1. Nicholas B. Wainwright, Colonial Grandeur in Philadelphia: The House and Furniture of General John Cadwalader (Philadelphia: Historical Society of Pennsylvania, 1964), pp. 19–20, 38–39, 116–19, 122–23. Robert C. Smith, “Finial Busts on Eighteenth-Century Philadelphia Furniture,” Antiques 100, no. 6 (December 1971): 900–905; Robert C. Smith, “A Philadelphia Desk-and-Bookcase from Chippendale’s Director,” Antiques 103, no. 1 (January 1973): 128–35.

2. John Kirk, American Chairs: Queen Anne and Chippendale (New York: Alfred A. Knopf, 1972), pp. 172–74. Philip D. Zimmerman, “A Methodological Study in the Identification of Some Important Philadelphia Chippendale Furniture,” in American Furniture and Its Makers: Winterthur Portfolio 13, edited by Ian M. G. Quimby (Chicago: University of Chicago Press, 1979), pp. 193–208. The appearance on the market and record-breaking performance of several pieces of Cadwalader furniture reinforced the cachet of Affleck’s name during the 1980s. Mark Anderson, Gregory Landrey, and Philip D. Zimmerman, Cadwalader Study (Winterthur, Del.: Winterthur Museum, 1995). See, for example, Luke Beckerdite, “Philadelphia Carving Shops, Part 1: James Reynolds,” Antiques 125, no. 5 (May 1984): 1120–33; “Philadelphia Carving Shops, Part II: Bernard and Jugiez,” Antiques 128, no. 3 (September 1985): 498–513; and “Philadelphia Carving Shops, Part III: Hercules Courtney and His School,” Antiques 131, no. 5 (May 1987): 1044–63.

3. Edwin J. Hipkiss, Eighteenth-Century American Arts: The M. and M. Karolik Collection (Cambridge, Mass.: Harvard University Press for the Museum of Fine Arts, Boston, 1941), pp. 152–53, no. 89; and Albert Sack, Fine Points of Furniture: Early American (New York: Crown Publishers, 1950), p. 37. Sack dropped the reference to the Randolph labeled chair in his revised edition of 1993.

4. Patricia E. Kane, 300 Years of American Seating Furniture: Chairs and Beds from the Mabel Brady Garvan and Other Collections at Yale University (Boston, Mass.: New York Graphic Society, 1976), p. 106, no. 90; Antiques 43, no. 1 (January 1943): inside front cover.

5. Francis J. Puig, “Questionables” and nos. 124–25 in The Eye of the Beholder: Fakes, Replicas and Alterations in American Art (New Haven, Conn.: Yale University Art Gallery, 1977), pp. 86–88.

6. Kirk, American Chairs, p. 172. He identified only three of the five chairs as those included in his book (nos. 80–82). Kane published a likely fourth, namely no. 92, in 300 Years. The fifth chair is not identified. Objective and subjective observations parallel “intrinsic” and “extrinsic” evidence discussed in Zimmerman, “A Methodological Study,” pp. 194–95.

7. A small group of case pieces from an anonymous Philadelphia cabinetmaking shop have carved appliqués that are intermittently outlined with gouge or parting tool cuts (see William McPherson Hornor, Blue Book, Philadelphia Furniture [Philadelphia: By the author, 1935], pp. 112–13, pls. 141, 145). A somewhat similar instance of in-filling after the fact that seems to be original work occurs in a dressing table discussed in Philip D. Zimmerman, “The Art and Science of Furniture Connoisseurship,” Antiques 152, no. 1 (July 1997): 98–99.

8. Parke-Bernet Galleries, Important American Eighteenth Century Cabinetwork, Decorative Objects, Notable Currier & Ives Prints: Property of the Estate of the Late Reginald Lewis, New York, March 24–25, 1961, lot 248.

9. This conclusion makes moot Kirk’s point “8” that construction of the front rail decoration indicates attempts to save wood, which he maintained is not an eighteenth-century practice in American furniture making. See below for further comment.

10. Sack, Fine Points, p. 37.

11. Joseph Downs, American Furniture: Queen Anne and Chippendale Periods (1952; reprint, New York: Viking Press, 1967), no. 44. For an English example, see Christie’s, Fine English Furniture, London, Thursday, November 14, 1991, sale 4652, lot 47.

12. Philip D. Zimmerman, “Workmanship as Evidence: A Model for Object Study,” Winterthur Portfolio 16, no. 4 (winter 1981): 300 n. 43, figs. 19–20.

13. The chairs descended from William Corbit to Daniel Corbit in 1845, to Daniel Wheeler Corbit in 1877, to Sara Corbit Levis, and to Mrs. Earle R. Crowe. John A. H. Sweeney, Grandeur on the Appoquinimink: The House of William Corbit at Odessa, Delaware (Newark, Del.: University of Delaware Press, 1959), pp. 101, 110–12. One of the chairs is illustrated as plate 4, Appendix I. Although the side chairs may be among the “6 Mahogany chairs” valued at $12.00 in William Corbit’s 1818 estate inventory, no appropriate listing appears for the armchairs (see pp. 102–5).

14. Illustrated as fig. 108a in Kane, 300 Years, p. 129. Dozens of labeled looking glasses afford other examples.

15. Antiques 47, no. 1 (January 1943), inside front cover. The card table was first published in Charles F. Hummel, “Queen Anne and Chippendale Furniture in the Henry Francis du Pont Winterthur Museum, Part III,” Antiques 99, no. 1 (January 1971): 106, figs. 16, 17. Kirk may not have known about the card table at Winterthur until after writing his book. Wainwright, Colonial Grandeur, see index. Kirk, American Chairs, p. 166.

16. Benjamin Randolph to Col. George Vaughan, April 2, 1765, photostat, Downs Manuscript and Microfilm Collection, Winterthur. Visible in fig. 108a in Kane, 300 Years, p. 129.

17. For English and other regional expressions of this chair back design, see John T. Kirk, American Furniture and the British Tradition to 1830 (New York: Alfred A. Knopf, 1982), figs. 948–58; and Brock Jobe, Portsmouth Furniture: Masterworks from the New Hampshire Seacoast (Boston, Mass.: Society for the Preservation of New England Antiquities, 1993), nos. 82–83, pp. 310–12. For the Affleck-attributed chairs, Kirk cites Hornor, Blue Book, pls. 260 and 265. Kirk, American Chairs, pp. 14 nos. 6, 166.