![Pier Table, about 1817–22. Attributed to Duncan Phyfe (1768–1854; active 1794–1847), New York. Rosewood, with maple [probably] feet painted verde antique and gilded (secondary woods: tulip poplar), with die-stamped brass inlay inset with rosewood, ormolu mounts, marble, and mirror plate. 36 1/4 in. high, 42 1/4 in. wide, 18 1/8 in. deep (overall](https://img.artlogic.net/w_1010,h_580,c_limit/exhibit-e/5785309687aa2ca4012b681e/1c8d9c2f998a82338d1ecb34146f1278.jpeg)
Pier Table, about 1817–22
Attributed to Duncan Phyfe (1768–1854; active 1794–1847), New York
Rosewood, with maple [probably] feet painted verde antique and gilded (secondary woods: tulip poplar), with die-stamped brass inlay inset with rosewood, ormolu mounts, marble, and mirror plate
36 1/4 in. high, 42 1/4 in. wide, 18 1/8 in. deep (overall)
The present table is closely related to an example in the collection of Robert L. Froelich, New York (see Peter M. Kenny, Michael K. Brown, Frances F. Bretter, and Matthew A. Thurlow, Duncan Phyfe–Master Cabinetmaker in New York [New York: The Metropolitan Museum of Art, 2010], pp. 216–17 Plate 38), and its original mate in the collection of The Metropolitan Museum of Art (see Elizabeth Feld and Stuart P. Feld, The World of Duncan Phyfe–The Arts of New York 1800–1847, exhib.cat. [New York: Hirschl & Adler Galleries, 2011], pp. 48–49 no. 20 illus.). These tables and the present table may vary in the patterns of the feet and the selection of the ormolu mounts and die-stamped borders, but this is more a function of a desire to produce individualized works rather than identical pieces for clients who oftentimes knew each other.