Author: PHW

Concluding text adapted from “Decorative Arts in the Lower Shenandoah Valley” by Warren F. Hofstra and “Introduction” by Theodora Rezba from the Valley Pioneers and Those Who Continue catalogue, as well as “West of the Blue Ridge” promotional materials.

The social world of the Shenandoah Valley in the eighteenth century was something of an anomaly in Virginia. As we saw in the introduction to “West of the Blue Ridge,” German, Scotch-Irish, Dutch, Welsh, as well as English settlers came here, each bringing their own cultural heritage. The Lower Shenandoah Valley — present day counties of Frederick, Clarke, Warren, Shenandoah, and Page in Virginia, Berkeley and Jefferson in West Virginia, and Washington in Maryland — developed a unique artistic heritage through the interplay of these cultures.

During the colonial period, local merchants kept a steady flow of goods streaming into the Valley from Philadelphia, giving the material culture a Pennsylvania slant. Artisans furthered this work, as many of them had received their training in Pennsylvania. Thus by the end of the eighteenth century much of the Lower Valley could boast of a highly pluralistic culture and an integrated goods and services economy generating a large volume of useful and decorative items reflecting the varied heritages. The distinctive Valley decorative art styles were forged in this vibrant atmosphere.

The next century told a different story as settlement fanned out far beyond the old Appalachian frontier. When Isaac Weld traveled Valley roads in 1796, he met “great numbers of people” searching “for lands conveniently situated for new settlements in the western country.” The quest for cheaper, larger quantities of land in less populated areas lured many local residents over the Appalachians.

When the National Road opened in 1818 to the northwest and then the mainline of the B&O railroad bypassed Winchester in 1827, migrants bypassed the Valley in their movement west. Wheat, at least for the decades before the American Civil War, remained a source of prosperity for Valley farmers, but the Valley had been bypassed as the commercial and cultural gateway west.

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As with any museum exhibit, numerous people were involved in the creation of “West of the Blue Ridge.” However, as much time has elapsed since the exhibits were held, we may not be able to credit every person who worked on them thirty years ago. Kym S. Rice was the main exhibit curator, assisted by Dave and Jenny Powers, curators of the children’s exhibit. Theodora Rezba served as the Project Director, with other committee members consisting of Linden Fravel, Susan Galbraith, Mary Gardiner, Michael Gore, Ann Grogg, Warren Hofstra, Bobbi Jackson, Barbara Laidlaw, Teresa Lazazzera, Peggy McKee, Theresa Merkel, Dorothy Overcash, Eloise Strader, Anna Thomson, Sybil White, Joe Whitehorne, Gary VanMeter, and Patricia Zontine. Credited text contributors from outside the committee include H. E. Comstock, Virginia Miller, Timothy Hodges, Linda Crocker Simmons, Mary Bruce Glaize, and Tina Raburn.

The exhibit was made possible with contributions from the Virginia Foundation of the Humanities and Public Policy, the Hon. Harry F. Byrd, Jr., Nancy Larrick Crosby, the Durell Foundation, Elizabeth Engle, Dr. & Mrs. Hunter Gaunt, Michael Gore, Dr. & Mrs. Douglass O. Hill, Dr. & Mrs. Thomas Keenan, Dr. & Mrs. B. Franklin Lewis, Dorothy Overcash, Dr. & Mrs. David Powers, Dr. and Mrs. Benjamin Rezba, Thomas Scully, Eloise Strader, Dr. & Mrs. Larry Tolley, and Dr. & Mrs. David Zontine.

Thank you for joining us on this retrospective on “West of the Blue Ridge.” If you have an idea for a future multi-installment blog series, please drop us a note on social media or at phwinc.org@gmail.com.

The music for this installment is “Let Your Hammer Ring.”

Information for this installment is derived from H.E. Comstock’s introduction to Furniture in “Valley Pioneer Artists and Those Who Continue” and the “West of the Blue Ridge” exhibit texts.

The Shenandoah Valley was isolated from most commercial sites in its early history. Valley residents of more abundant means brought furniture from larger cities such as Alexandria, Baltimore, and Philadelphia prior to 1785. The early furniture styles of more modest residents reflect indigenous as well as outside influences.

Valley furniture presents definite influences of the English, German, Scotch-Irish, and Swiss immigration to the area. The forms show a spectrum of accents from fairly sophisticated carved pediments and ball and claw feet to elaborate wood or sulphur inlays. Fluted and stop-fluted quarter columns are commonly found, as well as furniture that is considered folk art due to its unique construction and decoration. The molding styles of local furniture is often replicated in the architectural moldings of Valley homes.

As is common in other areas, there are also many primitive or plain objects to be found. The painted dower chests of Shenandoah and Page counties in Virginia and close by Maryland counties are highly sought by collectors and museums nationwide. The elusive nature of the objects ranks them among the most desirable folk art furniture in America. Their primitive, naive, painted motifs render them the epitome of American folk art.

Primary woods for furniture construction, in order of occurrence, were pine, walnut, cherry, poplar, chestnut, and maple. It was not until the very late eighteenth century that mahogany began to be imported for furniture use. Secondary woods used, in order of occurrence, were pine, poplar, walnut, chestnut, and oak.

While the furniture of the Valley is often stylistically similar to other areas, it does occasionally exhibit evidences of local individuality. Distinguishing features included arced stop-fluting of the quarter columns, and precisely and elaborately carved capitals of quarter columns. Case pieces show well-executed carvings of shells and foliage on their pediments. These case pieces often exhibit so-called dust boards between drawers. Often a piece exhibits the bottom boards of drawers arranged from front to back. The back-boards of case pieces are sometimes arranged from side to side. Similar arrangements of these boards are commonly found in English furniture.

In the past it has been considerably difficult to make definitive attributions concerning the products of Shenandoah Valley cabinetmakers. The loss of records in courthouse fires and the fact that very few craftsmen signed their work makes such attribution less than easy. Our best evidence comes through repetitive occurrences of furniture styles and consistent craftsmanship, sometimes aided by impeccable family histories and various documentation.

As in other early American communities, many of the local cabinetmakers were either itinerant or short-lived business enterprises. Among craftsmen known are David Campbell, Joseph Culbertson, Patrick Curry, Christopher Frye, J.S. Hendricks, John Kerr, William King, George Keyes, James L. Martin, Joshua Newbrough, George Newsom, John Shearer, and Edward Slaytor.

Johannes Spitler is perhaps the greatest example of decorative arts married to furniture originating in the Shenandoah Valley. It is not known if Spitler was responsible for his own casework, although some evidence suggests that possibility. Spitler’s painted designs of geometric patterns and compass work are usually found in the colors of red, yellow, white, blue, and black. He usually sealed the pores of the casewood and created a painting ground by applying an orange-red primer. Spitler’s decorations exist in a number of variations; a sizeable collection of his work has been found and pieces can be viewed online at the Museum of Early Southern Decorative Arts and the Museum of the Shenandoah Valley.

The “folksy” carvings, inlay patterns, and mixture of period designs on the same piece have always been one hallmark of local furniture. The citizens of the area have always been blessed by their geographical location. Of their many other blessings, one is the wonderful heritage of Shenandoah Valley furniture.

If you found this brief dive into local furniture intriguing, you may also wish to read A Southern Backcounty Mystery: Uncovering the Identity of a Northern Shenandoah Valley Cabinetmaking Shop by Patricia Long-Jarvis for a more in-depth look at the partnership of Joshua Newbrough and Job Smith Hendricks, as well as other local cabinetmakers active in the period of “West of the Blue Ridge.”

Our final installment concluding West of the Blue Ridge will be posted on June 3.