This box is all the more extraordinary for remaining in such pristine condition. The red paint appears to be original and the carving has experienced little wear from the ravages of time. As such, the punch and gouge decorations on the corners of the box remain crisp and visible. The box’s top is made from one large piece of yellow pine and, as the saw kerfs evident on its corners indicate, its raised field was formed using a simple hand saw. The box even retains its original lock and key.
The carving relates quite closely to that found on the front panels of two joined chests. One in the collection of the Henry Ford Museum (acc. no. 36.250.1) and the other in the George Dudley Seymour collection (acc. no. 1945.1.1170) at the Connecticut Historical Society-see Robert Bishop, American Furniture: 1620-1720, (Dearborn, MI: Edison Institute, 1975, p. 12 and George Dudley Seymour's Furniture Collection in the Connecticut Historical Society, (Hartford, CT: Connecticut Historical Society, 1958), no. 20). Another related box was once in the collection of the Connecticut Historical Society and was once part of the George Dudley Seymour collection (George Dudley Seymour Furniture Collection in the Connecticut Historical Society, (Hartford, CT: Connecticut Historical Society, 1958), no. 6). For additional information on the Stoughton shop tradition see Joshua W. Lane and Donald P. White III, “Fashioning Furniture and Framing Community: Woodworkers and the Rise of a Connecticut River Valley Town,” American Furniture 2005, (Milwaukee, WI: Chipstone Foundation, 2005), pp. 146-238 and Joshua W. Lane and Donald P. White III, The Woodworkers of Windsor: A Connecticut Community of Craftsmen and Their Work, 1635-1715, (Deerfield, Massachusetts: Historic Deerfield, Inc., 2003), pp. 57-68.
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