{"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/manifest","label":"1972-0474","metadata":[{"label":"BFA Number","value":"1972-0474"},{"label":"Source","value":"Decorative Arts Photographic Collection, Winterthur Library"},{"label":"Rights","value":"Object owned by the Winterthur Museum, Garden & Library, https://www.winterthur.org/.  Metadata and images digitized from the Decorative Arts Photographic Collection of the Winterthur Library. For reproduction requests or more information, contact DAPC at reference@winterthur.org."},{"label":"Owner's Accession Number","value":"1956.0023"},{"label":"Credit","value":"Gift of Henry Francis du Pont"},{"label":"Current Owner","value":"Winterthur Museum, Garden & Library"},{"label":"Context","value":"From Robert D. Mussey, Jr. and Anne Rogers Haley, \"John Cogswell and Boston Bombe?ü Furniture: Thirty-Five Years of Revolution in Politics and Design,\" in American Furniture, ed. Luke Beckerdite (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 1994): 73-106: \"Barrell probably ordered the desk-and-bookcase for his Charlestown mansion, Pleasant Hill. Designed by architect Charles Bulfinch and completed in 1794, Pleasant Hill was modeled on The Bagatelle, an oval-on-axis house just outside Paris. Bulfinch also purchased French books and furnishings for the house, making it one of the first Boston residences to integrate French furnishings and architectural detail. Like many post-Revolutionary Boston merchants, Barrell made the grand tour of France and lionized French culture as the supreme expression of ancient and modern ideals. As his desk-and-bookcase suggests, Barrell also had a fondness for sculpture.\" The reason that there is doubt to whether the Skillin family was responsible for the carvings is because Barrell was known for importing fancy carvings from Europe. It's even speculated that the bookcase was not original to the piece based on characteristics of design. For example, the unfolding writing surface extends with brass hangs rather than lopers. Furthermore, there is not space for lopers as the top drawer extends the full length of the lower case. The blades on the drawers have been replaced. The wood grain and construction of the drawers do not match the interior of the case, suggesting that all four drawers are replacements. The bookcase sits freely on top of the desk and there is a noticeable absence of waist molding, and the thought that the waist molding was covered with more modern embellishments. It's even possible (according to Podmaniczky and Zimmerman) that the upper case may have been imported as a whole to America. Although it is possible that the carving was made by hands of the Skillins, there is some doubt when it comes to analyzing the fine details of the carvings, particularly in the clothing as compared to known Skillin carvings on objects like DAPC_1972-0474. Another theory posited by Podmaniczky and Zimmerman is that the case was damaged and pieced back together with remade parts. The bookplate attached to the back of the case feature neoclassical figures nearly identical to the figures on the top of the case, which gives credence to the idea that the carvings were original. The lines of the drawers and the proportions of the case are identical to the other known Boston-made bombe?ü desks, but the other examples do little to shed light on the complexities of this object."},{"label":"Subjects (AAT)","value":["Desks and bookcases","Secretary-bookcases","Bookcases","Desks"]},{"label":"Subjects","value":["Desks","Bookcases"]},{"label":"Bibliography","value":"Article: Robert D. Mussey, Jr. and Anne Rogers Haley, \"John Cogswell and Boston Bombe?ü Furniture: Thirty-Five Years of Revolution in Politics and Design,\" in American Furniture, ed. Luke Beckerdite (Hanover, N.H.: University Press of New England for the Chipstone Foundation, 1994): 73-106.    Article: Michael Podmaniczky and Philip D. Zimmerman, \"Two Massachusetts Bombe?ü Desk-and-Bookcases,\" Antiques 145, no. 5 (May 1994): 724-31.    Article: Harold Sack, \"The Bombe?ü Furniture of Boston and Salem, Massachusetts,\" Antiques 135, no. 5 (May 1989): 1178-89.    Book: Wendy A. Cooper, In Praise of America: American Decorative Arts, 1650-1830/Fifty Years of Discovery Since the Girl Scouts Loan Exhibition (New York: Alfred A. Knopf, 1980).    Book: Donald L. Fennimore, Iron at Winterthur (Winterthur, Del.: Winterthur Museum, 2004), 437, no. 308.    Book: Charles F. Montgomery, American Furniture: The Federal Period, in the Henry Francis du Pont Winterthur Museum (New York: Viking Press, a Winterthur Book, 1966), 220, no. 176.    Catalog: Nancy E. Richards and Nancy Goyne Evans, et al., New England Furniture at Winterthur: Queen Anne and Chippendale Periods (Wilmington, Del: Winterthur Publications, 1997), 492-4, no. 225.    Online resource: Winterthur Museum, Garden & Library, Collections, http://museumcollection.winterthur.org/ (accessed November 14, 2017), 1956.0023."},{"label":"History of Ownership","value":"Originally made for Joseph Barrell and descended through the Barrell family, from his daughter, Hannah Barrell Joy (1773-1842), to her son with Benjamin Joy (1757-1829), John Benjamin Joy (1814-1864) to his son, Charles Henry Joy (1844-1892), and finally to his son, Major Benjamin Joy (1882-1968), the last private owner. Acquired by Israel Sack prior to 1956, when it was purchased by Henry Francis du Pont."