Shaker Design, Revisited

Our Shaker journey began in 1979 when at age fifteen, David acquired a charmingly small red painted Shaker box that he sold to collector Ralph Esmerian the following year (Fig. 1). This was also Esmerian’s first Shaker purchase.

Fig. 1. Rare painted maple and pine Shaker red oval box New York or New England, early to mid-19th century.

Two years later in 1981, days before his seventeenth birthday, David established himself as a serious competitor in the Shaker market by acquiring several of the best pieces in the important auction of the William Lassiter collection at Sotheby’s. In addition to winning two of the cover lots and an outstanding early tiliter side chair in figured maple (Fig. 5a and 5b), he took home a fingered oval box that originated in the Watervliet Shaker community. This box became number seven in the first stack of boxes assembled by David which he sold the following year to the late Peter Goodman for $15,000. That same Shaker stack was a highlight in last month’s sale of the Peter and Barbara Goodman Collection during Americana Week at Christie’s (Fig. 2) where it sold for $150,000—we underbid this lot.

Fig. 2. An Assembled Stack of Twelve Shaker Oval Utility Boxes, Various Shaker Communities, New York and New England, mid to late 19th century, The Collection of Peter and Barbara Goodman, Christies, New York, January 20, 2022, lot 117.

Fig. 3. David Schorsch in 1984 with another stack of Shaker oval utility boxes that he acquired from his friends Robert Wilkins and the late Suzanne Courcier.

Our ongoing exhibition and sale “Parallel Visions: Shaker Design and American Folk Art” celebrates the shared attributes and dramatic differences of the genres (Fig. 4). Shaker objects—the focus of this blog installment—were collected by Modern artists such as Charles Sheeler (1883-1865) and Ellsworth Kelly (1923-2015), who recognized the refined beauty and sense of purpose in Shaker design as being in harmony with their own art making philosophies. This blog discusses the intentionality behind Shaker design within the broader context of Shakerism using examples from this special exhibition and sale.

Fig. 4. Shaker oval carrier, probably Mount Lebanon, New York, circa 1850 shown with View of Hallowell American folk art landscape painting. As compared to oval boxes, fingered carriers are quite scarce. Rarer still are the few which retain a vibrant yellow painted surface. An outstanding feature of this carrier is the attachment of the handle on the inside allowing for a facade uninterrupted by a vertical element and giving further emphasis to the exquisite fingers. Maple, white pine, hickory, copper tacks, original yellow paint, height to top of handle 11 inches, length 11 inches.

The United Society of Believers—or Shakers, as they are better known—were first established in England in 1747 when their sect split from Quakerism. Shakerism was brought to America under divine inspiration by Mother Anne Lee (1736-1784) and by 1776 she and a group of followers had established themselves north of Albany, NY. The Shakers practiced a communal and celibate lifestyle, pacism and equality, and lived separate from “the world.” In every aspect of daily living—from furniture making to canning preserves—they “put their hands to work and their hearts to God” and in doing so created the simplistic, forthright sense of design that they are now best known for.

Fig. 5a & 5b. Side Chair with Tilters, South Family, Mount Lebanon New York, circa 1830. Figured maple, rush seat, height 40 ½ inches, seat height 16 ½ inches, seat width 18 inches. This is a famous example of the iconic Shaker chair that David first acquired in 1981 from the pioneer collection of William L. Lassiter auctioned at Sotheby’s. The use of boldly figured maple and heavier stock for the posts identify this as an early example made for community use at Mount Lebanon.

The religious principles of the Shakers—purity, harmony, order, community, diligence, equality—informed and inspired their craft. Form followed function but it also followed religion. In the words of Charles Sheeler:

[The Shakers] recognized no justifiable difference in the quality of workmanship for any object, no graduations in the importance of the task. All must be done equally well. Whether it was the laying of a stone floor in the cellar, the making of closet doors in the attic, or the building of a meeting house, the work required nothing less than all the skill of the workman.

A prime example of this sentiment survives in the elegant and sculptural long-handled dust pin (Fig. 6). An object used for cleaning debris was imbued with the same high level of dignity as a drop-leaf table designated for Ministry use, also in this sale (Figs. 7a & 7b).

Fig. 6. Long Handled Dust Pan, Possibly Alfred or Sabbathday Lake, Maine, circa 1880. Tinned iron, birch, original finish, height 30 ½ inches, pan 12 ½ x 9 ½ inches.

Fig. 7a & 7b. Drop Leaf Table, Enfield, Connecticut, circa 1830. Cherry, white pine, iron hinges, cowhide strip pulls, 28 x 36 x 14 inches. Shaker drop leaf tables of this small scale are often designated as being for Ministry use. This table is distinguished by the delicacy of its form and outstanding proportions. The square, contoured edges of the boldly overhanging rectangular top are echoed in the tapered legs which are subtly splayed.

