Tripod Table of Mid-Eighteenth Century - A Georgian Mahogany Dumb Waiter - A Papier-Mache Tea Table - Early Nineteenth Century Tripod Table

The tripod table is not strictly speaking derived from the candle stand in our illustration above, but it is possible to trace the influences derived from it. This stand, c.1670, is of walnut, and was made originally for
holding a light. The octagonal top has a moulding round it which is typical of the late seventeenth and early eighteenth century walnut period, and the twist turned stem represents a high degree of technical accomplishment.
A mahogany tripod of mid-eighteenth century  c.1750. The top is dished to give the rim around it, and the plain column is of pleasing simplicity. The mahogany used is of the heavy Cuban variety, very dark in colour.
Note the development of the height of the legs, becoming bolder.
A Chippendale style mahogany tripod table, c.1760. The top shows the `pic-crust’ edging which requires a high degree of craftsmanship, since the whole top is made in one piece. The stem is fluted down to the carved bulbous vase and the legs, with shell and pendant decoration on the knee, end in ball and claw feet. Note the scroll on the inside of the knee of the leg. One of the most ornate and decorated examples of this type.
A walnut stand of the early eighteenth century. The octagonal top ,again has the moulded edge of the period and is veneered in figured walnut base of the stand is now lifted off the floor by the three curved feet of
square section.
A Mahogany tripod table of c.1760 with a ‘bird-cage’ gallery beneath the top. The pillar is a fine simple form and the bold set of the legs is typical of the better and earlier Georgian tripods. The use of the gallery
construction ensures that the top can both tip up when not in use, and yet revolve when in the position shown. A wedge locks the top and gallery to the column, so that the removal of this wedge enables the whole top to be lifted off the base.
The best quality pieces have a top made from a single piece which preferably is dished to leave a moulded or ‘pie-crust’ carved edge (see Reference No. TT1383). The example above has a plain top but made from a
single beautifully figured piece of mahogany. Originally used for tea or supper and for setting out the new china tea services.
Another tripod mahogany table of c.1790, with similar stem, but the legs now flattening in curve slightly. The rounded curves are modified by the chamfered edges and more pointed design.
Tripod table of c.1790, with baluster turned stem and chamfered legs.
Tripod mahogany table, c.1790, of larger dimensions  the top approximately two feet, nine inches in diameter. Note the spirally fluted vase at the base of the tapering column stem. Until recently these were more difficult to sell, being too large for occasional or wine table use. Now they are rising in price and being used as tea tables or small dining tables.
A Georgian mahogany dumb waiter of c.1770, with finely crusted carved edge to each tier, and well-balanced pillar and vase shapes to the stem. Note the casters under the feet; a feature often found on dumb waiters
since they were, of course, designed for movement like Canterburys.
Typical eighteenth century tripod table in mahogany, probably dating from 1760 - 80. The legs have now become almost aggressively higher and bolder in curve. The tapering column has the bulbous vase at the base.
Late Georgian mahogany dumb waiter of c.1790, in which the upper tiers are of the folding flap type. Dumb waiters were used from the early eighteenth century onwards and were generally placed near a table so that
guests could help themselves without the need for servants to stand in attendance. Sheraton includes them in his Cabinet Dictionary but the designs are rather complicated.
Value points: Elegance of tripod base
Fruitwood tripod table, twenty-seven inches in diameter, c.1800. Note the rather abbreviated feet and the fact that it has been necessary to use several planks to make the top, due to the lack of width in fruitwood
trees.
Early nineteenth century country tripod table in mahogany, c.1820. The legs are in the reverse type of curve, but the stem shows the rather bulbous turning that heralds the Victorian period.
Early nineteenth century tripod table with rectangular top, c.1840, of a type expanded in size to produce a breakfast table. This smaller size could be used as a supper table and, being of the tip-up type, was useful in smaller rooms. The wood is generally mahogany and the legs and stem exhibit the same characteristics as dining tables of the period.
Yew wood tripod table, c.1800. The legs are better proportioned than the fruitwood example, although they show the steep outer curve of the later period. The top again is several planks, but yew is a wood which is
always more highly valued.
mahogany of c.1840, with hexagonal column. The top is A
veneered in plain mahogany on pine, but the column is solid. The tripod base has now become a flat one like others of the period, without legs and raised on turned knob feet.
A papier-mache tea table of c.1850, japanned and painted and with mother of pearl inlay. The baluster turning of the column is fairly typical and although this example has taken a list to starboard, some idea of the decorative value can be obtained. The outer painted decoration and that on the column and base, now faded, were originally gilt.
A cricket table. There are various theories as to why they are so-called, but it is most probable that they were used in village pubs on the green, where one could sit watching the game. They were made in oak or elm, from the eighteenth century onwards.
Later nineteenth century version of the tripod table  c.1860. The tripod legs have actually vanished and all that remains is the triangular shaped flat base with its three turned feet. The stem is now thoroughly overturned with far too many bulbs and vases.

