Set of Chairs, Cabinetmaker John Shaw

During Annapolis’ Golden Age, from 1763 to 1774, the town became a political magnet for wealthy planters who appreciated sophisticated society, stylish architecture, and imported luxury goods. They favored furniture made from exotic woods such as mahogany. The toll that harvesting this exotic wood took in enslaved human lives and the depletion of natural resources in the Caribbean and South America was shockingly high. By the late 18^th century true mahogany was becoming a scarce commodity.

In contrast to North American trees, mahogany’s age cannot be determined by the naked eye because the warmer climate of its Caribbean and South American habitat yields a continual growing season. Mahagony also has a satin smooth finish as opposed rougher wood like pine and is less susceptible to insect damage, warping, and shrinking.

Mahagony was highly valued by Scottish-born cabinetmaker John Shaw who had emigrated to Annapolis around 1768 at age 23. The neoclassical movement was popular in Scotland, so when Shaw came to Annapolis he was bringing the latest styles. By 1772 Shaw had gone into partnership with fellow Scotchman Archibald Chisholm and had the largest cabinet making shop in town, catering to mid-level and elite clientele. These mahogany chairs were made. in that shop.

The set of eight Shaw chairs in the Ballroom are original to the Hammond-Harwood House. Known as the “Harwood chairs,” they have broad saddle seats and serpentine fronts. These chairs are exceptionally wide and comfortable for the period. They were a custom order from either the Chase or Harwood family and passed down to the family who lived here in this house (Loockerman and Harwood). As you look around the room you can imagine the family sitting in  these chairs to write letters, play music, and have dinner.

Shaw’s work reflects clean, elegant lines and inlay with restraint. You will notice he used the same motifs repeatedly– the oval inlay, the star, and string lines. Shaw’s work combines influences from British designers Thomas Chippendale and Thomas Sheraton, whose elaborate furniture designs often reflected more style than function. Shaw chose to focus on simple clean lines rather than the more ornate designs seen at the time in Scotland. He adapted his pieces to the local consumer market. Annapolis had a rather reserved taste in furniture for this period and Shaw’s style reflects this.

The building housing Shaw’s last workshop, which he ran independently, still exists at 21 State Circle in Annapolis; it now holds state government offices. In addition to making furniture, John Shaw had a bustling career as undertaker (caretaker) of the statehouse, an importer of goods, an official who weighed hay, and keeper of the town’s fire engine. He was not only an artisan but an entrepreneur.

Through his furniture, the legacy of John Shaw, a renaissance man, continues to inspire scholars, curators, and those who appreciate the decorative arts.