ANTIQUE FURNITURE SIDEBOARD

Building 18th Century American Furniture

FURNITURE FOR THE GENERATIONS
As a woodworker, you've no doubt admired examples of classic furniture. You know, the stuff that makes you go, "Wow! I wish I could build that." Now you can.
Glen Huey, senior editor at Popular Woodworking magazine, takes you through each and every step of how to build 18th-Century furniture. And when you're done, the projects will last for generations.
Complete plans, cutting lists and step-by-step photos with captions are included with each project. Here are some of the furniture pieces you will learn how to build:
Massachusetts Block-Front Chest
Pennsylvania Chest-on-Chest
Chippendale Entertainment Center
New England Chest & Bookcase
Townsend Newport High Chest
Federal Inlaid Table
Shaker Small Chest of Drawers
Massachusetts High Chest (highboy)

Oil on canvas; 76.2 x 63.5 cm.

Kurt Seligmann was a Swiss-American Surrealist painter and engraver. Born in Basel he was the son of a successful Furniture Department store owner. After study at the Ecole des Beaux Arts, Geneva, and several unhappy years working in his father's business in Basel, Seligmann left for Paris where he looked up his old friends from Geneva, the sculptor Alberto Giacometti and the art critic Pierre Courthion. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister biomorphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery and heraldic paraphernalia. It was about this time (1935) that he married Arlette Paraf, a granddaughter of the founder of the Wildenstein Gallery. Together they traveled extensively, first around the world (a year-long honey-moon trip in 1936) and then to North America and British Columbia (1938). In 1937, Seligmann was formally accepted as a member of the Surrealist group in Paris by Andre Breton, who collected his work.

At the outbreak of World War Seligmann was the first European Surrealist to arrive in New York, ostensibly for an exhibition of his work. Once there, he began a concerted effort to aid his Surrealist colleagues left behind in France and bring them to safety. Seligmann's art continued to evolve and really matured in the 1940s in the United States, where he did his best work. Beginning in 1940, he and Arlette lived at the Beaux Arts Building at 40th Street in New York, and later acquired a farm north of the city in the hamlet of Sugar Loaf, in Orange County. Seligmann befriended many American artists and became a close friend of the art historian Meyer Schapiro. With Schapiro as author, he produced in 1944 a limited edition set of six etchings illustrating the Myth of Oedipus, surely his masterpiece in this medium and one of the greatest works of Surrealist printmaking. As the Surrealists' expert on magic, he also wrote The History of Magic : The Mirror of Magic (Pantheon Books, 1948). Mythology and esoterica always informed the fascinating and turbulent imagery of his "dance macabre" paintings, and his work began to be exhibited widely and acquired by museums throughout the United States and Europe after the war.

Seligmann taught for many years at various colleges around New York, particularly at Brooklyn College, from which he retired in 1958. The changing nature of the New York art world toward an embracement of Abstract Expressionism caused his work to be relegated to past history. Due to illness, he gave up his New York apartment and retired to his farm, where he died of an accidental self-inflicted gunshot wound in 1962.

This early 18th-century gambrel roof farmhouse and tavern near the Delaware River was owned by Garret Johnson, who operated a 490-acre colonial plantation and a ferry service across the river in the 1700s. The house was likely used briefly by General Washington and other officers at the time of the Christmas night crossing of the Delaware. The keeping room, bedchamber and textile room are furnished with local period pieces, probably similar to the furniture used by the Johnson family from 1740 to 1770.

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