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Photo: Courtesy Winterthur Museum, Del., 1958.2148
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Tea table


Object number

RIF1424

Maker

Maker John Goddard, 1723/24–1785

Dimensions

Height: 68.263 cm (26 7/8 in.); Width, top: 81.915 cm (32 1/4 in.); Width, frame: 81.598 cm (32 1/8 in.); Width, feet: 85.566 cm (33 11/16 in.); Depth, top: 8.895 cm (19 1/4 in.) Other (Depth, frame): 48.419cm (19 1/16in.) Other (Depth, feet): 52.07cm (20 1/2in.)

Date

1763

Current location

Winterthur Museum, Garden, and Library

Geography

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

Medium

Mahogany (primary); yellow poplar (glue blocks)

Marks

None

Inscriptions

Two columns of figures, in graphite, on underside of top; abstract design, incised on inside of one long rail

Style

Chippendale

Provenance

Ordered by Moses Brown, Providence, Rhode Island, for the original owner, Jabez Bowen (1739–1815), Providence, Rhode Island, 1763; by descent to his son Hon. Henry Bowen (1785–1867), Providence, Rhode Island; by descent to his son William H. Bowen (1824–1897), Providence, Rhode Island; by descent to his son Henry Bowen (1852–1932), Providence, Rhode Island; by descent to his son Donald F. Bowen (1892–1982), Providence, Rhode Island; sold to Philip Flayderman, Boston, Massachusetts, before 1930; consigned by his estate to American Art Association, Anderson Galleries, Inc., New York, January 2–4, 1930, lot 450; sold to Henry Francis du Pont (1880–1969), Winterthur, Delaware; given to Winterthur Museum, 1958

Associated names

Jabez Bowen
Henry Bowen
William H. Bowen
Henry Bowen
Donald Flagg Bowen
Philip Flayderman
Henry Francis du Pont

Construction

The single-board oblong top has double-serpentine short edges, straight and serpentine long edges, outset square corners, and a conformingly shaped beaded, ogee-molded edge applied with brads. The perimeter of the top?s underside is routed to receive the conformingly shaped frame. The top is secured to the frame by horizontal rectangular glue blocks, four at the long rails, and three at each short rail. The faces of the blocks atop the legs are veneered, their grain aligning with that of the neighboring rails, which are tenoned, with two wood pins per joint, to the legs. The cabriole legs have angular knees with stylized acanthus carving and carved, glued knee brackets. The finely carved ankles, claws and undercut talons grasp elongated ball feet. Examined by P. E. Kane and J. N. Johnson, April 21, 2014; notes compiled by T. B. Lloyd.

Notes

The table is attributed to John Goddard based on its association with a letter dated1763 from Goddard to Moses Brown, who ordered the table on behalf of Jabez Bowen in whose family it descended. [The letter is no. 89, F.IVIP53, oversize box 1, Moses Brown Papers, Rhode Island Historical Society library, Providence, Rhode Island, as cited in Amy Coes, "A Bill of Sale from John Goddard to John Brown and the Furniture It Documents," Antiques 169 (May 2006): 133n15.]

See also


Bibliography

"American Art Association-Anderson Galleries, Inc., advertisement," Antiques 16, no. 6 (December 1929): 448, ill.
Anderson Galleries and American Art Association, New York, Colonial Furniture, Silver, and Decorations: The Collection of the Late Philip Flayderman, sale cat. (January 2–4, 1930), 188–189, lot 450, ill.
"Furniture Items from the Year's Sales," Antiques 17, no. 4 (April 1930): 331, fig. 6.
Albert Sack, Fine Points of Furniture: Early American (New York: Crown Publishers, 1950), 247, ill.
Joseph Downs, "A Selection of American Furniture," Antiques 61, no. 5 (May 1952): 426–427, ill.
Joseph Downs, American Furniture: Queen Anne and Chippendale Periods in the Henry Francis DuPont Winterthur Museum (New York: MacMillan Company, 1952), no. 373, ill.
Hugh Honour, Cabinet Makers and Furniture Designers (London: Weidenfeld and Nicolson, 1969), 152, ill.
Joseph T. Butler, American Furniture from the First Colonies to World War I (London: Triune Books, 1973), 53.
Liza Moses and Michael Moses, "Authenticating John Townsend's and John Goddard's Queen Anne and Chippendale Tables," Antiques 121, no. 5 (May 1982): 1132, fig. 5.
Thomas E. Norton, 100 Years of Collecting in America: The Story of Sotheby Parke Bernet (New York: Harry N. Abrams, Inc., 1984), 112, ill.
Michael Moses, Master Craftsmen of Newport: The Townsends and Goddards (Tenafly, N.J.: MMI Americana Press, 1984), 196–197, 204, 217–218, pl. 7, fig. 4.4, 5.4, 5.4a–b.
Margaretta M. Lovell, "Such Furniture as Will Be Most Profitable: The Business of Cabinetmaking in Eighteenth-Century Newport," Winterthur Portfolio 26, no. 1 (Spring 1991): 32, 33, 42, fig. 3.
Jeffrey P. Greene, American Furniture of the 18th Century: History, Technique, Structure (Newtown, Conn: The Taunton Press, 1996), 70, ill.
Nancy E. Richards and Nancy Goyne Evans, New England Furniture at Winterthur: Queen Anne and Chippendale Periods (Winterthur, Del.: Winterthur Publications, 1997), 238–240, no. 123, left, fig. 1.
Philip Zea, "The Serpentine Furniture of Colonial Newport," American Furniture (1999): 260–262, fig. 11.
Christie's, New York, Important American Furniture, Folk Art, and Decorative Arts, sale cat. (October 5, 2000), 78, fig. 3.
Margaretta M. Lovell, Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America (Philadelphia: University of Pennsylvania Press, 2005), 232–233, ill.
Sotheby's, New York, Property of the Goddard Family, sale cat. (January 22, 2005), 28, 40, 72, figs. 2, 5, ill.
Amy Coes, "A Bill of Sale from John Goddard to John Brown and the Furniture It Documents," Antiques 169, no. 5 (May 2006): p.130, p.133n13.
Christie's New York, New York, Important American Furniture, Folk Art, Silver, and Chinese Export, sale cat. (January 19–20 and 23, 2012), 103, fig. 2.
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), 328–330, no. 66, fig. 2.
Sotheby's, New York, Important Americana Including Property from the Collection of Joan Oestreich Kend, sale cat. (January 20–21, 2017), fig. 3.