Maker: Stamped by Rufus PierceOrigin: Boston, MassachusettsDate: 1828-1829Period/Style: American ClassicalMaterials: Mahogany, figured mahogany veneer, unidentified secondary woods, and brass castersForm: Fold-over card or games tableDescription: An important Boston American Classical mahogany card table bearing the documented furniture warehouse stencil of Rufus Pierce in three concealed locations. The hinged swivel top opens to form a square playing surface above a deeply molded conforming apron. The central lyre-form pedestal is centered by a flame-figured mahogany panel bordered by carved acanthus foliage and volutes, above a molded quadripartite base. Four downswept legs with boldly carved acanthus knees terminate in hairy-paw feet fitted with brass casters. The stencil reads Rufus Pierce / Furniture / Ware-House / No. 17 Market St / Boston.Dimensions: 29.5 in. H, 35 in. W, 18 in. D closed; approximately 36 in. D open.Literature/References: The identical Boston stencil was published on a Pierce work table and dressing glass by Page Talbott in Boston Empire Furniture: Part II, The Magazine Antiques, May 1976, pp. 1008-1011. Hirschl & Adler's published research notes that Pierce operated independently at 17 Market Street only during 1828-1829, allowing the stencil to date this table unusually precisely.Shipping note: While Stevens Auction Company does not provide packing and shipping services, we do have a list of recommended third-party shippers to assist you in shipping to and from our facility. Please note that property must be removed from our premises within fifteen (15) days following the auction. Property not removed within this time frame is subject to a storage charge of $10 per day per item as outlined in our terms and conditions. Please review our website, stevensauction.com, for a list of recommended shippers and other information. Please contact us at info@stevensauction.com if you require further assistance.

Condition: Retains an old refinished and polished surface with scattered scratches, abrasions, age-related movement, and small veneer and molding repairs or losses, particularly along the apron and top edges. Wear is visible to the carved feet and casters. The three stenciled marks are worn and partially obscured but remain substantially legible. The opening mechanism, caster operation, and structural stability have not been independently tested.