2015 VOLUME 36

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Southern Furniture Studies: Where We’ve Been, Where We’re Going

Ronald L. Hurst

Fig. 19. Desk and bookcase attributed to Peter Scott, 1740-1755, Williamsburg, VA. Walnut with oak and yellow pine; HOA: 84”, WOA: 42-1/8”, DOA: 24-1/2”. Colonial Williamsburg Foundation Acc. 1990-219, Museum Purchase.

Southern furniture is one of the most dynamic subjects in American decorative arts research today. Institutions and private scholars alike are actively investigating a wide array of the region’s cabinetmaking traditions, and their compelling discoveries are regularly revealed in new publications and exhibitions. Yet interest in the topic is comparatively recent. Antiquarians began collecting furniture from the North as early as the 1820s, but there was almost no awareness of its southern counterparts before the 1930s. Even then, study of the material would remain sporadic for another thirty years. Although a small core of early-twentieth-century southern dealers and collectors was aware of the South’s cabinetmaking heritage, the rest of the American decorative arts community was convinced that southern furniture makers fashioned nothing more complex than ladder-back chairs and utility tables. On those rare occasions when exceptional southern goods came to light, furniture historians almost invariably attributed them to other locales. … Continued

Editor’s Welcome

MESDA 50th Logo Thumb

Most institutions look backward at their 50th anniversary. The temptation of sifting through early records is magnetic—to laud accomplishments and gently snicker at earnest-yet-misguided visions of the future to come. Nostalgia has its uses and place. From the perspective of half a century, many museums contentedly acknowledge and commemorate five decades of their triumphs and milestones. MESDA is not like many other museums. For its 50th anniversary, MESDA is celebrating by looking forward. Our anniversary events and programs this fall are fundraisers to establish an endowment that ensures MESDA’s Summer Institute meets the highest educational standards in perpetuity. The program, like the museum, is thinking of tomorrow, not yesterday, by training future curators, preservationists, and historians in the practice of material culture study through a unique combination of hands-on object exploration, primary source research, and intensive fieldwork. The articles of the 2015 MESDA Journal also mark the museum’s 50th anniversary … Continued

Probability & Provenance: Jacob Sass and Charleston’s Post-Revolution German School of Cabinetmakers

Gary Albert

Fig. 12: Secretary bookcase attributed to the Jacob Sass Shop, 1790-1800, Charleston, SC. Mahogany and mahogany veneer with red cedar and white pine; HOA: 104”, WOA: 55-3/8”, DOA: 24-3/8”. MESDA Acc. 5775. MESDA Object Database file S-15325.

German-born cabinetmaker Jacob Sass arrived in Charleston in 1773, the same year that Thomas Leitch put the final touches to his panoramic 1774 “View of Charles-Town” (Figure 1).[1] Leitch’s painting provides a unique view of the South Carolina city as 23-year-old Jacob Sass would have experienced it coming into the Charleston harbor for the first time. Sass died in 1836—only a few years after Samuel Barnard completed his 1831 painting of bustling East Bay Street (Figure 2)—and Charleston was a dramatically different city from the colonial port painted by Thomas Leitch sixty years earlier.[2]Charleston’s cabinetmaking trade witnessed several seismic changes over the six decades that Jacob Sass lived and worked in the city. By the second decade of the nineteenth century, much of the furniture purchased by Charlestonians was no longer made locally. Instead, venture shipments of bureaus, beds, chairs, and other furniture forms frequently sailed down the coast from … Continued

© 2016 Museum of Early Southern Decorative Arts