Philip D. Zimmerman
A Beekman Legacy: 1819 French Tapestry Chairs by John Banks of New York

American Furniture 2019

Full Article
Contents
  • Figure 1
    Figure 1

    John Banks, armchair, New York City, 1819. Mahogany with ash and white pine. H. 37 3/4", W. 21 1/2", D. 27 3/4". (Courtesy, Bernard and S. Dean Levy, Inc.; photo, Richard Goodbody.) The letter designations provided for some of the seating illustrated here are derived from accession numbers assigned by the New-York Historical Society. This armchair is “H”.

  • Figure 2
    Figure 2

    John Banks, sofa, New York City, 1819. Mahogany with cherry, ash, and white pine. H. 38 1/2", W. 72", D. 27". (Courtesy, Bernard and S. Dean Levy, Inc.; photo, Richard Goodbody.)

  • Figure 3
    Figure 3

    John Banks, armchair, New York City, 1819. Mahogany with cherry, ash, maple, and white pine. H. 37 3/4", W. 21 1/2", D. 27 3/4".(Courtesy, Bernard and S. Dean Levy, Inc.; photo, Richard Goodbody.) This is armchair “K”. 

  • Figure 4
    Figure 4

    Frontispiece to Esther Singleton, The Furniture of Our Forefathers, pt. 4, (New York: Doubleday, Page, August 1901).

  • Figure 5
    Figure 5

    Abram Hosier, “Mount Pleasant,” New York City, ca. 1874. Watercolor, gouache, and graphite on paper. 30" x 40". (Courtesy, New-York Historical Society, gift of the Beekman Family Association.)

  • Figure 6
    Figure 6

    Robert McMennomy to James Beekman, invoice for tapestry sets, May 1818. (Courtesy, New-York Historical Society.)

  • Figure 7
    Figure 7

    John Banks to James Beekman, invoice for a set of eight armchairs and one sofa, June 26, 1819. (Courtesy, New-York Historical Society.)

  • Figure 8
    Figure 8

    Thomas Seymour, Grecian card table (one of a pair), Boston, 1816. Mahogany. H. 30 1/8", W. 36 1/4", D. 18". (Courtesy, Adams National Historic Site; photo, David Bohl.)

  • Figure 9
    Figure 9

    John Banks to James Beekman, accounting for a set of eight armchairs and one sofa, November 15, 1819. (Courtesy, New-York Historical Society.)

  • Figure 10
    Figure 10

    John Banks, tall case clock, New York City, 1820–1826. Mahogany, light and dark wood inlays and stringing with tulip poplar. H. 96", W. 21 1/2", D. 11 1/4". (Courtesy, Sotheby’s.)

  • Figure 11
    Figure 11

    John Banks, work table, New York City, ca. 1824. Mahogany, rosewood, and walnut with tulip poplar and white pine. H. 31 1/2", W. 24 3/4", D. 20 3/4". (Courtesy, Winterthur Museum; photo, Laszlo Bodo.)

  • Figure 12
    Figure 12

    John Banks , serving table, New York City, 1820–1826. Mahogany with tulip poplar and white pine. H. 33 1/4", W. 36 1/4", D. 18". (Courtesy, Locust Lawn.)

  • Figure 13
    Figure 13

    John Banks, dining table section (one of a pair), New York City, 1820–1826. Mahogany. H. 28 1/4", W. 46", D. 21". (Courtesy, Decorative Arts Photographic Collection, Winterthur Museum.)

  • Figure 14
    Figure 14

    Printed label of John Banks on the tall case clock illustrated in fig. 10.

  • Figure 15
    Figure 15

    Stenciled label of John Banks on the work table illustrated in fig. 11.

  • Figure 16
    Figure 16

    Underside of armchair “P” showing medial brace and corner blocks.

  • Figure 17
    Figure 17

    Underside of armchair “F” showing no medial brace and one remaining corner block.

  • Figure 18
    Figure 18

    Leg detail of medial armchair “P”.

  • Figure 19
    Figure 19

    Leg detail of no-medial armchair “F”.

  • Figure 20
    Figure 20

    Crest rail of medial armchair “K”.

  • Figure 21
    Figure 21

    Crest rail of no-medial armchair “A”.

  • Figure 22
    Figure 22

    Backs of medial and no-medial armchairs “I” (left) and “D” (right).

  • Figure 23
    Figure 23

    X-ray showing the back construction of no-medial armchair “A”.

  • Figure 24
    Figure 24

    X-ray showing the back construction of medial armchair “P”.

