TABLES
[Illustration]
THE earliest form of table in use in this country was inventoried in
1642 as a “table bord,” and the name occurs in English inventories one
hundred years earlier. The name “board” was given quite literally from
the table top, which was a board made separately from the supporting
trestles, and which, after a meal, was taken off the trestles, and both
board and trestles were put away, thus leaving the room free. These
tables were long and narrow, and had in earliest times a long bench
or form at one side only, the other side of the board being left free
for serving. In the Bolles collection is a veritable “borde” rescued
from the attic of a deserted house, where it had stood for scores of
years. The board is about twelve feet long and two feet one inch wide,
and bears the mark of many a knife. It rests upon three rude trestles,
presenting a wonderfully interesting example of the “table borde”
of the sixteenth and early seventeenth centuries, and one which is
extremely rare.
[Illustration: Illus. 232.—Chair Table, Eighteenth Century.]
It will be easily seen how the expression “the festive board”
originated. Presently it became the custom to leave the board upon
its trestles, instead of removing both, and in time the piece was
called a table, which name covered both board and trestles. Some of
the different forms of the table mentioned in inventories are framed
and joined tables, chair tables, long tables, drawing-tables, square,
oval, and round tables. The framed and joined tables refer to the
frame beneath the board. The other tables derive their names from the
shape or construction of the tops. A drawing-table was one made with
extension pieces at each end, supported when out by wooden braces, and
folding back under or over the table top when not in use.
A chair table is shown in Illustration 232. The table top is put back
in the illustration, so that the piece can be pushed against the wall
and used as a chair. Chair tables always had the drawer beneath the
seat. They are inventoried as early as 1644. This chair table belongs
to Dwight Blaney, Esq., of Boston.
[Illustration: Illus. 233.—Oak Table, 1650-1675.]
The framed or joined table had turned legs, with stretchers between,
and a drawer under the table top. Illustration 233 shows an oak table
formerly owned in the Coffin family, and now in the building of the
Newburyport Historical Society. The table is a good example of the
framed or joined table early in the seventeenth century. The legs and
stretchers are of the same style as those upon wainscot chairs, which
belong to the same period as the table.
[Illustration: Illus. 234.—Slate-top Table, 1670-1680.]
Illustration 234 shows a table with slate top, owned by the American
Antiquarian Society of Worcester. The slate top originally filled the
eight-sided space in the centre of the table, but only the middle
section is now left.
[Illustration: Illus. 235.—“Butterfly Table,” about 1700.]
Beside the piece of slate is a paper written by the late John Preston
of New Ipswich, New Hampshire, in 1847, when he gave the table to the
Antiquarian Society, detailing the history of the table from the time
it was given to his ancestor, the Rev. Nehemiah Walter, who graduated
from Harvard University in 1682. The table was used by generation
after generation of ministers and lawyers, whose ink-stains cover
the marquetry border around the top, and whose feet have worn the
stretchers. Slate-top tables are very rare, and there are but few known
to exist. The turned legs and stretchers and the drawer in the table
are features which appear in tables of the same date with wooden tops.
There is one drop handle left upon the drawer, the frame around which
has the early single moulding.
[Illustration: Illus. 236.—“Hundred-legged Table,” 1675-1700.]
Illustration 235 shows a curious little table, several of which have
been found in Connecticut, and which were probably made there.
[Illustration: Illus. 237.—“Hundred-legged Table,” 1680-1700.]
It has the turned legs, with plain stretchers, of the tables in
Illustration 233. The oval top has drop leaves which are held up by
wing-shaped braces, from which comes the modern name for this table, of
“butterfly table.”
[Illustration: Illus. 238.—Gate-legged Table, 1680-1700.]
The table in Illustration 236 is an unusually fine example of what is
now called a “hundred-legged” or “forty-legged” table, evidently from
the bewildering number of legs beneath it, which are wofully in the
way of the legs of the persons seated around it. This table is made of
oak, with twisted legs, and measures four feet by five and a half. The
supporting legs, when not in use, swing around under the middle leaf.
The table is owned by Dwight Blaney, Esq.
