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.

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  side, lowboys (mainly cabriole leg)
Largely ignored in standard textbooks concerned with the development of furniture design is a delightful little group of tables which ranges from finely made town examples down (or should it be up) to enchanting small country fruitwood or yew pieces; these are eagerly sought after but are often impossible to prize from the hands of dealers in country furniture. We have reserved the term lowboys for three or four drawered side
tables often intended as dressing tables or for occasional use. As mentioned earlier, the dividing line between these and single drawer tables is often difficult to decipher. So we have produced this arbitrary distinction for the sake of convenience. On the question of fakes and improvements in general, little is done to these pieces. Some are veneered up which usually means walnut veneered top with oak legs or some other nonsense. However, when checking the underside note age on the bottom of the fretted front. It is not unknown for a large deep walnut veneered drawer front from an old bottom half of a tallboy to do service as a new front.
Rather more flashily veneered in high quality figured walnut. The cabriole legs are scrolled at the top and end in pointed feet. The form of drawers shows a variant, with a single long top drawer and two smaller ones
set beneath. The drawer edges are cock-beaded and there is an inlaid herring-bone line rather than crossbanding. The top is also quartered. c.1730
A solid walnut example with inlaid boxwood and ebony stringing lines. Note how a slight lip extends from one foot up the inside leg along the bottom of the carcase and down to the other foot as if emphasising the clean outline of the design. The cabriole legs are with shells and the feet show very interesting carved ‘folds’.
An attractive solid walnut example with good cabrioles all round, ovolo moulded drawer fronts and double half-round corners to the top (babies’ bottoms).
The bold brass handles are period if not original. As this a very good colour it is a desirable piece.
An example of the glorious individuality that British country furniture can provide and certainly one of the very few pieces of humorous furniture which exist. How else can one describe these legs but as `cobra cabrioles’ Apart from these extraordinary aberrations the piece has not too much in its favour. The arrangement of drawers makes it almost a writing table. c. 1730
A little cherrywood example. Note the same simple quarter-round moulding but ordinary corners. The drawer arrangement is unexciting and the cabrioles only just curve, nevertheless a pleasant country piece with glorious colour. Note the typical early decoration on the middle of the bottom rail. c.1740
The same top with half-round corners and tight quarter-round moulding of the period. This example is in oak and the cabrioles provide a problem; some collectors will find them attractive, others including this writer, will feel that they are poor-looking as though they have supported one of those large Chinese urns which weigh several hundredweights. Hence the wide price range.

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  writing and library, late 18th and 19th century
The long writing tables, often referred to as library tables, of the late Georgian, Regency and Victorian period have a marked design similarity to sofa tables of the early part of the period, except that they do not have
end flaps. Perhaps designers produced one drawing which the retailer was happy to produce with or without flaps.
Shows a Sheraton style table in figured mahogany with rosewood crossbanding on end supports that are, clearly, late Georgian in design. There are drawers in the frieze, with false drawers at the ends, indicating that this really was designed as a centre table, to be viewed from both sides and ends.
A rosewood table with end supports of similar construction to the previous example except that scrolls have been included in the design, both at the bottom and the top of the support. The turned stretcher is, perhaps,
decoratively intended. c. 1810
A Regency rosewood example in which the legs sweep from the top to the floor. They are supported by a curved arch very similar to the first example. Metal decorations. c. 1830
A very similar design to the previous example except that here rosewood cross-members are used in place of metal and of course it lacks drawers and so is simply a centre table. Note that the mouldings of these last
three examples are simply cross-grain veneers, slightly rounded.
Fussy it may be, but the parquetry top in exotic woods with bold corner finials goes well with the equally bold fretted base and stretcher to make a good solid ornate writing table. Rather hard to date with assurance
because, looking through the Pictorial Dictionary of Nineteenth Century Furniture Design, one sees that the variations were being offered in the 1840-1860 period.
The hairy feet are a couple of sizes too big, and heavy lyre ends are complete with brass strings with (appropriately enough) knobs on. All that to support a pedestrian two drawer top which can only manage some effete bead moulding with miniscule ‘drops’ at the corners.
Again in mahogany and a contrast to the previous example. The restraint in the design is obvious but one can clearly see the decoration gaining in importance. Typical of a whole group of stretcherless tables using
designs of the period.
A bobbin turned version of a type more often seen in the design books as spiral turned. It produces decoration for less original cost than the previous example. c. 1840
An octagonal library table in faded mahogany with four well-moulded legs. A good example of this popular type.