A Mahogany Gate-Leg Drop-Flap Table - A Mahogany Dining Table - A Regency Period Rosewood Circular Table - A Mahogany Late Victorian Dining Table

A mahogany gate-leg drop-flap table of c.1770. The ‘Chippendale’influence has produced the square section legs chamfered down the back edge. The wood is still a rather heavy Cuban mahogany with good figure, now
rather faded. There are still no drawers in this table which is a pleasingly simple design. The majority available are suitable for seating six people but, occasionally, larger versions are to be found. Again these tables are subject to damage at the rule joints due to dislocation of the hinges and one should look for patching at the top and flap edges at the joining edge.
A fine mahogany dining table of c.1800 on turned columns each with three curved legs. The sweep of the latter from the central column out to the brass casters is particularly elegant. On such tables the centre section is generally bolted to the end pieces.
Regency period dining table, c.1820, 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
A mahogany dining table of c.1790 consisting of two ‘D’ ends with a single leaf supported between them. This was one of the most common forms of dining table and in many cases could be further extended by some patent or ingenious means. The example above shows square tapering legs ending in spade feet. The top edge is reeded and there is a stringing line around the bottom edge of the frieze but otherwise this is a very simple example on which the legs are perhaps a bit heavy. Many of these tables have been broken up to form two ‘D’ tables for hall or console use.
Decorative, cross-banded, inlaid examples. Decorative woods and inlays …
A Regency period dining table, c.1815 apron frieze under the two end sections on two columns, again each supported by three elegantly curved legs. The 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
Regency period breakfast table in mahogany, cross-banded with kingwood, c.1825. 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.
A mahogany breakfast table of Regency design, c.1830. Like all breakfast tables this one is designed to tip up and can thus be put to one side after use. The top is a single piece of mahogany of a size capable of seating six people and has an inlaid black stringing line inset two inches from the edge, which is reeded. The point of a single-piece top is important, for tops made from two pieces tend to separate over the years, and it is often difficult to re-glue and cramp the halves together again successfully.
The base shows the departure from restrained Georgian forms to scroll-like knee pieces of concentrically ringed effect. Generally a heavy ‘knee’ like this indicates Regency or later periods.
The example here is a fairly simple one without the cross-banding or inlays of more exotic versions. At present price ranges are fairly wide for these tables which are clearly appreciated for their excellent use as a
dining table.
Curl or figured woods
A Regency period rosewood circular table of c.1830. The top is veneered in highly figured rosewood with a broad decorative brass inlaid edge banding. An apron or frieze, cross-banded in rosewood beneath the top
adds weight and proportion to it. The triangular base supports the curved triangular column which also includes a brass stringing line and exhibits a bead mould at the base joint. The base is on spur sabre-type legs endingin brass paw casters. Altogether a high quality example.
Large Regency period dining table, c.1835, of extendable type with leaves which are inserted in the centre section to provide greater seating capacity. A type of table now somewhat reserved for board rooms and public banqueting halls but which nevertheless follows the development of the earlier Georgian type with two ‘D’ ends between which leaves could be inserted, This table would seat approximately twenty people. The legs are spirally reeled. N.B. It is interesting to note that ten years ago such tables were hard to sell and often cut up for the good quality wood of which they were made.
A Regency period rosewood circular dining table of c.1825. The top is veneered in figured rosewood and the centre pedestal is geometrical in section. The rather heavy but simplified base is typical of this type of table
which has increased greatly in popularity and price in the last two years. Usually these tables are of the tip-up type.
An early Victorian  c.1850  circular dining table of a type found in both mahogany and burr walnut veneer. The tripod carved base with its leaf, scroll and paw foot carving shows great exuberance and quality of
execution, even though our artist’s lack of serious feeling for the period has given the impression that the piece is on its way to the chiropodist’s. It is an example of good Victorian cabinet work.
A mahogany late Victorian dining table with the heavy underframe and ponderously turned bulbous legs. The top is usually made of two or three leaves and the table can be of the extending type. Note that the edge
moulding has become rather over-emphasized.
Quality of leg turning  Figured woods
A late Victorian or Edwardian mahogany dining table, c.1870 onwards. The square cornered influence of the late nineteenth century gives rise to a mixture of designs which wholly fail to blend.
Value points: Mahogany
Examples are frequently to be found in oak and American walnut.

