拍品专文
Symbols of the new Republic, the spreadwing eagle and draped urns that ornament this card table were statements of national pride that informed onlookers of an owner's awareness and understanding of present fashions. One of a group of five ovolo corner cardtables that share design and inlay features, this example displays the most elaborate selection of inlays of the group and is the only table decorated with double arch and teardrop line inlay on the legs. Each of these tables is constructed with ovolo corners shaped by a multitude of saw kerfs, some of which are covered with a muslin strip. This unusual technique in combination with the related design features suggests that these tables were made in the the same Boston cabinetshop. See Barquist, American Tables and Looking Glasses (Yale, 1992), fig. 98; Henry Ford Musuem (Sack, American Furniture from Israel Sack Collections I (1962), p. 201, no. 510; Conger and Rollins, Treasures of State (New York, 1991), figs. 126-127; the latter three tables also have the central mitered tablet.
The inlay on this table appears to represent two different sources. The draped urns which are present on all of the tables from this group are also evident on a table from Keene, New Hampshire signed by Eliphalet Briggs, Jr. (Hewitt, The Work of Many Hands (Yale, 1982), cat. 1). The availability of the same inlay motif suggests that the urns were imported from England and hence available to craftsmen in several different regions. Conversely, the eagle inlay may be a product of a local Boston shop, present on these tables and a related table made by William Leverett (Sack, American Furniture from Israel Sack Collections VI (1979), p. 1446, P4539). Crested with eighteen stars, which document the admission of Louisiana to the Union in 1812, this eagle inlay differs from other regional examples from Providence, Rhode Island and New York that are inlaid with fewer stars (Sack, Fine Points of Furniture (New York, 1993), p. 7; Treasures of State (New York, 1991), pp. 122-23). It is also possible that the regional differences stem from the receipt of receipt of different shipments of eagle inlays into Boston and other regions, that once used up were not reordered.
The ovolo corners and tapered legs of this table as well as the positioning of the inlay are closely related to plate 11 of Thomas Sheraton's, The Cabinet-Maker and Upholsterer's Drawing Book (London, 1793), see illustration. The cabinetshop that produced this table was apparently aware of the form through this pattern book. They followed the design rather closely yet took some liberty to interpret the carved draped foliate with dark center on the legs into the double arch and teardrop inlay on the card table legs. The craftsmen may have also gleaned ideas from price books which provided options for square card tables such as the addition of 'ovolo corners,' and 'square string panels with hollow corners' (The Cabinetmaker's London Book of Prices (London, 1803).
For related tables possibly from the same shop with identical inlay but with serpentine front and side aprons see Barquist, fig. 99; and its mate in Sack, American Furniture From Israel Sack Collections VI (1979), p. 1560, P4630; Treasures of State, fig. 122.
The inlay on this table appears to represent two different sources. The draped urns which are present on all of the tables from this group are also evident on a table from Keene, New Hampshire signed by Eliphalet Briggs, Jr. (Hewitt, The Work of Many Hands (Yale, 1982), cat. 1). The availability of the same inlay motif suggests that the urns were imported from England and hence available to craftsmen in several different regions. Conversely, the eagle inlay may be a product of a local Boston shop, present on these tables and a related table made by William Leverett (Sack, American Furniture from Israel Sack Collections VI (1979), p. 1446, P4539). Crested with eighteen stars, which document the admission of Louisiana to the Union in 1812, this eagle inlay differs from other regional examples from Providence, Rhode Island and New York that are inlaid with fewer stars (Sack, Fine Points of Furniture (New York, 1993), p. 7; Treasures of State (New York, 1991), pp. 122-23). It is also possible that the regional differences stem from the receipt of receipt of different shipments of eagle inlays into Boston and other regions, that once used up were not reordered.
The ovolo corners and tapered legs of this table as well as the positioning of the inlay are closely related to plate 11 of Thomas Sheraton's, The Cabinet-Maker and Upholsterer's Drawing Book (London, 1793), see illustration. The cabinetshop that produced this table was apparently aware of the form through this pattern book. They followed the design rather closely yet took some liberty to interpret the carved draped foliate with dark center on the legs into the double arch and teardrop inlay on the card table legs. The craftsmen may have also gleaned ideas from price books which provided options for square card tables such as the addition of 'ovolo corners,' and 'square string panels with hollow corners' (The Cabinetmaker's London Book of Prices (London, 1803).
For related tables possibly from the same shop with identical inlay but with serpentine front and side aprons see Barquist, fig. 99; and its mate in Sack, American Furniture From Israel Sack Collections VI (1979), p. 1560, P4630; Treasures of State, fig. 122.