Winter 2016

2016 Antiques & Fine Art 137 lassical Splendor: Painted Furniture for a Grand Philadelphia House at the Philadelphia Museum of Art presents furniture designed by British-born architect Benjamin Henry Latrobe (1764–1820) for the house, also of his design, for Philadelphia merchant William Waln (1775–1826) and his wife Mary Wilcocks Waln (1782–1841). Situated on the southeast corner of Seventh and Chestnut Streets, the house was conspicuous in size, grandeur, and novel interpretation of classical revival architecture in early national America. Lauded throughout the twentieth century as remarkable furniture with an early iteration of the klismos profile and surfaces lavishly painted and gilded in a fantastic classical lexicon (Fig. 1), the furniture has been newly researched by this author and treated by conservator Peggy A. Olley. It is now understood as an element of the sophisticated social theatre in the Walns’ house, which was torn down in 1847. 1 A thorough reading of Henry Latrobe’s correspondence revealed the maker of the furniture to be John Aitken (ca. 1760/65–1839). Latrobe’s choice seems practical given the location of Aitken’s shop on the southwest corner of Sixth and Chestnut—the same block as the Walns’ house. Aitken’s shop orchestrated the construction of the furniture, and George Bridport (1783–1819), who was trained in London as a theatrical set designer and decorative artist, painted it. As an itinerant artist, Bridport worked wherever the commissions were, which in the case of the Walns was in Philadelphia. It is unknown whether he, Latrobe (or both) were inspired by painted furniture seen in Baltimore, where Bridport had received important commissions from Latrobe and others. After nearly a year avoiding his commitment to design the Walns’ furniture, Latrobe f inally focused on it as house construction neared completion. In August 1808, he met with the Walns in New York City to discuss the furniture for the two south-facing drawing rooms—one of which he designated as a dining room. Returning to Philadelphia, the architect wrote his wife, Mary Elizabeth, in Washington, on August 21, that he had completed his business with the Walns in New York. 2 That same day he also wrote William Waln: “I shall see a pattern chair tomorrow morning. I have ordered the cushions to be takable off as I proposed. . . . The drawing of the sideboard goes to Aiken’s [ sic ] tomorrow morning.”  3 Here, Latrobe names John Aitken as the cabinetmaker responsible for producing the chairs and sideboard. Aitken also most likely made or oversaw the creation of the card tables, sofa (Fig 2), and smaller settees. The joinery and materials are consistent across the set and typical of contemporary Philadelphia furniture. The sideboard (Figs. 3, 3a) has long been termed a pier table—a much narrower form, usually between 36 and 40 inches wide—while this measures 61 ¼ inches wide, making it what the British called a sideboard and what continental Europeans called a console table. With its marble painted top and base and strong columnar supports, it is closely related not only to contemporary European examples, but also to ones made in New York. Later, one of the same form was made in Philadelphia for French émigré merchant Louis Clapier. The custom design of the furniture added a layer of sophistication that the Walns could not obtain from the conventional repertoire of fashionable furniture then being made in Philadelphia, Baltimore, Boston, or New York. In many ways, the Walns’ furniture followed in the tradition of Baltimore, where elegant painted furniture with caned seats from the manufactory Fig. 2: Sofa, or Grecian Couch, designed by Benjamin Henry Latrobe and attributed to John Aitken, painted and gilded by George Bridport. Philadelphia, 1808. Tulip poplar, maple, gilded and painted decoration, iron, brass, replacement caning, modern upholstery. Philadelphia Museum of Art; Purchased with the gift (by exchange) of Mrs. Alex Simpson, Jr., and A. Carson Simpson, and with funds contributed by Mr. and Mrs. Robert L. Raley and various donors (1986-126-2a-c).