TABLES - occasional gateleg - Willian and Mary fruitwood small side tables - oak occasional table - French country rococo table - Regency carved wood - jacobian gate leg - walnut baroque gateleg table with drawers

First an example of a fruitwood  gateleg table. It has a main turned support at each end, showing baluster and bobbin forms, joined usually by a wide stretcher, which in this case is divided into two square sections for lightness of appearance. There is a wide sledge-shaped foot at each end for stability. The gates which open to support the flaps are flat with a fretted lower stretcher. Late 17th century Willian and Mary period.
Novelty gatelegs might be a better title for these small side tables which sometimes have slightly unusual methods of supporting the flaps, shaping of the legs, or are just good quality. Quite apart from being attractive, these little tables are very useful as they can be folded and put away when not in use. For this reason they command a good price, especially when that glorious white or black colour, which age and polishing (i.e. patination) can confer, is present.
In this oak jacobian occasional table the main columns are flat and fretted. There is a wider foot than in the previous example and again, two flatter stretchers. The flat carved wood gates with drawers are shaped to
echo the end supports.
A charming oak single flap clawfoot table, almost only a stand, in which the same constructional system is used but all uprights are turned with baluster forms. Third quarter 17th century Regency period
A really rare and charming ash ‘coaching’ antique wooden table in which the gates are on a pivot so that the whole top can be folded vertically. It was probably taken in a coach for use on picnic stops. End of 17th
century( c. 1680)
A conventional but charming walnut baroque occasional gateleg table with carefully graded bobbin turning and a small thick rectangular top. c. 1660
Small English Victorian mahogany occasional gateleg with the typical lion foot. The long square sections to the legs height. The small turned stretcher iand a claw feet are exellent in quality.

An antique British little bobbin turned fruitwood example with the additionally attractive feature of bobbin stretchers as well. The drawer with lock is a long one and is supported underneath by a central stretcher which runs the length of  the carcase. Made in Britain in the XVII century.

A simple version of an French country walnut gateleg table in ebony colour and white marble top with claw foot,  though the six claw legs are not as  good. The base is a single piece and it is generally more wormy but it makes an interesting comparison. Made in France in the 18th century and is a good example of antique Louis XVI style that you can easily identify.

TABLES  side, pier and console
We join side, pier and console tables together because they are both rich man’s furniture. Once furniture was treated as part of the architecture of the room, say with Adam and the neo-Classical movement onwards, such tables were used to decorate formal reception rooms.
A console is a piece of furniture, without back legs, which is screwed to the wall. It is not unknown for some suitably flamboyant small Regency table to get sawn in half to make a pair of Regency consoles. A pier table is a rich man’s side table a pier being the gap between two windows  and above it one found the pier glass to help reflect as much light as possible. Again the table had to fit in with the general architectural scheme. They are now fairly rare and expensive pieces. We give a small selection below.
A richly carved mahogany table in the style of William Kent, supporting a heavy marble top which it does without obvious effort though with a considerable show of muscle. Without the charm of the previous table it is, none the less, a most impressive piece and a pair would be very much more desirable.
Faded and finely grained mahogany half-round (or in terms of this sort of furniture semi-elliptical) pier table. Sheraton decoration, good tapering leg. c.1790
A giltwood semi-circular pier table with a gouache painted top of very high quality depicting classical scenes. Slender tapered, reeded legs. The frieze with a simple but impressive line of interlinking circles with flowers inside. Clearly a piece of this kind, which is one of a pair, has to be valued very much in terms of the quality of the painting. c. 1760
Not strictly speaking a console table because it is free standing but often described as such. The scene ‘Dolphin on the Rocks’, is a common one and lends itself to decorative excesses. Carved wood gilded with an important painted hunting scene by a known artist. c. 1740

