1. For more on English pattern books, see Eileen Harris, British Architectural Books and Writers, 1556–1785 (New York: Cambridge University Press, 1990); and Peter Ward-Jackson, English Furniture Designs of the Eighteenth Century (London: Victoria and Albert Museum, 1958). 2. Irving W. Lyon cited the designs of Thomas Chippendale, George Hepplewhite, and Thomas Sheraton in The Colonial Furniture of New England (Boston and New York: Houghton Mifflin & Co., 1891), pp. 70, 71, 173–75; and Luke Vincent Lockwood devoted nearly a dozen pages to the publications of Chippendale, William Ince and John Mayhew, and the Society of Upholsterers in Colonial Furniture in America (New York: Charles Scribner’s Sons, 1913), pp. 10–19. Fiske Kimball, “The Sources of the Philadelphia Chippendale,” Pennsylvania Museum Bulletin 21, no. 104 (June 1926): 183–93; “The Sources of the Philadelphia Chippendale: II. Benjamin Randolph’s Trade Card,” Pennsylvania Museum Bulletin 23, no. 115 (October 1927): 5–8; “The Sources of the Philadelphia Chippendale: III. A Chair with the label of Benjamin Randolph,” Pennsylvania Museum Bulletin 23, no. 117 (December 1927–January 1928): 15–19. Helen Park, A List of Architectural Books Available in America Before the Revolution (1961; rev. enlarged ed., Los Angeles: Hennessey and Ingalls, 1973). The principal recent studies of furniture design books in America are: Caroline Wyche Dixon, “A List of Architectural and Furniture Books Available in Charleston South Carolina From 1750 Through 1821,” M.A. thesis, Columbia University, 1979; Morrison H. Heckscher, “Philadelphia Chippendale: The Influence of the Director in America,” Furniture History 21 (1985), pp. 283–95; Charles F. Hummel, “The Influence of Design Books Upon the Philadelphia Cabinetmaker, 1760–1820,” M.A. thesis, University of Delaware, 1955; Phillip M. Johnston, “A Checklist of Books Relating to Architecture and the Decorative Arts Available in Philadelphia in the Three Decades Following 1780,” M.A. thesis, University of Delaware, 1974. In America the most complete collections of furniture pattern books are in the Department of Prints and Illustrated Books at the Metropolitan Museum of Art and in the library at Winterthur. 3. For American book catalogues, see Charles Evans, American Bibliography, vols. 1–12 (Chicago: privately published, 1903–1934), vols. 13–14 (Worcester, Mass.: American Antiquarian Society, 1955–1959) (Early American Imprints, 1639–1800 [microform] is a Readex microprint of the works listed in Evans); Robert B. Winans, A Descriptive Checklist of Book Catalogues Separately Printed in America, 1693–1800 (Worcester, Mass.: American Antiquarian Society, 1981). For transcriptions of newspaper advertisements, see George Francis Dow, comp., The Arts and Crafts in New England, 1704–1775 (Topsfield, Mass.: Wayside Press, 1927); Rita Susswein Gottesman, comp., The Arts and Crafts in New York, 1726–1776: Advertisements and News Items from New York City Newspapers (New York: New-York Historical Society, 1938); Rita Susswein Gottesman, comp., The Arts and Crafts in New York, 1777–1779: Advertisements and News Items from New York City Newspapers (New York: New-York Historical Society, 1954); Alfred Coxe Prime, comp., The Arts and Crafts in Philadelphia, Maryland, and South Carolina, 1721–1785 (Topsfield, Mass.: Walpole Society, 1929); Alfred Coxe Prime, comp., The Arts and Crafts in Philadelphia, Maryland, and South Carolina, 1786–1800 (Topsfield, Mass.: Walpole Society, 1932). 4. Charles Hummel, “Samuel Rowland Fisher’s Catalogues of English Hardware,” in Winterthur Portfolio One (Winterthur, Del.: Winterthur Museum, 1964), pp. 188–97. 5. For more on Brunetti, Jones, De La Cour, Darley, Halfpenny, and Chambers, see Ward-Jackson, English Furniture Designs, pp. 34–35, 37–38, 47–48. For Lock, see Morrison Heckscher, “Lock and Copland: A Catalogue of the Engraved Ornament,” Furniture History 15 (1979): 1–23. 6. The Langley furniture designs are discussed in Ward-Jackson, English Furniture Designs, pp. 35–36, pls. 30–34. 