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.

Antique Work Table - A Regency Work Table in Mahogany - A Victorian Walnut Work Table

Work tables for use by ladies, with space for needlework materials in a well below were a later 18th century phenomenon and were made in a variety of forms. We have illustrated some typical examples and have
included a number without the silk bag but with small drawers instead. It can be mentioned that Sheraton illustrated some designs, as did Gillows. In the Regency period and after, some very elaborately decorated
designs appeared in a variety of styles; the later Victorian type of octagonal form, with tapering well, supported on a tripod base, have recentlybecome popular and are being sold in a range from 15-25 depending on the veneered surface decoration.
A Regency work table in burr walnut with side drop flaps and three drawers, on Disneyesque paw feetwithreeded scrolls. Under the lowest drawer a slide acts as a drawer frame for the pleated silk bag.
Value points: Burr walnut
A Regency mahogany work table with drop flaps and a centre drawer with work bag sliding beneath. The end supports consist of two turned columns on raised feet and a turned stretcher, in the style of the columns
connects the two.
Figured woods and inlays  Quality of turning
A Regency yew wood work table on a turned baluster stem and four carved feet ending in brass paw casters. An unusually circular piece, which, had it been in any other wood than yew, should not have been priced at
more than 50.
An early Victorian mahogany work table with folding top, two drawers and silk bag on slide. Supported on an octagonal centre column on shaped platform on turned flat bun feet.
A late Georgian mahogany work table with three shallow drawers, inlaid with boxwood stringing. Note here again the slightly ‘bamboo’ effect in the turning of the tapering legs.
Choice of figured woods and inlays Quality of leg turning
A simpler mahogany work table of the later Georgian or Regency period. The turned legs are simply executed and the mahogany is not greatly figured. The casters are original.
Figured woods and inlays … Quality of leg turning
A Regency period work table on tripod stand, in mahogany. There are two flaps, Pembroke table style, which can be supported on brackets, to give greater surface area to the top. The two drawers open at the visible
end; on the other end two mock drawer surfaces are included to give balance.
Elegance of tripod stand  Choice of figured woods and inlays
A Regency work table in mahogany with three drawers veneered in figured wood. The centre column is turned and carved with leaf pattern. The four carved legs end in paw feet on casters. Note that the drawer fronts are cross banded.
A japanned and painted work table of c.1840. It is constructed on the Pembroke table principle with two side flaps which are supported by small hinged wooded brackets. The drawers are cock-beaded.
Quality of painted decoration …
Mother of pearl inlays
A Victorian walnut work table of c.1860 date. The octagonal top lifts to give access to a compartmented interior and the tapering central column is hollow to allow for storage of wools. It is raised on carved cabriole legs. Usually the tops of such pieces are veneered with a thin sheet of decorative burr, but mahogany and rosewood examples with variations exist. Marquetry inlaid tops are also fairly common in the walnut varieties.
The lids usually made of cheap pine on to which the mahogany was veneered, often warped and, therefore, do not close properly.

Antique Mahogany Tripod Table - Tripod Tea Table - Regency Rosewood Library  Table

The principle role of tripod tables has been as wine or occasional tables for social use. As a piece of furniture a tripod table of small size is decorative and useful in this respect but easilyknocked over and liable to damage. Many of the tripod tables for sale in shops nowadays are marriages of top and base from different origins for this reason. The tripod legs, keyed into the central column, are also easily damaged and the joint split due to an excessive weight being placed on the table. A metal spider is often screwed under the base to reinforce the legs against this.
The original method of securing the top was by two parallel bearers hinged to fit on to the squared top of the stem. Sometimes a gallery or ‘bird cage’ was used and this, being regarded as a mark of quality, tends to
add to price. By placing a weight too near the edge of the table it is possible to damage the top fixingalso and many of these have had to be repaired.
To detect a ‘marriage’ examine the underside of the top for old screw holes or marks of previous bearers. Although successful unions do take place there is usually a loss of proportion and relationship between top and base. Do not be misled, in country versions, by talk of country craftsmen using one wood for the top, another for the stem and another for the legs. Although this may have happened it was not nearly so widespread as the subsequent repairers would have us think.
Value in tripod tables is dictated by the same considerations as those of other furniture; quality of craftsmanship, proportion, colour and choice of wood, polish and patination. Above all , originality is to be prized as much as structural condition.
Regency rosewood library or rent table with octagonal revolving top inset with tooled leather. The inlaid stringing lines are of brass.
Large Regency period dining table 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 20 people.
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.
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 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 17th and early 18th century walnut period and the twist turned stem represents a high degree of technical accomplishment.
A mahogany tripod of mid-18th century. 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 mahogany tripod supper-table of c. 1750. The scalloped top is decorated in the centre with leaf carving. This illustration is in fact a reproduction and the centre column turning is not perhaps of as beautiful a design as the top should be supported on.
A walnut stand of the early 18th century. The octagonal top again has the moulded edge of the period and is veneered in figured walnut. The base of the stand is now lifted off the floor by the three curved feet of square section.
A tripod mahogany tea table of c. 1760 with fluted column and scalloped edge carved with shell patterns.
A Chippendale style mahogany tripod table. The top shows the .’pie-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.
Typical 18th 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 18th century tripod table with baluster turned stem and chamfered legs.
Fruitwood tripod table 27″ in diameter. 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 fruit-wood trees.
Another tripod mahogany table of 1770-90 date with similar stem, but the legs now flattening in curve slightly. The rounded curves are modified by the chamfered edges and more pointed design.
18th century tripod mahogany table of larger dimensions - the top approx. 2ft. 9in. 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.
18th century yew wood tripod table. 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.
Early 19th century tripod table with rectangular top, 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.
A rather delicate tripod table of c. 1800. The top is octagonal and painted - in line with other furniture of the Sheraton period. Note that the legs are now in a reverse curve from previous styles.
Later 19th century version of the tripod table - 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 over-
turned with far too many bulbs and vases. Early 19th century country tripod table in mahogany. The legs are in the same reverse type of curve as the previous example, but the stem shows the rather bulbous turning
that heralds the Victorian period.