TABLES  dining, mahogany multi-pedestal
A two pedestal table with column supports and curving legs having a dark inlaid stringing line. The centre leaf is supported by strong metal catches. Note that the tripods are not evenly spaced so that when the flap is taken out they can come together without clashing. c.1790
Similar to the first example but more the type traditionally found with quatrepod bases. Reeding on the feet and the edges of the table suggests the date. An elegant table in a fine dark mahogany, vastly reproduced often with aestheti-cally disastrous results. c. 1790
The limitations of both gateleg and D-end tables are overcome to a large extent by the multi-pedestal dining table which made its appearance in the later Georgian period. The result is that one rarely sees a fake double D-end table but plenty of wrong pedestal tables. What else does one do with heavy tripod tables or broken breakfast tables The only real snag is the favourable leverage which a heavy leaner can exert on the edge when determined to spring the join of pedestal and table top centrally; but then, in one’s own polite circle, no one puts his elbows on the table, do they
Extra leaves may not have been used a great deal, so their colour may be darker. Check that the side moulding matches and that there are no new square pieces let in below near the edges where the hinges used to be when it was a gateleg table, or indeed any other unaccountable screw holes or glue blocks.
An interesting cross-breed between a pedestal type table and a D-end using a gateleg central section for extension. The overall effect is not very coherent. c. 1780
A table which succeeds leaves between its ends. Three high of the period, in which the ‘knee’ at is starting to appear.
c. 1800-1810, in supporting three curving legs typical the top of the curve
The legs have been curled into scrolls that are almost Victorian, but the effect is light and elegant. c.1830
This table is solidly William IV, showing the heavy influence of ‘classical’ design promoted by Thomas Hope and with gadrooned edges as well as leaf carving. It has been fitted with modern multi-directional ball castors for ease of transit.
An example with Regency ‘knee’ developing that is almost a spur on the legs and spirally reeded columns. The table edges are also reeded. c. 1820

TABLES  dining, Georgian and Regency single pedestal
Fashion at the end of the eighteenth century moved away from the long table, with its implications of seniority, towards the round table where such distinctions were less marked.
In addition the use of a separate small comfortable room (the breakfast room) for family meals or intimate dinner parties, led to a requirement for a six/eight seater.
Here, and on the following pages, we show two types of tables. Firstly, the simple central pillar table with four legs discussed here. Secondly, the newly introduced pedestal table with a platform which in turn divides into two. Firstly, those with a central column  the standard Regency type which continues with the platform near the ground. Thousands were made and these appear in the next section. Secondly, the multiple legs which came into favour in the 1850s and, as small loo tables, were prolific from that date until almost the end of the century, and are discussed in the section on Victorian pedestal tables.
A fine quality elegant mahogany table with a broad band of satinwood near the edge. The turned centre column support with its small rounded section is supported on four elegant curved legs. which have ebony stringing lines on top and sides to emphasise their clean lines. c. 1800
A simpler circular mahogany table with reeded edges to the table and moulded edges to the legs which are becoming higher, and the first hint of `Regency knee’.
A high quality rectangular rosewood breakfast table cross-banded in amboyna with curious half rounds to the corners (compare the shape of the Sheraton chest No. 377). The legs are superb: the high stepping, ‘Regency knee’ is there but the design makes it a virtue not a disease. White edges to the legs serve to highlight the superb effect. c. 1810
The same basic design but the pillar has been shaped and more brass applied in what seems an attempt at a more showy quality. Not entirely successful.
A circular table in mahogany with a broad crossbanding of contrasting wood and a black stringing line to emphasise it. The legs (which are inlaid with a black line which fades out towards the foot) show advanced ‘Regency knee’. c. 1830
A terminal case of ‘Regency knee’. Heavy reeding and circular decoration serve to make it the highlight of an otherwise simple, if slightly heavy, but very useful mahogany breakfast table.
The platform design is seen here in Georgian form. The legs have a moulded edge and the high knee referred to earlier and the four supports are plainly turned. (Look at the large space between the legs, on the empty platform. The Victorians would have to put a large finial in the middle!) The top is cross-banded, the platform has stringing lines. It is all very restrained. c. 1800
Platform and pedestal combine to form a peculiarly Regency type table. Brass inlay on the top, platform and pedestal combine well with the rosewood veneer. More showy but still not obsessively decorative.
A rosewood table in which the decoration is centred on the curved petal formation of the base. The stem is thickening and the ‘hairy feet’ persist. c. 1835.
Because rosewood $1,400
More great ‘hairy feet’ and a complicated parquetry top, but the octagonal stem has only a disappointing series of half round decoration. Interesting to note that in 1881 C. & R
Light were still offering this basic type. c. 1825
The simple carved buns and the plain platform are not exciting. However, the carved decoration to the round base and the high quality top with clever use of heartwood and sapwood rosewood makes it a good table.
The use of maplewood and contrasting ebonised moulding and feet, together with faceted sides to the three pillar stem, lift this form from being a very simple table. See next example. c. 1830
It would be interesting to know just how many of these simple tables were made, probably thousands. This is the cheapest type with round flat buns and no ornamentation. Next in the range would be the carved buns, more expensive would be scrolls and on up to hairy feet. This is mahogany; rosewood would be a little extra. Good value as a first dining table for a new family.

