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Photo: Courtesy The Metropolitan Museum of Art, New York, 67.114.1
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Card table

Object number



Maker, attributed to John Goddard, American, 1723–1785


Closed: 27 3/4 × 33 1/4 × 16 1/2 in. (70.49 × 84.46 × 41.91 cm) Width, skirt: 31 1/4 in. (79.375 cm) Width, feet: 33 1/8 in. (84.138 cm) Depth, top, open: 33 1/4 in. (84.455 cm) Depth, skirt: 15 3/4 in. (40.005 cm) Depth, feet: 18 in. (45.72 cm)



Current location

The Metropolitan Museum of Art


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


Mahogany (primary); maple (inner and outer rear rails and stops for hinged legs); chestnut (top glue blocks); white pine (corner glue blocks)




Illegible graphite mark [partially obscured by stop block], on exterior center of hinged rail


Henry Bromfield (1727–1820), Boston; by descent to his daughter, Mrs. Daniel Denison Rogers (née Elizabeth Bromfield, 1763–1833), Boston, 1820; by descent to Hannah Rogers Mason, Boston, 1833; given to Denison Rogers Slade, 1871, until at least 1910. Mrs. J. Insley Blair, 1947. Mrs. Henry E. Warner, Concord, Massachusetts, after 1947; sold by her estate to The Metropolitan Museum of Art, New York, 1967

Associated names

Henry Bromfield
Mrs. Henry E. Warner
Elizabeth Warner
Hannah Rogers Mason
Mrs. J. Insley Blair (active 1947)
Denison Rogers Slade


The two halves of the top are hinged together at the back corners; a tenon centered in the back edge of the stationary lower half keys into a slot in the upper half. Both rear legs swing to support the upper leaf. The lower half is attached to the frame by three screws through the front skirt and two through the stationary rear rail, and by two long glue blocks on each of the four sides. The front and side rails are tenoned into the front legs. The stationary rail is dovetailed to the side rails, and the joints are reinforced by vertical glue blocks. The thick outer rear rail is divided into three parts by a pair of seven-fingered knuckle-joint hinges?two swinging ones, to which the rear legs are double pegged, and a stationary middle one attached to the stationary rail with four rosehead nails. A stop board nailed to the stationary part arrests the swing action. The side rails are rabbeted at the back to accommodate the rear legs. Source: Morrison H. Heckscher, American Furniture in the Metropolitan Museum of Art, vol. 2, Late Colonial Period: The Queen Anne and Chippendale Styles (New York: Random House, 1985), 166?167, no. 99.


This table has been attributed to John Goddard based on the similarity of its legs to those on two documented tables. The rear feet with large pads raised on high bases match those on the pier table Goddard made for Anthony Low in 1755 (RIF348), and its front legs are virtually identical to those on a rectangular tea table he made for Jabez Bowen in 1763 (RIF1424). It belongs to a group of Rhode Island card tables with blocked corners as well as blocking at the center of the front skirt. See the related examples below.

See also


Morrison H. Heckscher, American Furniture in the Metropolitan Museum of Art: Late Colonial Period, The Queen Anne and Chippendale Styles (New York: Random House, 1985), 165–67, 344, no. 99, ill.
Michael Moses, Master Craftsmen of Newport: The Townsends and Goddards (Tenafly, N.J.: MMI Americana Press, 1984), 228–229, fig. 5.18, 5.18a–c.
Morrison H. Heckscher, John Townsend: Newport Cabinetmaker, exh. cat. (New York: The Metropolitan Museum of Art, 2005), 186–87, fig. 61.
Joseph Downs, "The Furniture of Goddard and Townsend," Antiques 52, no. 6 (December 1947): 430, fig. 8.
Liza Moses and Michael Moses, "Authenticating John Townsend's and John Goddard's Queen Anne and Chippendale Tables," Antiques 121, no. 5 (May 1982): 1138, 1140–1141, fig. 21, 28–29.
"American Wing," Metropolitan Museum of Art Bulletin 26, no. 2 (October 1967): 50, ill.