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About This Artwork
Card Table, c. 1815
Mahogany with rosewood veneer, giltwood, brass and ebony inlay, ormolu
74.9 x 91.1 x 45.1 cm (29 1/8 x 35 7/8 x 17 3/4 in.)
Inscribed on the engraved label on the underside of the table top: "Hre. Lannuier Cabinet Maker from Paris Kips [H]is Whare house of new fashion fourniture Broad Street, No. 60, New-York./ Hre. Lannuier Ebèniste, de Paris Tient Fabrique & Magasin de Meubles les Plus à la Mode, New-York."
Gift of Jamee J. and Marshall Field; Pauline Armstrong Endowment, 1994.712
Trained as a cabinet-maker in Paris, Charles-Honoré Lannuier arrived in New York in 1803 at the age of twenty-four. His older brother was already well established as the owner of a successful confectionary shop on Broadway and from there the young furniture maker first advertised his services to all potential clients who desired furniture in the “latest French fashion.” Early-nineteenth-century America was much enamored with French taste, and Lannuier successfully catered to his upscale clientele, tempering his designs to suit their preference even while he retained a distinctive French flair. One of a group of similar card tables, this example shares many of their decorative and design elements, including a winged caryatid central support, a Lannuier trademark.
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Eleanor H. Gustafson, “Museum Accessions,” Magazine Antiques 147, 5 (May 1995), pp. 86-89 (ill.).
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Ruth Kotz, “Currents; How do Museums Acquire their Pieces?” Classic Home (Summer 1995), pp. 22–26, 125 (ill.)
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Judith A. Barter et al, American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Chicago: The Art Institute of Chicago, 1998), pp.128-131, no. 52.
Brandy S. Culp, “Card Table,” Art Institute of Chicago Museum Studies 30, 1 (2004), pp. 6-7 (color ills.).
Rosemary Crane Hastings, New York and Rainthorpe Hall, Norfold, England, c. 1815. Sotheby’s, New York, by 1994; sold to the Art Institute of Chicago, 1994.