Oak Table of Refectory Type - Late Seventeenth Century Oak Gate-Leg Table - George I Period Mahogany Drop-Leaf Gate-Leg Dining Table

An early oak table of refectory type, c.1600. The large turned legs are connected almost at floor level with heavy stretchers. The main under frame is tenoned into the square tops of the legs and the table top consists of three or four massive oak planks. The main under frame provided a frieze for decoration and was often richly carved. The top was held in position either by under battens or oak dowels driven through the top into the under frame.
Depending on decoration and size. Larger tables are in the higher range.
A slightly more developed small oak table of the early seventeenth century, c.1630. The turned legs are less bulbous than those seen on earlier tables and the frieze provided by the under frame is panelled, to allow for
decoration. The fluting of the legs started to replace the bulb type in late Jacobean times and remained in use until after the Restoration.
Quality of carving and reeding of legs.
Mid-seventeenth century oak table  c.1650 - with column turned legs, (sometimes called gunbarrel type). The floor-level stretchers are still evident and the top is made of three thick solid planks. The frieze is quite
plain.
Late seventeenth century oak gate-leg table  c.1690  of fairly small dimensions, which could seat four people. Note the bun-shaped feet and the more developed turning of the legs.
Value points: Quality of turning on legs.
Size:  again larger tables to seat more people gain value probably following:- 6 people,8 people,12 people.
N.B. This criterion does not apply to very small gate-leg tables for side use, which command a high premium.
George III period oak gate-leg table with tapering legs ending in pad feet, c.1765. A type of table made for a considerable period throughout the mid and late eighteenth century. This example is exceptional in size and
therefore the centre section is particularly wide.
George I period mahogany drop-leaf gate-leg dining table, c.1725. The scrolled cabriole legs show the hoof foot with which the cabriole leg was originally associated, being derived from an animal form. Tables of this
type, with less refined form of leg, leading to the square ‘Chippendale’ type as with chair development, continued to be made well on towards the end of the eighteenth century.
Small oak gate-leg table of c.1670, with column turned legs but ending in square feet with a slight outward splay instead of the turned feet of our other examples. This is a simple table with plain, square section
stretchers between the legs. The joint between the flaps and centre section is of the tongued and grooved type which was superseded in the eighteenth century by the rule joint.
George III period square drop-flap mahogany gate-leg table, c.1760, with scrolled cabriole legs ending in ball and claw feet. The moulded edge of the table top is unusual and is similar to that found on some Victorian tables, with the exception that this is bolder but still detracts from the appearance.
Mid-Georgian drop-leaf table in mahogany of the gate-leg type, c.1760. The solid mahogany tapering legs end in pad feet. The main frame was often made from pine or else from oak and the centre flap secured to it by screws let in at an angle from underneath. A particular weakness with these tables is at the ends of the rule joints between flaps and centre, where part of the joint tends to split off. They make useful dining tables for the small modern home, since they can be folded away but their one defect is that of all gate-leg tables; there tend to be too many legs under the table when in use.
Late seventeenth century gate-leg table in walnut, c.1690. Note the unusual features of turned stretchers and different turning of gates and centre section legs.

