The William and Mary style
(1700-1725)
History and Illustrations
When the Dutch stadholder William III of Orange and his wife, Mary II, became joint monarchs of England in 1689, that country became linked directly to the Continent and ceased to be a provincial island. William reigned until his death in 1702 (Mary died in 1694). His rule was marked not only by the adoption of many Dutch traditions, but by the importations of Dutch craftsmen to England. This Anglo-Dutch taste had its roots in the French court style of Louis XIV, which in turn had been influenced by Italian Baroque design. Elaborate turnings, carvings in high relief, severe curves, large unified shapes, and contrasts of color were typical elements of this style. Also, trade with China prompted the vogue for Oriental objects at this time, and furniture incorporated japanning (a simulation of Oriental lacquer) and woven cane panels. An original English contribution was a form of case furniture with simple, flat surfaces and architectural trim that would be the chief influence on American furniture for more than a century.
American Adaptations of William and Mary
By the 18th century, a simplified version of Baroque William and Mary style began to appear in the interiors of American buildings. At this time, the first formal interior architectural paneling was introduced, and rooms were enriched with imported
luxuries from Europe and the Orient. Turnings and cutouts whose shapes resembled Oriental vases began to be used. A tapering scroll foot -often called a paintbrush or Spanish foot became an important design element. (The form actually seems to have originated in Portugal, not Spain.) The carved elements in the cresting piece of chairs often reflected the designs Spanish foot of the Huguenot craftsman Daniel Marot, who was by William and Mary in England.
Since sculptural carving was a chief component of this style, it might be said that the era of the cabinetmaker had arrived. Walnut was a favored wood because it was readily available and lent itself to carving, and veneers cut from walnut burl added decorative interest to William and Mary furniture. Maple was also used, and ebonized finishes remained popular. By now, hardware was being imported to America, with engraved brass key plates and teardrop drawer pulls particularly favored.
Although vigorous in its execution, native furniture was now beginning to reveal the simplicity of detail and the flat plain surfaces that clearly distinguished American designs from their European prototypes. While cabinetmaking centers extended from New England to the Carolinas, only scant material survives about the makers of American William and Mary furniture.
The Baroque influence was reflected in the elaborately carved scrolls and arched cresting pieces and use of Spanish feet seen in William and Mary chairs. While retaining 17th-century outlines, for example, the William and Mary banister-back chairs incorporated rounded carved cresting pieces. As cane began to be imported from the Orient, it was frequently used in chair-back panels and in seats, providing additional comfort. Large armchairs, with leather backs and seats attached with brass-headed nails, looked almost
throne like. A simpler form of leather chair contained a center back splat that was upholstered, as was the seat. Made in great quantities until after the mid-18th century, this so-called Boston chair was shipped to many ports along the Eastern seaboard.
The easy chair, called a wing chair today, was an innovation of this period and offered a great degree of seating comfort. This high-back armchair, with padding and upholstery on its back, sides, arms, and seat, was most often used in the bedchamber as an invalids chair.
William and Mary settees or benches carried on 17th-century traditions. Paneled construction dominated the surface of these pieces; some had leather seats for extra comfort. An important innovation of the period was the daybed or couch, a long, cotlike form with a back (like a chair back) that could be adjusted.
Gateleg tables, with turned supports and drop leaves, were made in a variety of sizes during this period. The length of the leaves determined the number of "gates" needed to support them securely. The so-called butterfly table used wing-shape supports for the drop leaves. A variety of small tables, derivative of the joint stool, also continued to be made.
Preserving 17th-century traditions, divided boxlike chests were also made in the William and Mary period. A type of chest made in the Guilford, Connecticut, area included a drawer, rather like the Wethersfield and Hadley chests; chests with drawers were sometimes placed in turned frames. An important innovation of this period was a high chest of drawers (highboy), in which a top section with drawers was placed on a stand, also containing drawers. The stand of the highboy had Baroque twist or trumpet-shaped legs, and sometimes burled veneers were used on the fronts of drawers. The dressing table, or lowboy, could be made en suite with such a piece.
In Dutch-influenced areas, such as New York and New Jersey, the kast, or large wardrobe, was popular. This piece had a heavy cornice door on the front with shelves inside and a drawer below. It rested on removable feet. Based on the Dutch kast, which was often elaborately inlaid, the American variant was generally plain, although a few more ornate and painted American examples do exist. This unique form was made into the second quarter of the 19th century, by which time bracket feet had replaced bun feet.
Another important development of the William and Mary period was the desk, which evolved from the bureau-cabinet, a form that had drawers above and a fall front over the drawers that provided a writing surface.
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