TABLES  dining, Victorian pedestal
As might be expected the range of pedestal tables was large and the following selection shows the range. Value is affected by decorative potential as well as quality of workmanship.
Superb quality in exotic woods, these saloon tables’ were very much in the grand manner. They were made by firms like Holland & Sons and advertised in Warings catalogue, 1862. When stamped or provenance can be established the value can be appropriately high. c. 1870
Again a bulbous stem, not visible, but this time in walnut with a most attractive walnut top with subtle marquetry inset round the sides and on top. c. 1860
Highly flamboyant in yew wood of the type associated with Muckross Abbey School in Ireland. The pedestal table which is not shown is bulbous and covered in bits and pieces of marquetry. c. 1860
The heavily carved scroll feet, which are set at this angle, but above all the bulbous turning of the mahogany pedestal tables, all suggest the date when this form was popular. Note that if a marquetry top in exotic woods is by a known maker and invoices, etc. are available, then the price can go up considerably. c. 1850s
Although this type of outward curving foot and the straight three-sided column were first used around the early 1830s, the typical Victorian marquetry top suggests a later date.
Smee shows almost this type of foot in 1850. Note the crudeness of the marquetry compared with 785, both now being reproduced with an unabashed newness of finish. c. 1840
More marquetry of good quality. Note the height of the knee on the cabrioles. This example in C. & R. Light’s Catalogue of 1881 shows this characteristic. The faceted pedestal is also found in some later furniture. c.1870
The four pedestal straight leg type table which was popular from the 1870s onwards. It first came in about 1850s when needless to say the entire structure was curved. Plenty of inlay in ivory with turned centre finial.
An altogether heavier and coarser design. The finial is gadrooned and the supports are similarly shaped. Along the lines of C. & R. Light. c.1880

TABLES  dining, Georgian extending
The limitations of the gateleg table are obvious; its size cannot be above a certain dimension and the legs get in the way of the diner. The George III D-end table resolved the first problem, although not always the second.
The concept of the D-end table is ingenious enough. The two D-ends, each of four legs, can be put together to form a circular or oval table of convenient small size, even if it thus has eight legs. To extend the table by means of inserting rectangular solid leaves is not too difficult, since the ends are stable and only the extra support leg need be inserted.
More ingenious. The D-ends have between them a rectangular gateleg table which can be closed or progressively opened to provide two D-end tables, which either can be separately set against a wall or used together to make an oval table and, at the same time, a gateleg table. With the two flaps down a slightly longer oval table can be made, which in turn can be progressively increased to the full width shown. A good quality piece with stringing lines and double gates to the drop-leaf table.
Shows two half-circular tables joined together. The legs are reeded overall and fluted for the top one-third, ending in well-shaped blocks. The two inner legs on each half move into the centre to support additional leaves when required. The price will depend on the number that can be seated. c. 1780
Not as good as the previous example and in need of repolishing. Here the four legs of the table are fixed but the single centre leaf is easily supported by them.
A large table which shows the back legs of the D-ends moved out to their support positions when opened. The reeded legs are of late Georgian design and the reeding round the end is typical. A good, solid table. c. 1810
This table operates on the same principle as 755, and has the same double gates to the centre table. The Victorian moulding to the edge of the table
and the multiplicity of reeded legs (though these are more readily accepted than five years ago) do not make this an attractive design.
The square ends of this and the next table are less valued than the round ends of 756. c. 1820s
A design in which a series of telescopic interlinked frames allow the table to be opened and closed while the two centre legs remain in place. Some variations have an inset centre leg; later only two legs at each end remained and these tables often sag to the considerable loss of value. Note the legs are fattening up into the gouty Victorian tables.

