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Oscar P. Fitzgerald

(b Aberdeen, 1740; d Philadelphia, PA, March 5, 1795).

American cabinetmaker of Scottish birth. He trained as a cabinetmaker in Edinburgh and London. In 1763 he arrived in Philadelphia on the same boat as John Penn, the new Governor of Pennsylvania and a future client, to join Quaker friends. He opened a shop on Union Street and eventually moved to Second Street in the Society Hill area. He made stylish mahogany furniture (sold 1788; e.g. Philadelphia, PA, Cliveden Mus.; armchair, Winterthur, DE, Mus. & Gdns) for the governor’s mansion at Lansdowne, PA, and many of the most prominent families in the city owned his work, including the Mifflins, the Whartons, and the Chew family at Cliveden. The parlour suite he made for John Cadwalader carved by James Reynolds and the firm of Bernard and Jugiez in 1770–71 was among the most elaborate ever produced in the colonies (pole screen, Philadelphia, PA, Mus. A.).

A Quaker and Loyalist, Affleck refused to participate in the Revolution (...



Gordon Campbell

[Fr.: ‘swollen’]

Having an outward swelling curve. The term is used with particular reference to French Rococo chests of drawers, which first appear in the bombé shape in the 1740s. The swollen section is normally in the upper half; when it is in the lower half, it is sometimes known as ‘kettle shape’. In colonial America bombé furniture was mostly made in Massachusetts, primarily in Boston but also in centres such as Salem. In American bombé the swollen part is in the lower section in forms such as chests- of-drawers, desk and bookcases, chest-on-chests and dressing tables.

G. T. Vincent: ‘The Bombe Furniture of Boston’, Boston Furniture of the Eighteenth Century, ed. W. M. Whitehill, B. Jobeand J. L. Fairbanks (Boston, 1974), pp. 137–96.M. S. Podmaniczky and others: ‘Two Massachusetts Bombe Desk-and-bookcases’, Mag. Ant., 145 (May 1994), pp. 724–31M. K. Brown: ‘Topping off Thomas Dawes’s Desk-and-bookcase’, Mag. Ant., 157/ 5 (May 2000), pp. 788–95...


revised by Margaret Barlow

A renewed interest among artists, writers, and collectors between c. 1820 and 1870 in Europe, predominantly in France, in the Rococo style in painting, the decorative arts, architecture, and sculpture. The revival of the Rococo served diverse social needs. As capitalism and middle-class democracy triumphed decisively in politics and the economy, the affluent and well-born put increasing value on the aristocratic culture of the previous century: its arts, manners and costumes, and luxury goods.

Among the earliest artists in the 19th century to appreciate and emulate 18th-century art were Jules-Robert Auguste (1789–1830), R. P. Bonington, Eugène Delacroix, and Paul Huet. For these young artists the Rococo was a celebration of sensual and sexual pleasure and a product of a free and poetic imagination. Looking particularly at the work of Watteau, they sought to reproduce the Rococo capacity for lyrical grace, its sophisticated understanding of colour, and its open, vibrant paint surfaces in their work. These qualities can be seen in such re-creations of 18th-century scenes as Eugène Lami’s ...