Amy Hudson Henderson
French & Fashionable: The Search for George and Martha Washington’s Presidential Furniture

American Furniture 2019

Full Article
Contents
  • Figure 1
    Figure 1

    Jean-Baptist Lelarge III, side chair, Paris, ca. 1780. Beech; paint. H. 35 3/8", W. 18 1/8", D. 16 1/2". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 2
    Figure 2

    Dessert service, Niderviller, France, ca. 1782. Porcelain (hard-paste). (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 3
    Figure 3

    Adolf Ullrik Wertmüller (1751–1811), George Washington, United States, 1795. Oil on canvas. 25 1/2" x 20 13/16". (Courtesy, Nationalmuseum, Stockholm, Sweden; photo, Nationalmuseum, CC BY-SA.)

  • Figure 4
    Figure 4

    James Peale (1749–1831), portrait miniature of Martha Washington, United States, 1796. Watercolor on ivory. H. 1 5/8", W. 1 1/4". (Courtesy, Mount Vernon Ladies’ Association; photo, Paul Kennedy.)

  • Figure 5
    Figure 5

    Bread basket, England or France, ca. 1783–1784. Sliver-plated copper. H. 11 1/2", W. 14 5/8". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 6
    Figure 6

    Wine coaster, England or France, ca. 1783–1784. Silver-plated copper, wood, ivory. H. 1 3/8", Diam. 5". (Courtesy, Mount Vernon Ladies’ Association; photo, Mark Finkenstaedt.)

  • Figure 7
    Figure 7

    Grand Salon from the Hôtel de Tessé, by Nicolas Huyot; carved by Pierre Fixon and (or) his son Louis-Pierre Fixon, Paris, ca. 1768–1772. (Courtesy, Metropolitan Museum of Art, gift of Mrs. Herbert N. Straus, 1942, acc.42.203.1.)

  • Figure 8
    Figure 8

    François-Joseph Bélanger, elevation of a wall in the salon of the duchesse de Mazarin, Paris, ca. 1780. Pen, ink, and watercolor on paper. 16 5/16" x 10 7/8". (Copyright, Victoria and Albert Museum, London.)

  • Figure 9
    Figure 9

    Erik Palmstedt, floor plan of the Hôtel du Châtelet, Paris, 1778–1780. Pen and ink on paper, 20 1/4" x 13 3/4". (Courtesy, Kungliga Akademien för de fria konsterna/Royal Academy of Fine Arts, Stockholm.) This plan shows the two-row circular configuration of seating with sieges meublants on the outside and sieges courants on the inside.

  • Figure 10
    Figure 10

    Erik Palmstedt, floor plan of the Hôtel du Nivernai, Paris, 1778–1780. Pen and ink on paper, 10 1/16" x 14 3/16". (Courtesy, Kungliga Akademien för de fria konsterna/Royal Academy of Fine Arts, Stockholm.) This plan shows the U-shaped grouping of side chairs in the center and the larger armchairs and sofas along the perimeter.

  • Figure 11
    Figure 11

    François Dequevauviller, after Niklas Lafrensen II, L’assemblé au salon (Gathering in a Salon), Paris, 1783–1784. Engraving and etching. 15 7/8" x 19 3/4". (Copyright, Victoria and Albert Museum.) The chairs have been arranged in small, informal groups for a variety of activities.

  • Figure 12
    Figure 12

    Robert Bénard, after Radel, Tapissier. Intérieur d’une boutique et differens ouvrages, plate 1, Encyclopédie, planches, sur les sciences, les arts libéraux, et les arts méchaniques, avec leur explication, vol. 9, edited by Denis Diderot et al. (Paris: Chez Briasson, 1762-1772). Engraving. 18 45/64" x 13 31/32". (Courtesy, Kislak Center for Special Collections, Rare Books and Manuscripts, University of Pennsylvania.)

