Designed to mirror the Martha Washington Ladies' Lounge, the Gentlemen's Lounge contains the most prized rug in the Collection, from Northwest Persia, circa 1800, measuring over twenty-eight feet long.

The girandole clock,c. 1825, was made by Lemuel Curtis; the rare settee is attributed to Philadelphia, c. 1800. The other Philadelphia and Maryland pieces in the Lounge are among the Collection's treasures.

• Shelf Clock: Shelf timepieces like this one were less costly alternatives to eight-day tall clocks. Compact and made without striking mechanisms, they required smaller amounts of brass and far less labor to produce.

• High Chest of Drawers: Certain specific construction techniques, materials, design, and carving similarities relate this chest to furniture associated with the noted Philadelphia cabinetmaker, John Elliott (w. 1753 - 1760).

• Slab Table: This small table was called a frame for a marble slab by its makers. Its many carved details, including an elaborate applique' of rococo leaves on its front rail distinguish it from plainer tables of this era.

• Side Chair: A late manifestation of the Chippendale style, the ladderback chair was introduced to the American colonies in the early 1770s. This is one of the earliest and most handsome.

• Base of High Chest of Drawers: Despite the loss of its upper case, this base from a high chest of drawers remains one of the supreme statements of the rococo style in American furniture.

• China Table: A peculiarly Scandinavian form, the faience tray provided the table with a colorful, engaging, and waterproof surface from which to serve tea, a messy beverage at best requiring hot water and yielding water-soaked tea leaves to be dispatched from pot and cups before a new brew could be made.

• Pembroke Table: In America, the terms 'Pembroke' and 'Breakfast' table were used interchangeably by the 1770s, a full ten years after the form became popular in England. Flexibility of use also prevailed, as these tables are noted in inventories in various types of rooms and were suitable not only for eating but also for working, gaming, and drinking.

• The Flutist: One of the most intriguing paintings in the Collection is the anonymous portrait of an unidentified Black flutist. The skillfully painted sitter is impressive in his silent dignity. The pose seems derived from Gilbert Stuart, to whom the painting was once attributed.
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