The most structurally complex fakes in the Chipstone collection
are case forms. Stylistically, this "Philadelphia" dressing table
appears to be contemporary with the example to the right. Both have broad
fluted chambers (angled corners), a deep skirt, and a long drawer over three
smaller ones of approximately equal size-details common on Philadelphia dressing
tables made between 1730 and 1760. But this table is a modern creation. The
carving on the authentic dressing table is attributed to Nicholas Bernard,
a highly skilled, locally trained carver. The maker of the Chipstone table
attempted to mimic Bernard's naturalistic style, but was not up to the task.
Notice how the acanthus appliqués on the central drawer consist of
awkward clusters of deeply hollowed leaves similar to those on other fakes
in this exhibition. The poorly rendered knee carving, too, is virtually identical
to that on the fraudulent Philadelphia armchair to the left. The construction
details and materials also reveal this table to be fake. All of the lower
drawers are assembled from parts from another case piece . for instance, the
right and left drawers appear to have been cut down from the upper drawers
of a high chest, which typically have pulls placed near the top of the front.
In contrast, the brasses on corresponding drawers of period Philadelphia dressing
tables are usually centered.
This dressing table is superb example of Philadelphia
case furniture from the early 1750s. Its nearly identical in structure to
a dressing table and matching high chest made by cabinetmakers Henry Clifton
and Thomas Carteret in 1753. Moreover, the color of the interior dustboards,
glue blocks, and other secondary components is convincing. All of the parts
have appropriate evidence of wear, shrinkage, and oxidated or naturally darkened
surfaces.