Illustration 237 shows a superb walnut dining-table, now in the rooms
of the Albany Historical Society. It measures six and a half feet by
six feet. It belonged to Sir William Johnson and when confiscated in
1776 from that Royalist, it was bought by Hon. John Taylor, whose
descendants loan it to the Society. These tables are also called
“gate-legged,” from the leg which swings under the leaf, like a gate.
Illustration 238 shows a very small, and very rare gate-legged table
with trestle feet upon the middle section, enabling it to stand firmly
with the leaves dropped. It belongs to Dwight M. Prouty, Esq.
[Illustration: Illus. 239.—Spindle-legged Table, 1710-1720.]
Illustration 239 shows a spindle-legged, gate-legged table, a type
exceedingly rare like all spindle-legged furniture. The slender legs
have Dutch feet. This dainty table has descended to Mrs. Edward W.
Rankin of Albany, from Katherine Livingstone, who brought it with
her when she came to Albany in 1764, as the bride of Stephen Van
Rensselaer, the Patroon. It must then have been an inherited piece.
Illustration 240 shows a forty-legged table, such as is not uncommonly
found. It measures four feet in length. The large Sheffield plate tray
on feet was made in the early part of the nineteenth century, when
trays of various sizes upon feet were fashionable. The tea-set upon the
tray is one made about 1835, and is extremely graceful in shape. The
table and silver are owned by the writer.
The little Dutch table in Illustration 241 has the next style of leg
used upon tables, which were made in all sizes, and were presumably
very popular, for such tables are often found. One leg slides around on
each side to support the leaves. This table was made about 1740, and
belongs to Francis H. Bigelow, Esq.
[Illustration: Illus. 240.—“Hundred-legged Table,” 1680-1700.]
The same Dutch leg is seen in Illustration 242 upon a dainty little
mahogany card-table, with slides at each end to hold the candlesticks.
This table belongs to Miss Tilton of Newburyport.
[Illustration: Illus. 241.—Dutch Table, 1720-1740.]
Illustration 243 shows a mahogany table with claw-and-ball feet owned
by the writer. The top measures four feet four inches across, and
its date is about 1750. The double coaster upon wheels, filled with
violets, was made to hold decanters of wine, and one can imagine these
wheels rattling down the mahogany table as the evening grew late and
the decanters empty.
[Illustration: Illus. 242.—Dutch Card-table, 1730-1740.]
As early as 1676 stands are spoken of in inventories, and during the
eighteenth century they were a common article of furniture. The tops
were square, oval, or round, and the base consisted of a pillar with
three spreading feet. Illustration 244 shows the early foot used for
these stands, about 1740. This table is owned by Miss Mary Coates of
Philadelphia, and the silver pieces upon it are heirlooms in her family.
These stands came to be known as “Dutch Tea-Tables,” and the bases
were often elaborately carved. The tops of the handsomest tables were
carved out of a thick piece of wood, so as to leave a rim, to keep the
china from sliding off. This carved rim was in different forms, the
finest being what is now called “pie-crust,” with an ogee scallop. The
plain rim is now known as the “dish-top.” Illustration 245 shows a
pie-crust table owned by Dwight Blaney, Esq.
[Illustration: Illus. 243.—Claw-and-ball-foot Table, about 1750.]
[Illustration: Illus. 244.—Dutch Stand, about 1740.]
Illustration 246 shows a dish-top table belonging to Francis H.
Bigelow, Esq. Both tables have claw-and-ball feet, and they are made,
like all of the Dutch tea-tables, with the top revolving upon the
pillar.
[Illustration: Illus. 245.—“Pie-crust Table,” 1750.]
When not in use the top could be “tipped,” and the table put back
against the wall; and when the top was to be used, it fastened down
with a snap.
[Illustration: Illus. 246.—“Dish-top Table,” 1750.]
Illustration 247 shows two of the finest type of tea-tables. They are
owned by Harry Harkness Flagler, Esq. One has the pie-crust edge, and
the other a scalloped edge. The pillars of both are reeded, and the
legs are carved. A great difference can be noted between these two
bases, in the sweep of the spreading legs, and in the claw-and-ball
feet, which are especially fine upon the pie-crust table.
The proportion of this table are unusually good, the central pillar
being slender, and the finely carved legs having a spread which gives a
very graceful and light effect.