A Chippendale mahogany card table - A George III satinwood and marquetry card table - A Sheraton period mahogany serpentine fronted side table

A ‘Chippendale’ folding card or tea table in mahogany with reeded square legs, serpentine front and elegantly shaped frieze. Of c. 176070 date. Tables of this kind are always higher in value if of the ‘tea’ type i.e. with
solid wood surface on the interior rather than ‘card’ i.e. with a baize interior.
A Chippendale mahogany card table of c. 1760 with a green baize lined folding top. The edges, frieze and square chamfered legs are fretted inthe Chinese manner, which inexplicably makes this normally rather
underpriced piece of furniture double its value.
N. B. See note under previous example concerning plain mahogany baize lined versions at  and ‘tea’ versions with polished wood interior up to.
A mahogany circular folding table of c. 1790 with Hepplewhite-cumSheraton influence in the design. A type which could be used as a games or tea table, the latter usually being claimed when the inside is not lined with baize but veneered in the manner of the outside. The stringing lines add considerable elegance as do the oval medallions in the panels at the top of each leg.
Value points: Matched figuring of mahogany and stringing
A George III satinwood and marquetry card table with a folding circular top cross banded with rosewood. The inlay consists of urns and flowerfestoons withina meanderingband of anthemionand thefrieze is similarly
inlaid. The square tapering collared legs with the oval medallions at the top are of a kind generally associated with Sheraton designs. These tables were frequently made in pairs.
It would be difficult to find more highlyvalued tables of this period.
Value points: Quality of decoration
N. B. Inferior Edwardian copies abound
A Sheraton period mahogany card table cross banded with satinwood. Note againthe oval medals at the top of the tapering legs and the inlaid stringing lines.
It is to be noted that a pair of identical tables causes the individual piece to be more than doubled. Thus a pair of such tables would be in the 600-700 range.
A George III mahogany dressing table with square legs chamfered at the back. An unpretentious table whose origins are clear from previous illustrations and of a type increasingly popular. The top edge still retains a
moulding derived from the thumb-nail but now more sophisticated with an ogee curve.
A Sheraton period  Satinwood card table cross banded with rosewood. Note the tapering legs and the medal set in the top panel of the leg.
Value points: Satinwood
A Sheraton period mahogany serpentine fronted side table on tapering legs. An elegant design with interesting enlargement of the square section added as ornamentation near the bottom of legs.
A fine mahoganydining table of c. 1800 on turned columns each with three curved legs. The sweep of the latter from the central column out to the brass casters is particularly elegant. On such tables the centre section is generally bolted to the end pieces.
Pembroke tables are said to be named after the Countess of Pembroke, who first gave orders for one of them. It seems that they appeared about 1750 and were generally made in mahogany with square tapering legs.
The flaps on either side are supported by hinged wooden brackets. A drawer is usually to be found opening at one end while a mock drawer is put at the other to give design balance.
The example above is perhapsone of the finest of the fine: in satinwood, with marquetry inlaid, and cross banded with rosewood. It is on square tapering collared legs and the marquetry inlay consists of urns and
naturalistic festoons of flowers.
Price Range: This is a top of the table version;A country mahogany Pembroke table in heavy Cuban wood and with no drawer. The square chamfered legs owe more to the Chippendale influence than the tapering
variety normally associated with this type of table. A simple and pleasing version.
A rather broad mahogany Pembroke table with slightly tapering legs of c. 1790. The solid top is of a particularly finely figured wood and there is abroad boxwood stringing line under the cock-beaded drawer which is continued across the leg.

