Lot Essay
With its dished top, cleated dovetail mount, and ring-baluster-and-
flattened ball-turned shaft, this stand is designed and constructed in a manner typical of Pennsylvania German shop traditions. Its alternating C-scrolled silhouette legs, however, suggest a strong Flemish influence in the design and style of the table as well. More frequently seen to the north of Pennsylvania in areas such as New York and Masschusetts, the aesthetic embodied in the flattened legs of this stand are derived from high-style Anglo-Dutch desings, such as the English marquetry cabinet illustrated in Baarse, et al., Courts and Colonies: The William and Mary Style in Holland, England and America, (New York, 1978), p. 153, fig. 102. Examples of this tradition in America are seen only a simpler level not only in such forms as an Essex, Massachusetts chest-on-frame, c. 1710-1725, also illustrated and discussed in Baarsen, p. 64, fig. 68, but a New York dressing table illustrated in Blackburn and piwonka, Remembrance of Patria: Dutch Arts and Culture in Colonial America, 1609-1776, (Albany, 1988), p. 206, fig. 248, as well as in such patroon portraits of the early 18th century upper Hudson River Valley as Susanna Truax by Pieter Vanderlyn (Remembrance of Patria, p. 225).
flattened ball-turned shaft, this stand is designed and constructed in a manner typical of Pennsylvania German shop traditions. Its alternating C-scrolled silhouette legs, however, suggest a strong Flemish influence in the design and style of the table as well. More frequently seen to the north of Pennsylvania in areas such as New York and Masschusetts, the aesthetic embodied in the flattened legs of this stand are derived from high-style Anglo-Dutch desings, such as the English marquetry cabinet illustrated in Baarse, et al., Courts and Colonies: The William and Mary Style in Holland, England and America, (New York, 1978), p. 153, fig. 102. Examples of this tradition in America are seen only a simpler level not only in such forms as an Essex, Massachusetts chest-on-frame, c. 1710-1725, also illustrated and discussed in Baarsen, p. 64, fig. 68, but a New York dressing table illustrated in Blackburn and piwonka, Remembrance of Patria: Dutch Arts and Culture in Colonial America, 1609-1776, (Albany, 1988), p. 206, fig. 248, as well as in such patroon portraits of the early 18th century upper Hudson River Valley as Susanna Truax by Pieter Vanderlyn (Remembrance of Patria, p. 225).