Illustration 248 shows another fine table and chair owned by Mr.
Flagler. The chair is described upon page 183. The table has an oval
top, carved, not in a regular scallop, but in rococo scrolls. It has a
heavier pillar than the pie-crust table in the last illustration, and
the legs have a smaller spread.
[Illustration: Illus. 247.—Tea-tables. 1750-1760.]
[Illustration: Illus. 248.—Table and Easy Chair, 1760-1770.]
A tripod table with a remarkable top is shown in Illustration 249. It
belongs to J.J. Gilbert, Esq., of Baltimore. The rim is carved and
pierced like the mahogany trays of the time.
[Illustration: Illus. 249.—Tripod Table, 1760-1770.]
Illustration 250 shows a Chinese fretwork table owned by Harry
Harkness Flagler, Esq. Such tables were designed by Ince and Mayhew
and Chippendale, and were called show tables, the pierced gallery
serving to keep small curios on the table from falling off. Both of
these tables were used as tea-tables, the raised rims protecting the
tea-cups, more precious then than now.
Stands were made in different sizes, one being intended for a
“light-stand” to hold the candlestick, and the smallest for a
tea-kettle stand, to accompany the tea-table. Illustration 251 shows
three sizes of stands, all smaller than those illustrated previously,
and giving somewhat the effect of the three bears of the nursery tale.
The middle stand, which has a dish-top, has a base which is exquisitely
carved. The tiny kettle-stand is only eighteen and one-half inches
high. These three stands also belong to Mr. Flagler.
[Illustration: Illus. 250.—Chinese Fretwork Table, 1760-1770.]
Illustration 252 shows a small tea-table belonging to Mrs. C. M. Dyer
of Worcester. A star is inlaid upon the top, the edge of which has a
row of fine inlaying. The base has three fanlike carvings where the
legs join the pillar.
The exquisite Chippendale card-table shown in Illustration 253 is not
only beautiful in itself, but it frames what is a monument to the
industry of the frail young girls who embroidered the top, and to the
good housekeeping of its owners for one hundred and twenty odd years.
The colors in this embroidery are as brilliant as when new, and never
a moth has been suffered to even sniff at its stitches, which are the
smallest I have ever seen. The work is done upon very fine linen, and
each thread is covered with a stitch of embroidery, done with the
slenderest possible strands of crewel, in designs of playing-cards, and
of round and fish-shaped counters, in mother-of-pearl shades, copied
from the original pearl counters, which still lie in the little oval
pools hollowed out for them in the mahogany frame.
[Illustration: Illus. 251—Stands, 1760-1770.]
[Illustration: Illus. 252.—Tea-table, about 1770.]
The fashionable game at that date was quadrille, which was played with
these round and fish-shaped counters.
Dr. William Samuel Johnson, the first president of Columbia University,
had four daughters, all of whom died in early youth, from consumption.
This embroidery was wrought by them, one taking the task as the other
gave it up with her life. The same young girls embroidered the screen
in Illustration 328. Small wonder they died young! Far better the
golf and tennis which would occupy the daughters of a modern college
president, if he were so fortunate as to have four.
[Illustration: Illus. 253.—Chippendale Card-table, about 1765.]
The frame of this table is very beautiful, though it is cast in
the shade by the extraordinary needlework. It is after the finest
Chippendale design, and of the best workmanship. The wood is mahogany,
and the table is owned by Mrs. Johnson-Hudson of Stratford, Connecticut.
[Illustration: Illus. 254.—Chippendale Card-table, about 1765.]
A Chippendale card-table, owned by the writer, is shown in Illustration
254. The mahogany top is shaped in deep curves, with square corners
and is an inch thick to allow the depth of the pools for counters.
The lower edge of the table is gadrooned, and the two front legs are
finely carved. The two back legs, which are stationary, are carved on
the front side only, while the fifth leg, which swings under the leaf
to hold it up, is plain, with simply the claw-and-ball foot.
[Illustration: Illus. 255.—Chippendale Card-table, about 1765.]
Illustration 255 shows another Chippendale table with a baize-covered
top. It has the pools for counters, and the corners of the top are
shaped in square pieces to stand the candlesticks upon.