  • Figure 13
    Figure 13

    Soup tureen and stand and preserves stand, Royal Porcelain Manufactory of Sèvres, France, 1782. Porcelain. Tureen, H. 13"; Stand, H.  17 3/4"; Preserves stand, H. 3 3/16". (Courtesy, White House Historical Association © 2000.) John and Abigail Adams probably acquired this china service during their time in France while John Adams served as the minister to France between 1784 and 1785.

  • Figure 14
    Figure 14

    Table, France, ca. 1785. Cherry; Brescia marble, brass. H. 28 1/16", W. 25 5/8". (Copyright, Thomas Jefferson Foundation, Monticello.) While residing in Paris, Thomas Jefferson commissioned several pieces of furniture, including this table a trois fin. Jefferson likely appreciated the table’s versatility. It has a removable circular tabletop, finished in leather and wool on opposite sides, that can be placed on top of the marble to expand the table’s functions: the marble surface might thus be used to serve drinks, the leather for writing, and the wool for playing games.

  • Figure 15
    Figure 15

    Side chair, France, ca. 1780–1790. Beech. H. 37 1/2", W. 17", D. 16". (Courtesy, John Jay Homestead State Historic Site, Katonah, New York, New York State Office of Parks, Recreation and Historic Preservation; photo, Gavin Ashworth.) In the fall of 1783, Parisians were captivated by the recent invention of the hot-air balloon. Sarah Livingston Jay witnessed several ascents, including the first hydrogen-powered balloon flight by Jacques Charles and Nicolas Robert. Many French craftsmen translated the popular balloon shape into furniture, jewels, and clocks. The Jays brought two such souvenir chairs back to the United States upon their return in 1784.

  • Figure 16
    Figure 16

    William Birch and Son, “View in Third Street, from Spruce Street, Philadelphia,” Philadelphia, 1800. Hand colored engraving on paper, 13" x 16". (Courtesy, Library Company of Philadelphia.) This view shows the William Bingham Mansion.

  • Figure 17
    Figure 17

    G. Hayward, “No. 3 Cherry Street, First Presidential Residence,” New York, 1853. Lithograph published in Valentine’s Manual [Manual of the Corporation of the City of New York, edited by D. T. Valentine]. (Courtesy, New-York Historical Society.)

  • Figure 18
    Figure 18

    Armchair (one of a pair), attributed to Thomas Burling, New York City, ca. 1790. Mahogany with oak; haircloth. H. 40", W. 28", D. 17". (Courtesy, Division of Cultural and Community Life, National Museum of American History, Smithsonian Institution.)

  • Figure 19
    Figure 19

    Presidential table wares, including the plateau, figural group of Venus and cupids and La Peinture, and Sèvres dinner service. (Courtesy,  Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)    

  • Figure 20
    Figure 20

    Plateau, France, ca. 1789. Silvered brass, mirrored glass, unidentified wood. H. 2 7/8", W. 17 3/8", L. 24". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 21
    Figure 21

    Figural group of Venus and cupids, Duc d’Angoulême’s porcelain factory, France, ca. 1790. Biscuit porcelain (hard-paste). H. 15 1/4", W. 12 7/8". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 22
    Figure 22

    La Peinture, Duc d’Angoulême’s porcelain factory, France, ca. 1790. Biscuit porcelain (hard-paste). H. 11 1/4", W. 5", D. 3 1/2". (Courtesy, Stephen L. Zabriskie; photo, Gavin Ashworth.

  • Figure 23
    Figure 23

    Charles Burton, “Bunker’s Mansion House, Broadway, New York City: Study for Plate 5A of ‘Bourne’s Views of New York,’” (39–41 Broadway), New York, ca. 1831. Brown ink and wash, gray wash, and graphite on paper. H. 2 5/8", W. 3 1/2". (Courtesy, New-York Historical Society, bequest of Stephen Whitney Phoenix, 1881.10.)

  • Figure 24
    Figure 24

    “Articles purchased by the President of the United States from Mons. Le Prince agent for the Count de Moustiers, March 4, 1790.” (Courtesy, Mount Vernon Ladies’ Association.)