},{"label":"Associated Objects","value":"Similar to Winterthur object 1957.1396  DAPC numbers 1972-0475 and 1972-0476 were erroneously assigned to this piece."},{"label":"Dimensions","value":"Overall height including finials 95.5 in. (242.6 cm), Height of case 87 in. (220.9 cm), Height of writing surface 33.44 in. (85 cm), Width of cornice 35.5 in. (90.1 cm), Width of upper case 31.44 in. (80.2 cm), Width of lower case 36.94 in. (93.8 cm), Width at feet 37.31 in. (94.8 cm), Depth of cornice 10.75 in. (27.4 cm), Depth of upper case 8.06 in. (20.6 cm), Depth of lower case 19.38 in. (49.4 cm), Depth at feet 20 in. (50.8 cm)"},{"label":"Description","value":"Federal-style desk and bookcase in two sections, made primarily with mahogany with white pine and cherry as secondary woods.    The upper case is crowned with a serpentine pediment with decorative cross-hatch and bead molding. Three carved female figures representing Justice (left), Commerce (center), and Hope (right) surmount the top. There is no scroll board. The two-board mahogany top board runs the full width of the case and is dovetailed to the sides. The panel-in-frame backboard is screwed to the case. The arched bookcase door has a beveled mirror panel of conforming shape. A carved ram's head with pendent vines is situated at the center of the top of the arch. Two stop-fluted colonettes flank the mirror. At the base are a carved rosette and ram's head. Narrow doors on either side of the bookcase section are fluted Corinthian pilasters with carved patera and swags on the plinths and acanthus leaves along the capital. A wide drawer with a brass knob is just under the carved swag beneath the mirror. The drawer is released by a pin in the bottom of the case and covered over by a sliding lid. Behind the mirror door is the interior of the bookcase, which has two shelves and a cubicle in the arched section. Behind the side doors are two adjustable shelves. On the sides are brass bail pulls. On the back of the bookcase is an engraved brass plaque: [Joseph Barrell / Hannah Barrell Joy (wife of Benjamin Joy) / John Benjamin Joy / Charles Henry Joy / Benjamin Joy]. On the inside bottom of the drawer is scratched the word: [BEARING BROTHER].    The lower case is bombe?ü with a fall-front desk with a serpentine front and four graduated drawers. One each side is a post-and-bail carrying handle. Waist molding is noticeably absent. The unfolding writing surface is hinged and supported by brass hangers attached to the inside of the desk. A brass escutcheon is at the top of the lid. Drawer fronts are flush with the case and have beaded molding along the edges. The case sides and drawer sides conform to the shape of the bombe?ü. The top drawer is divided into eight compartments along the back, all with sliding tops, and three open compartments across the front. The second drawer was originally fitted with compartments. The base molding is nailed to the case. The shaped skirt is spurred with a central drop and bracket legs with claw-and-ball feet. Secret drawers are tucked behind the lower two drawers.    There have been many changes made to the piece in its lifetime. The bookcase is unlikely to be original."},{"label":"Date Digitized","value":"1/19/2019"},{"label":"Marks, Signatures, and Inscriptions","value":"Engraved on brass plate attached to the inside of bookcase section: [Joseph Barrell / Hannah Barrell Joy (wife of Benjamin Joy) / John Benjamin Joy / Charles Henry Joy / Benjamin Joy].    Scratched inside the long drawer, bookcase section: [BEARING BROTH].    On the underside of bottom board, lower case: [Botom], and a shop mark in chalk: [V].    Scribe marked on inside drawer fronts, left tier of drawers, desk section: [I].    On the inside drawer fronts, right tier of drawers: [II].    On secret drawer behind the middle drawer, prospect section: [shop mark, V].    Scratch marked on drawer front of bottom drawer, prospect section: [III].    On secret drawer behind bottom drawer in pencil: [V] and [X] on drawer front.    Inside top long drawer, on compartment lids: (far left) [37 & 38] (second left) [39] (right of center) [41] (third from right) [35] (second from right [42].    On bottom board: [37 1111?-64]."},{"label":"Basis of Materials","value":"The Winterthur Museum, Garden & Library identifies the primary wood as mahogany and the secondary wood as white pine, and cherry, with a reddish brown resin finish based on a microanalysis performed sometime around 1956."},{"label":"Materials","value":"Mahogany; White pine; Cherry; Brass"},{"label":"Style","value":["Federal"]},{"label":"Basis of Date","value":"Date range based on active working dates of the Skillins, but also on when Joseph Barrell, the original owner of the object, built his mansion in Pleasant Hill, Charlestown in 1793-4 and commissioned the desk-and-bookcase. It is thought by scholars that the book case and carving were not original to the desk, so the date is based on the creation of the desk rather than the piece as a whole."