image of object
Photo: Courtesy The Metropolitan Museum of Art, New York, 1980.499.1
Click the image to enlarge

Trestle table


Object number

RIF4144

Maker

Maker Unknown

Dimensions

Height, overall: 26 1/4 in. (66.675 cm) Width, top closed: 11 1/4 in. (28.575 cm) Width, top open: 35 in. (88.9 cm) Depth, top: 30 in. (76.2 cm) Width, frame at feet: 11 1/4 in. (28.575 cm) Depth, frame: 23 7/8 in. (60.643 cm)

Date

1690–1730

Current location

The Metropolitan Museum of Art, New York

Geography

Probably made in New York, or possibly made in Warren, Rhode Island
(view a map of Rhode Island)

Medium

Sweet gum (primary); yellow poplar (rail under top)

Marks

None

Inscriptions

None

Style

William and Mary

Provenance

Found in Warren, Rhode Island, by Earle W. Sargent (1898–1978), Greenville, North Carolina, before 1925; by descent to his wife, Eleanor G. Sargent (1899–1990), Greenville, North Carolina; given to the Metropolitan Museum of Art, New York, 1980

Associated names

Earl W. Sargent

Construction

The turned legs--2 1/2 inches thick--are each joined at the upper end with a dovetail to a board that lies flat under the top and serves as a rail and at the lower end with a rectangular through tenon (double-pinned) to the foot. The stretcher is joined to each foot with a broad tenon that is pinned on either side of the leg. Each of the three sections of the top is a single board. The center one is fastened to the flat rail with a wooden pin at the middle of each end and of each side. The leaves meet the center board with tongue-and-groove joints; they are each attached with two dovetail hinges secured from below with a nail at each corner and from above with a rivet in the center, the head of which is countersunk and hidden with a round face-grain plug (fig. 118). The upper surface of the rail has recesses to accommodate the hinges. The pivot leg on the gates is round-tenoned to the rail and to the stretcher, and the out leg fits into a cutout in the rail and stretcher when the gate is closed. The stretchers of the gates are joined to the uprights with through tenons that are double-pinned. Source: Frances Gruber Safford, American Furniture in the Metropolitan Museum of Art (New York, N.Y.: The Metropolitan Museum of Art, 2007), 159.

Bibliography

Russell Hawes Kettell, The Pine Furniture of Early New England (Garden City, N.Y.: Doubleday, Doran and Company, 1929), pl.89 and measured drawing no.31, ill.
Notable Acquisitions, 1980-1981 (New York: The Metropolitan Museum of Art, New York, 1981), 57, ill.
Peter M. Kenny, "Flat Gates, Draw Bars, Twists, and Urns: New York's Distinctive, Early Baroque Oval Tables with Falling Leaves," American Furniture (1994): pp. 117–118, 122, 125, fig. 22.
Frances Gruber Safford, American Furniture in the Metropolitan Museum of Art: 1. Early Colonial Period, The Seventeenth-Century and William and Mary Styles (New York: The Metropolitan Museum of Art, New York, 2007), 159–161, no. 65, ill.