  • Figure 25
    Figure 25

    Ignazio Pio Vittoriano Campana, Marquise Jean-François-René-Almaire de Bréhan (Anne-Flore Millet), 1777. Watercolor on ivory. H. 2 11/16". (Courtesy, Nationalmuseum, Stockholm, Sweden; photo, Nationalmuseum, CC BY-SA.)

  • Figure 26
    Figure 26

    Marquise Jean-Françoise-René-Almaire de Bréhan (Anne-Flore Millet), George Washington, France, 1789. Watercolor on ivory. H. 2  3/4". (Courtesy, Yale University Art Gallery.) Madame de Bréhan was an accomplished pastelist and noted for the artistic decorations she created and displayed during lavish events at the minister’s residence. She made two miniatures of George Washington: the first shortly after her visit to Mount Vernon in the spring of 1788; and this one after her return to Paris in 1789.

  • Figure 27
    Figure 27

    Victor-Jean-Gabriel Chavigneau, lady’s writing table, France, ca. 1787–1789. Mahogany and mahogany veneer with white oak; marble, brass, silvered brass, leather, gold leaf. H. 41 1/2", W. 28 1/4", D. 19". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 28
    Figure 28

    Dressing table, France, ca. 1760–1780. Mahogany with fir; marble, glass. H. 29", W. 37 5/8", D. 21". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 29
    Figure 29

    Bidet, France, ca. 1790. Mahogany; leather, brass. H. 15 1/2", W. 18 1/4", D. 8 7/8". (Courtesy, Joseph James Ryan; photo, Gavin Ashworth.)

  • Figure 30
    Figure 30

    Dinner service, Sèvres factory, France, ca. 1780. Porcelain (hard-paste). (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 31
    Figure 31

    Abraham Godwin, label of Thomas Burling, New York, ca. 1786–1793. Engraving on paper. Dimensions not recorded. (Courtesy, Collection of the Museum of Early Southern Decorative Arts, Old Salem Museum and Gardens, Winston-Salem, North Carolina.)

  • Figure 32
    Figure 32

    W. L. Breton, “Residence of Washington in High Street, Philadelphia,” Philadelphia, ca. 1828-1830. Watercolor on paper. 9 13/16" x 7 1/2". (Courtesy, Historical Society of Pennsylvania.)

  • Figure 33
    Figure 33

    Conjectural floor plan (ground floor) of the President’s House in Philadelphia. (Courtesy, Edward Lawler Jr. © 2001-2019. All rights reserved.) The bottom is north.

  • Figure 34
    Figure 34

    Conjectural floor plan (second floor) of the President’s House in Philadelphia. (Courtesy, Edward Lawler Jr. © 2001-2019. All rights reserved.) The bottom is north.

  • Figure 35
    Figure 35

    Conceptual sketch of the Green Drawing Room, President’s House, 190 High Street, Philadelphia. (Artwork by Wynne Patterson.) This is a visual interpretation that relies on such evidence as a fire insurance survey from 1773, Edward Lawler Jr.’s conjectural reconstruction of the floor plans, Washington’s inventory of the drawing room in 1797, personal correspondence of the president and his aides, as well as extant furnishings and architectural trimmings.

  • Figure 36
    Figure 36

    Mantelpiece, Philadelphia, ca. 1781. Wood; paint. H. 56 1/2", W. 79 1/2", D. 8 1/2". (Courtesy, Philadelphia History Museum at the Atwater Kent, Historical Society of Pennsylvania Collection; photo, Gavin Ashworth.) This mantelpiece was salvaged from the yellow drawing room in the President’s House prior to the building’s demolition in 1832, and the pulvinated frieze of banded foliage may represent the style of the woodwork on the mantel wall and above the doors in the green drawing room.