TABLES  work, without bags
Not all work tables had bags beneath. The selection shown here is of a type in which the drawers, fitted into a small table, were sufficient for needlework implements and materials.
A Regency rosewood table with the lyre form built into its supports and brass inlays  enough to give any dealer a rush of blood to the head, for these lyre form pieces are very popular and fetch more than curved wood and brass rods justify. c.1815
However, with more drawer space and more decoration than 918 this sort of design disaster can easily occur.
A mahogany work table showing a distinct type with flaps and three drawers on a column support with a flat base on typical Regency feet. 1820
A burr walnut version of 918, with real drawers and an octagonal column which forecasts the piece in 921. c. 1830
This type of leg is more commonly seen on piano stools of the period. As long as the reeding is refined, as in this case, the effect is very successful. c.1810
More elaborate mid-nineteenth century in form, with inlays and delicate curved construction. Although of much less quality, it has a distinct design similarity to 727. Fittings are important. c. 1855
A William IV rosewood example on a much flatter base. The gadrooning is fine and the effect elegant, as is the hexagonal pillar which supports the box with its fake drawer front. The paws are brass. 1830
Made at the same time as the previous example, this piece owes more to Georgian than Regency forms. A little thin in the legs and the termination is not a success, but this is still desirable as a useful small piece.   c. 1810
A simple little work table whose square shape and type of turning proclaim it as late in the century. The drawers are dummy. c.1870-1880

TABLES  sofa, pillar supports
The final group of sofa tables is the one in which there is a central pedestal. These pieces are therefore linked with pedestal dining tables, for the same type of base was often used.
In mahogany and remarkably similar to a design in zebrawood which can be dated exactly to 1810. The pillars are well turned and the decoration of split beading lines (fine around the drawers, slightly greater round the platform) is restrained. White stringing line is also used. The table edge is reeded and there is a thin line of crossbanding on the top. c.1810
Another example with four pillar turning in which the knee has moved towards the peculiarly high Regency form. The piece is in rosewood and the pillars are well turned. A small amount of split beaded decoration and metal mounts on the leg. More cramped and not quite the quality of the first example. c. 1815
An example which illustrates the desire for show at not too much extra cost, and a type that became an obsession later on. Simply cut on a band-saw these solid mahogany supports are reeded to match the feet. The top, too, has the customary reeding around the edge and is cross-banded in the same wood. Not as good as it looks at first sight. c. 1830
Down to two pillars. The same ringed decoration marks the place where the top of the legs don’t pierce the platform. The turning on the pillars is getting somewhat aimless  a series of rings and the odd bulge, not like the careful baluster form of the first two examples. c. 1830
Equivalent to the previous example with a straight-sided pillar. Again plenty of brass inlay and some ebony in the leg which turns with the characteristic sharpness of the period.
As can be seen, it has high decorative quality, but the drawback is its being mahogany.
When restored
A very simple example where the decoration is confined to a modest black stringing line on the side of the legs and a broader band on the top of the legs and the table itself. The two unimaginative rectangular pieces supporting the top affect the value. c. 1825
A bit of light relief. The vast base, heavily gadrooned, is supported by an equally substantial humanised version of the ball-and-. One would expect the top to be about 8ft. long, but in fact it is a normal sized sofa table, again gadrooned in calamander wood. The misalliance is condoned by two very elegant and beautifully reeded vase-shaped pillars with rims. It was sold at auction by a very knowledgeable specialist firm, so it must be right. Early 19th century
A robust turned and heavily carved centre pillar rosewood table. Plenty of brass inlay and a Regency knee with good stylised design. The edges of the table have a very refined beading. Rich effect without undue ostentation.

TABLES  writing and library
A round or multi-sided library table, with a number of drawers, supported on a central base, normally a pillar, is referred to in the antique trade as a ‘rent’ or `drum top’ table. By tradition they were used to keep account of rents paid and due, for some tables have initials on the drawer fronts. In some cases false drawers alternate with genuine ones, while others have false books or spaces for real books. They first appear at the end of the eighteenth century and command high prices.
An extremely fine rent table with a central well shown open. A plain cannon turning and three well-shaped legs with decorative carving down the centre. The feet have a turned over scroll effect. c. 1790
A superb example almost identical with one illustrated by Sheraton. Extremely elegant on four ormolu paws. The applied moulding to the doors is typically neoclassical.
By comparison with the previous example, not so successful for it is let down by the ‘unrelieved square plinth. It has, however, inlaid initials on each drawer. It is veneered in good quality mahogany on a square stand with door. The only additional decorative treatment is a white stringing line.
c. 1800
A typical late Georgian round library table with blank spaces instead of false drawers. The four reeded legs show a well-balanced curve.
A slightly later example, though the similarities with the previous example are strong. The same flat moulding and tooled leather top. The higher knee provides the clue to the date. c. 1790
Another bad attack of Regency knee with the applied turned pieces on either side. The legs are no longer reeded and the general effect lacks elegance. However, the piece is in rosewood which does help the price though the cracks across the top, if indeed that is what they are, would depress it. c. 1825
Almost an occasional table because it is small but the drawers suggest it should go into this section. The price is less because of its size but this is no reflection on its excellent quality. c. 1790