Georgian side table - George I mahogany card table - George III mahogany gate-leg table

A George I mahogany card table, showing the candle stands and cups for counters similar to the walnut tables of an earlier period. The bold cabriole legs end in ball and claw feet and the shaped frieze has an echo of the shell motif about it. Tables of this kind in mahogany continued to be made into the second quarter of the 18th century.
George I period mahogany drop-leaf gate-leg dining table. The scrolled cabriole legs show the hoof foot with which the cabriole leg was originally associated, being derived from an animal form. Tables of this type, with less refined form of leg, leading to the square ‘Chippendale’ type as with chair development, continued to be made well on towards the end of the 18th century.
George I period table in oak, the tapering legs ending in pad feet.
A side table which could be put to use for cards or other occasional use. The space behind the frieze is used for storage.
George I period dressing table in fruitwood. The arched shaping of the frieze is similar to that of earlier periods, with the projecting lip moulding or cock bead around it. The heavy thumb-nail top edge moulding of the earlier period is now more refined. The tapering legs ending in pad feet are simpler than the cabriole but retain an elegance and proportion of design in a particularly English leg form.
George III period square drop-flap mahogany gate-leg table with scrolled cabriole legs ending in ball and claw feet. The moulded edge of the table top is unusual and is similar to that found on some Victorian tables, with the exception that this is bolder but still detracts from the appearance.
Value points: Quality of legs  Seating capacity 4.
A George II mahogany side table elaborately carved on the frieze with a lion mask and acanthus leaves. The cabriole legs have lion masks carved on the knees with ribboned flower heads and terminate in paw and ball
feet. The top is a marble slab.
Oak dressing table of c. 1740. The square section cabriole legs are still of slender shape but not the most desirable form, particularly if heavy. The shaping of the frieze has become much more sophisticated. Note the top edge moulding.
George III period oak gate-leg table with tapering legs ending in pad feet. A type of table made for a considerable period throughout the mid and late 18th century. This example is exceptional in size and therefore the centre section is particularly wide.
Later Georgian c. 1770 side table similar to the previous example, with elm top and fruitwood legs. Note there is no lock rail under the top. The square Chippendale style legs are chamfered at the back and the front
corners have the scratch moulding down the edge to lighten them. The drawer front is elm.
A later Georgian country dressing table in oak. The frieze is shaped, but the slightly tapered legs hint at Hepplewhite influence. The drawers are cock-beaded and the top edge has a rather refined moulding. Tapering legs tend to be a later feature.
Later Georgian side table of c. 1760. The ‘Chippendale’ straight chamfered leg has replaced the earlier pad feet. The top edge still shows a variant of the thumb-nail moulding but is heavier. As well as being chamfered on the inside the legs show a ’scratch’ moulding down the front corner, as seen on chairs, to give a further lightness to the effect. By now the lock rail is evident under the top and the
drawer thus comes below this. Country versions might still omit the lock rail however and have pegged tenon joints.
Later Georgian - c. 1770 - country dressing table in walnut and fruitwood. The three drawers in the frieze are cross banded in fruitwood like the top, which is veneered in plain straight grained walnut. The legs are elm.
Mid-Georgian drop-leaf table in mahogany of gate-leg type. The solid mahogany tapering legs end in pad feet. The main frame was often made from pine or else from oak and the centre flap secured to it by screws let in at an angle from underneath. A particular weakness with these tables is at the ends of the rule joints between flaps and centre, where part of the joint tends to split off. They make useful dining tables for the small modern home, since they can be folded awaybut their one defect is that of all gate-leg tables; there tend to be too many legs under the table when in use.
A George III country solid walnut side table on tapering legs ending in pad feet. The flap is supported when open by a gate leg. The top and flap are made of several planks.
A very fine quality Chippendale card table c. 1770. The edge of the frieze is gadrooned and this effect is followed down the corner edges of the legs. The edge of the top is also carved. The wood is mahogany.
A fine Adam circular table possibly for a centre or library use. The rosewood top has a wide satinwood cross banding inlaid with flower heads and cables. A large circular medallion in the centre is similarly inlaid. The
four round tapering fluted legs support the table, which has a frieze finely inlaid with satinwood urns, oval medallions and swags.
Value points: Quality of decoration

Mid-17th Century Oak Table with Column Turned Legs - Oak Side Table with Two Drawers