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

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

TABLES  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  writing, Carlton House and similar
A ‘Carlton House’ writing table appears in Gillows’ Cost Books for 1796, described as a ‘Ladies Drawing and Writing Table’ and is also illustrated in the Cabinet Makers Book of Prices 1788. They are, naturally, associated with the late Georgian and Regency period  Carlton House was a London residence of the Prince Regent but the square tapering legs are what we now associate with Sheraton. These writing tables are usually made in satinwood or mahogany, were made throughout the nineteenth century, and are still being reproduced today.
This mahogany table is perhaps more faithful to the restraint of the original strain. It has stringing lines as its principal decoration apart from inlaid oval panels of satinwood.
An illustration of a top dog of the breed, in satinwood with inlaid decoration of musical and armorial instruments, as well as scroll and leaf forms. The inlays perhaps betray its provenance, for it is in fact a copy of the original table.
Late 18th century
A simpler version in rosewood, decorated with brass beading and gallery. c. 1820
Edwardian, but its origins are clear  the Edwardian love of Sheraton design has become much appreciated recently, both aesthetically and materially.
Early 1900s

TABLES - occasional gateleg - Willian and Mary fruitwood small side tables - oak occasional table - French country rococo table - Regency carved wood - jacobian gate leg - walnut baroque gateleg table with drawers

First an example of a fruitwood  gateleg table. It has a main turned support at each end, showing baluster and bobbin forms, joined usually by a wide stretcher, which in this case is divided into two square sections for lightness of appearance. There is a wide sledge-shaped foot at each end for stability. The gates which open to support the flaps are flat with a fretted lower stretcher. Late 17th century Willian and Mary period.
Novelty gatelegs might be a better title for these small side tables which sometimes have slightly unusual methods of supporting the flaps, shaping of the legs, or are just good quality. Quite apart from being attractive, these little tables are very useful as they can be folded and put away when not in use. For this reason they command a good price, especially when that glorious white or black colour, which age and polishing (i.e. patination) can confer, is present.
In this oak jacobian occasional table the main columns are flat and fretted. There is a wider foot than in the previous example and again, two flatter stretchers. The flat carved wood gates with drawers are shaped to
echo the end supports.
A charming oak single flap clawfoot table, almost only a stand, in which the same constructional system is used but all uprights are turned with baluster forms. Third quarter 17th century Regency period
A really rare and charming ash ‘coaching’ antique wooden table in which the gates are on a pivot so that the whole top can be folded vertically. It was probably taken in a coach for use on picnic stops. End of 17th
century( c. 1680)
A conventional but charming walnut baroque occasional gateleg table with carefully graded bobbin turning and a small thick rectangular top. c. 1660
Small English Victorian mahogany occasional gateleg with the typical lion foot. The long square sections to the legs height. The small turned stretcher iand a claw feet are exellent in quality.

An antique British little bobbin turned fruitwood example with the additionally attractive feature of bobbin stretchers as well. The drawer with lock is a long one and is supported underneath by a central stretcher which runs the length of  the carcase. Made in Britain in the XVII century.

A simple version of an French country walnut gateleg table in ebony colour and white marble top with claw foot,  though the six claw legs are not as  good. The base is a single piece and it is generally more wormy but it makes an interesting comparison. Made in France in the 18th century and is a good example of antique Louis XVI style that you can easily identify.