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Lambert Hitchcock, (1795–1829), “Side Chair,” Hitchcocks-ville, Connecticut, 1826–1829, Paint, …
Side Chair
Lambert Hitchcock, (1795–1829), “Side Chair,” Hitchcocks-ville, Connecticut, 1826–1829, Paint, …
Lambert Hitchcock, (1795–1829), “Side Chair,” Hitchcocks-ville, Connecticut, 1826–1829, Paint, bronze powder stenciling, and gold leaf on wood with cane seat, 34 3/4 × 18 × 15 in., Collection American Folk Art Museum, Gift of the Historical Society of Early American Decoration, 58.29. Photo by John Parnell
Record Details

Side Chair

Artist ((1795–1829))
Date1826–1829
Place/RegionHitchcocks-ville, Connecticut, United States
MediumPaint, bronze powder stenciling, and gold leaf on wood with cane seat
Dimensions34 3/4 × 18 × 15"
Credit LineGift of the Historical Society of Early American Decoration
Accession number58.29
CopyrightThe American Folk Art Museum believes this work to be in the public domain.
Description

In 1818, Lambert Hitchcock established a chair factory in Hitchcocks-ville (now Barkhamsted), Connecticut, which made parts that were shipped as far away as South Carolina. By 1825, however, he had switched the emphasis of the factory to producing finished chairs with distinctive bronze stenciling on dark backgrounds. The Hitchcock chair developed as an inexpensive response to Empire furniture, which typically featured gold elements on rich woods such as mahogany. Hitchcock’s marketing methods—labeling the backs of the chairs with his name and marking them “warranted”—were so successful that we still generically identify this type of chair as a “Hitchcock.”

This crown-top, turtleback chair is an early example of Hitchcock’s production, judging by the stamp “L. Hitchcock. Hitchcocks-ville. Conn. Warranted,” which he used between 1826 and 1829. At this time, chairs sold for $1.50, less than half the cost of a fancy chair of the same period. Hitchcock could price his chairs so reasonably because he applied methods of mass production, creating interchangeable chair parts in a limited range of styles. Workmen specialized in one area of production, and the stencil designs, such as the flowering on tinware, were done by women.

Stacy C. Hollander, "Side Chair," in American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 329.

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