TABLES  dining, oak reproductions
A really heavy oak reproduction refectory table with primitive lion-mask carving, on six enormous carved bulbous legs. The sheer quantity of oak involved would make such a table enormously expensive to produce
today, let alone the question of the carved decoration. 1890-1920
A simpler oak ‘draw-leaf’ table on four bulbous carved legs. The stretchers have been jacked up off the ground by the addition of four square `feet’ at a later stage. The top has been panelled across the length which is considered a less attractive proposition by the trade. C. 1900
A rather unattractive oak ,refectory’ table which looks as though it has been ‘made-up’ from old pieces but the legs have turning which is plain and rather modern. No attempt has been made to ‘age’ the stretchers by
wearing down the edges.
Two oak draw tables from Maurice Adams, 1926. Straightforward, quite well-designed reproductions made to satisfy a contemporary taste for `Jacobethan’ dining rooms. Of quite high quality construction.
A cheap oak dining table, of the ‘draw’ type, on a two-pillar base derived from `Jacobethan’ but carefully ‘modernised’ to provide those streamlined, curved surfaces beloved in the late 1920s and 1930s. Note how the traditional turned ‘bulb’ on the supports have been modified into ribbed shapes of no particular beauty. The surface was originally dark-varnished with a sticky cheap ‘French polish’ which has become badly scratched. c. 1930
TABLES  work and games
A walnut combined work and writing table on turned end-column supports with scrolled feet connected by a turned stretcher. Under the hinged top there is an adjustable reading and writing flat covered with tooled
leather, and stationery compartments on each side of this flap. The drawer pulls out to provide a fitted interior and the wooden work bag below can also be pulled out for access. The figured walnut top surface, drawer and bag are inlaid with stringing lines and marquetry. The whole piece is very similar to one illustrated in the design book of C. & R. Light in 1881 but such pieces were popular throughout the mid-Victorian period. 1860-1885
A papier mach& work table inlaid with ivory and mother of pearl in floral patterns and scrolls. The design is not unlike those of the 1830-1840 period with a baluster central column and a flat base with four scrolled feet.
A walnut work and games table with inlaid chequer-board and backgammon board, on a twin-column end support stand with connecting turned stretcher. A type illustrated in manufacturers’ catalogues up to 1885.
A walnut work table of a type which was introduced in the late 1850s as an urn shape, but which had settled to this funnel or trumpet variety by the 1870s. This example is inlaid with floral marquetry and stands on
rather cocked-knee cabrioles with scrolled feet. The top has been inset with leather: this almost certainly means that the original marquetry top has been damaged and, to save expense, a new leather top has been
fitted. Damage to the top surfaces is frequent with these tables; the veneer was very thin and was easily lifted by heat or spillage of liquids. 1860-1880

TABLES  occasional, centre
A walnut centre table inlaid with a marquetry panel and with ormolu mounts. Very similar to the writing table 582 and, again, made in a French Louis XVth style of perennial popularity. Not as high quality as 582 but
nevertheless still a well-made and very decorative piece. 1860-1890
A centre table of Reformed Gothic character from Blackmoor House, c.1872 (see British Furniture, 1880-1915 by Pauline Agius, pl. 74). Possibly designed by the Manchester architect, Alfred Waterhouse, a friend of Norman Shaw. Waterhouse designed for Blackmoor, starting in 1869 and imitated Shaw’s ‘Old English’ style as used at Leyswood, which still had Gothic features such as the gate tower. The table is interesting in its construction of Reformed Gothic style and structure but incorporating half-and full suns of Japanese character and the spindled gallery. The move from Gothic to Anglo-Japanese can be perceived.
An interesting ebonised centre table with a turned spindled gallery connecting the end supports which are pierced and carved with stylised flowers and leaves. Of Reformed Gothic character but with later developments in the carving.
A mahogany centre table of rather Continental design on spun brass cup feet of a type associated with W.A.S. Benson, a designer for Morris & Co. who specialised in metalwork. The same feet are used on furniture
attributed to the firm of J.S. Henry (see British Furniture, 1880-1915, by Pauline Agius, p.94, pl. 112).
An occasional centre table of octagonal shape, in rosewood, with eight turned legs and a centre column joined by stretchers radiating from the centre. An arcaded apron also joins the legs. Possibly by Collinson & Lock. c. 1880
Another spider-like centre table with a moulded top edge, by Morris & Co. Made in mahogany. The firm produced several similar designs, available in mahogany or fumed oak. C. 1900
A six-legged mahogany centre table by a commercial firm of general furnishers. Clearly the type was popular up to 1914. Also available with only four legs.
A ‘Chippendale’ version of the octagonal mahogany centre table on eight legs. This time the radiating stretchers are pierced and fretted with scrolled work. The top edge is gadrooned. 1910-1920
An oval ‘Sheraton’ style centre table on four tapering square section legs ending in castors and connected by curved stretchers emanating from a central finial. The top is inlaid and crossbanded; there is satinwood
banding and boxwood stringing around all the normally approved edges.
Two small occasional tables of the type ideal for coffee or tea drinking in the sitting room. On the left, a scalloped top with dished edge and chinoiserie decoration, mounted on carved cabriole legs ending in hoof feet.
On the right, a segmented feather-veneered mahogany top with cross-banding, mounted on cabriole legs ending in hoof feet, with a lion mask carved at the top and a frieze also carved in bas-relief with scrolls and
shells. Nothing, of course, like these two tables was made in the periods from whose styles they have borrowed. The 20th century had advanced both comfort and practicality in arriving at the dimensions, then it has imposed the most marketable styles associated with high quality on to the design. 1920-1940
TABLES  occasional, tripod
The tripod table is an 18th century invention, probably developed from candle stands. It is still one of the most popular occasional tables and has been much reproduced.
A Victorian version of the tripod table, in walnut, with a scalloped edge in emulation of the 18th century ‘pie crust’ edge. The shaping of the column is unmistakably mid-19th century and the use of the finial below the
column is also characteristic of mid- to late Victorian furniture. The shaping of the legs is also not that associated with Georgian tripods. c.1870
A mahogany tripod table with a brass gallery rail around the circular top and decorative scrolled supports in addition to the centre column.  1900-1920
Mahogany tripod tables with moulded rims, fluted columns, reeded vases  spiral to the left, straight to the right  and elegant legs carved with acanthus leaf decoration. Essentially straight reproductions of 18th century tripod tables but looking shorter in proportion and the tops of a greater diameter than the period originals would probably have had. Good quality pieces, though. 1900-1920
TABLES  Sutherland
A walnut drop-leaf gateleg table of a type known in the trade as a Sutherland table (for some obscure reason). Made in mahogany or walnut (i.e. veneered in figured or burr walnut), these tables can be supported on a single turned column at each end, as shown above, or on a double column with spiral or other turning. There is an extra, thin, turned leg on a gate at each side which swings out to support the flap when open. They can be seen clearly above. The Victorians do not seem to have minded this rather unhappy lack of cohesion in leg design; the gatelegs often look like a pair of poles or walking sticks that someone has leant in random fashion against the frame under the flaps. The merit of the design is, of course, that the table, when folded, is very slim in end elevation and the whole is mounted on castors so that it can be tucked away neatly. The spiral grooving turned into the legs of the above example is often found on these tables.
An ebonised Sutherland table which shows very clearly how undesirable ebonised furniture looks when dusty and in poor condition. c. 1890
A similar design of Sutherland table in mahogany, with the same form of end columns and mounted on white castors. 1860-1890
A rectangular Sutherland table with spirally-turned double end supports on a simple arched foot design. The thumb-nail top edge moulding appears on almost all the tables at the time.