American Styles Flashcards

(44 cards)

1
Q

The typical early colonial American house was simply an English medieval house with a wooden
exterior. It often had an additional ‘lean-to’ on the north, bringing the roof down close to the
ground to help protect against winter wind and storms. The Cape Cod cottage was often built by
ships’ carpenters entirely without foundations so that it “floated” on the sand dunes of the cape

A

EARLY COLONIAL HOUSES

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2
Q

had clapboard siding, a thatched roof and a chimney made from twigs finished with wattle and

daub, which is highly flammable.

A

SMALL COTTAGES

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3
Q

a composite building material used for making walls, in which a woven lattice of wooden strips. usually made of some combination of wet
soil, clay, sand, animal dung and straw.

A

Wattle and daub

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4
Q

building
was made of squared oak timbers joined by mortises, tenons, and wooden pegs; the building’s cagelike structural skeleton is often strengthened at the corners with braces.

A

MEDIEVAL HALF TIMBERING

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5
Q

has an overhanging second story, small windows and central chimney

A

NEW ENGLAND HALL AND PARLOR

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6
Q

Has a steep pitched roofs that were essential for allowing rain and snow to run off easily

A

GARRISON COLONIAL

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7
Q

Developed from the hall and parlor or Garrison style with the addition of an ell or lean to on the back

A

NEW ENGLAND SALT BOX

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8
Q

low, broad, single-story frame building with a moderately steep pitched gabled roof, a large central chimney, and very little ornamentation.

A

CAPE COD HOUSE

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9
Q

Portuguese influence was present with “paintbrush feet” or

A

Spanish feet/ Braganza feet

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10
Q

had back uprights consisting of split spindles or flat bars

A

BANISTER CHAIR

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11
Q

had a back with horizontal slats, stretchers to support the
construction and had either plain or rush seat

A

LADDERBACK CHAIR

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12
Q

Splat resembling a with Jacobean turnings, Spanish foot, rush woven finish

A

QUEEN ANNE CHAIR

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13
Q

Named after William Brewster, with 4 heavy turned posts, many turned spindled, wooden seat or rush woven finish

A

BREWSTER CHAIR

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14
Q

Distinct carved decoration of sunflower panel and tulip design outside the panels

A

CONNECTICUT “SUNFLOWER” CHEST

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15
Q

All over pattern of flowers and sinuous vines carved in very low relief

A

HADLEY CHEST

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16
Q

Gate leg with split turning, upright back

A

GATE LEG TABLE

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17
Q

Small drop leaf table whose leaves are supported by a swinging bracket resembling wings of a butterfly

A

BUTTERFLY TABLE

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18
Q

Severe solid backed chair. Probably developed from the
detachment of a piece of wall paneling with a seat board attachment.

A

WAINSCOT CHAIR

19
Q

a chair with a table-top back

20
Q

dressing table

21
Q

had shaped aprons, flat stretchers, bun feet, and bell turnings on legs (William & Mary style)

A

HIGHBOYS (TALLBOYS)

22
Q

was a common form of
sleeping furniture in
the 17th century. It was hung with bed-curtains which, when drawn, formed with the frame and panel ceiling a small, box like room.

A

JOINED TESTER BEDSTEAD

23
Q

composed of cabriole leg with club foot, patterned after the Queen Anne Chair

24
Q

wooden rocking chair with a high spindle back, a
decorative top panel, and a seat and arms that curve down at the front

A

BOSTON ROCKER

25
Turned splayed legs, saddled-shaped seat with spindles, back and arms
WINDSOR CHAIR
26
square shape chair with 2 backs connecting
ROUNDABOUT CHAIR / MITER CHAIR
27
chests, cabinets, and desks with fronts divided into three parts decorated with shell motifs, made of solid mahogany (cut from a single piece of wood)
BLOCK-FRONT
28
the most famous name in the decorative arts of the Federal period
DUNCAN PHYFE
29
he designed in the Sheraton, Directoire, and Empire styles, although he gave the designs his own interpretation
DUNCAN PHYFE
30
example of early Federal style, inspired by Sheraton style.
DUNCAN PHYFE SOFA
31
This much admired chair design is an American adaptation of the Empire style as developed by Lambert Hitchcock. It has a black painted frame with decorative painting, turned legs, and rush seat.
Empire Style Chair
32
It was designed to provide a surface and storage for a gentlewoman’s needlework or other leisure actives, including basket-weaving, crochet, macramé and painting as it was customary for women to gather and take up work around the table.
WORK TABLE
33
Chairs had shield, oval, or lyre backs; straight front legs with spade feet, and carved back legs.
SAMUEL MCINTIRE
34
He Followed the styles of Hepplewhite and Sheraton,
SAMUEL MCINTIRE
35
Sofas (in Hepplewhite style) had curved backs, continuous carved top rails and curved arms and legs
McIntire Sofa
36
He has been called the Chippendale of Victorian furniture, and his work is important for many reasons,
JOHN H. BELTER
37
worked in the Rococo Revival style, most popular in the United States from the late 1840's until about 1860. His designs are intricately carved and pierced.
JOHN H. BELTER
38
SLIPPER CHAIR is by
JOHN H. BELTER
39
was a leading cabinetmaker in Philadelphia, where there were a large number of German cabinetmakers in the 19th century.
DANIEL PABST
40
furniture tends to be massive and lacks the airy quality of Belter furniture.
DANIEL PABST
41
A footstool; more likely to have feet and be square
HASSOCK
42
The printing is from a stone (lithographic limestone) or a metal plate with a smooth surface.
COLORED LITHOGRAPHS
43
Some modern silhouette artists also make silhouette portraits from photographs of people taken in profile.
PORTRAIT SILHOUETTE
44
a photograph taken by an early photographic process employing an iodine-sensitized silvered plate and mercury vapor.
DAGUERREOTYPE