1993.31.FA, Dressing table, Boston, c.1700-1725

Made in Boston, a relatively small town at the time, this dressing table (and the accompanying high chest [1993.30.A-B]) reveal the sophistication entering furniture design in the colonies during the first decades of the 18th century. Unlike most furniture made during the previous century, these pieces are decorated with thinly cut veneers in keeping with changes in English court fashion that occurred following the accession of Charles II to the throne in 1660. Having been educated on the Continent, Charles was influenced by French and Netherlandish fashion.

William of Orange and his English wife, Mary Stuart, assumed the British throne in 1688 and reinforced the tendency toward more delicate veneered furniture. Thus, this style of furniture is often called "William and Mary." These Continental influences were slow to reach rural England and the colonies, yet some cabinetmakers in towns like Boston, New York, and Philadelphia were working in the taste by 1700.

Although the high chest and this dressing table were originally owned by the merchant William Sever and his wife, Sarah Warren, of Kingston, Massachusetts, the pieces were undoubtedly made in Boston. Unlike the heavier furniture made there in the previous century, these objects supported on thin turned legs are much lighter in scale. They are decorated with patterned veneers and brass pulls applied to a pine carcass rather than with carved ornament which was popular in the 17th century. The case is joined using dovetails, indicating the pieces were made by a cabinetmaker, not a joiner who would simply have nailed the boards together.

DMA unpublished material.

c. 1755-d. 1809: Squire William Sever and his wife Sarah Warren of Kingston, Massachusetts [1]

From 1809: Mrs. John Russell Sever, daughter-in-law and widow of John Sever (son of Squire William Sever), Kingston, Massachusetts, by inheritance

Until 1834: Charles Sever (d. 1834) and Jane Amarinthia Elliot Sever, Kingston, Massachusetts, by inheritance

After 1834: Jane (Amarinthia) Elliot Server (widow of Charles Sever) and Kate Elliot Server (daughter of Charles Sever), Kingston, Massachusetts [2]

Until d.1891: Kate Elliot Server, Kingston, Massachusetts

From 1891: Charles William Sever, Kingston, Massachusetts, by inheritance [3]

early 20th century: Martha Sever, Kingston, Massachusetts [4]

Until d. 1952: George F. Sever (d.1952), Kingston, Massachusetts, by inheritance

1952-d. 1993: Mary Conway O'Reilly (1906-1993), St. Louis, Missouri, by inheritance

After 1993: Collection of the Dallas Museum of Art, Foundation for the Arts Collection, purchased from Archer O'Reilly [5], [6]

[1]The main source for this provenance is a typed letter from Archer O' Reilly, Jr. of St. Louis, Missouri dated December 10, 1991, addressed to "To whom it may concern"

[2] Kate Elliot Server referred to as  the "spinster" daughter of Charles Sever

[3] Charles William Sever inherited the house and its contents, but maintained his own residence in Cambridge, Massachusetts. From the aforementioned letter, "His family did not move to Kingston, but used the house only in the summer."

[4] from the O'Reilly letter, "My grandfather moved some pieces to Cambridge such as this highboy (1993.30.A-B) and the Sarah Warren needlepoint, now at Winterthur. The lowboy (1993.31.FA) remained in Kingston as My Aunt's, Martha Sever, bed side table. She believed in fresh air and the table was directly under the always open window."

[5] While there is documented payment of the High Chest of Drawers of the same family provenance (DMA check #3347 in Object File 1993.30.A-B) the DMA's Collections Records Object Files only show a copy of the invoice sent by Archer O'Reilly to Foundation for the Arts, Dallas, Texas

[6] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation, and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation's collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.

Apply to objects where number equals 1993.31.FA