TABLES  gateleg
The gateleg table was a great favourite of the 17th and 18th centuries. It did not die out in the 19th century but continued in other forms, like the Sutherland (q.v.) table.
During the last quarter of the 19th century, however, it was back to the Good Old Days for gatelegs, as with so many other forms of furniture. The oak gateleg was back in its late 17th century form, to meet the prevailing demand aroused by the medieval and ‘Olde Englishe’ taste.
Two oak gateleg dining tables of good reproduction of styles of 1670-1720. The top example has the column turned legs  here slightly balustered  which were put on many conventional tables of this sort at the end of the 18th century. The lower table features spiral or twist turning to the legs (but not the stretchers, which are left square) which met ‘Elizabethan’ taste, but which in fact dates back to 1670-1690. Both tables have a give-away feature for those anxious to identify period. Both have a deep ‘thumb-nail’ or ovolo moulding around the top. This is not a feature generally to be seen on period tables and was much used by reproducers from 1900 onwards. 1900-1920
Two occasional gateleg tables of small size from Maurice Adams. The top one, with a robust end Igunbarrel’ column, emulates an early small gateleg of the 1670s. The lower example is more conventional with column
turning and square stretchers. Both have a ‘thumb-nail’ top edge moulding. They are intended for lounge or drawing room use, not for dining. c. 1925
A white deal gateleg table of the old type of construction shown by Percy Wells c.1920. Wells liked the enduring virtues of the gateleg  the design variations to top and leg, the convenience of storage, and use at half or full dimension. Unlike the Pembroke, it is hard to top over because of the leg support, but this very virtue is a drawback since the legs get in the way of the sitter. Wells proposed to overcome the objection of the low foot rails by setting them back from the legs and projecting the top further over. He also proposed a change to the gate system to avoid halving the leg or the long rail. He shows drawings of the new system but not a photograph. The table shown above is 5ft. long by 2ft.10ins. and, as Wells points out, is much more costly to construct than a plain kitchen table of the same size on four legs.c.1920
Two small lacquered gateleg tables for occasional use, in the chinoiserie style much revived in the 1920s. The legs are extremely slender and the tables are clearly not designed for much other than ornamental
purposes.
A reproduction oak gateleg table with twist-turned legs. Note the flat stretchers without any form of incised moulding and the heavy ‘thumb-nail’ or ovolo moulding around the top. Both features are strong indications of a reproduction as against a 17th century original. Made in a fairly cheap oak and stained or semi-French polished to give a darkened aged appearance, but this finish is apt to scratch or chip off. This type of table was made in enormous quantities. There are container loads of them available from trade shippers specialising in this kind of furniture but recent activity has increased the price, which in 1979 was a standard 38 or so. 1920-1930

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 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, 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

