Pair of Card Tables with Trestle Bases and Eagle Mounts

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Pair of Card Tables with Trestle Bases and Eagle Mounts

About the Item

Attributed to Thomas Seymour (1771–1848), Boston (active 1804–1817) Pair card tables with trestle bases and eagle mounts, about 1815–1817 Carving probably by Thomas Wightman (arrived in the United States, 1797; died 1827) Mahogany (secondary woods: pine), with gilt-brass toe caps and castors and cast and die-stamped mounts 30 7/8 in. high, 36 3/4 in. wide, 18 1/4 in. deep; open: 36 3/4 x 36 1/4 in. Signed (on the bottom of each of the castors): yates & hamper EX COLL.: Jaques family, Lenox, Massachusetts, until 2006; to private collection, until the present Recorded: Judith Gura, The Guide to Period Styles for Interiors: From the 17th century to the Present (New York: Bloomsbury, 2016), p. 155 illus. The design of this pair of card tables is classic Boston, with its pairs of boldly-reeded supports, its saber legs ending in gilt-brass toe caps and castors, and its medial stretchers with acanthus carving at their centers. Indeed, Robert D. Mussey, Jr. has suggested their attribution to Thomas Seymour, either working alone, or, slightly later, as foreman for Boston cabinetmaker James Barker (email, Mussey to Elizabeth Feld, September 27, 2012, in Hirschl & Adler archives). The tables bear a close relationship stylistically to such pieces as a unique gaming table with a specimen marble top that Mussey has assigned to Seymour (collection of Linda and George Kaufman, and a promised gift to the National Gallery of Art, Washington, D.C.; see Stuart P. Feld, Boston in the Age of Neo-Classicism 1810-1840, exhib. cat. [Hirschl & Adler Galleries, New York, 1999], pp. 34, 35 illus. in color; and Robert D. Mussey, Jr., The Furniture Masterworks of John & Thomas Seymour [Salem, Massachusetts: Peabody Essex Museum, 2003], pp. 368-69 no. 117 illus. in color). Although many tables of the form of the present pair of tables have appeared, including one published by Israel Sack, Inc., in American Antiques from Israel Sack Collection I (1976), p. 210 no. 538 illus., a pair published in Sack X, p. 2587 P6220 illus., and another recorded by Mussey, pp. 356-57 number 111 illus. in color, as a group the tables display varying degrees of ornamentation in the form of exotic veneers, carving, and gilt-brass and bronze mounts, this pair ranking among the most elaborate. Their solid tops, of the finest quality of mahogany, are cut from the same flitch, which is displayed, table to table, in opposing, or “matchbook,” fashion, just as the fronts and left and right ends of the skirts are, again, cut, respectively, from the same flitch. The carving is also closely related to that ascribed to Thomas Wightman, an Englishmen who arrived in Boston in 1797 and who appears to have worked exclusively for Seymour and Vose before his death in 1827. For example, the acanthus-leaf carving at the center of the medial stretcher is closely related in style and technique to carving on the upright supports of a newly-discovered work table that Mussey has assigned to Seymour (private collection; formerly collection of Hirschl & Adler Galleries, FAPG 19175D/2; photograph in Hirschl & Adler archives), as it does to a variety of carved elements in other Seymour pieces. The tables are also supplied with an unusually elaborate program of gilt-brass ornament, including toe caps and castors with acanthus leaves spilling onto the sides of the legs, as well as a total of twenty-two die-stamped rosettes of three different patterns on each table, and cast opposing eagles centering the skirts of each. Although the eagles are an unusual detail that serve, for example, to set these tables apart from others, the rosettes are all of patterns that appear otherwise in Boston furniture of the period. Those on the front and back panels of the trestle base are repeated in the same position on the table published by Sack in 1976 and also on a Boston sofa table of about the same date (see advertisement, Bernard and S. Dean Levy, Inc., The Magazine Antiques 155 [May 1999], p. 625). Although all of the hardware on these tables appears to be of English origin, it is somewhat unusual for the castors to actually be marked by their maker, Yates & Hamper. According to Clara Graham of the Department of Furniture and Interior Design at the Victoria and Albert Museum, London (letter, Clara Graham to S.P. Feld, August 28, 1995, in the Hirschl & Adler archives), this firm was listed in the P.O. London Directory of 1821 as “Cabinet Brass-Founders, Coffin Furniture Manufacturers, and Wholesale Ironmongers, and Factors,” at 75 Long Acre, and also in Birmingham. Robson’s London Commercial Directory of 1826-7 lists them as “Cabinet brass founders at 44 Leicester Square.” A variety of their hardware was clearly available in the United States, as the large gilt-brass bun feet on a remarkable duet of round center tables with specimen marble tops by the Philadelphia cabinetmaker Anthony Gabriel Quervelle, one in the collection of the Linda and George Kaufman Foundation, a promised gift to the National Gallery of Art, Washington, D.C. (see Anita Delafield, “Living with Antiques–Montgomery Place, The Home of Major and Mrs. John White Delafield,” The Magazine Antiques LXXXXI [February 1907], p. 236 illus. center hall showing table at center; and the other in the collection of the Baltimore Museum of Art, Maryland (see Wendy A. Cooper, Classical Taste in America 1800-1840, exhib. cat. [Baltimore, Maryland: The Baltimore Museum of Art, 1993], p. 60 fig. 36), are also marked by them. All in all, with their fine design, carefully selected mahogany and mahogany veneers, high-quality carving, and elaborate metalwork, these tables take their place among the best of Boston furniture of their time. The tables descended in the Jacques family of Lenox, Massachusetts, but the tables had probably been taken there from another family residence in Boston or Milton, Massachusetts. Condition: Excellent. One of the volutes below a trestle on one table was missing and has been replaced. The medial stretchers had slightly shrunk in length and tiny inserts have been added at each end to keep the vertical members vertical. The mahogany and mahogany veneers have been cleaned and French polished. A small veneer chip on the front of the skirt of one table has been repaired. Two of the thirty-two small rosettes were missing and have been replicated. The gilt-lacquer finish on the toe caps and castors and mounts has been redone to replicate the original faux d’orè finish.

Attributed to:
Thomas Seymour (Manufacturer)
Dimensions:
Height: 30.88 in (78.44 cm)Width: 36.75 in (93.35 cm)Depth: 18.25 in (46.36 cm)
Sold As:
Set of 2
Materials and Techniques:
Brass,Mahogany
Period:
1810-1819
Date of Manufacture:
circa 1815-1817
Condition:
Seller Location:
New York, NY
Reference Number:
1stDibs: LU90321931322

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