Sometimes, collectors must weigh authenticity against quality. Three Eighteenth Century Philadelphia tea tables illustrate that, however original, not every piece of furniture made in Colonial America was beautiful or well made. Most likely created by the same hand, the tables show the artisan's progression from promising beginner to skilled expert. The subtleties of finish are pointed up by a set of Chippendale chairs made for Samuel Verplanck of New York. Divided among Verplanck's heirs, the chairs have been reunited to provide a lesson on the effects of refinishing.
Reproductions are another area of concern.
Duncan Phyfe, the best known of New York Federal cabinetmakers, exerted considerable influence long after his death. Craftsmen such as Ernest F. Hagen copied both Phyfe's style and his construction techniques. Carving is an element to be judged independently of form and surface condition. Before the American Revolution, London-trained carvers came to Philadelphia to supply the local elite with the latest London fashions, that, for political reasons, could not be imported. The embellishment on two drawers taken from a Philadelphia high chest and matching dressing table prove how widely the quality of carving can vary.