The Williams tables were billed as “1 Rosewood Multiform Table” at $160 for the pair, and they were indeed “multiform” in that they could be used separately and folded as a pair of console tables, opened as a pair of card tables, or joined together as a center table. The present table varies essentially in the fact that it does not include the mechanism that would have allowed it to be attached to another to form a center table. Of French descent, Baudouine was born in New York in 1808. He made his debut as a cabinetmaker in the New York directory of 1829/30, where he is listed at 508 Pearl Street. By 1839/40 he relocated to Broadway, where he remained in business at various addresses until about 1854. A sense of the scale of Baudouine’s operation is given by German immigrant cabinetmaker Ernest Hagen...

Center Table, about 1818–20 Attributed to Thomas Seymour (1771–1848), working either for James Barker or for Isaac Vose & Son, with Thomas Wightman (1759...

New York, Fan-carved mantel in the Federal taste, circa 1812 Pine Measures: 66 1/4 in. high, 90 3/8 in. wide, 13 1/4 in. deep Within the genre of carved rather than plasterwork mantels of the Federal Period, no example that has come to light is more perfectly designed or more carefully wrought than the present one, which is an amazing symphony of fans, urns, beads, and other Neo-Classical devices, all ultimately influenced by the plasterwork designs of the English architects Robert (1728–1792) and James (1732–1794) Adam. Of a type that proliferated in the area bounded by the northern New Jersey counties of Bergen and Passaic, the Hudson Valley, and western Long Island, the mantel is representative of work that flourished in the first couple of decades of the 19th century. While most of the woodwork of this style that has survived is found in interiors, various examples of exterior doors and other trim have been noted, but most examples have disappeared as a result, variously, of natural deterioration and purposeful demolition in anticipation of development. Although considerably larger in scale and more elaborate in ornament than a mantel that has been in the collection of the Brooklyn Museum since 1944 (acc. no. 44.55; photograph in Hirschl & Adler archives), the present mantel is so close in style and conception to that example that it likely originated in the same house. The Brooklyn mantel is documented as having been removed from a house built by Judge Isaac Terhune (1762–1837), an eminent lawyer and judge. The house was situated on King’s Highway, at the corner of Mansfield Place, at the edge of South Greenfield, a village in northern Gravesend, Brooklyn. A photograph of the house, taken by the German e´migre´ photographer, Eugene Armbruster (1865–1933), is in the collection of the New-York Historical Society. Terhune is ultimately descended from the Dutch-Huguenot e´migre´ Albert Albertson Terhunen, who died in Flatlands, Brooklyn, in 1685.The family eventually spread out through New Amsterdam, Long Island, and Bergen County, New Jersey. Terhune’s great-grandson, also Albert (1715–1806), left a sizable estate to his six surviving children, including his second child and second son, Isaac. Judge Terhune lived in the house until his death in 1837, at which time, according to an article in The New York Times for November 27, 1910, he, having died without issue, “left the White Frame Mansion with its exquisitely carved doorway, beautiful mantels, and other interior adornments to his brother John” (Part Six, p. 11). The article continues: After the latter’s death, the house and its estate of about 70 acres passed through several owners, eventually being purchased in 1853 by Benjamin G. Hitchings [1813–1893]. The house next passed to Benjamin’s son, Hector, who had been born in the house, and then lived there for 25 years. He sold it in 1910 in partial payment for a Manhattan apartment house. After thus having been sold to a real estate developer, the Hitchings property was subdivided into Hitchings Homestead. The house survived until about 1928, at which time it was razed and a Deco-style apartment house with the address 2301 Kings Highway was constructed on the site and occupied in 1935. By 1910, the fate of the house, in an area of Brooklyn that was being rapidly developed, was becoming obvious. The Times article reported: The house has been well kept up, but fearing lest the hand of time or vandals might deal harshly with some of its choice bits of carving, Mr. Hitchings removed a few years ago a few beautifully carved wood mantels...

German Empire Secretary Desk, circa 1810–1820 – Walnut Veneer, Brass Details, Shellac Finish This elegant early 19th-century Empire secretary desk was crafted in Germany between 1810 and 1820. It features exquisite book-matched walnut veneer with rich, natural grain patterns that highlight the refined craftsmanship of the Empire style. The lower section includes two paneled doors that open to reveal three spacious interior drawers, offering ample concealed storage. The upper section features a fall-front writing flap, which opens to a well-organized interior with several small drawers and open compartments—ideal for correspondence and personal items. Above this is a wide additional drawer for extra storage. Two striking full-length columns with brass capitals and bases frame the piece, adding a classical architectural touch. The entire desk has been beautifully restored with a traditional hand-applied shellac polish, enhancing its depth and sheen while preserving its historic character. Key Features: Authentic Empire period desk, Germany, circa 1810–1820 Book-matched walnut veneer Original architectural details: brass-mounted columns Writing flap with interior drawers and compartments Large drawer above writing section Fully restored with hand-applied shellac polish Ships from Germany – shipping to Boston included This antique Empire secretary desk...

Introducing a remarkable Empire Fall Top Desk, hailing from France during the period of 1800-1810. Crafted with meticulous attention to detail, this magn...

Beautiful upright secrétaire from the French Empire period. The desk is made of oak with burr walnut veneer, decorated with bronze ormolu elements. These are typical of the French Em...

A most powerful and of the highest quality French First Empire period, Circa. 1805, "Secretaire Abattant'. The secretary is solid Cuban mahogany and fire gilded ormolu mounts with tw...