A posthumous publishing of a George Hepplewhite manuscript in 1788, The Cabinet Maker and Upholsterers Guide gives a lot of insight into his furniture, which was popular as the Hepplewhite Collection and was in vogue during the end of the Georgian Period, from 1780 to 1810. This was during the Federal Period in America and the style was neoclassical. Another designer during this period who had also documented his work was Thomas Sheraton. However, Hepplewhite’s style possessed carvings and were significantly more ornate compared to Thomas Sheraton’s furniture style. Hepplewhite’s furniture was called the “city furniture” and was more popular in America especially in the east coast region.
Unlike the earlier Queen Anne style when cabriole legs were popular, Hepplewhite furniture had straight legs. They were either tapered or square and imitated the edges of the classical columns. Many of the chairs had a piece of wood connecting the legs in the shape of an “H”. The feet were simple and complimented the straight legs. The style for the feet was either a tapered arrow or a rectangular shaped spade foot. Heavier furniture had bracket feet. This was used mostly for book cases, desks, chests and other heavy furniture.
As inlay work was a specialty in Hepplewhite pieces with contrasting veneers, there was often more than one kind of wood used. The types of wood favored by Hepplewhite were mahogany, maple and satinwood. For the veneers, sycamore was more common but other woods like rosewood, birch and tulipwood were also used. The craftsmen following Hepplewhite’s designed frequently used whatever wood was on hand and this is why much of the American furniture designed by Hepplewhite is made of pine or ash wood.
Unlike the Chippendale and Queen Anne furniture, Hepplewhite’s pieces were light and had a more graceful and elegant appearance. There was inlay work in intricate designs and contrasting wood was used for veneers. The pieces also had carvings and painted patterns on them. Some of the more popular motifs were trees, urns, feathers and ribbons.
Hepplewhite furniture was often made in geometric shapes like curves or circular forms. The arms of chairs and couches were curved outwards while the seats were rounded in front and the backs of the chairs were either oval or like shields. The pattern of a chair with a shield back is one of the best known in his styles.
Jonathan L. Fairbanks along with Elizabeth Bidwell Bates wrote in the book “American Furniture: 1620 to the Present”, that it was Hepplewhite who brought in the chest of drawers and sideboards into use and popularized them.
During the nineteenth century, Hepplewhite’s designs were revived by British furniture makers. However, the designs were not as decorative or solid as those of the earlier furniture pieces. This was primarily due to that they were mass reproductions of Hepplewhite’s original designs and could not reach the same high standards. Many furniture makers kept up the tradition of these designs and some like the Kittinger Furniture in New York made some good quality work which is popular amongst collectors seeking Hepplewhite furniture.
Hepplewhite furniture has never gone out of style. The fluted legs, shield back and serpentine front are still popular when it comes to conventional furniture designs.