[Illustration: Illus. 256.—Pembroke Table, 1760-1770.]
The knees of the cabriole legs are finely carved, and the edge of the
front is finished with gadrooning. It will be noticed that there is
a leg at each corner with the table open; in closing, two legs turn
in accordion fashion, and a leg is still at each corner of the closed
table, with the top half the size. This card-table is owned by Harry
Harkness Flagler, Esq., of Millbrook, N. Y.
[Illustration: Illus. 257.—Pembroke Table, 1780-1790.]
[Illustration: Illus. 258.—Lacquer Tea-tables, Eighteenth Century.]
A style of table popular during the eighteenth century was called a
Pembroke table, according to Sheraton, from the name of the lady who
first ordered one, and who probably gave the idea to the workman.
Illustration 256 shows a Pembroke table in the Chippendale style, with
rather unusual stretchers between the legs. The characteristic which
gives a table the name of Pembroke consists in the drop leaves, which
are held up, when the table is open, by brackets which turn under the
top. The shape of the top varies, being square, round, oval, or with
leaves shaped like the table in the illustration. They are always
small, and were designed for breakfast tables. This table belongs to
the Concord Antiquarian Society.
A beautiful Pembroke table owned by the Metropolitan Museum of Art is
shown in Illustration 257. It is made of mahogany entirely veneered
with curly sycamore, with a band of tulip wood around the top and
leaves, which are exquisitely inlaid in a circular design, and upon the
legs are lines of holly with an oval inlay at the top.
Illustration 258 shows a set or “nest” of Chinese tea tables owned by
Dwight M. Prouty, Esq. They and the tea caddy case are lacquered in
black with Chinese scenes in gold. These sets of tables were brought by
ships in the Chinese trade, and were fashionable among the tea drinkers
of early times.
From about 1786 the designs of Shearer, Hepplewhite, and Sheraton
entirely superseded the fashions of the fifty years preceding, and the
slender tapering leg took the place of the cabriole leg. Illustration
259 shows a Hepplewhite card-table, of about 1789, with inlaid legs,
one of which swings around to support half of the top, which is
circular when open.
[Illustration: Illus. 259.—Hepplewhite Card-table with Tea-tray,
1785-1790.]
Upon this table is a mahogany tea tray with handles at each side and
a raised rim with a scalloped edge to keep the cups and saucers from
slipping off. Oval trays of this style are not uncommon, of mahogany
with inlaying, but this tray is shaped to fit the table top. This table
and tray are owned by the Concord Antiquarian Society. The china upon
the tray is Lowestoft, so called.
Illustration 260 shows two typical Hepplewhite card-tables owned by the
writer. They are of mahogany, the square, tapering legs being inlaid
with a fine line of holly. The front of one table has an oval inlay of
lighter mahogany, and small oval pieces above each leg.
[Illustration: Illus. 260.—Hepplewhite Card-tables, 1785-1795.]
The edge of this table is inlaid with lines of holly. The front of the
other table is veneered with curly maple, and has a panel in the centre
inlaid with an urn in colored woods.
[Illustration: Illus. 261.—Sheraton Card-table, 1800.]
There is a row of fine inlaying in holly and ebony upon the edge of the
top. This table was rescued by the writer from an ignominious existence
in a kitchen, where it was covered with oilcloth and used for kitchen
purposes. The leaf of each of these tables is supported by one of the
legs, which swings around.
[Illustration: Illus. 262.—Sheraton Card-table, 1800-1810.]
[Illustration: Illus. 263.—Sheraton “What-not,” 1800-1810.]
Illustration 261 shows a Sheraton card-table of the best style, with
reeded legs and the front veneered in satinwood. It is owned by Irving
Bigelow, Esq., of Worcester.
The Sheraton card-table in Illustration 262 is of a few years later
date than the one in Illustration 261, with slightly heavier legs,
reeded and carved. The curves of the front of the table are extremely
graceful. It belongs to Dwight Blaney, Esq.
Illustration 263 shows a Sheraton stand, called a “what-not,” made of
mahogany, with reeded legs. The posts above the legs are veneered in
bird’s-eye maple, and the two drawers are veneered in satinwood. The
handles are of bone or ivory. The effect of this little stand is most
airy and light. It belongs to Mr. Blaney.