The earliest form of table for dining use was a simple trestle type, usually make of oak, with top of elm. Later, more solid constructions appeared, developing into the draw and refectory tables of the 16th century. The early forms of refectory table had large bulbous carved legs which became more refined as the 17th century wore on. From the end of the 17th century onward one can trace the appearance of profuse types of table, more and more sophisticated and following the prevailing fashions.
Probably one of the most collected forms of antique furniture is the decorative side, dressing, tripod, Pembroke, sofa - in other words occasional - table. Without requiring too much durability to resist continuous use and usually extremely decorative, such tables are understandably sought after. The only exception at present is probably the folding card or tea table of ordinary ‘Chippendale’ mahogany type. These later 18th century tables are somewhat underpriced at present, whether due to the decline in card playing at home or their comparative lack of decoration, it is difficult to say. Certainly the more decorative circular versions fetch good prices: the straightforward square-legged mahogany type are not expensive and when baize lined inside, even less so.
One of the more spectacular rises in price has occurred in walnut, and now oak, dressing tables with three drawers. Small side tables generally appear to be rising rapidly in price.
As far as dining tables are concerned, the gate-leg of any period still deters by having the failing that the gate legs tend to mingle too freely with those of the people seated around it. Centre and double-pedestal tables are items still in the most demand for dining use.
Value Points
The following value points must be taken to be required as common to all the examples illustrated:-
1. Top Surface. The first thing to strike the eye about a table is the condition, patina and figuring of the top surface. The more perfect and decorative the top surface, the more will apply.
2. Structural Condition. We have again assumed this to be good.
3. Legs. Depending on the period the design, and always the proportion, of the legs must constitute an important factor in the assessment of the value of a table. Legs are of course always liable to damage and their originality, with the above points, constitutes a  factor.
An early oak table of refectory type; c. 1700. The large turned legs are connected almost at floor level with heavy stretchers. The main under frame is tenoned into the square tops of the legs and the table top consists of three or four massive oak planks. The main under frame provided a frieze for decoration and was often richly carved. The top was held in position either by under battens or by oak dowels driven through the top into the under frame.
Price Range:  Depending on decoration and size. Larger tables are in the higher range.
Mid-17th century oak table with column turned legs, (sometimes called gunbarrel type). The floor-level stretchers are still evident and the top is made of three thick solid planks. The frieze is quite plain.
Value points: Quality of turning of legs
Mid-17th century oak side table with two drawers in the frieze. Note the panelled shape of thedrawer fronts, reminiscent of chests of drawers of the period. The turned legs and square stretchers are still retained.
A slightly more developed small oak table of the early 17th century. The turned legs are less bulbous than those seen on earlier tables and the frieze provided by the under frame is panelled,to allow for decoration. The fluting of the legs Started to replace the bulb type in late Jacobean times and remained in use until after the Restoration.
Value points: Quality of carving and reeding of legs  Quality of carving of frieze