TABLES - dining, mahogany gateleg, Chippendale and after
When one considers the revolution in design of chairs associated with the name of Chippendale, it is amazing that he never mentioned dining tables in his trade catalogues. His firm made gatelegs with D-ends among other complicated tables discussed in the next section but, perhaps justifiably, his name must be linked with the low point of eighteenth century dining table design.
A small rectangular mahogany table with standard pad feet. A more modest example of the product in mahogany. Made well into the Chippendale period and so included here.
Shows a good quality example of a large double-gateleg mahogany table with moulded square section legs. Although somewhat severe by earlier standards, it is still a fine piece of dark Cuban wood. Colour very important. c. 1765
What is known as a ‘wakes’ table due to its long thin shape on which, by legend, the coffin was rested before the funeral service and on which, after the interment, the festivities took place. As our social customs no longer work in this manner, it is perhaps odd that they are hugely reproduced and faked. This example shows the figure in the rich dark wood. c. 1770
A much simpler, straightforward George III square-leg rectangular table. It looks very similar to the centregateleg table in the gateleg and two D-ends combination, see next section. It is interesting that this design, with the ends just slightly rounded, was still available from W. Smee & Sons in 1850.
A faithful country copy in burr elm which, as can be seen in 750, can, with good patination, be almost as fine as any wood. Small, so not expensive.
There were, however, some interesting country tables which can be very attractive and two variations are shown below.
Four seater as shown $600-850 However, if eight seater and glorious colour $3,000 4,000
A small square single flap dining table in solid burr elm with very fine patination and superb grain. Top quality veneers were cut from such wood. c. 1765
Slightly out of the mainstream, a corner or, in American, handkerchief table which opens up to form a square. They are rather unbalanced if the wood is heavy because of the weight of the front flap and, perhaps because of this, are not popular unless a lot smaller than this one.
A small George III mahogany spider-leg table, suitable for less important meals like breakfast. They can be extremely elegant and because of this were reproduced extensively in Edwardian times and some can now look convincingly old.

TABLES  dining, mahogany gateleg, shaped foot, 1735-1760
Just as the stretchers disappeared from chairs in the early part of the eighteenth century, so mahogany dining tables rid themselves of stretchers at much the same time. Perhaps it was the strength of mahogany or simply the desire to refine. Whatever the reason, some superb tables emerged. Good quality examples are perhaps current738 (opposite page, top left) Elegant use of the pied-debiche foot from which the cabriole originated, decorated with the ram’s head. The cabriole is beautifully executed. The top pieces, each
of one plank, are without warp or twist. The rule joints are in immaculate condition. Heavy Cuban mahogany at its best.
Another example with pied-de-biche foot and the little projection behind it, but with a simple decoration on the knee and a small scroll either side. The top has the same thumb-nail mould but each flap is made up of two planks. All features which, together with smaller size, reduce the price. c. 1740
Conventional cabrioles with ball-and-claw again. Well executed but looking almost clumsy against 738. In fact by itself an elegant table. A walnut style carried on into mahogany. 1730-1740
Without the panache of 738, but undeniably elegant in dark, almost figureless Cuban or Spanish mahogany. These pieces are enduringly made and, when this book was first written in 1978, were undervalued, but the price has since doubled. Shown both closed and open to make the point that such a table fulfils the dual purpose of elegant side table and comfortable dining table for four to six people. Appears to have glorious patination.
With gently curved cabrioles, which like the previous example have a simple C scroll at the top, this table could be walnut period but is in fact mahogany. The moulding is slightly unusual with only a very shallow depression and a very wide flat curve almost like a Victorian slope. Rectangular flaps are not as popular as oval. c. 1750
The more simple pad foot version on a straight leg of tapering circular section which, in comparison with 741, gives the unfortunate impression that the weight of the flap is proving exhausting. Nevertheless, very English in concept and clearly related to its country cousin in oak.
Quite literally the oak version of 743. Interesting to see the heavy structure beneath as though the maker would have preferred the old oak method. c. 1760