Illustration 264 shows a mahogany dining-table and one of eight chairs
which came from the John Hancock house in Boston.
[Illustration: Illus. 264.—Sheraton Dining-table and Chair, about
1810.]
They are now owned by Clinton M. Dyer, Esq., of Worcester. They were
made probably about 1810. The legs of the table end in the Adam foot.
[Illustration: Illus. 265.—Sheraton Work-table, about 1800.]
The table which has both leaves dropped shows the position of the
legs when the table is not in use; each leg swings around to support
the leaves when in use. The table with slightly rounded corners can
be taken apart, and the extra table put between the two sections,
the leaves being fastened together by a curious brass spring. Each
leaf measures five and one-half feet in length. The drop leaves are
twenty-six inches wide, and the table, when all the top is spread out,
measures five and a half by twelve feet.
The chair is made after the style of the late Sheraton chairs, with
carved drapery upon the back.
[Illustration: Illus. 266.—Sheraton Work-table 1810-1815.]
Illustration 265 shows a circular work-table of very graceful design.
The wood is mahogany, and the little feet are of bronze. There are
three drawers, the two upper ones opening with a spring and revolving
upon a pivot. In these little drawers may still be seen the beads
remaining from the time, about 1800, when it was fashionable for young
ladies to make bead bags. The table top has an opening in the centre,
which originally had a wooden cover, and the space below the top was
utilized to hold the work. At the back of the top are two short turned
posts supporting a little shelf, to hold a candlestick, or to have
fastened upon its edge the silver bird which was used by needlewomen of
those days to hold one end of the work. This little table is owned by
the Misses Hosmer of Concord.
[Illustration: Illus. 267.—Maple and Mahogany Work-tables, 1810-1820.]
Illustration 266 shows a Sheraton work-table, owned by Mrs. Samuel B.
Woodward of Worcester. The carving at the top of the reeded legs is
very fine, and the little table is quite dainty enough to serve the
purpose for which it was bought,—a wedding gift to a bride.
[Illustration: Illus. 268.—Work-table, 1810.]
The brass fixtures for the casters are unusually good, but the handles
are not original. The top drawer contains a sort of writing desk,
besides compartments for sewing materials, and at the side of the table
a slide pulls out, which had originally a silk bag attached, to hang
below the table.
[Illustration: Illus. 269.—Work-table, 1810.]
Illustration 267 shows two work-tables of mahogany and bird’s-eye maple
belonging to Francis H. Bigelow, Esq. Similar tables were common about
1810-1820.
Illustrations 268 and 269 show two work-tables owned by Dwight M.
Prouty, Esq. The legs and frame of the upper table are of mahogany, the
box being made of pine and covered with pleated silk. The lower table
is more elegant in shape, with a slide, the front of which simulates a
drawer, and to this is attached the work bag or box, in this table made
of wood, silk-covered, but sometimes made of silk alone.
Illustration 270 shows a Hepplewhite dining table, the drop leaf
serving to increase the length of the table, when raised and held up by
the extra leg, which swings under it. Up to 1800 the dining-table had
been made in various styles, in all of which the table legs were more
or less in the way of those around the table. In the “hundred-legged”
table there seemed to be a table leg for each person. Then came
the cabriole leg, also in the way, and finally the Hepplewhite
dining-table, which was made in sections, with rounded ends, and four
legs on each end.
[Illustration: Illus. 270.—Hepplewhite Dining-table, 1790.]
About 1800 the pillar-and-claw table was invented, which made it
possible for several persons to sit around a dining-table without a
part of the guests encircling the table legs with their own. These
tables were made in pairs or in threes, one after another being added
as more room was required.
[Illustration: Illus. 271.—Pillar-and-claw Dining-table, 1800.]
Illustration 271 shows a pillar-and-claw extension dining-table, of
mahogany, owned by L. J. Shapiro, Esq. of Norfolk, Virginia. The
telescope extension (the same method in use at present) was invented by
Richard Gillow, of London, about 1800. The end tables pull apart upon a
slide, and extra leaves may be inserted between the ends, held in place
by wooden pins.
