The next style of importance is Heppelwhite that lasted from about 1785 to 1795. It seems that A. Heppelwhite and Co. stands for Alice Heppelwhite, the widow of George Heppelwhite, who soon after his death (about 1786) issued The Cabinet-Maker and Upholsterer's Guide, which passed through three editions (1788, 1789 and 1794).

Elegance and utility were the watchwords of this school; and it is notable that the firm did not claim to have originated their designs. In the Preface the Heppelwhites say "Our judgment was called forth in selecting some patterns as were most likely to be of general use, and in exhibiting such fashions as were necessary to answer the end proposed and convey a just idea of English taste in furniture for houses."

Heppelwhite furniture was made in mahogany or painted and japanned (a very different process from the lacquers of Vernis Martin). Heppelwhite was fond of inlaying and also carving. Perhaps of all his furniture, his chairs are the most famous; but his sideboards are much valued and his girandoles and mirror-frames are noted for their grace and delicacy. Many of Heppelwhite's tables contain mechanical devices, which at this date were so popular in France, and which Sheraton was going to take up. Heppel-white was devoted to the straight leg with the "spade" foot; uses the bell-flower in swags or chutes; the shell; the draped urn; the lotus; and the three feathers of the Prince of Wales. He also likes the festoon and tassel in drapery, and the stripe is his favorite seat covering, which shows that he was quite abreast of the French fads and fancies.

Plate XXXV - Louis XVI. Chairs - Metropolitan Museum

All of the Heppelwhite characteristics are shown in the desk on Plate XXXVIII. and the chair on Plate XL. The desk, it will be noted, has his favorite inlaid urn in the central door, his tambour-shutter that mysteriously disappears when pushed aside, his spade foot and his general air of lightness. The handsome mahogany chair has a shield back carved with the lotus and bell-flower.