TABLES  dining, early gateleg
Examples exist from the early part of the seventeenth century but they did not come into general use until the middle of the century, when dining at small tables became common, not only in the homes of the middle classes, but even the large houses.
The value of a gateleg today is greatly influenced by the number of people it can seat; the quality of the turnings and the type of wood being the other factors. To seat a large number of people, the middle section has to be wide as well as long, as the height of the table limits the drop of the flaps. Apart from new tops, these tables sometimes suffer damage to the ends of the flaps and have to be retipped. This used to be unacceptable to purists but now only affects the price very marginally.
Square gateleg tables also exist, but since they are harder to sell the prices are lower.
An early oak gateleg table with good patination. Note the very thick top and the fact that all the underneath members (except the top of the gates which have to fit flush) are turned with a superb bold extended bobbin and rim. Probably a ten seater. Walnut more valuable. c. 1650
This table shows two gates to each side, which is an attractive method of supporting large flaps. The arrangement of two centre stretchers giving support for the four legs is a good feature, as is the fact that all the members are spirally turned with thick bold turnings. Has the left-hand flap been cut down -the leg looks too near the edge, see previous example. Could have had rectangular flaps cut to the more popular oval shag. The price is based on the assumption that the flap has not been cut and that the table is an eight seater.
Again double gates and the turning all over and of good quality, but the table is smaller and does not have the style of the previous example. Late 17th century
The type of table one sees regularly. The classic early eighteenth century single gateleg table in elm. Despite the number of legs, immensely useful as it occupies so little  space when not in use. c. 1720
A simple four seater gateleg table with quite good if uninspired turnings. Too many planks make up the top and too many nail holes in the middle section, which should in any event be pegged. Could the top be newly made out of old floor boards Despite this, quite a pleasant table. Note the circular white marks on the underside of the far flap where the leg has scraped it. One of the signs that the top could be original. c. 1730
Note that the turnings on the uprights are very similar to the previous table, but in this better quality photograph one can see the fine turned pieces and the restrained baluster form. This is a fruitwood table and one can see something of the warm glow that the piece exudes. This makes it expensive even though single gate and seating six.

TABLES  dining, refectory
Oak tables of the seventeenth century, with their rectangular boarded tops, are now generically referred to by their Victorian title of refectory tables. They evolved from trestle-supported boards, and developed into more sophisticated bulbous-legged tables and draw tables (tables with second leaves under, which pulled out to extend the table) in the sixteenth and seventeenth centuries. These bulbous-legged tables became more refined as the seventeenth century wore on and from about 1650 onwards more types of table became available, starting with the gateleg.
There are two schools of thought about the smaller type one commonly sees today. The first says that they were side tables, hence the decoration on the frieze is seen on one side only. The second suggests that they were on a raised dais with the decoration and the V.I.Ps who dined at the table facing those at lower tables. When one thinks back to the wainscot chair section and the throne concept, the second line of thinking rings true. For practical entertaining purposes tables less than 2ft.6ins. wide should be avoided as they
break up even the smallest dinner party.
Refectory tables sometimes acquire new tops and it is essential to check for signs of age on each, though new end cleats are perfectly acceptable. The bases should be slightly stained or a little rotted, where damp and stone floors have taken their toll. Refectory tables have been widely faked and reproduced.
The original gateleg tables were fairly crude and simple, with column turning of the legs. Later ones developed more elaborate and decorative turning, including the stretchers.
The gateleg form continued to be used with variation, through the eighteenth and nineteenth centuries, incorporating the stylistic features of the oak, walnut, mahogany and other periods. Early oak gateleg tables had the top held on by wooden pegs, but in later tables the top is screwed on from underneath.
The disadvantage of the gateleg is that its legs tend to be in the way of those seated at it and in the Georgian period a popular table was the D-end, connected by essentially one or more drop-flap tables which could be used to lengthen it. This, however, had the same disadvantage as the gateleg table, in that there were still a lot of legs to avoid and so the centre pedestal table, with one or more pedestals, came into being. These pedestal dining tables have remained popular ever since, for they can accommodate varying
numbers of people without legs getting in the way.
Refectory tables are now really rather a rich man’s affair, which is not surprising if you look at this example, which is mid-seventeenth century with elaborately carved bulbous legs and massive construction, needing the right type of room to set it off. It has a good old-looking top. As always there should be plenty of patination  caused by greasy fingers  on the underside stopping sharply where the frame meets the top. Stretchers open to doubt because they should come flush with legs, not be inset as here.
A good 9ft. oak example with six-column cannon (or sometimes gun barrel) turnings to the legs. Carving of lunettes along the frieze. The stretchers look a trifle thin compared with other examples shown. The fewer planks used to make up the top of a refectory table, the better. If in walnut with a good colour, add about 3,000. c. 1640
The vase-shaped turning suggests a date in the very early eighteenth century. Just under Eft long, this is a very pretty little oak table in which you can see the age on the stretchers, a mixture of rot and wear showing an irregular effect, not the smooth simulated wear of the fake. c.1720
Not really a refectory table at all  it is a farm table of a type which has become very popular for country kitchens and dining rooms, but its provenance is clear from the previous illustrations. These tables were made in oak, elm, pine and country woods throughout the eighteenth and into the nineteenth centuries until the turned leg was imposed on them.
When buying, do make sure that your favourite dining chair will allow you to sit at the table as the frieze is sometimes too low. Price will be increased by fruitwood with a good glowing colour, hence the wide price range. Late 18th century