7. The chief source of information about these booksellers is their own imprints. See Clifford K. Shipton and James Mooney, eds., National Index of American Imprints Through 1800: The Short-Title Evans, 2 vols. (Worcester, Mass.: American Antiquarian Society, 1969). 8. Philadelphia Museum of Art, Philadelphia: Three Centuries of American Art (Philadelphia: by the Museum, 1976), pp. 111–14. 9. Ward-Jackson, English Furniture Designs, pp. 35–36, pls. 30–34. 10. Carl Bridenbaugh, Peter Harrison: First American Architect (Chapel Hill, N.C.: University of North Carolina Press, 1949), pp. 57–58, 98–101. 11. Leslie B. Grigsby, “John Stalker and George Parker’s Treatise: An Inspiration for Relief Decoration on English Stoneware and Earthenware,” Antiques 143, no. 6 (June 1993): 886–93. 12. Terry F. Friedman, “Two Eighteenth-Century Catalogues of Ornamental Pattern Books,” Furniture History 11 (1975): 66–75, pls. 152–160. 13. See Caroline Wyche Dixon, “The Miles Brewton House: Ezra Waite’s Architectural Books and other Possible Design Sources,” South Carolina Historical Magazine 82, no. 2 (April 1981): 123; and John Bivins, Jr., “Charleston Rococo Interiors, 1765–1775: The ‘Sommers’ Carver,” Journal of Early Southern Decorative Arts 12, no. 2 (November 1986): figs. 31e, 34d. Compare, for example, Baretti’s plate 1 with the pediment head of the Philadelphia high chest illustrated in Morrison H. Heckscher, American Furniture in the Metropolitan Museum of Art (New York: Random House, 1985), no. 165. 14. The Goddard copy of the Director has a complicated provenance. Thomas (1765–1858) was the son of John Goddard (1724–1785) and a cabinetmaker in his own right. According to George C. Mason’s Reminiscences of Newport (Newport: C. E. Hammett, Jr., 1884), p. 50, “Goddard’s copy of Chippendale’s quarto volume of designs is now owned by a cabinet-maker in Newport.” Walter A. Dyer reported that the book belonged to Duncan A. Hazard (“John Goddard and his Block-Fronts,” Antiques 1, no. 5 [May 1922]: 203–7). Hazard wrote collector Maxim Karolik: “The Chippendale book which you purchased of me I bought from an old lady in Newport, Miss Goffe. Her father was an old time cabinet-maker in Newport seventy-five years ago. This Chippendale book belonged to John Goddard the celebrated cabinet-maker of Newport. . . . Mr. Goffe purchased the book . . . at an auction of the effects of one of the descendants of John Goddard. . . . Later I had Albert W. Goddard the great-grandson of John Goddard identify his book. He . . . immediately recognized the book and said it was the one his great-grandfather owned and used.” Edwin Hipkiss annotated the Hazard letter: “Thomas Goddard’ was written inside the back cover—now just visible” (Duncan Hazard to Maxim Karolik, October 9, 1929, Museum of Fine Arts, Boston). The signature has since been reworked. Burling advertisement in Rivington’s New-York Gazetteer, September 2, 1774. The woodcut is reproduced in Antiques 25, no. 1 (January 1934): 10. For more on the Masonic chair, see Wallace Gusler, The Furniture of Williamsburg and Eastern Virginia, 1710–1790 (Richmond: Virginia Museum, 1979), pp. 75–79. On p. 113, n. 59, Gusler states that the pierced arm support of Bucktrout’s Masonic chair probably derives from plate 17 of the first edition of the Director, an engraving omitted in the third edition. Thus, if Edmund Dickinson inherited Bucktrout’s copy when he succeeded him as master of the Hay shop, the copy recorded in his inventory was the first or second edition. Jefferson acquired his copy of the Director sometime after 1789. Jefferson sold a portion of his library to the government in 1815, and subsequent Library of Congress catalogues identified the book as the 1755 edition. Jefferson’s copy was destroyed in the Library of Congress fire of 1851 (E. Millicent Sowerby, Catalogue of the Library of Thomas Jefferson, 5 vols. [Washington: Library of Congress, 1952–1959], 4: 383, no. 4221). William B. O’Neal, Jefferson’s Fine Arts Library (Charlottesville, Va.: University Press of Virginia, 1956), pp. 62–68, no. 26. 