The elegant simplicity found throughout Shaker furniture does not mean that Shaker craftspeople lacked creativity. A distinctive aspect of their furniture making was the practice of transforming existing pieces in order to change or modify their use. This is demonstrated in a cherry and butternut work stand made in two phases by Oren Haskins (1815-1892), one of the most celebrated Shaker cabinetmakers, for Sister Julia Scott (Figs. 8a, 8b, & 8c). It was initially made in 1863 and then updated seven years later to include an upper gallery. In a very rare instance of complete documentation, Haskins inscribed and dated in pencil both the base and the upper section: “March 12th / 1863 / J.S.” on the base and “Julia Scott / April 2nd 1870 / Presented by O.H.” on the bottom of the lower-middle drawer of the upper case. It is one of three examples of this form by Haskins known to us; the others being in the collection of

While Julia Scott’s work stand was used for small sewing projects, Shaker women also completed impressive projects on the loom (Fig. 10). Careful attention to detail and subtle but rich use of color characterize Shaker textiles such as this braided rug offered in our exhibition (Fig. 9).

Fig. 9. Braided Rug, Probably Hancock, Massachusetts, circa 1890 Cotton and wool, diameter 29 ½ inches. This braided rug was likely made by the same Shaker sister as a well-known example in the collection of Hancock Shaker Village.

While many men and women who joined Shaker communities brought with them outside skills such as cabinetmaking and textile production both Oren Haskins and Julia Scott were raised in Shaker villages from childhood. An 1843 “Testimonial of Merit” issued to Julia Scott in the collection of the Western Reserve Historical Society was awarded to her by her teacher, Sister Sarah Bates (1792-1881), probably at the end of the term for showing satisfactory progress. Teachers noticed and rewarded exemplary pupils in the same way that the Eternal and Heavenly Parents noticed and rewarded faithful gospel children, namely through visions and spiritual messages called “gifts.”

Gift drawings, the rarest and most sought after of all Shaker works, were heavenly visions bestowed upon faithful Believers that were then translated on paper. In addition to penning many rewards of merit for young Shaker students like Julia Scott, Sarah Bates was a principal instrument of gift drawings. Featured in our exhibition is a “notice” given to Brother John Dean from Sister Sarah Bates (Fig. 10) in 1843 that is closely linked in style to the “Testimonial of Merit” awarded to Julia Scott in the same year.

Fig. 10. Attributed to Sister Sarah Bates (1792-1881), A Card of Love and Notice from Blessed Mother Ann to John Dean, Mount Lebanon, New York, January 25, 1843. Blue ink on paper, 4 ⅞ x 7 ⅞ inches, double sided, in a period frame.

All gift drawings were all made during the Era of Manifestation (1837-mid 1850s), a time of spiritual revival marked by visions and other ecstatic experiences among the Shakers. While the Era of Manifestations represented the high point of the Shaker project in America, followers dwindled in the early 20th century. Photographer William Winter (1899-1939) became interested in the Shakers in the early 1920s and documented the last moments of active communities. Winter became friendly with pioneer collectors Faith Andrews and Edward Deming Andrews, and produced the photographs for their landmark book, Shaker Furniture, The Craftsmanship of an American Communal Sect, published in 1937. This portrait by Winter from the Andrews’ collection shows Sister Sarah Ann “Sadie” Neale at her loom and is one of the most iconic Shaker images. She and her natural sister Emma Jane Neale were two of the last Shakers at Mount Lebanon.

Fig. 11. William F. Winter, Jr. (1899-1939), Sister Sadie Neale at Her Loom, Mount Lebanon, New York, circa 1933. Gelatin silver print, 10 x 8 inches, in a modern frame. Verso labeled: “THIS PHOTOGRAPH / MADE BY AND PROPERTY OF / W. F. WINTER / 1013 GARNER AVENUE / SCHENECTADY, N.Y.”

Likewise, a final flowering of Shaker chair making took place at this time. While the Shakers initially only produced furniture for their own usage, the Shakers began a successful business of chair making at Mount Lebanon in the 1860s. These chairs were sold nationally through printed catalogs and regional furniture companies, such as Marshall Field. The design of these “production chairs” was a streamlined and modified version of their earlier community chairs made in various sizes with interchangeable parts. In the first decades of the 20th century, this business model was reinvigorated at Mount Lebanon by Sister Lillian Barlow (1876-1942) and Brother William Perkins (1861-1934) who built the chairs, and Eldress Sarah Collins (1855-1947) who wove the seats. This team of Shaker craftspeople redesigned chairs for a new audience by producing them in a larger scale with bold and elongated applied finials. These features are observed in an impressive five slat armchair retaining its original tapered seat, the most dramatic and sought after of all the so-called “Barlow-Perkins” chairs (Fig. 12a). Protected from sunlight, the underside of the seat shows the original contrasting colors (Fig. 12b).

Fig. 12a. Lillian Barlow (1876-1942), William Perkins (1861-1934), Sarah Collins (1855-1947), Presentation Five Slat Armchair, Mount Lebanon, New York, circa 1920-1930. Maple, original woven cotton tape seat, overall height 51 ½ inches, seat height 18 ½ inches, seat width 23 ½ inches. Fig, 12b. Underside of the tapered seat showing original contrasting colors.

The classic oval utility boxes are among the most recognizably Shaker craft items. A great example is featured in our most recent ad (Fig. 13).

Figs. 13. From Maine Antiques Digest, March 2022, p. 11.

Among dedicated collectors, students, curators, and dealers like ourselves, Shaker design continues to uphold a community. We have always found a thrilling juxtaposition between the refined elegance of the purposeful objects made by the Shakers in contrast with the individually expressive works created by folk artists in what the Shakers called the “outside world.” We encourage you to contact us with questions and inquiries, we buy and sell fine American antiques and folk art.