Below are a number of different types of case furniture pieces, including the commode, highboy, lowboy, credenza, lingerie chest, secretary, and the breakfront. For instance, the fancy example shown here made of gilt-lacquered rose- and tulipwood, covered with intricate, floral-themed marquetry is a prime example of a commode. This one, with haughty provenance, belonged to the 10th Earl of Harrington and was purportedly made by renowned furniture craftsman Thomas Chippendale. For this reason, it sold at auction at Sotheby’s in December 2010 for close to $6 million. The lowboy originated in the late 1600s in England and became extremely popular in the American colonies, especially the northeastern and mid-Atlantic regions, by 1730. Designs followed the style trends of the century, with early versions typical of William and Mary style, with long ring-turned or trumpet legs connected by stretchers that rested on ball or bun feet. As the 18th century wore on it became more typical of Queen Anne and Chippendale styles, resting on shorter cabriole legs with pad, paw, or claw-and-ball feet. One difference is that the lowboys’ drawers often have nonworking locks, in contrast to those of highboys––suggesting that the highboys stored goods that were more valuable in nature. The highboy was developed in England in the late 17th century where a variation was known as the tallboy. This piece of furniture became highly popular in the American colonies, especially the northeast and mid-Atlantic, by 1730. Early varieties were typical of William and Mary style with flat tops, long ring-turned or trumpet legs and stretchers that rested on ball or bun feet. Like the lowboy, they became typical of Queen Anne and Chippendale styles in the 18th century, with shorter cabriole legs featuring pad, paw, or claw-and-ball feet and tops that became more ornate with scroll top pediments and finials. Highboys were often paired with a matching lowboy (see example above), a shorter piece that resembles the highboy’s lower half. It originated in 15th-century Italy (credenza is Italian for “cupboard”), possibly in churches, and it quickly became a popular item for the service of food and storage of tableware and linens. By the 1500s, a recessed upper section was also common. Original Renaissance examples typically boast pilasters or caryatids, cornices, and elaborate carvings. But even as its style evolved to fit contemporary furniture trends, it remained an ornate piece––especially in the mid-19th century when it experienced a surge of popularity among Victorian and Second Empire furniture-makers, though almost more as a decorative, rather than functional, furniture piece. Since credenzas were usually meant to be placed against a wall, their backs are often flat and quite plain in contrast to their lavishly decorated fronts. The term credenza also references a type of office furniture popular in the 20th century which holds file drawers and provides space for the storage of supplies. In fact, the traditional credenza would more often be referenced as a buffet or sideboard today, while the more modern use of the term references office-related pieces made to coordinate with a desk. Originating in 18th-century France, semainier has come to mean any seven-drawer chest these days but the term is sometimes erroneously applied to tall thin lingerie chests with only six drawers. Devoted to a single type of clothing––lingerie and stockings––this piece of case furniture was typical of the luxurious types of furniture developed in the Rococo period of the early 1700s. The term is used to describe a complete piece of furniture as well. The secretary section of the piece sits permanently attached to a station of drawers and may be topped with a bookcase. Doors enclosing the bookcase area can be fitted with glass panels, hold mirrors, or be made completely of wood. Drawers can encompass the width of the piece, or be in two smaller stations with a kneehole between them. Since the earliest versions made in France in the first half of the 18th century, there have been many variations of the secretary in styles ranging from the Federal period to Rococo. While those heavy, one-piece versions with drawers and bookcases come to mind most often, by the early 19th century lighter secretaries with legs satisfied consumers wanting a bit more elegance in furniture design. The breakfront was developed in the latter half of the 18th century. In keeping with the angularity of emerging Neo-Classical styles, such as Louis XVI and late Chippendale, it offset the newer, relatively plain surfaces of those pieces. Designers Thomas Sheraton, George Hepplewhite, Roger Vandercruse, and Jean-Henri Riesener are known for incorporating this element in their work.
