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Duncan Phyfe Low-Relief Carving: Craftsman Allan Breed Carves a Bow Knot and Thunderbolt Crest

Dec 21, 2011 · 59.6K views

In this video

Format
Documentary
Designers
Duncan Phyfe
Products & items
chairsofa
Materials & techniques
wood carving
Styles & eras
early 19th century

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DescriptionRelated exhibition: Duncan Phyfe Master Cabinetmaker in New York December 20, 2011 -- May 6, 2012 A characteristic feature of the Grecian-style chairs and sofas made in the Phyfe shop before 1820 is the low-relief carving in the scrolled crests depicting a variety of classical motifs. Included among these motifs are cMore
Related exhibition: Duncan Phyfe Master Cabinetmaker in New York December 20, 2011 -- May 6, 2012 A characteristic feature of the Grecian-style chairs and sofas made in the Phyfe shop before 1820 is the low-relief carving in the scrolled crests depicting a variety of classical motifs. Included among these motifs are classical swags; sheaves of wheat and cornucopias, emblems of good fortune and plenty; Roman fasces, composed of a battle axe bound within a bundle of rods, a symbol of strength in unity; and clusters of thunderbolts tied in a bowknot, an attribute of the Greek god Zeus, whose vaunted eagle messenger is often depicted clutching one in his talons. This latter motif is found on scroll-back chairs and a sofa from the three documented sets made in the Phyfe shop for the wealthy New York merchant William Bayard (1761--1826) in 1807. three different hands at work in the low-relief carving on this seating furniture, which indicates that Phyfe either employed three carvers in his workshop or subcontracted the work to a specialty carving shop that employed several experienced carvers. The video shown here presents the three varieties of carving on the Bayard seating furniture, and also features a professional carver, Allan Breed, explicating the art and mystery of carving a low-relief bowknot and thunderbolt on a scrolled crest-rail panel. A Production of the Digital Media Department, MMA Produced and Directed by Christopher Noey Director of Photography: Wayne de la

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