A handful of nice china employed chair mould photos I discovered:
Image by Christine G. H. Franck
Origin: America, Virginia, Williamsburg
OH: 30 1/8" OW: 36 3/eight" OD: 23 five/16"
All elements are of mahogany.
Purchased with funds provided by Mrs. William C. Schoettle
Acc. No. 1980-95
Look: rectangular prime with astragal molded edge sawn interlacing guilloche fretwork gallery with astragal molded best edge 4 fretwork aprons with sawn and drilled foliated pattern front and rear aprons function fretwork pendants centering profile of a bird, that on rear side in blind profile, that on front with carved tail, feather, eye, and beak particulars four legs, L-shaped in cross section, with sawn and drilled fretwork of rosettes and interlacing scrolls every single leg flanked by two sawn fretwork brackets incorporating C-scrolls.
Construction: The legs are not mitered, as on most British examples, but sawn from strong single boards. The rails and gallery are solid nonlaminated elements as nicely. The gallery is mitered at the corners and glued into a rabbet at the outer edges of the single-board top, which in turn is nailed to the frame via the rabbet. Vertical quarter-round mahogany blocks further support the gallery at its corners and an astragal molding is glued and nailed to the edges of the prime. The rails are tenoned into the legs, and the knee brackets are glued and nailed to the legs and aprons with no advantage of tenons.
In explaining the use of china tables, Thomas Chippendale wrote in 1762 that they were intended "for holding each a Set of China, and might be used as Tea-Tables." With their fencelike fretwork galleries, china tables were admirably suited for the protection of costly tea wares. Much more essential, they presented gentry householders an uncommonly elegant signifies of displaying tea china even when it was not in use, hence delivering visitors with a visual reminder of the owner’s taste, status, and social position.
China tables had been comparatively well-known in Britain but have been developed infrequently in the colonies. Most of the recognized American examples have been manufactured in those urban centers exactly where British influence on nearby cabinetmaking was particularly sturdy. 1 instance is Portsmouth, New Hampshire, where at least eight ornate china tables with elaborate crossed stretchers have been produced in the course of the third quarter of the eighteenth century. Portsmouth artisans were heavily influenced by the Boston cabinet trade till some shifted to a strikingly British furnishings style in the 1760s and 1770s, a change probably triggered by the arrival of a few British cabinetmakers about that time.
China tables had been also produced in Charleston, South Carolina, an additional center where British influence prevailed. Although no extant Charleston china tables have however been identified, records of their production survive. In 1772, cabinetmaker Richard Magrath, who had recently arrived from London, advertised his potential to make a wide assortment of trendy furniture types such as "China Tables." Thomas Elfe developed the form as nicely, supplying tables with a variety of optional components. Elfe’s accounts between 1768 and 1775 list everything from straightforward "China Tables" or a "china tea table" to a "China frett tea table" and "commode [i.e., serpentine] fret China Tables with castors." The Elfe accounts also acknowledge the inherent fragility of china tables since the artisan recorded mending and even replacing their fretwork galleries often.
British-oriented cabinetmakers in Williamsburg made their share of china tables as well. Eight tables are known, among them this effectively-preserved instance that descended in the Lewis and Byrd families of nearby Gloucester County. Unlike most American china tables, this 1 and a related Williamsburg example now owned by the State Department have legs composed of open fretwork. The foliated fret pattern mirrors that employed for the carved blind frets on the back of the Masonic Master’s chair created for Lodge 6 in Williamsburg. This association, together with the table’s neighborhood history, accounts for the Williamsburg attribution. The very same fret pattern also appears in the richly carved aprons of numerous very diverse but no much less remarkable Williamsburg china tables, like acc. 1991-431. The fret design and style was most likely adapted from numerous patterns for fireplace fenders published in the 1764-1765 edition of HOUSEHOLD Furniture IN THE PRESENT TASTE. Even the birds in the front and rear aprons of the present table can be traced to this supply.
1 of the most puzzling aspects of china table production in colonial Tidewater Virginia is the intrinsically ornate nature of the type, which is at odds with the neat and plain taste that permeates most other eastern Virginia cabinet wares of the exact same date. There is no concrete explanation for the anomaly, though an intriguing connection may possibly hyperlink Masonic chairs and china tables. Though the chairs had been utilized in the meeting halls of an exclusive fraternal society and the tables have been produced for the parlors and drawing rooms of the wealthy elite, each and every type was nonetheless a central element in elaborate ceremonies–ritualized secret meetings on the one particular hand and ritualized social gatherings on the other. Possibly their roles as symbolic focal points of important social ceremonies demanded higher levels of ornamentation.
The table was recognized in the loved ones of the final private owner as the "Lewis Table" and the "Susan Lewis Table." According to loved ones tradition, it descended from Susan Lewis (b. 1782) and her husband, William Powell Byrd (b. 1776), of Whitehall, Gloucester Co., Va., via the family members to Richard Corbin Byrd (b. 1837), to his daughter, Fanny Marshall Byrd (1869-1960), who bequeathed the table to her daughter, Katherine Corbin Waller (1899-1994), from whom the table was acquired by CWF in 1980."
Image from web page 120 of “Creating with assurance” (1921)
Image by Internet Archive Book Pictures
Title: Developing with assurance
Year: 1921 (1920s)
Authors: Morgan Woodwork Organization
Subjects: woodwork — catalogs domestic architecture — catalogs furnishings — catalogs Division 06 Division 12 wood posts and columns wood stairs wood railings base and shoe moldings exterior wood door frames wood door and window casings dining tables and chairs lamps couchws and loveseats art glass
Publisher: Morgan Woodwork Organization
Contributing Library: MBJ collection
Click here to view book online to see this illustration in context in a browseable online version of this book.
Text Appearing Ahead of Image:
Dining Area M-354 Here again is an interesting example of what can be accom-plished by employing Morgan Standardized Woodwork. Themantel, with wall recess above, and the large sideboard areuseful as effectively as ornamental additions to this space. Woodwork Parts Detailed Below 1 Constructed-up Mantel Shelf..M- 354 2 Fillet M-8432 3 Bed Moulding M-8115 4 Mantel Shelf Apron.,. .M-8424 5 Neck Moulding M-8610 six Ceiling Moulding M-8018 7 Door Jamb, 53^ wide.M-8424 For individual illustration of parts see pagesindicated in final column. Page 116398378384380374397 8 Door Cease M-8542 9 Casing M-8309 ten Base M-8828 11 Base Shoe M-8422 12 Stile of Mantel Shelf.. .M- 354 13 Casing M- 354 Web page 379388397397116116 Both Doors in illustration are Morgan style M-711,shown on web page 260 r :i5 13 ^ IZ] ten : iidJ ^ne^^
Text Appearing Right after Image:
Dining Area M-355 six TTERE certainly is a dining room wFiich bears the unmistakable^ ^ stamp of good taste in every detail of its appointments—from the artistic buffet, china closet and table, to the nicely-chosenMorgan French Doors and Trim. Woodwork Components Detailed Below For person illustration of parts see pagesindicated in final column. 1 Picture Moulding M-8263 two Door Stop M-8542 3 Door Jamb, 53^ wide M-8424 four Casing M-8308 five Back Band .M-8374 six Window Stool M-8267 Web page 383379397391390386 7 Window Apron M-8641 8 Thresholds M-8278 9 Base, ^ x 53^ M-8828 ten Base Shoe M^422 11 Chair Rail M-8626 Page383387397397382 _2llo The Panel Door in illustration is Morgan design M-800, with No. 1 White Pine Stiles and Rails and Unselected Gum Panels, shown on web page 266. 117 ^^ill^
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