An excellent American Federal Mahogany four-poster bedstead from New York, circa 1810-1820. Two basic types of bedsteads were available to the American consumer in the Neo-classic period (1785-1820). The first was a "low -post" bed. These were fairly common and far less costly than "high-post" bedsteads. Low post beds were generally comprised of inexpensive native woods, such as maple or poplar. Often times, they were stained or, sometimes, painted to resemble more expensive materials. Most low-posts beds were used by sibling members of families or occasionally, house-servants. By contrast, wealthy and fashion conscionable Americans, favored high post beds. Despite the fact that most high post beds were constructed almost entirely out of expensive mahogany and elaborately carved and occasionally inlaid, fashion of the era dictated that they were to be generously draped with luxurious fabrics and fringes, sometimes with complete disregard to the work of the carver. Based on surviving household inventories from the Federal Period (1785-1820), it is readily apparent that the cost of the fabrics that hung from the bedsteads were far more costly than the wooden components of the piece itself (C. Montgomery, p.55). The English designer George Hepplewhite addressed the issue of the use and decoration of beds specifically in his post humus publication The Cabinet-maker's and Upholsterer's Guide:

Beds are and article of much importance, as well on the account of the great expense in attending them, as the variety of shapes, and the high degree of elegance which may be shewn in them.
They may be executed of almost every stuff which the loom produces. White dimity, plain or corded, is peculiarly applicable for the furniture, which, with gymp head, produces an elegance and neatness truly agreeable.
The Manchester stuffs [cotton velvets] have been wrought into Bed-furniture with good success. Printed cotton and linens are also very suitable; the elegance and variety of patterns which, afford as much scope for taste, elegance and simplicity, as the most capricious fancy can wish.
In state rooms where a high degree of elegance and grandeur are wanted, beds are frequently made of silk or satin, figured or plain, also of velvet, with gold fringe, & c.

While almost every urban cabinetshop in early 19th century America was capable of producing bedsteads, the largest number were produced in city of New York. Federal New York was proliferated with exceptional craftsmen who had excess both to fine materials and specialized technology making the production of such beds efficient and profitable. Beds, unlike case pieces, could easily be taken apart, shipped to other urban areas, and re-assembled on site. This may help account for the large number of New York City bedsteads surviving in the South (P. Talbot, p. 136). The bedstead presented here exhibits the some of the best carving from the neo-classic vocabulary available to consumers in early ninteenth century America.

Condition and Construction: The bedstead is comprised of two elaborately turned and carved footposts with bold reeded and acanthus leaf details. The posts terminate in brass cups that are original. The headposts are constructed of turned mahogany. The fine mahogany headboard is original. The bed has been professionally refinished. The bedbolt covers are contemporary.. Despite its generous height and width, the bed contains no alterations, and includes its original tester. New York City or nearby vicinity, circa 1810-1825.

Materials: Mahogany, cherry, brass, and iron.

Dimensions: Height=105", Length=78", Width=55 ½"

Provenance: Yonderhill Dwellers, Palisades, New York and a private collection, Columbia County, New York.

Reference: P. Talbot, University of Georgia Press, 1995, Classical Furniture in Savannah. C. Montgomery, 1966, Viking Press, American Furniture, The Federal Period.