15. The library bookcase is illustrated in several publications on southern furniture and decorative arts. For recent illustrations, see John Bivins, Jr., and Forsyth Alexander, The Regional Arts of the Early South (Chapel Hill, N.C.: University of North Carolina Press for the Museum of Early Southern Decorative Arts, 1991), pp. 95–96; and Morrison H. Heckscher and Leslie Greene Bowman, American Rococo, 1750–1775 (New York: Metropolitan Museum of Art and Los Angeles County Museum of Art, 1992), fig. 43. The New Bern chairs are illustrated in John Bivins, Jr., The Furniture of Coastal North Carolina, 1700–1820 (Chapel Hill, N.C.: University of North Carolina Press for the Museum of Early Southern Decorative Arts, 1988), pp. 396–97. 16. For more on Director-influenced furniture from Philadelphia, see Morrison H. Heckscher, “Philadelphia Chippendale: The Influence of the Director in America,” Furniture History 21 (1985): 283–95. The Library Company’s copy of the Director is not in the 1764 catalogue of that institution’s collection and thus must have been acquired between 1765 and 1769. Edwin Wolf II believed that (since there was no evidence of the book having been ordered) this copy probably entered the Library Company when it incorporated the Union Library Company in 1769. The Director appears in succeeding Library Company catalogues through 1835. A copy of the 1755 edition signed by Benjamin Randolph is said to exist, but the author has yet to examine it. A Philadelphia side chair based on plate 10 is illustrated in Heckscher, American Furniture in the Metropolitan Museum of Art, pp. 100–101, no. 54. 17. Folwell’s proposal is illustrated in Heckscher and Bowman, American Rococo, p. 8, no. 5. 18. Heckscher, “Lock and Copland,” no. 11, pp. 20–21, pls. 48–55. 19. See Brock Jobe, ed., Portsmouth Furniture: Masterworks from the New Hampshire Seacoast (Boston: Society for the Preservation of New England Antiquities, 1993), pp. 159–62, 223–26, nos. 27, 48. Heckscher, American Furniture in the Metropolitan Museum, p. 285, no. 185. 20. For an illustration of the high chest, see Philadelphia Museum of Art, Three Centuries, p. 133. 21. Helena Hayward, “Newly-discovered Designs by Thomas Johnson,” Furniture History II (1975): 40–42 pls. 96–101. The Metropolitan Museum has an impression of plate 5 (see fig. 7). 22. Luke Beckerdite, “Philadelphia Carving Shops Part III: Hercules Courtenay and His School,” Antiques 131, no. 5 (May 1987): 1044–63. 23. Heckscher, “Lock and Copland,” no.8, pp. 18–19, pls. 34–39. The author thanks Gregory R. Weidman for providing a copy of the McLure reference. 24. Heckscher, “Lock and Copland,” no. 2, pp. 11–12, pls. 7A–10. 25. Heckscher, “Lock and Copland,” no. 7, pp. 17–18, pls. 21–32. 26. John Bivins, Jr., “Isaac Zane and the Products of Marlboro Furnace,” Journal of Early Southern Decorative Arts II, no. 1 (May 1985): 47–49, figs. 16, 17. 27. Heckscher, American Furniture in the Metropolitan Museum, pp. 50–52, no. 13. Jobe, Portsmouth Furniture, pp. 316–21, nos. 85, 86. 28. The “Book of Household Furniture” in McLure’s advertisement could refer to Ince and Mayhew’s Universal System of Houshold Furniture, but given the other small, inexpensive volumes in McLure’s list, Houshold Furniture in Genteel Taste is much more likely. 29. For more on the Prince card, see Heckscher and Bowman, American Rococo, pp. 52, 154–55. Kimball, “Randolph’s Trade Card,” pp. 5–8, identifies pls. 22, 25, 35, 36, 38, 41, 91. Gusler, Furniture of Williamsburg, pp. 125–26, makes the attribution for the stand. 30. For a Hartford example, see The Great River: Art & Society of the Connecticut Valley, 1635–1820 (Hartford: Wadsworth Atheneum, 1985), pl. 262, cat. 150. William N. Hosley was the first to note that Hepplewhite’s volume was available in 1799 from Hudson and Goodwin of Hartford. 31. See Charles F. Montgomery, American Furniture: The Federal Period (New York: Viking, 1966), p. 488, for the various American price books, and no. 183 for the library bookcase. 32. For American furniture based on Sheraton designs, see Montgomery, American Furniture: The Federal Period, nos. 269–70, 23, 98, 99. William Mcpherson Hornor published a later state of Barry’s trade card in Blue Book: Philadelphia Furniture (Philadelphia, 1935), pl. 432.