Editing Duncan Phyfe (section)

==Life and career==
Born '''Duncan Fife''' near [[Loch Fannich]], Scotland, he immigrated with his family to [[Albany, New York]], in 1784 and served as a cabinetmaker’s apprentice.<ref name="collier">{{cite encyclopedia |last=Millikin |first=Donald D. |editor=William D. Halsey |encyclopedia=Collier's Encyclopedia |title=Phyfe, Duncan |year=1976 |publisher=Macmillan Educational Corporation |volume=19 |location=New York |page=1 }}</ref>

In 1791 he moved to [[New York City]]<ref name="collier"/> and one year later is documented the earliest mention of him in the city, when he was elected to the General Society of Mechanics and Tradesmen, sponsored by Isaac Nichols and Seabury Champlin, either of whom may have trained him. 
[[File:Duncan Phyfe shop and warehouse.jpg|left|thumb|upright=1|Shop and warehouse on 168–172 Fulton Street, New York city.]]
By the time of his marriage in 1793, he appears in the New York directories as a "joiner," but by 1794 he called himself "cabinetmaker" and had changed the spelling of his name to Phyfe. He opened his own business in 1794 and was listed as a cabinetmaker in the ''New-York Directory and Register.'' From his first shop on 2 Broad Street, he later moved to Partition Street (later renamed Fulton Street in 1817 in honor of [[Robert Fulton]]), where he stayed for the rest of his life.

A poor immigrant when he arrived in America from his native Scotland, Phyfe acquired wealth and fame through hard work, exceptional talent and the support of patrons. He would come to count among his clients some of the nation's wealthiest and most storied families. Throughout the first half of the nineteenth century he made Neoclassical furniture for the social and mercantile elite of New York, Philadelphia, Pennsylvania, and the American South where he was particularly popular. Known during his lifetime as the "United States Rage", to this day remains America's best-known cabinetmaker,<ref name="Peter M. Kenny 2011">Peter M. Kenny, Michael K. Brown, Frances F. Bretter and Matthew A. Thurlow. ''Duncan Phyfe: Master Cabinetmaker in New York''. Metropolitan Museum of Art (2011).</ref> establishing his reputation as a purveyor of luxury by designing high-quality furniture.

His personal style, characterized by superior proportions, balance, symmetry, and restraint, became the New York local style. Many apprentices and journeymen exposed to this distinctive style by serving a stint in the Phyfe shop or by copying the master cabinetmaker's designs helped to create and sustain this local school of cabinetmaking. Demand for Phyfe's work reached its peak between 1805 and 1820, although he remained a dominant figure in the trade until 1847, when he retired at the age of seventy-seven. Within the short span of a single generation, however, the work of the master was all but forgotten until the revival in the 1920s, when different furniture companies replicated his designs for several decades.{{Citation needed|date=June 2020}}

He became known as one of America's leading cabinetmakers by selling furniture at relatively low prices. Phyfe’s work encompassed a broad range of the period’s Neoclassical styles, starting from his earliest furniture— which bear the influence of his 18th-century British predecessors [[Thomas Sheraton]] and [[Thomas Hope (1769–1831)|Thomas Hope]]— continuing with [[Regency architecture|Regency]], [[Federal furniture|Federal]], [[Empire style|Empire]] and ending with his late simplified designs in the Grecian plain style.{{Citation needed|date=June 2020}}

[[File:James Duncan Phyfe.jpg|right|thumb|upright=1|James Duncan Phyfe]] 
Between 1837 and 1847, Duncan Phyfe took his two sons, Michael and James, as business partners and the firm went under the names D. Phyfe & Sons (1837–1840) and after Michael's premature death, D. Phyfe & Son (1840–1847). It was during the latter and final stages of the business’s history that perhaps the greatest challenge Phyfe ever faced emerged; how to cope with the new wave of historical revival styles. In 1840, one Southern planter who came to New York from Columbia, South Carolina, observed to his wife in a letter that the Phyfes were "as much behind the times in style as (they were) in price." Because the Phyfes always adhered to the classicist language,<ref>Peter M. Kenny, ''Changing Perspectives on an Iconic American Craftsman, Duncan Phyfe at the Metropolitan Museum''. Antiques & Fine Art magazine winter 2012 anniversary issue: p. 120.</ref> they never fully engaged with the emerging historical revival styles (e.g. [[Gothic revival|Gothic]], [[Rococo Revival|Rococo]], [[Renaissance revival|Renaissance]] etc.) that began about this time.

Duncan Phyfe and his son James closed the family business in 1847 after fifty-five years in the trade. They held an auction of the remaining contents of their furniture warehouse. The auctioneer was Halliday & Jenkins.<ref>[http://classicalamericanhomes.org/swing-dressing-glasses/ Peter Kenny, ''"It Don’t Mean a Thing if it Ain’t Got that Swing''", Classical American Homes Preservation Trust].</ref>

Because Phyfe's furniture was seldom signed,<ref name="Peter M. Kenny 2011"/> yet widely imitated, it is sometimes difficult to determine with accuracy which works he actually made. He is interred at [[Green-Wood Cemetery]] in [[Brooklyn]], [[New York City|New York]].<ref>[http://www.green-wood.com/2010/duncan-phyfe-legendary-cabinetmaker/ Jeff Richman, Duncan Phyfe: Legendary Cabinetmaker].</ref>