},{"label":"Date (EDTF)","value":"D:00 M:00 Y:1785 - D:00 M:00 Y:1795"},{"label":"Basis of Origin","value":"Object was passed down through the Barrell family. The original owner, Joseph Barrell, was a prosperous Boston merchant, and the object shares enough features in common with Winterthur object 1957.1396 (also from Boston) to indicate they were made in the shop, or at least, by makers working from the same pattern. Also, the Skillins and John Cogswell were active in Boston at the end of the eighteenth century and into the early nineteenth century. According to the Winterthur object record (1956.0023), the brasses were imported from London, England."},{"label":"Place of Origin","value":"Boston, Massachusetts; London, England"},{"label":"Basis of Maker Attribution","value":"Attribution for the carving to the Skillins has been discussed by scholars since at latest the 1960s, but not until Robert D. Mussey, Jr. and Anne Rogers Haley published their article, \"John Cogswell and Boston Bombe?ü Furniture: Thirty-Five Years of Revolution in Politics and Design,\" in American Furniture, pages 73-106 (1994), has an attribution been made to John Cogswell as the cabinetmaker. The earliest known resource available to have made the attribution for the carving to the Skillin family's shop was Charles Montgomery in American Furniture: The Federal Period, page 220, no. 176 (1966). Harold Sack (in his article, \"The Bombe?ü Furniture of Boston and Salem, Massachusetts,\" from Antiques (May 1989), pages 1178-89) suggests the carving could be attributed to John and Simeon Skillin, Jr. Nancy Goyne Evans and Nancy Richards, in their discussion of the desk and bookcase in New England Furniture at Winterthur: Queen Anne and Chippendale Periods, pages 492-4, no. 225 (1997) do not make a Skillin attribution to the carving, rather they say the carving could be European or American. For the best breakdown and discussion of the Skillin attribution to this object, see Michael Podmaniczky and Philip D. Zimmerman's article, \"Two Massachusetts Bombe?ü Desk-and-Bookcases\" from Antiques (May 1994), pages 724-31. Podmaniczky and Zimmerman do not go as far as to claim certainty over the attribution to the Skillins (and in fact, they offer some evidence as to why the carving might not be the work of the Skillins) but they do offer the best evidence for why it is likely. None of these listed resources save for the source mentioned at top (article by Mussey and Haley) makes a claim for attribution to Cogswell as the cabinetmaker. Wealthy Boston merchant Joseph Barrell, commissioned John Cogswell to produce various pieces of furniture for his home, so it's likely Cogswell was the cabinetmaker."},{"label":"Maker","value":["Skillin, John, carver, 1746-1800, active about 1765-1800","Skillin, Simeon, Jr., carver, 1757-1806, active 1780-1800","Cogswell, John, cabinetmaker, 1738-1818, active about 1769-1789"]},{"label":"Other Name","value":"Secretary-bookcase; Secretary and bookcase; Bookcase and secretary; Secretary"},{"label":"Object Type","value":["Bookcase","Desk"]},{"label":"Object Use","value":"Case furniture"},{"label":"Category","value":"Furniture"},{"label":"Title","value":"Desk and bookcase"},{"label":"Date Modified","value":"1/19/2019"}],"description":"Desk and bookcase","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_1","@type":"sc:Canvas","label":"dapc_1972-0474-001_overall","height":1500,"width":641,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/a6a7a89c-e4e7-416b-8823-e933808cde28/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/winterthur/iiif/a6a7a89c-e4e7-416b-8823-e933808cde28","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2,4]}]},"height":1500,"width":641},"on":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_1","metadata":[]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/a6a7a89c-e4e7-416b-8823-e933808cde28/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}},{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_2","@type":"sc:Canvas","label":"dapc_1972-0474-002_pediment","height":1257,"width":1500,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/0bbd8e2e-9fdd-4b67-ba30-bd73bb40734a/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/winterthur/iiif/0bbd8e2e-9fdd-4b67-ba30-bd73bb40734a","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2,4]}]},"height":1257,"width":1500},"on":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_2","metadata":[]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/0bbd8e2e-9fdd-4b67-ba30-bd73bb40734a/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}},{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_3","@type":"sc:Canvas","label":"dapc_1972-0474-003_open","height":1500,"width":695,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/45be7eea-dd49-4d71-9b4d-a1eedacb6cb6/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://iiif.quartexcollections.com/winterthur/iiif/45be7eea-dd49-4d71-9b4d-a1eedacb6cb6","profile":"http://iiif.io/api/image/2/level2.json","tiles":[{"width":512,"scaleFactors":[1,2,4]}]},"height":1500,"width":695},"on":"https://iiif.quartexcollections.com/winterthur/iiif/2f207ee8-e3f6-406e-9030-2eb840a6c325/canvas/_3","metadata":[]}],"thumbnail":{"@id":"https://iiif.quartexcollections.com/winterthur/iiif/45be7eea-dd49-4d71-9b4d-a1eedacb6cb6/full/500,500/0/default.jpg","@type":"dctypes:Image","height":500,"width":500}}]}],"thumbnail":"https://iiif.quartexcollections.com/winterthur/iiif/a6a7a89c-e4e7-416b-8823-e933808cde28/full/300,300/0/default.jpg","logo":"https://iiif.quartexcollections.com/winterthur/iiif/logo"}