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Photo: Courtesy Museum of Fine Arts, Boston, The M. and M. Karolik Colleciton of Eighteenth-Century American Arts, 39.164
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Tilt-top table


Object number

RIF747

Maker

Maker possibly by John Goddard, 1723/24–1785

Dimensions

Height: 69.85 cm (27 1/2 in.); Diameter, top: 80.328 cm (31 5/8 in.)

Date

1775–1785

Current location

Museum of Fine Arts, Boston

Geography

Made in Newport, Rhode Island
(view a map of Rhode Island)

Medium

Mahogany (primary); fustic(?) (block)

Marks

None

Inscriptions

“II,” inscribed, on underside of base [probably a repairer's mark]

Style

Chippendale

Provenance

Originally owned by Mrs. Perry Weaver (née Catharine Goddard), Newport, Rhode Island; by descent to her great-grandaughter, Susan J. Weaver; sold by her estate to Duncan A. Hazard (1874–1939), Newport, Rhode Island, by 1929; sold to Martha Codman Karolik (1858–1948) and Maxim Karolik (1893–1963), Boston and Newport, Rhode Island, by 1939; given to the Museum of Fine Arts, Boston, 1939

Associated names

Catharine Goddard Weaver
Susan J. Weaver
Duncan A. Hazard
Maxim Karolik
Martha Codman Karolik

Construction

The circular, single-board top has a raised and beaded edge, and is fitted underneath with two beaded and volute-carved cleats, to which it is joined by five screws apiece?four (two countersunk) in each shallower portion, and one in the center of the central, deeper portion of each cleat. The underside of the top has a ridge between the flat back and the molded edge. The top tilts by means of pins in the top of the triangular pedestal which are set in holes in the cleats. It is secured by a brass catch with scrolling backplate, fixed to the underside of the top with three screws. The tooth of the catch fits into a brass plate with serpentine top, attached with screws to the edge of the pedestal top. The triangular pedestal top, which has beaded edges and one straight and two incurvate sides, reveals the dowel tops of the four colonettes, each with fluted shafts and turned bases and capitals, below. There are three molded and chamfered panels on the incurvate faces of the pedestal base below. On its underside are three iron straps, each attached to its respective leg and pedestal corner with three screws, and to each other, at the center of the pedestal, with a single screw. The straps cover and reinforce the joints between the pedestal and the three cabriole legs, which terminate in stylized five-toed claw and ball feet. The table tilts in such a way as to fit into a corner when not in use. Examined by P.E. Kane and J.N. Johnson, November 14, 2012; notes compiled by T.B. Lloyd.

See also


Bibliography

"Two Newport Tables," Antiques 6, no. 5 (May 1927): 365, fig. 2.
Edwin J Hipkiss, Eighteenth-Century American Arts: The M. and M. Karolik Collection (Cambridge, Mass.: Harvard University Press, 1950), 110–111, no. 59, ill.
Joseph K. Ott, The John Brown House Loan Exhibition of Rhode Island Furniture, exh. cat. (Providence: The Rhode Island Historical Society, 1965), 36–37, no. 32, ill.
Michael Moses, Master Craftsmen of Newport: The Townsends and Goddards (Tenafly, N.J.: MMI Americana Press, 1984), 13, 48, fig. 1.35.
Brock Jobe and Myrna Kaye, New England Furniture: The Colonial Era (Boston: Houghton Mifflin Company, 1984), 302, no. 74c, ill.
Patricia E. Kane et al., Art and Industry in Early America: Rhode Island Furniture, 1650–1830, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2016), 327n5.