Tall clock, ca. 1789-179 Embree, Effingham (1759-1817) American: New York Mahogany, light and dark inlays, tulip popular, brass and iron 100” high; 19 ½” wide and 9 5/8” deep Purchase, 1976 (F 76.1) This magnificent Effingham Embree mahogany tall case clock with inlays and high arched pediment is crested with three brass ball finials. The white-painted iron dial has floral sprays in each corner and a cottage scene painted into the arch above. In this scene, a figure of a girl on a swing sways back and forth with the pendulum movement. Effingham Embree’s clock making business operated in New York City for six or seven years until about 1796. Remarkably, this clock still keeps accurate time and can be seen, and chimes heard, on the Stair Landing at Boscobel House .

Banjo Clock, ca. 1810-1830 Smith, Benjamin (Agent); Maker attributed to Willard, Simon (1753-1848) American: Boston, Massachusetts Mahogany, white pine, gilt, gesso, brass works, glass 33 ½” high; 10” wide; and 4” deep Purchase, 1977 (J77.2) The banjo or wall clock is distinguished by its elegant case and fine brass movements. This example is typical of timepieces made by the famous Willard family of clockmakers in Roxbury and Boston. Their eight- day brass movements were cited among the best of timekeepers and were frequently advertised for sale by New York stores. This rare example retains its original gilt and églomisé decoration. Its lower tablet, labeled “Sea Nymph” depicts a classical scene of Aurora (goddess of dawn). The clock can be seen in the Rear Drawing Room at Boscobel House.

Lucerna, ca. 1815-1870 Unknown maker Italian Silver; 14 ½” high Purchased, 1961 (IL 61.4)	Figure 1

Before the advent of electricity, oil-burning lamps were commonly used for illumination and decoration. A portable oil lamp called, lucerna, in Italian, has been used since ancient times. In the early 19 th century, neoclassical motifs were utilized in the designs of household furnishings, including lighting devices, such as Boscobel’s lucerna.

This silver lucerna has a tapering standard with mock mask ring handles. The standard is crested with a foliated Roman style lamp. Three hanging chains hold accoutrements necessary to maintain the lamp. Hallmarks on the reservoir and lid were previously identified as English. Recent study suggests this lucerna was made in Italy. The hallmark is identified as an Italian Papal State hallmark - a shield with a mitre and a pair of crossed keys. This hallmark was in use in Italy from 1815 to 1870.

The lucerna can be seen in the Rear Drawing Room of Boscobel House.

Chandelier, ca. 1807 Attributed to William Holland London, England Gilt-gesso on pine; iron wire and chain, stars and anthemia of gilded pewter; 34.5” high, diameter 38.5” Purchased, 1977 (IL 77.7)

This extraordinary carved and gilded “Mercury chandelier” supports eight foliated scrolling candle arms. The frieze of the annulus or ring, suspended by chains from a crown, is ornamented with stars and Grecian anthemia, or honeysuckle, which are cast of pewter and gilded. The figure of Mercury, the ancient Roman god who served as messenger of the gods and was also the god of commerce, thievery, eloquence, and science, hangs from a center chain.

The chandelier was found in Brighton, England in 1977 by Boscobel’s past curator, the late Berry B. Tracy and is believed to have been designed by William Holland about 1807. Holland and Sons in England, originally founded in 1803 by Stephen Taprell and William Holland, (a relation of the architect Henry Holland) became one of the largest and most successful design firms in the 19 th century.

A remarkable survival, this chandelier has not been regilded. It can be seen in the library at Boscobel House.

Chandelier, ca. 1805-1815 Maker: Unknown Birmingham, England Patinated bronze and gilt; 42” high, 22.5” wide Purchased, 1977 (IL 77.5)

This bronze and gilt Argand type patent lamp chandelier in circular form has an urn shaped patinated bronze oil reservoir. It is above a gilded hoop, which supports crystal dropped pendants. The chandelier is in the Regency style, and burned spermaceti (whale oil). A glass dish under the reservoir catches any oil drippings. A manual winch system in the attic is used to lower the lamp for cleaning. The chandelier is retrofitted for electricity.

A painting "The Dinner Party" (c.1840-42; Museum of Fine Arts, Boston) by Henry Sargent ( 1770-1845) , an American genre and portrait painter, shows a similar lamp with a pulley and counterweight system for raising and lowering the lamp.

This chandelier hangs in the second floor stair landing at Boscobel House.

Argand Lamps, ca. 1790-1820 Maker: Matthew Boulton English Plated silver on copper, jasperware (stoneware), glass; 16” high Purchased, 1969 (IL 69.1 a, b)

In 1780, Ami Argand (1750-1803), a Swiss physicist and chemist, started experiments to improve the conventional oil lamp. In 1784, he was issued an English patent for his new style of lamp. His basic idea was to have a cylindrical wick system through which air could flow through and around to increase the intensity of the light produced. A cylindrical chimney enhanced the air flow and a mechanism for raising and lowering the wick allowed some adjustment and optimization of light. Experimenting with oils, Argand found that purified spermaceti (whale) oil was optimal. The resultant light was cleaner, less expensive to operate, and burned ten times brighter than candles. Matthew Boulton (1728-1809), a prominent Birmingham industrialist, best known for his silversmithing factory, was one who manufactured Argand’s new lamp. Josiah Wedgwood (1730-1795), a prominent potter, supplied pottery pedestals to Boulton to increase his sales opportunities.