  • Figure 37
    Figure 37

    Looking glass, probably France, ca. 1788. Basswood; gesso, gold leaf, glass. H. 81 1/4", W. 43". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 38
    Figure 38

    Looking glass, attributed to James Reynolds, Philadelphia, 1791–1797. Yellow poplar with Atlantic white cedar; gesso, gold leaf, glass. H. 50", W. 16 1/2". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 39
    Figure 39

    Wall bracket, attributed to James Reynolds, Philadelphia, ca. 1791. White pine; gesso, gold leaf, wire, iron. H. 15 3/4", W. 12 1/4", D. 9". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 40
    Figure 40

    Argand wall lamp, probably England, ca. 1790–1797. Silver-plated copper, brass, tin, glass. H. 16 1/8", W. 7 3/4", D. 4". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.) This lamp was retailed by Joseph Anthony.

  • Figure 41
    Figure 41

    George Beck, The Great Falls of the Potomac, United States, 1797. Oil on canvas. 44" x 55 1/4". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 42
    Figure 42

    George Beck, The Passage of the Pato’k thro’ the blew mountain, at the confluence of that River with the Shan’h, United States, 1797. Oil on canvas. 39" x 49 5/8". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 43
    Figure 43

    “Sales of Elegant Furniture,” advertisement in Claypoole’s American Daily Advertiser, Philadelphia, March 8, 1797. (Courtesy, Historical Society of Pennsylvania.)

  • Figure 44
    Figure 44

    New Room, Mount Vernon, Mount Vernon, Virginia. (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 45
    Figure 45

    Side chair, attributed to John Aitken, Philadelphia, ca. 1797. Mahogany and light wood inlay with unidentified secondary wood. H. 37 7/16", W. 20 5/8", D. 18 3/4". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 46
    Figure 46

    Sideboard, attributed to John Aitken, Philadelphia, ca. 1797. Mahogany, mahogany veneer, and light and dark wood inlays with white pine, tulip poplar, and unidentified softwood. H. 37 5/8", W. 71 7/8", D. 26 11/16". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 47
    Figure 47

    Bergère, attributed to Jean-Baptiste Lelarge, Paris, ca. 1780. Beech; paint, brass. H. 35 1/8", W. 25 1/2", D. 22 3/8". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 48
    Figure 48

    Footstool, attributed to Georges Bertault, Philadelphia, ca. 1793. Ash with sweet gum and beech; silk, flannel, haircloth. H. 18", D. 16 3/4". (Courtesy, Tudor Place Historic House and Garden; photo, Gavin Ashworth.)

  • Figure 49
    Figure 49

    Footstool, attributed to Georges Bertault, United States, ca. 1788–1790. Mahogany, walnut, and pine; leather. H. 12", W. 23", D. 23". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)    

  • Figure 50
    Figure 50

    Armchair, France or United States, ca. 1790–1795. Unidentified woods; paint, silk. H. 34 1/2", W. 24", D. 21 1/2". (Courtesy, Museum of the American Revolution; photo, Gavin Ashworth.)

  • Figure 51
    Figure 51

    Detail showing the plaque on the armchair illustrated in fig. 50. (Photo, Gavin Ashworth.) The inscription reads: “Presented after Washington’s death, by the members of his Family to Gen. Sam Smith, after Gen. Smith’s death, purchased by Jno. B. Cannon, Baltimore, Md.”

  • Figure 52
    Figure 52

    Armchair, possibly France, 1790–1800. Walnut. H. 38 1/2", W. 24", D. 18 3/4". (White House Collection, Courtesy, White House Historical Association © 2019; photo, Gavin Ashworth.)

  • Figure 53
    Figure 53

    Armchair, France or United States, 1790–1795. Beech; paint. H. 31 3/4", W. 23 3/8", D. 20 1/4". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 54
    Figure 54

    Sofa, probably France, ca. 1795–1800. European walnut; paint, silk. H. 39 7/8", W. 70", D. 23 1/2". (Private collection; photo, Gavin Ashworth.)

