Type of Bedstead

In general, the large, heavy bedsteads with richly carved posts, usually of mahogany, belong to this Empire period or later. Four-posters of sixty or seventy years ago may be classed with this group, and are already valuable. The larger the posts, generally speaking, the later the manufacture.

These bedsteads were made in similar styles in England, France, and America, and it is not often easy to tell their origin. The tester was often dispensed with on these four-posters. The posts were carved in heavy patterns, the anthemion, acanthus leaf, pineapple, laurel leaf, horn-of-plenty, and feather pattern being common characteristics from 1800 to 1840. The acanthus appears on earlier bedsteads, but the pineapple did not come into vogue until about 1810. The head-boards were often handsomely carved with drapery, flowers, fruit, and sometimes the spread eagle, though plain head-boards were more common. Sometimes there were foot-boards to match; sometimes there were none.

The ball-and-claw toot, seldom found on bed-steads, had entirely disappeared, but a lion's foot was occasionally used of ter 1800. The posts became more and more elaborately carved up to 1830 or even 1840, but the testers continued to be plain when used. With the decline of the Georgian styles, and the advent of the Empire, all furniture became heavier and more ornate. The bedsteads became big, wide, and high-so high, sometimes. with their feather beds, that steps were required to mount them. During this period a lower bed, however, enjoyed some popularity. This was developed from the low Napoleonic French bedstead and is known as the low-poster. It reached the height of its popularity about 1825, though it continued to be used until the later American bedstead developed from it. The posts extended but slightly above the head- and foot-boards, which were usually comparatively plain. The acanthus sty le of carving appeared frequently on the posts, and pineapple terminals were common.

French and English bedsteads were popular up to the middle of the century, but American manufacturers ''i ere fast gaining the upper hand. They made use of a sort of modified Empire style, as they did in chains. The proportions and general shape were Empire in feeling, but they dropped most of the Empire carving, the majority of their posts being turned. They made use of mahogany, oak, cherry, cypress, walnut, and other woods. American bedsteads of rich San Domingan mahogany, with turned posts eight or ten inches in diameter, and with plain, slightly scrolled head-boards, are somewhat in demand. There was much variety in the form of the posts, from elaborately turned patterns to plain hexagonal or cylindrical pillars.

American-made low-posters were also common from 1820 to 1840. These were usually of maple or cherry and had turned posts. The head-boards and foot-boards were plain, surmounted usually by a turned piece, scroll effect, or heavy row of molding. One form, called the sleigh-bed, was a more direct descendant of the Napoleonic bedstead. It had rolling, curved head- and foot-boards and no posts. The handsomest ones v~ crcornamented in ormolu, but for the most part -they were mass]. e and plain.

With the Victorian era came the decline of mahogany and a revival of Queen Anne styles. Black walnut, poor machine workmanship. cheap moldings, and ugly shapes marked the lowest stage of our American cabinet-making, and the beautiful four-poster disappeared. Before passim on to the concluding paragraphs of this chapter, it might be worth while to mention cradles. Thee were used always beside the bed-steads of our forebears, and their collection is interesting if not altogether satisfactory. Modern science has decreed against their use to-day. Of the early cradles in this country there seem to have been two kinds-one resting on short rockers, and the other swinging between stationary uprights. Many of them had hoods, and they were made of oak, walnut, mahogany, and other woods, as well as wicker. The styles were so varied as to make brief classification impracticable.

Later on our grandparents, graduating from the cradle, often slept in low trundle-beds, which were pushed under the four-posters during the day. These trundle-beds, by the way, were a relic of the days when every nobleman needed a faithful and armed guard to sleep at his feet all night. Like all other antique furniture, old bedsteads are made by counterfeiters. The commonest method is to take parts of several dilapidated old four-posters, and put them together into one salable piece. This usually means a mixture of styles, which the careful student can detect. Another trick is to carve the plain posts of American-made bedsteads in elaborate Empire patterns, but unless very carefully treated these carvings will show marks of recent workman-ship, and will usually look brighter than the rest of the wood.

Originally the four-poster bedstead was put together with wooden or iron bolts, and many of them show rope-holes in the side pieces. Although it is often customary now for the renovator to replace the bolts with new-fashioned bed-locks which are more convenient, the beds thus altered should show the bolt-holes and give evidence of the alteration.

The prices paid for old bedsteads vary widely. The oldest types bring the most money, though they are really no more satisfactory to the modern house-holder than the late Empire four-posters. Genuine Georgian pieces are very rare and sometimes bring enormous prices. Empire four-posters of mahogany are worth from $75 to $200, according to their condition and the beauty of the carving. 1 good one can usually be found for $too. Uncarved American-made bed-steads are worth from $15 to $50, while those of fine proportions and good turning may bring as high as $75. Occasionally a good piece may be picked up at a country auction sale for a few dollars, but these usually require a considerable expenditure for re-finishing and renovating.