  • Figure 25
    Figure 25

    Charles Honoré Lannuier (1779–1819), pier table, New York City, 1815–1819. Rosewood with white pine, tulip poplar, and ash. H. 37", W. 54", D. 22 1/2". (Courtesy, Historic Deerfield, Inc.; photo, Amanda Merullo.)

  • Figure 26
    Figure 26

    Tavern sign for the Williams Inn of Centerbrook, Connecticut, 1803. Pine and maple. 54 3/4" x 35 1/8". (Courtesy, Connecticut Historical Society.)

  • Figure 27
    Figure 27

    X-ray of a broken arm support showing an internal dowel on no-medial armchair “F”.

  • Figure 28
    Figure 28

    X-ray showing the long original dowel in an arm support on medial armchair “P”.

  • Figure 29
    Figure 29

    Detail showing a dowel with tenon notch. (Photo, Philip Zimmerman.)

  • Figure 30
    Figure 30

    Detail of the red sofa showing a leg and arm support.

  • Figure 31
    Figure 31

    Comparative detail showing the leaf-carving on the front legs of no-medial armchair “F” (left) and medial armchair “P” (right).

  • Figure 32
    Figure 32

    Comparative detail showing the arms of a medial (left) armchair and a no-medial (right) armchair.

  • Figure 33
    Figure 33

    Comparative detail showing the arms of the green (left) and red (right) sofas.

  • Figure 34
    Figure 34

    Detail of the arm support of the red sofa.

  • Figure 35
    Figure 35

    Detail showing the back of the arm support of the red sofa.

  • Figure 36
    Figure 36

    Detail showing the sea monster tail inside the rosette of the arm support base of the red sofa.

  • Figure 37
    Figure 37

    Detail showing the arm support of the green sofa.

  • Figure 38
    Figure 38

    Green tapestry back and seat from medial armchair “K”.

  • Figure 39
    Figure 39

    Red tapestry back of armchair “O” with a composition similar to that of armchair “L”, illustrated in fig. 40.

  • Figure 40
    Figure 40

    Green tapestry back of armchair “L” with a composition similar to that of armchair “O” illustrated in fig. 39.

  • Figure 41
    Figure 41

    Detail of the green sofa showing the wide veneer border between the upholstered panel and the rear stile.

  • Figure 42
    Figure 42

    Detail of the red sofa showing the narrow veneer border between the upholstered panel and the rear stile.

  • Figure 43
    Figure 43

    Sofa, New York City, 1805–1810. Mahogany and light and dark wood inlays and stringing with beech, ash, and other unidentified woods. H. 39", W. 73 1/2", D. 26". (Courtesy, New‑York Historical Society; photo, Glenn Castellano.)

  • Figure 44
    Figure 44

    Sofa, New York City, 1805–1810. Mahogany and light and dark wood inlays and stringing with ash, oak, cherry, tulip poplar, and white pine. H. 40", W. 73 1/2", D. 25 1/2". (Courtesy, New-York Historical Society; photo, Glenn Castellano.)

  • Figure 45
    Figure 45

    Detail showing patched-in tapestry inside the arm of the sofa illustrated in fig. 43.

  • Figure 46
    Figure 46

    Detail showing tapes at the arm supports of a chair from each group (armchairs “D” [left] and “L” [right]).

  • Figure 47
    Figure 47

    Detail of armchair “A” showing deep red, modern tapes.

  • Figure 48
    Figure 48

    Detail showing the foundation upholstery of medial armchair “P”.

  • Figure 49
    Figure 49

    Detail showing the arm support mortise and upholstery blocks of medial armchair “J”. (Photo, Philip Zimmerman.)

  • Figure 50
    Figure 50

    Detail showing the arm support mortise and grass seat roll on no-medial armchair “D”.

  • Figure 51
    Figure 51

    William Denny to James Beekman, invoice dated June 26, 1819. (Courtesy, New-York Historical Society.)

  • Figure 52
    Figure 52

    Unidentified artist, portrait of Cornelia Augusta Beekman, ca. 1897, oil on canvas. 48" x 31 1/2" (sight). (Privately owned; photo courtesy New-York Historical Society.)

  • Figure 53
    Figure 53

    Armchair “F”, with highlighted detail showing the area depicted in the portrait illustrated in fig. 52.

  • Figure 54
    Figure 54

    View of the red sofa showing the open back.

  • Figure 55
    Figure 55

    Detail of the exposed back upholstery and tacks of armchair “F” with original trim (fig. 53). The loosened tacks were kept in place.

  • Figure 56
    Figure 56

    Detail of the exposed upholstery and multiple tack holes in the back of armchair “A” with replaced trim.

  • Figure 57
    Figure 57

    Medial armchair “G” with green upholstery.

  • Figure 58
    Figure 58

    No-medial armchair “A” with red upholstery.