Late XVIII Century Tables

18th Century tables, although not described as such in Chippendale’s Director, were a new type of table. During the first half of the 18th century, people tended to sit at small tables to eat, arranged in groups in a dedicated eating room.
Around the 1750s, people began to eat at longer tables. Quite often, these consisted of a central, rectangular gateleg table to which two D-ends were joined to make one long piece. When not assembled as such, the D-ends might be used as pier tables.
For the most part, these dining tables were plain, with either square or tapering legs. This began to change from around 1780, when tables were often supported by pedestals.
Early examples of dining tables, such as those supplied by Chippendale in 1770, had half-round ends and deep, rectangular drop leaves. These were supported, when raised, on gate legs and secured using stirrup clips.
Table legs were influenced by Neoclassical style and became more slender and tapering in shape as the century progressed.
As the passion for games and gambling now pervaded every level of society, large numbers of games tables
were made, particularly in England and the American colonies, and these gained popularity in Europe towards the end of the century.
Many games tables had a top that folded back to reveal a baize-lined surface or an inlaid games board, and one or two legs that swung back to support the open top. When not in use, the table would usually be stored
against the wall, so the side facing the wall was generally left undecorated.
Pembroke tables were multi-purpose, and could be used for dining, games, or as worktables, depending on the occasion. Being small and on casters, they could be moved around a room as required.
Like other occasional tables, Pembroke tables were usually highly decorative. Those made of satinwood or mahogany were often inlaid with Neoclassical designs, although painted decoration was also popular.
Marquetry remained fashionable throughout the period.
Dressing tables were often designed like deep tables with drawers. These usually featured ingenious mechanical fittings such as dressing mirrors that rose and fell in slots.
The escutcheons and handles are made of brass.
Carved acanthus adorns the knees of the table.
ENGLISH GAMES TABLE
Made from mahogany, this games table has a rectangular top that folds back to reveal a baize-lined playing surface. The concave corners hold counters.
c.1760.
The protruding, square corners are also functional, as their concave insides hold counters.
Metal hinges hold the two top sections together.
The rear legs do not have claw-and-ball feet. as the table was not designed to be seen from all sides.
ENGLISH CARD TABLE
This mahogany, D-shaped card table has a fold-over top and baize-lined interior. It is veneered with satinwood banding, with ebony and boxwood string inlay. c.1785.
ENGLISH PEMBROKE TABLE
This small mahogany table is intricately inlaid with various woods, including harewood, a veneer from the sycamore tree that is stained to produce a brown-green colour similar to khaki. c.1780.
SCANDINAVIAN TABLES
ade of satin birchwood, each table has a demi-lune top placed at an angle on a frae above three square-section, tapered legs. The D-shape or demi lunge is often associated with card tables that were designed to be placed
against a wall when not in use. However, these tables are more likely to have been used as side tables because they are too tall to sit at. c.1790. W87cm(34%in). L&T 3
SWEDISH PIER TABLE
This table is made of painted and gilded softwood, with a faux-marble top and plinth. Gilt balls top each turned, tapered leg, below which are carved and gilded acanthus leaves and gilt supports.
FRENCH TABLE
Made of mahogany, this rectangular table has a single frieze drawer. The square, tapering legs have brass terminals and casters, which allowed the occasional table to be moved easily. c.1785.
ENGLISH FOLD-OVER TEA TABLE
This mahogany tea table is made in the French Hepplewhite style. The serpentine top has a moulded edge and rests on a serpentine frieze, which is raised on cabriole legs. The legs are carved at the top of the knees
with stylized anthemia. c.1770.
ITALIAN PIER TABLE
This imposing table has a rectangular faux-marble top. The frame is painted and decorated with applied gilt scrolls and rosettes. The circular, tapered legs are also painted. Gilding is applied to the concave sections of
the stop-fluted legs. c. 1780.
ENGLISH DRUM TABLE
This table has an inset-leather surface, four frieze drawers, one of which is fitted with an adjustable writing slope, and four dummy drawers. The table revolves on a turned central column, which is set above four inlaid sabre legs with brass lion’s paw casters. c.1800.
DUTCH OCCASIONAL TABLE
The top of this demilune-shaped piece is decorated with an inlaid urn surrounded by crossbanding. Tambour doors slide sideways to open. It stands on three square-section, tapering legs decorated with boxwood and ebony stringing. c.1790.
FRENCH DROP-LEAF DINING TABLE
This Cuban mahogany table has a rounded, rectangular top with two D-shaped leaves. It has a plain frieze and six squared, tapered legs with brass caps and casters. The legs move out to support the open leaves and
additional leaves. Signed Jean-Antoine Brunel. c.1795.
SWEDISH CARD TABLE
This demi-lune-shaped table has a frieze and squared legs. It is very similar to an English card table, apart from the two legs, which are awkwardly bunched together. One of them swings back to support the top when opened. c.1780.
ENGLISH OVAL TABLE
This is one of a pair of French-style tables decorated with marquetry and parquetry. The oval top has a central panel with an inlaid spray of flowers and ribbons and the frieze has a floral inlay. The table has capriole legs. c.1785.
ENGLISH PIER TABLE
The top of this demi-line table is inlaid with satinwood, rosewood, ebony, and boxwood. The marquetry features a fan, echoing the shape of the table. Inlaid paterae are inserted at the tops of the square, tapering legs, which terminate in spade feet. c.1790.
SWISS GAMES TABLE
This walnut and cherrywood table has a heavy, hinged, fold-over top, with rounded corners and a brown, gilt-leather inner surface. The shaped table skirt is carved and the capriole legs are carved at the knees and
tips. The rear leg swings back to support the open top. c.1780.