The pillar and claw design was most popular and was used for
centre tables, bases of piano stools, and even for piano legs (see
Illustration 292). A pillar-and-claw mahogany centre table with drop
leaves is shown in Illustration 272. The feet are lion’s claws, and
from this date the lion’s or bear’s claw foot was used for furniture
with carved feet, instead of the bird’s claw-and-ball which had been so
largely used during the previous century.
[Illustration: Illus. 272.—Pillar-and-claw Dining-table, about 1800.]
A splendid dining-table of mahogany is shown in Illustration 273. It is
in three sections, each with a base. The legs have a bold spread, and
are simply carved in grooves, ending in lion’s claws. This fine table
is owned by Barton Myers, Esq., of Norfolk, Virginia.
Illustration 274 shows a mahogany dining-table now in the Worcester
Art Museum, inherited from the late Stephen Salisbury, Esq.
[Illustration: Illus. 273.—Extension Dining-table, 1810.]
[Illustration: Illus. 274.—Accordion Extension Table, 1820.]
The method of extension is after that of an accordion, and necessitates
an astonishing number of legs when not extended, ten in all.
[Illustration: Illus. 275.—Card-table, 1805-1810.]
When the leaves are all in use the table is fourteen feet long, and
stands very firmly, the leaves being held together by a brass clamp,
seen in the illustration.
[Illustration: Illus. 276.—Phyfe Card-table, 1810-1820.]
A very fine card table owned by Mrs. Clarence R. Hyde of Brooklyn is
shown in Illustration 275. It is made of mahogany, with a band of
satinwood around the box top. When open, the whole top revolves upon a
pivot. The legs are slender and well carved, with lion’s feet.
One of the finest of American cabinet-makers was Duncan Phyfe, whose
address in the New York directory of 1802 is 35 Partition Street (now
Fulton Street). He pursued his business until 1850, employing one
hundred workmen. Much of his furniture still exists, notably chairs
with lyre backs.
A Phyfe card-table owned by Miss H. P. F. Burnside of Worcester is
shown in Illustration 276. The strings of the lyre are of brass, like
the lion’s feet in which the legs end.
[Illustration: Illus. 277.—Phyfe Card-table, 1810-1820.]
A specialty of Phyfe’s was a card-table, one of which is shown in
Illustration 277. In the illustration the table apparently lacks a
fourth leg, as it stands against the wall. But when the top is open,
by an interesting mechanism the three legs spread and a brace comes
out to support the other half of the top, so that it forms a perfectly
proportioned table.
Mr. Hagen of New York has an old bill, dated 1816, for two of these
tables at sixty dollars apiece. The table in the illustration is owned
by Dwight Blaney, Esq.
[Illustration: Illus. 278.—Phyfe Sofa Table, 1810.]
A Phyfe sofa table is shown in Illustration 278, from the Metropolitan
Museum of Art. It is very narrow, and was designed, as the name
implies, to stand beside a sofa, to hold books, papers, or other
articles.
[Illustration: Illus. 279.—Pier-table, 1820-1830.]
[Illustration: Illus. 280.—Work-table, 1810-1820.]
The legs end in small lion’s feet and are carved, like the posts, with
the typical Phyfe leaf. This leaf, so much used by Phyfe, is seen, like
the lyre, upon Adam pieces, and apparently the Scotchman, Duncan Phyfe,
took the Scotchman, Robert Adam, for his model. The fashion of heavy
furniture elaborately carved was more popular in the South than in the
North, and the most ornate pieces are found in the South, of later
date than the rich carving done in Philadelphia, upon pie-crust tables
and high-boys. Heavy posts carved with the acanthus and pineapple and
other Empire features found favor.
It is probable that during the first quarter of the nineteenth century
the wealthy Southern planters refurnished their homes in the prevailing
Empire style. The pier-table in Illustration 279 is one of a pair found
in Virginia, which were made about 1830. The chief motif in the design
seems to be dolphins’ heads, which form the feet, and the base of the
front supports to the top.
Illustration 280 shows a small work-table of curious shape, with the
octagon-shaped interior divided into little boxes for sewing-materials.
The middle compartment extends down into the eight-sided pillar. The
work-boxes are covered by the top of the table, which lifts upon
hinges. This table belongs to Mrs. E. A. Morse of Worcester.