Booth Style Dining Table

booth style dining table
    dining table
  • A table is a type of furniture comprising an open, flat surface supported by a base or legs. It may be used to hold articles such as food or papers at a convenient or comfortable height when sitting, and is therefore often used in conjunction with chairs.
  • (Dining Tables) The first dining tables of which survivors remain are the type known as refectory tables. They are made usually of oak, and one of the earliest, at Penshurst Place in Kent, has a typical thick top of joined planks supported on three separate trestles.
  • a table at which meals are served; "he helped her clear the dining table"; "a feast was spread upon the board"
  • A table on which meals are served in a dining room
  • An enclosure or compartment for various purposes, such as telephoning, broadcasting, or voting
  • a table (in a restaurant or bar) surrounded by two high-backed benches
  • small area set off by walls for special use
  • A small room where a vendor sits separated from customers by a window
  • United States actor and assassin of President Lincoln (1838-1865)
  • A small temporary tent or structure, used esp. for the sale or display of goods at a market or fair
  • A way of painting, writing, composing, building, etc., characteristic of a particular period, place, person, or movement
  • A way of using language
  • make consistent with a certain fashion or style; "Style my hair"; "style the dress"
  • designate by an identifying term; "They styled their nation `The Confederate States'"
  • manner: how something is done or how it happens; "her dignified manner"; "his rapid manner of talking"; "their nomadic mode of existence"; "in the characteristic New York style"; "a lonely way of life"; "in an abrasive fashion"
  • A manner of doing something

The Cully Flaug'd
The Cully Flaug'd
Young woman standing at left, lifting her skirt with her right hand to show her bare leg while holding rod with her left to flog elderly bespectacled man kneeling on an overturned chair, his backside naked; drinks, coins and hat on table behind. Over an upturned ‘dining-room’ chair, we see an elderly bespectacled man, his posterior exposed, looking back over his shoulder at a young woman who is in the act of beating him with a switch. She is holding her dress up at the front and his gaze is fixed on her (presumably) exposed crotch. > The accompanying caption reads, What Drudgery’s here, what Bridewell-like Correction! To bring an Old Man, to an Insurrection. Firk[1] on Fair Lady [,] Flaug the Fumblers Thighs [,] Without such Conjuring th’ Devil will not rise > It is signed MLauron pinx, i.e. ‘M[arcellus] Laroon painted’ (the canvas which this print copies) or—more likely by this date, in my opinion—‘M[arcellus] Laroon engraved’ (this print). Laroon died in 1702 and is best known for the drawings of Metropolitan tradesmen and –women that John Savage engraved for Pierce Tempest’s 1688 edition of The Cryes of London. As well as paintings and etchings, he is known to have produced at least five mezzotints in the early 1680s.[2] It is possible that he engraved the present print himself, or it might have been engraved by John Smith (who engraved others after paintings by Laroon), who may also have been the publisher. > Laroon was best-known in his own time—as now—for his Dutch-style genre scenes of ‘low life’, a fact that led to a disapproving assessment of his work by the appropriately-named Vertue: 'His thoughts in his pictures shew him to be a Man of levity, of loose conversation & morals suteable to his birth & education, being low & spurious.'[3] > But it is time we addressed ourselves to the subject of this print. Quite what is going on exactly in this apparently uniquely surviving impression of a late seventeenth-century English mezzotint? Is it intentionally pornographic? I feel certain it is, but also that it is not without a hint of satire. And what of the title and caption—The Cully Flaug’d and …Flaug the Fumblers Thighs? > There is no doubt that 'flaug' is merely a phonetic variant of 'flog', as we now spell the word in Standard English, but, surprisingly, at the date this print was produced, the verb was still very new to the language—OED’s first citation is from Coles’s English Dictionary (1676)[4] where it is defined as to whip, but marked as a cant word. Published in 1680, Tell-Troth’s Knavery of Astrology claims that 'of late years there’s a neat Invention, called Flogging, invented on purpose to pleasure Old Fumblers.' > The caption—far from being the hackwork such labels are often considered—is a masterpiece of condensed wit. Consider the word Insurrection alone—the artist shows us a world in which a youngish woman, hardly more than a girl, can beat an elderly man, as if a reversal of the schoolmaster birching the naughty pupil: this is the revolution of the World Turned Upside Down—albeit at his sexual prompting—and given the suggestive import of the final line of the caption it is impossible not to hear erection in the word too. > Significantly, the elderly man in our print is also termed a Fumbler, defined in B.E’s New Dictionary of the Canting Crew (1699) as 'an unperforming Husband, one that is insufficient', echoing the alternative title of The Contented Cuckold ballad (1686), 'the fortunate fumbler… he being insufficient to perform'. In the 1678 edition of Ray’s A Collection of English Proverbs the expression, 'He is free of Fumbler’s Hall', is glossed, 'Spoken of a man that cannot get his wife with child'. The fumbler, then, is certainly an infertile man, and often an impotent one too. The caption to our print with its innuendo couched in terms of conjuring up the Devil clearly suggests that the elderly man is unable to achieve an erection without being thrashed in this manner. > OED’s citation at 'flauging'—curiously given a separate entry in the Dictionary—and its unnecessarily cautious definition, ? = 'flogging', has at least the merit of being highly apposite to our print: it is from the opening scene of D'Urfey’s Injured Princess (1682): 'Ask him if he knows where we may find a sound Wench: he's a flauging old Whipster, I warrant him' (with 'whipster' being defined as 'one addicted to whipping or flogging'). Of even greater assistance to us here, however, is Gordon Williams’ Dictionary of Sexual Language and Imagery in Shakespearean and Stuart Literature (London, 1994) which gives a separate entry to 'flogging cully', where it is defined as a ‘whore’s client who desires whipping’, a term first found in Head’s Canting Academy (1673), and it is from Williams that I take most of my remaining examples. B.E.’s definition of 'flogging' in his New Dictionary of the Canting Crew (1699) reads, 'a Naked Woman’s whipping (with Rods) an Old (usually)… Lecher.' In London S
Lynda Erkiletian, president of T.H.E Artist Agency, and Christopher Reiter, owner of Muleh, models clothes from Muleh for the Fashion Fights Poverty Dress Responsibly Look Book.
Lynda Erkiletian, president of T.H.E Artist Agency, and Christopher Reiter, owner of Muleh, models clothes from Muleh for the Fashion Fights Poverty Dress Responsibly Look Book.
Photographed by Michael Dumlao Styling and makeup by Lisa Streeter Hair by Cindy Booth Lynda wears Victorian jacket by Nicole Farhi and cigarette jeans by Habitual, boots by Gucci Silver Stardust Necklace and Freshwater pearl bracelet by Mona Assemi; Christopher wears double breasted milatary blazer and cotton dress shirt by Nicole Farhi. Jeans by Habitual shoes by Dolce and Gabanna. Fusion Dining Table and Coco Warisan side chair available @ Muleh

booth style dining table
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glass corner table
mahogany sofa table
venetian glass dressing table
laptop end tables
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antique claw foot dining table
round wooden table
wood coffee table
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rustic farm dining table