  • Figure 55
    Figure 55

    Details of the arm terminals of the chairs and sofa illustrated in (from left to right) figs. 50, 54, 53, 52. (Photos, Gavin Ashworth.)

  • Figure 56
    Figure 56

    Details of the arm supports of the chairs and sofa illustrated in (from left to right) figs. 50, 54, 53, 52. (Photos, Gavin Ashworth.)

  • Figure 57
    Figure 57

    Armchair, probably France, 1785–1790. Beech; silk. H. 38 1/2", W. 24", D. 18 3/4". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 58
    Figure 58

    Armchair, possibly United States, ca. 1790–1810. Ash; paint, gold leaf, silk. H. 35 1/2", W. 21", D. 20". (Courtesy, Delaware Historical Society; photo, Gavin Ashworth.)

  • Figure 59
    Figure 59

    Armchair, France or United States, ca. 1785–1797. Beech; silk, linen, haircloth, paint, gold leaf. H. 34 1/4", W. 22 3/16", D. 22". (Courtesy, Connecticut Historical Society, lent by Mrs. Arnold G. Dana, 1983.57.0.)

  • Figure 60
    Figure 60

    Jean-Baptiste Lelarge III, bergère, Paris, ca. 1780. Beech; paint, silk. H. 39 3/8", W. 28 1/2", D. 26 1/2". (Courtesy, Chateaux de Versailles et de Trianon, Versailles, France. Copyright, RMN-Grand-Palais/Art Resource, NY ; photo, Christophe Fouin.)

  • Figure 61
    Figure 61

    Jean-Baptiste Lelarge III, fauteuil, Paris, ca. 1780. Beech; paint, silk. H. 38 3/16", W. 26 7/32", D. 23 15/64". (Courtesy, Chateaux de Versailles et de Trianon, Versailles, France. Copyright, RMN-Grand-Palais/Art Resource, NY; photo, Christophe Fouin.)

  • Figure 62
    Figure 62

    Chaise, Paris, ca. 1809. Beech ; paint, silk. H. 36 29/64", W. 19 11/16", D. 18 45/64". (Courtesy, Chateaux de Versailles et de Trianon, Versailles, France. Copyright, RMN-Grand-Palais/Art Resource, NY; photo, Franck Raux.)

  • Figure 63
    Figure 63

    Frontal views of (from left to right) two of the side chairs attributed to the Paris workshop of Jean-Baptiste Lelarge and the side chair attributed to the Philadelphia workshop of Georges Bertault. Side chair (left), see fig. 1. Side chair (center), attributed to Jean‑Baptist Lelarge III, Paris, ca. 1780. Beechwood. H. 34 3/4", W. 17 3/4", D. 16". (Courtesy, National Trust for Historic Preservation and Montpelier Foundation; photo, Gavin Ashworth.) Side chair (right), attributed to Georges Bertault, Philadelphia, 1793. Beechwood, oak (rear corner blocks), paint. H. 35 1/8", W. 18 1/2", D. 16 5/8". (Courtesy, Mount Vernon Ladies’ Association; photo, Gavin Ashworth.)

  • Figure 64
    Figure 64

    Editorial, New York Journal, March 28, 1788. (Courtesy, Library of Congress; photo, author.)

  • Figure 65
    Figure 65

    Armchair, New York, ca. 1788. Mahogany. H. 36", W. 23 1/2", D. 20". (Courtesy, New-York Historical Society.)

  • Figure 66
    Figure 66

    Armchair, attributed to Georges Bertault and Adam Hains, Philadelphia, 1793. Mahogany, ash. H. 35", W. 23", D. 19 3/4". (Courtesy, Longfellow House-Washington’s Headquarters, National Park Service; photo, Andrew Davis.)

  • Figure 67
    Figure 67

    Detail showing the stamp on the side illustrated on the far left in fig. 63.

  • Figure 68
    Figure 68

    Five of the six surviving pieces from George and Martha Washington’s Green Drawing Room suite.