TABLES  smallish tripod and quadripod, 1800-1850
At first antique tripod tables followed the same form as the larger single tables but, with the inventiveness of the Regency period, individual designs emerged. The Victorians produced small Victorian tripod tables with four small legs which strictly speaking do not belong in the same section but which, for the sake of convenience, have been included.
A more decorative treatment of the same basic design Sweeps to the top and bottom of the legs are emphasised with applied brass rosettes. The stem is tapered and ringed, the top has a rim. Value is enhanced by the fact that the height is adjustable. Anything which moves, adjusts or can be fiddled with seems to command a premium. c. 1815
A turn of the century mahogany table, showing plain classical elegance. The legs have a clean simple curve and the stem is decorated with spiral reeding. The top is cross-banded in satinwood. c. 1800
If you look at page  you will notice that many high quality ‘hairy feet’ have wings or spurs at the back and one can see that they provide a good balance by supporting the base over a reasonable area, instead of
looking as though they were screwed on at the end. This is a well-thought-out mahogany design, the sturdiness of which is justified by the heavy marble top. c. 1825
A novel little four-legged table note its quality and the scroll behind the hairy feet. Curious that the carved Chippendale vase is retained on the centre column. The flaps have well-matched veneers which meet when the table is in the erected position, giving a fine effect. One of the best of its sort.
It really is hard to be charitable about this horrible little table. Loudon
(1833) had the same problem about a fairly revolting sofa table of the period. “The justness of this criticism will appear more obvious, by applying it to the table… which has two supports more highly enriched by
carving than those of any of the other pieces and yet has a plain top. This is in bad taste and ought not, in a work like the present, to be passed over without notice.” Quite right. Not only is the top plain but out of
proportion to the base and the decoration seems mindless. c.1830
Loudon would approve this design because both top and bottom have ,enrichments’, but he might, like the present writer, be happier with it if the two sets of beading had been more of a size. c.1830
A conventional papier mache floral and gilt, with mother-of-pearl inlay, tilt-top table. Well decorated and elegant with the shape of the top helping to create an interesting piece. A good compact pedestal. c. 1840
Typical small mahogany tripod table of the period. Commercially not desirable. Not enough decoration for the Continental buyer and too small for a cheap dining table. Same design still offered by Light in 1881. 1830-1850
The use of iron was an obvious method of obtaining the maximum decoration as cheaply as possible. Once the mould was made presumably any number could be cast. Again the quality of painting is important. The
price in this case is helped because the painting is topographical  shipping on the Clyde. c. 1850
A good papier mache table with a delightful hop harvest scene painted on the top. If one can discover the artist or if it is by Jennens and Bettridge then the value will be more than quoted. c. 1850
Made over a considerable period of time, a form of simple table which was produced in huge quantities. The baluster-shaped turning on the pedestal is competent but attempts too much. Basically 1830s

TABLES  side, pad feet and square leg lowboys
In this section there are a lot of country or provincial pieces with the result that assessment of quality and hence value become more subjective than in the previous section. One may find a feature enormously attractive which to another collector has a glaring design fault. This is, after all, part of the fun of collecting but makes writing this section difficult.
In case anyone gets the idea that any cabriole is better than any pad foot this example will disillusion them. In pearwood with a glorious patination, attractive front fret and primitive drawer arrangement, it is a fine example of a country piece, the sort almost ignored up until the early 1960s. 1730-1740
832 In walnut with a quartered top and oval inlay in the centre. One immediately notices the broad deep ogee moulding which is a typical late walnut period feature. The legs are straight with only slight moulding on the
outside edge to relieve their rather dull appearance. One can see why the straight Chippendale legs are chamfered. c.1740
In terms of quality the Chippendale mahogany example deserves perhaps to come next. With a simple cock-beaded drawer arrangement, an attractive fret, and in a faded nut brown colour, this example is more elegant than the previous piece. The gap in the moulding is damage. c. 1760 Assume well restored.
n oak, turned legs with pad feet. It makes an interesting comparison with the next example. This has a better fret, half-round corners on the top (but not the quarter-round moulding of many of the pieces in the cabriole section). In addition the drawers fit better, but that may be condition rather than design. c.1730
A good wide overhanging top, genuine cockbeading and the side fret  in theory these should put this ahead of the previous example, but fail to do so because of the dull little fret. Notice that both examples have the
same type of moulding, a version as seen in 832, but of necessity flattened out as the wood is thinner; 832 is walnut veneered on pine which was cheaper than oak so that a deep moulding was more feasible. Knobs
here look later. c. 1755
1, 000Back to the Chippendale straight leg with a slight moulding to the outside edge. The drawers are marked with an incised line in an attempt to simulate cockbeading.
The charming fret makes it a much more attractive piece. c. 1755
The neo-classical demand for the tapered leg has not helped this heavily designed oak piece (which incidentally could be the best technically constructed piece in this section). Frankly not very desirable; 1780-1810
This example is, however, slightly smaller than the previous piece but the top has no moulding and the front is a little plain. The front incidentally is made out of two pieces of wood, a fact which does not necessarily
detract but does indicate a less generous attitude as demonstrated by the mean fret. However if it had superb patination all would be overlooked. c. 1735

