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.

Occasional Tables

In the 18th century occasional tables became more varied in style. They were small and light, and so could be moved into reception rooms as required. Many of these tables were highly
decorative, but gradually they became more utilitarian and were often designed for specific purposes.
A passion for games and gambling resulted in a proliferation of card tables. By the end of the century, French card tables were fitted for every sort of game: roulette, chess, backgammon, and jeu de l`oie.
A wide variety of writing tables was developed. The larger, portable tables made for writing were called tables d ecrirc. Some were fitted with candle slides that pulled out from the sides.
The newly fashionable custom of gathering to drink tea and coffee required two or even three tables: one table with a gallery around the edge, on which to place the china; a round table at which people sat and
conversed; and a kettle stand. In the grandest homes, the kettle stand had a silver salver shaped to fit the top, with a silver coffee- or tea-pot on top of it.
Worktables first appeared in the second half of the 18th century. Those made for sewing often had tops that lifted up to reveal small drawers for holding reels of thread and other sewing accessories. Some sewing tables had fabric bags hanging beneath them, in which the needlework was kept. These were made from wooden frames covered with fabric that slid into runners in the base of the frames. French sewing tables, tables en chiffoniere, did not usually have these. Some English worktables were also fitted with a leather surface for writing.
The French table de salon, meaning sitting room table”, served many purposes. It had an ormolu gallery around the top, with three drawers and a shelf below The intricate decoration meant it was elegant enough for formal reception rooms.
Many portable tables contained a fire screen, often made of the finest textiles or displaying needlework
displaying skills. The screen protected the face and legs of anyone sitting in front of a fire, and was particularly important for ladies who wished to protect their
wax-based cosmetics from melting.
The cabriole legs are gently curved.
The legs terminate in foliate ormolu sabots.
The tambour front slides back to reveal six small, ring-handled drawers.
The top is inlaid with flowers and has protruding; rounded corners.
The frieze is inlaid to simulate fluting. It has a single front drawer.
The sides are inlaid with crossbanded borders wit, geometric banding and Neoclassical decoration
ENGLISH WORKTABLE
This transitional-style worktable has an inlaid top above a single drawer. The table has a tambour front and an incurved shelf, and terminates in cabriole legs. c.1770.
FRENCH TABLE DE SALON
This satinwood and holly table has a pierced ormolu gallery. The case, three drawers, and shelf are ornately inlaid. The tapering legs end in ormolu sabots. c.1780.
ITALIAN FIRE SCREEN TABLE
The entire surface of this olivewood table is veneered. It has a serpentine skirt and slender cabriole legs. The silk-lined fire screen moves up and down at the back of the table. c.1780.
ENGLISH WRITING TABLE
This one-drawer, mahogany table has a leather-inset top. A silk-upholstered, adjustable face screen is fitted at the back. It has square, tapering legs with brass casters. c.1790.
FRENCH WORKTABLE
This diagonally veneered, single-drawer table has a cambered top and cabriole legs. It has a drawer in the mid-shelf, and a fire screen at the back. c.1760.
ENGLISH KETTLE STAND
This small mahogany stand has a circular top with a brass-lined spindle gallery. The fluted column has a leaf-carved baluster knob above a tripod base, with claw-and-ball feet. c.1760
FRENCH SEWING TABLE
This table has a marble top surrounded by a pierced three-quarter gallery. The parquetry-veneered case contains two drawers. It has a shaped frame, lower shelf, cabriole legs, and ormolu feet. c.1765.
BONHEURS-DU-JOUR
A SMALL, FEMININE WRITING TABLE FOR LADIES, THE BONHEUR-DU-JOUR WAS FIRST MADE IN FRANCE IN THE 1760s. ITS NAME REFERS TO THE FACT THAT SUCH PIECES SOON BECAME EXTREMELY POPULAR.
The bonheur-du-jour (”pleasure of the day ) is a small, light, elegant desk or dressing table. It is different from other writing tables in that it has a raised back, like a miniature cabinet, made up of shelves, drawers, or pigeonholes designed to hold papers, writing accessories, and sometimes toiletries. Occasionally,
a mirror was also included. The top of the table is usually surrounded by a brass or gilded gallery which often served for displaying small ornaments. Beneath it are drawers, or a small cupboard. These sometimes have tambour doors that slide into the case – another example of the technical skill of the cabinetmaker. The table invariably has long, graceful, slender legs, occasionally with a shelf attached to them about halfway down.
The bon lieu r-du jour was made by many of the famous French cabinet-makers, such as Martin Carlin, who designed 11 of them. The most exquisite examples, such as Carlin, were mounted with plaques of Sevres
porcelain and painted with delicate floral patterns, or richly decorated with fine marquetry, Oriental lacquer panels, and ormolu
jour were valued both for their delicate beauty and for the skill and ingenuity with which hidden drawers and compartments were concealed within such a small space. Originating in France, their popularity soon spread,
partly due to the increased importance of women in society at this time. They appeared in grand British houses from about 1770 onwards.
Louis XVI mahogany bonheur-du-jour This desk has a marble top and a brass three-quarter gallery, with a glazed upper section and a roll-top desk element.
Louis XV cherrywood honheur-du-jour The
upper section has two doors, and the lower section holds a long, single drawer. The case is set on cabriole legs.
GERMAN DRESSING TABLE
This solid cherry table from southern Germany has a wide, overhanging top above two small drawers. It stands on tall, tapering legs. Late 18th century.
FRENCH WRITING TABLE
The table top has a gilt-bronze-edged frieze and is inlaid with flower-heads and a ribbon border. The drawer is fitted with a sliding writing surface, inkwell, pounce-pot, and pen tray. c.1780.
FRENCH WRITING TABLE
The top is inlaid with lozenges and a central floral cartouche. The frieze has a geometric inlay and a drawer. Each side has a pull-out writing slide. c.1780.
GERMAN GAMES TABLE
This provincial walnut, cherry, and native fruitwood table top is supported on tapered legs. The surface is inlaid with a chess board; the interior is fitted for back-gammon. c.1780.
ENGLISH WORKTABLE
This satinwood table has contrasting ebony stringing, an inset leather top, and two candle slides. The case has a fitted drawer over a wool box and is supported on square, tapered legs. c.1785.
FRENCH OCCASIONAL TABLE
This sycamore, kingwood, and floral marquetry table has a Sevres-style plaque in the top. It has a pierced brass gallery and mounts, three drawers, and a lower shelf. c. 1780.