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Photo: Courtesy The Museum of Fine Arts, Houston, The Bayou Bend Collection, Gift of Miss Ima Hogg
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Tea table

Object number



Maker, attributed to Christopher Townsend, 1701–1787


26 1/8 33 3/8 20 1/4 in. (66.358 84.773 51.435 cm)



Current location

Museum of Fine Arts, Houston


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


Mahogany (primary); chestnut (brace beneath top)




"To May B Henne From Lucy A. Weeden and Elizabeth C. Barber, " inscribed on a paper label affixed to underside of top; illegible chalk, on underside of top


Possibly originally owned by Daniel Weeden, Jamestown, Rhode Island; by descent to his son, John Weeden; by descent to his son, William Augustus Weeden (1793–1864); by descent to his son, George W. Weeden (1822–1893); by descent to his daughters, Lucy A. Weeden (1848–1937) and Elizabeth C. Weeden Barber (1852–1936); given to May B. Henne (1877–1958), Springfield, Massachusetts. Nathan Liverant and Son, Colchester, Connecticut; sold to Israel Sack, Inc., New York, before 1958; sold to Miss Ima Hogg (1882–1975), Houston, 1958; given to Museum of Fine Arts, Houston, 1958

Associated names

Daniel Weeden
John Weeden
William Augustus Weeden
Nathan Liverant and Son
George W. Weeden
Elizabeth C. Weeden Barber
Ima Hogg
Lucy A. Weeden
May B. Henne
Israel Sack, Inc.


The single-board oblong top has an integral ?dished? edge with incurvate corners, and is attached to its frame by multiple later glue blocks and by a transverse chamfered batten with a single countersunk screw. The batten is set into grooves in the long rails. There are later vertical glue blocks in each corner of the frame. The rails are tenoned into the blocks atop the legs, without wood pins. Nailed with brads to the bottom of each rail is a sub-rail whose outer edge is quarter round and flush with the knee brackets (some are replacements) and the tops of the cabriole legs. Behind each knee brackets is a carved block, some of which are later. The legs have angular knees, slender ankles with deeply carved tendons, and finely carved claws with undercut talons grasping elongated ball feet. Examined by P. E. Kane and J. N. Johnson, August 11, 2014; notes compiled by T. B. Lloyd.


Liza Moses and Michael Moses, "Authenticating John Townsend's and John Goddard's Queen Anne and Chippendale Tables," Antiques 121, no. 5 (May 1982): 1141, fig. 30.
Michael Moses, Master Craftsmen of Newport: The Townsends and Goddards (Tenafly, N.J.: MMI Americana Press, 1984), 154, fig. 3.76, 3.76a.
David B. Warren, "American Decorative Arts in Texas: The Bayou Bend Collection of the Museum of Fine Arts of Houston," Antiques 90, no. 6 (December 1966): 802, ill.
Helen Comstock, American Furniture: Seventeenth, Eighteenth, and Nineteenth Century Styles (New York: Viking Press, 1962), 204, fig. 392.
David B. Warren, Bayou Bend: American Furniture, Paintings, and Silver from the Bayou Bend Collection (Houston: Museum of Fine Arts, Houston, 1975), 56, fig. 105.
David B. Warren et al., American Decorative Arts and Paintings in the Bayou Bend Collection, The Museum of Fine Arts, Houston (Houston: Museum of Fine Arts, Houston, 1998), 64–65, no. F111, ill.
Erik K. Gronning and Amy Coes, "The Early Work of John Townsend in the Christopher Townsend Shop Tradition," American Furniture (2013): 30–31, fig. 69–70.