TABLES  tripods and candlestands to 1770
These evolved from candlestands which came to Britain at the Restoration. They were extremely useful and the design was adapted over the years to provide support for a wide range of objects from wine to books.
A walnut spiral turned example with baluster form at the top. The rectangular sectioned S scroll legs meet on an octagonal platform which echoes the shape of the top which is quartered and cross-banded in walnut.
c. 1680
Although a countrified version of the above with flatter feet and a burr elm top which has warped, the turning is excellent quality and has the thick snake-like coils at just the pitch which one associates with the best late seventeenth century work.
There does not seem to have been an identifiable ‘Queen Anne’ tripod style (for that matter there is not a ‘Queen Anne’ dining table), so one moves on from the rare turned base supported by three buns, c.1690, to the elegant walnut column stem table with a dished yew top. Note the remains of the platform still discernible where the legs meet. c. 1725
The low feet and heavy barrel turned stem suggest an early date for this fine heavy, slightly squat, Cuban mahogany tripod table. It has the desirable ‘birdcage’ method of fixing top to stem. Notice that the pillars of the birdcage have the same barrel turning as the stem  this suggests originality. c. 1735
Not a flattering photograph of a top quality Chippendale example. A fine piecrust edge to the top and baluster shaped knop at the base of the column. The legs are heavily decorated. Note that the carving stands out from the knee as opposed to being sunk into it as it would were it fake. A beautiful crisply carved example. c.1750
An example of a wine table with a turned spindle gallery around the top. Again good quality but plainer. The knop has spirally turned reeding and the only carving is on the knee. c. 1760
A good comparison with example 892. Conceptually it is the same design and indeed it is a fine table, but not of the same quality the carving is less deep and the top rim is weak. c.1750
Perfectly plain standard tripod shown in the stowaway position. Notice the good quality mahogany with a grain showing. No birdcage, which would help the price slightly. c. 1770
A Victorian attempt to copy the style of pieces in this section. The shapings of the legs and columns are an indication, but the vertical grooves in the upper part of the column and the finial under the base are the
giveaways; Victorians loved these finials. A pretty table maybe, but not Georgian by any stretch of the imagination. c. 1870

TABLES  work, with bags beneath
The work table fitted out with receptaces for needlework and embroidery implements as used by the ladies of the household, did not appear until the later part of the eighteenth century. Chippendale did not illustrate
them, but Sheraton, true to form, showed a variety of ingenious designs. They must have been very popular, for every manufacturer or designer showed a wide variety right through the century.
Table-cum-firescreen  work could be done in warmth but the delicate skin shielded from the heat. It is in satinwood with ebony stringing lines, and has a fabric work bag beneath  sometimes on a slide for ease of
access. A curious feature of this piece is the hollowed out inside edges of two of the legs  perhaps to fit over
the corner of a particular fender The most popular type of work table. c. 1795
An example on a turned centre pillar and veneered in rosewood. It has brass ball-andclaw castors and brass decoration at the base of the pillar. The top lifts up and the drawers are false. c. 1820
A rosewood work and games table of a type very highly valued. It has brass inlays and decorations and a brass gallery round the sides. The work bag is of pleated silk. The ends are almost lyre-shaped which further
helps the price. c. 1820
Thomas Hope at his best/worst. esque paws jutting malevolently from look as though they should belong prehistoric weighing about three tons. and is in burr walnut.
The Disney-heavy scrolls to something It has a slide
A more modest mahogany William IV type on flat base with a simple top without drawer. c. 1835
High Victorian in style, with burr walnut veneers and a wooden veneered work ‘bag’ beneath. A type illustrated in manufacturers’ catalogues in the 1870s and 1880s, but stemming from earlier designs. c. 1865
A work table showing the scroll-decorated end standards and finials under the top which one associates with the Victorians. The feet show the remains of the paw-foot design of the Regency. It is otherwise a simple piece, and very similar in design to one by T. King. c. 1835-1845
A mahogany design with reeded baluster end standards and turned stretcher of a type illustrated by Loudon in 1833 and popular for some time afterwards. 1835-1845
A type introduced in the late 1850s as an elegant supported urn which settled down to this funnel shape by the 1870s. In walnut. The  price depends on the quality of the interior fittings. Marquetry would help. 1875