Mahogany Pembroke Table - Mahogany Writing Table - Regency Period Dining Table - Mahogany Library Table

A Thomas Sheraton mahogany Pembroke table, the top cross banded with herringbone bands of kingwood, with a rising ‘Harlequin’ section with a fall-front inlaid with ribboned festoons of flowers in scorched and green fruitwood, in the manner of Pierre Langlois, the frieze with a drawer either side and simulated drawers, on square tapering panelled legs.
The design for this ‘Harlequin Pembroke Table’ was published by Thomas Sheraton as plate LVI in his ‘Drawing Book’ (1791-94). In his notes he describes such table as “serving not only as a breakfast, but also as a writing table, very suitable for a lady. It is termed a Harlequin Table, for no other reason but because, in exhibitions of that sort, there is generally a great deal of machinery introduced in the scenery”. This type was also illustrated in Hepplewhite’s Guide.
This table is of further interest in that the ’till’ is inlaid with a floral garland, knotted with a ribbon-tie, in a marquetry of many woods. This is reminiscent of the highly distinctive style of inlay favoured by the emigrant French ebeniste, Pierre Langlois.
A Sheraton mahogany Pembroke table of c. 1810, The square tapering legs have given way to the centre pedestal, the pillar of which is fluted. The four sabre style legs which support the platform at the pillar base have typical later Georgian and Regency brass casters of decorative style. The top is veneered in highly figured mahogany and cross banded with satinwood, which is used for the inlaid decoration also.
Value points: Inlaid decoration of high quality
Good quality Pembroke table in mahogany with cross banded top edge. The tapering legs end in elegant brass casters.
Value points: Cross banding of top  Circular or oval shape
Later Georgian period mahogany writing table on turned legs with casters beneath.
A fine quality late 18th century sofa table in mahogany and satinwood. The end supports, curving elegantly out from the vertical to end in brass casters, are particularly noteworthy.
Regency period dining table in mahogany on two turned columns each supported by three curved legs. The shaping of the turning on the columns suggests a later part of the period, as do the legs, but the top is reeded round the edge and light in appearance.
Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Sofa tables are similar to the Pembroke table with the exception that the extending flaps are at the end instead of the sides. They seem to have become popular at about the same time as the Pembroke. The normal dimensions, referred to by Sheraton, “are generally between five and six feet long and from 22 inches to two feet broad”. The most serviceable type have two drawers and they were frequently used to write, draw or read upon. A variety of designs were used.
The example above is of c. 1805 date and has brass mounts and stringing. The inward curving legs are reeded. Rosewood and zebra wood were used for the higher quality examples as well as mahogany. The addition of brass stringing or more detailed inlay in brass adds considerably to value.
Value points: Exotic woods and inlays
A Regency period dining table on two columns, again each supported by three elegantly curved legs. The apron frieze under the two end sections tends to add weight to the overall effect and breaks the line.
Value points: Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Mahogany Sofa Table of later Georgian period. The reeded curved legs on the end supports terminate in brass paw casters.
Regency sofa table in mahogany with lyre-shaped end supports. The top edge is moulded as well as cross banded.
Note. The existence or hint of the lyre motif in any form inexplicably pushes prices to the top of the range.
Regency mahogany library or writing table. A derivation in some ways of the sofa table. The end supports show in their design the influence of the lyre motif.
Regency sofa table with gadrooned top edge. The curving splayed legs on the send supports are reeded.
Sofa Table of slightly later date c. 1810 with turned supports in conjunction with inward curving legs. This form of centre support is to be found on card and other tables of the period.
Regency period breakfast table in mahogany, cross banded with kingwood. The octagonal column is on a platform supported by unusual curved and shaped legs ending in brass paw casters. The spur shape on the knee of the legs is particularly unpleasant.
Value points: Seating capacity 6  8 …
Regency rosewood sofa table ,the top and flaps cross banded in satinwood. The stringing which can be seen round the drawer fronts is of brass, and brass stringing is also used on the top and in the unusual curving
support and base. The table when extended is five feet long.
Regency period mahogany card table on turned centre column. The hinged folding top pivots on the frame which forms the frieze to provide support when open.
Regency mahogany library or ‘rent’ table with leather-covered top. A type introduced in George III’s reign which Was made on into the 19th century, sometimes with an octagonal top. Used sometimes on estates where the relevant documents were kept in the drawers; hence the popular term ‘rent table’.
A Regency rosewood and Coromandel console table with marble top. Originally made to accompany pier glasses, console tables were made uniquely for side use and in the early 18th century types were of highly
baroque decoration. The classical revival of the later 18th century produced console and side tables of prevailing fashions and both Sheraton and Hepplewhite illustrated examples. They were largely for the decoration of more important houses.

TABLES  dining, on four legs
A mahogany expanding dining table of a type often thought of as mid- or even late-Victorian but whose legs belie the later dates. Although the constructional form was used later, it originated in the 1830s and 1840s.
These legs are of a bulbous-and-baluster turning with collars, more popular initially in the 1840s than in the 1880s and later, where one might be tempted to place this piece. The examples of 1880-1910 incorporate the top bulb but the lower turning is straighter or tapering, less of baluster form. The piece does highlight the difficulty of dating Victorian furniture, however, since the use of this form of baluster at a later date is always possible.
Another large expanding Victorian mahogany dining table, this time with semicircular ends which can open to receive up to four flaps. The tapering reeded legs are of a design popular in the 1830s, featured by Smee in 1850 and still used in variant form in the 1880s.
An example of the previous type of table, adapted in style to be more ‘Sheraton’ in appearance, with square tapering legs and inlaid stringing lines. Available originally in a size 7ft. long by 4ft. wide. 1890-1915
Four examples of the leg styles available in the late Victorian and Edwardian era. From almost-art-nouveau through ‘oak’ to ‘Queen Anne’.
A mahogany extending dining table which, with its three leaves inserted is 2ft. 6ins. wide by 10ft. long. The top, shown here without leaves is slightly serpentine in shape and has an edge decorated with a blind fret.
The tapering rectangular legs have patera at the top and carved husk decoration. An example of 18th century Georgian designs used on a modern table. 1900-1925
A cabriole leg dining table which can be extended on the ‘draw table’ principle (i.e. by extra leaves under the top), thus combining stylistically ‘Queen Anne’ shaping with a 16th century construction. From Maurice
Adams. c. 1926
A mahogany dining table designed by J. Henry Sellers (18611954), an Arts and Crafts Society architect-designer who tended to produce expensive furniture with Edgar Wood. The top is banded with ebony and, clearly, the ends are detachable in the manner of the 18th century ‘D’ end dining table. Designed en suite with the sideboard shown as 470. c. 1925
Illustrations from The Woodworker magazine of 1928 showing four versions of the popular small draw-extension table used in small houses, with subsequent directions for the do-it-yourself enthusiast on how to construct the piece. Interesting that the lower left version was entitled ‘modern’ in design at that date, even though its square baluster legs and cross stretchers are derived from traditional tables. 1920-1940
The vogue for the medieval led to a tremendous rise in demand for oak furniture of suitably aged appearance from the 1880s onwards. ‘Old oak’ refectory and dining tables might be made up from old pieces (just as
`coffers’ might be made from three-panel carved bed-heads) or simply reproduced new and ‘aged’ by various processes. It was not always the intention to deceive, nor is it so now.
We show a small selection here to show how close some versions came to the original and to advise the reader to be warned; old reproductions of good quality are worth about half the value of the originals.

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