DRESSING TABLES  kneehole
A simpler walnut kneehole with herring-bone banding to the drawers. The top is quartered and cross-banded. Note that the shaped section over the kneehole space is, in fact, another drawer. Original handles. 1720-1740.
A solid yew wood kneehole with lip-moulded drawers. A fairly simple piece which will depend largely for its value on the colour and patination. A faded nut brown colour being much more valuable than a reddish tinge. Hence the wide price range.
Another mahogany kneehole, with fluted canted corners and a slide. Original handles. The photograph and lack of polish do not do it justice. Price assumes a deep rich colour. 1740-1760
There seems little doubt that this piece of furniture was evolved for bedroom or dressing room use; it has subsequently been found extremely useful as a desk. People did write in their bedrooms, of course, and we happily illustrate, in the mahogany examples, a piece fitted with both mirror accoutrements and writing paraphernalia. This is just to show that we are not prepared to be didactic; the concensus is that this is, generally speaking, an ‘upstairs’ piece, but there is no reason why it should not have been found useful downstairs as well.
Value Points: as for Chests, also if centre section pulls forwards
Here we are  an unusual but genuine fit-up under a hinged top and a false front top drawer. This mahogany piece is fitted both for dressing and titivation purposes as well as with ink-holding drawer and letter/ envelope rack inside. The drawers are cock-beaded. 1740-1760
A high quality veneered mahogany kneehole with slightly serpentine front, canted fluted corners and fluted central arch.
A solid mahogany serpentine-front kneehole on ogee bracket feet. Note that the foot has an extra facet to match the squared corner. There are in fact three main shapes of ogee feet, the most simple curves out where it meets the floor, the second is squared off just at that point but this one, the best type, has a more pronounced curve over the foot as well as the squaring off where it meets the floor.
An American block-front mahogany kneehole with characteristic ’shell’ carving over the central door. 1750-1770
A very decoratively veneered mahogany serpentine-front kneehole. One often sees early 20th century reproductions made broadly to this design. 1860-1880
An unusual oak kneehole fitted with a secretaire drawer (see below)  clearly a ‘writing’ piece. c.1750
A simple but very pleasant solid mahogany kneehole on bracket feet, with cock-beaded drawers.
A late nineteenth century mahogany kneehole in the Sheraton manner, with quarter-fan inlaid satinwood decoration in the corners of the door. There is also a slide.
A late nineteenth century carved kneehole desk in mahogany with a gadrooned edge to the top. 1890-1920

TABLES  Pembroke
Named after the Countess of Pembroke, said to have been the first to order one. Antique Pembroke tables appeared about 1750 but really became popular around 1780. There are therefore some rare museum quality Pembroke tables in the Chippendale styles. They were considered to be a small useful table, with hinged wooden brackets to support the flaps, a drawer at one end and a mock drawer at the other, for symmetry. Used for many purposes, including writing, they were largely superseded by the pedestal table at the end of the eighteenth century. The Edwardians admired them and one must be watchful for period examples which they improved by adding marquetry or painting.
In satinwood with serpentine shaped flaps which, like the drawers, are cross-banded in kingwood. The inlaid shell on the top is generous in size, superb quality is emphasised by the ebonised edges and the gently curved apron below the drawer which compliments the shape of the flaps. Note the width of the original castors. c. 1790
Made in mahogany with the less popular turned and reeded legs, it is none the less very good quality. Note that the figured veneers on the flaps fan out to the edges to match the inlaid decoration. The flaps look even better down. c. 1795
A fine example in satinwood  considered the top of the scale for Pembroke table-building  with a broad inlaid band of purplewood and further crossbanding in kingwood. The shape of the flaps corresponds closely with that advocated by Sheraton c.1794. The square section tapering solid satinwood legs have collars at the ends and are mounted on brass castors. c.1795
Further down the quality scale, but still very desirable with its broad satinwood inlay and white wood edging. The front is bowed and the top of the legs inlaid with a diamond pattern. c. 1795
Well-chosen veneers with a black stringing line and cross-banded ends. A well-made table. c. 1795
Two variations of the plain solid mahogany variety which continued to be made well into the nineteenth century  ‘honest brown mahogany’. The one on the left has Chippendale moulded legs and a small satinwood stringing line. On the right the most simple type. c. 1800