China cabinet

DateCa. 1765

MediumMahogany and deal

DimensionsOH: 34 1/2" ;OW: 42 1/2"; OD: 18 1/2"

Credit LineMuseum Purchase

Object number1958-478

DescriptionChina cabinet. Rectangular cabinet with bow front; flat, rectangular top, bowed at center and front; top surrounded by pierced, chinoiserie, fretwork gallery; edge of top on sides and front decorated with band of carved gadrooning; straight sides, composed of pierced geometric fretwork; front has open, bowed center section with a pair of shelves, one at center and one at base; each shelf faced with a bowed geometric gallery of slightly varying designs; beneath gadrooning at top a carved, bowed band of pierced, stylized foliage drips downward; sides of center section consist of rectangular, pierced geometric fretwork, identical to those on sides of piece itself; on either side of central section, a narrow band of vertical bead molding separates central section from pair of pierced, fretwork doors which open to reveal two interior shelves with molded front edges; bowed base molding at front center; table supported on four scrolled bracket feet, each carved with leafage and scrolls; feet flanked by carved shoulders outlined with C-scrolls at bottom.Label TextThis fine cabinet is an outstanding example of the choinoiserie rococo style: its fretwork designs imitate Chinese railings while its overall form is based on English proportions. The carved ogee bracket feet are good illustrations of the English rococo, and they incorporate construction technology of the highest order. The cabinet's design is related to plate 46 of Ince and Mayhew's "Universal System of household Furniture." Intended for the display of china, this piece is a strong testimony to the high regard in which the English held ceramics as a decorative art.ProvenancePurchased by the English collector, Thomas Blackwell from Botibol in the 1930's; sold by Blackwell to Malletts, Ca. 1949; sold at auction at Sotheby's on November 18, 1955, apparently to Philips of Hitchin; purchased from Philips by Samuel Messer from whom Colonial Williamsburg acquired the piece.