Boscobel’s pair of Sheffield silver, Argand type single burner lamps have an urn-shaped oil reservoir topped by an acorn finial. The lamp bases are Wedgwood blue and white jasperware. The lamps appear to be unmarked. The glass chimneys are replacements and the wick raisers are missing.

These rare surviving examples of decorated Argand lamps can be seen in the Butler’s Pantry at Boscobel House.



The Chrystie Family Secretary Bookcase



Secretary Bookcase , ca. 1810-1820
Probably Duncan Phyfe (1768-1854)
American: New York
Mahogany, satinwood, tulip poplar, white pine, brass; 94 1/2 x 78 1/2 x 16 5/8 (center), 14 5/8 in. (wings)
Descended in the family of Thomas Witter Chrystie, a New York attorney
Purchased, 1977 (F 76.37)

This secretary bookcase, of New York craftsmanship and made for a member of the Chrystie family, features beautifully veneered mahogany surfaces. It is thought to be the first piece of American furniture to bear a coat of arms in its design. The top center tablet depicts the family coat of arms, which consists of a phoenix rising from flames and a crest with a chevron dividing three wells. The family motto was "malo mori quam foedari." (“I prefer to die than to be dishonored”) This representation is seen on a bookplate of Thomas Witter Chrystie, a New York attorney.

The bookcase has a one-piece cornice that fits over the three-part bookcase section, which in turn sits on the one-piece base. Four stylized rosettes mark the tops of the sides of each bookcase section. The bookcase doors have pointed arch glazing bars and open to adjustable shelving. The middle of the three sections projects slightly. The lower case is deeper than the upper. The projecting center section has three drawers, the top one of which is a secretary or writing drawer with hinged drawer front, baize writing surface, and interior of small drawers and pigeonholes. The interior drawer fronts are satinwood veneer on mahogany. At each side of the center drawers are cupboard doors with a single drawer above. Reeded panels decorate the end and middle stiles of the lower case. The top of the lower case is reeded. The lower case stands on turned legs carved with stylized leaves and ending in modern brass ball feet.

Many volumes from States Dyckman’s 19 th century library are on display in the bookcase, which can be seen in the library of Boscobel House.

At the time of the building of Boscobel, storage for clothing was quite different than it is today. Closets as we know them, had not come into favor. A chest of drawers or bureau was used primarily to store clothing. In New York from 1800 to 1810, a distinctive model of bureau evolved with a deep top drawer, called by the cabinetmakers a “tablet drawer.” Boscobel’s chest of four drawers was made by the New York cabinetmaker Michael Allison (1773-1855). The chest, dated between 1800 and 1808, has a deep top “tablet” drawer with three shallower drawers below, graduated in size from shallow at the top to deep at the bottom. The top drawer is veneered with a central oval panel of figured mahogany outlined with light colored wood stringing. The decorative top drawer becomes the focal point of the bureau as inlaid satinwood diamond panels flank its center oval. This “tablet” drawer is characteristic of Allison’s work. The three veneered drawers below are also decoratively outlined with light wood stringing. The skirt has a central concave element flanked by deep ogees that flow into French feet. Each drawer front is veneered with white pine; while the drawer sides and bottoms are tulip poplar. This chest has its original brasses with eagle and garland design and are marked “HJ”. A label inside the bottom of the top drawer reads:

"M. AL[LISON]/CABINET[MAKER]/NO. 42, VESEY STREET/(NEAR THE BEARMARKET)/NEW-YORK/Who has a general assortment of warranted/ready made furniture o[n hand.]"

Between1800 and 1847, Allison’s cabinetmaking shop was known to be at different locations on Vesey Street in New York City. Allison worked at the address given in the label from 1800 to 1815, which helps to establish a date range for the chest.

The chest of drawers may be seen in the dressing room at Boscobel House.

Narcissus- Painting by Benjamin West (1758-1820)

Narcissus was the subject of one of Benjamin West’s most highly praised paintings on a mythical theme. Narcissus is the tale in Greek mythology of a beautiful young man who was infatuated by his own reflection. This painting is particularly suitable for display at Boscobel. West, born in Pennsylvania, was a contemporary of States Dyckman in England. West had established himself in England in 1763 and in 1772 became a painter in the court of King George III. West was one of the founders of the Royal Academy.

West painted Narcissus in 1808, two years after States Dyckman’s death. He signed and dated the painting in the lower left “B. West 1808”. This painting was displayed at West’s gallery in London during the first quarter of the 1800’s. Following West’s death in 1820, the painting was consigned or sold to a fellow member of the Academy. During the sale, the painting of Narcissus was described in the most extravagant terms of any of the paintings…

“No work of the hand of West excited more general admiration among the professors of the art, than this very original and finely conceived cabinet picture…The effect of the landscape, with its pellucid stream, is wrought on so rich a scale, that the picture may be compared with variegated depths and sparkling brightness reflected from gems, disposed on a ground of russet velvet…”

The painting may be seen at the top of the second floor landing at Boscobel House.