Antique European Stands and Tables of the 19th Century
Antique TABLES AND STANDS About 1790-1850
Neo-classical, second phase: In late 1780s a more severe neo-classical (’Etruscan’) style emerges in France, continues after Revolution as Directoire, later becoming basis of Empire (1804-15) and Biedermeier (1815-48). Leading designers: Percier, Fontaine, Mesangere in Paris, Schinkel in Berlin. Leading makers: Jacob-Desmalter in Paris, Danhauser in Vienna.
Most important development, originating in late 1780s but coming into general use until after 1800, is large circular table on centre pedestal with platform base, used both as centre-piece and for meals, essential feature of Biedermeier living-room in Germany, Austria, Russia, Scandinavia.
Mahogany, either in sold form or veneer, fashionable in France in 1780s; becomes scarce during Empire, often replaced in Napoleonic Europe with native oak, walnut, birch. Oak hardly ever used for Biedermeier.
Although steam-driven machines gradually introduced in early 19thC, especially for sawing veneers, construction still traditional – heavy reliance on mortise-and-tenon joints, largely concealed in Biedermeier period by veneering entire surface. Large circular tables usually made with top pivoted to base, so that it can be tipped on vertical position.
Carving of monopodia supports – lions, griffins, sphinxes. Ormolu and cast brass mounts –Roman, Greek, Egyptian motifs.
Russian table, early-19thC.
New types include: small circular tables (gudridons) with marble tops, standing on cylindrical columns or monopodia supports; l`athenienne, based on tripod excavated at Pompeii, bowl serving as either jardiniere or wash-stand, side-tables on columns or mono-podia; dressing-tables on curved X-supports, with attached mirrors (usually circular).
Empire gu&idon.
French polishing after 1800. Monopodia stained black and part-gilt to create effect of antique bronze. Biedermeier tables wax polished, walnut examples never stained.
Circular tables on centre pedestals – type known in English-speaking countries as ‘loo’, from card game, ‘lanterloo’– made over very long period (about 1785- 1885) and in most countries. Prices depend on quality and size rather than age; much higher prices if capable of seating more than four in comfort.
FRAME TOP
Until about 1810, top of large circular tables does not have frame around circumference; after 1810, screwed to a frame about 3-4 inches/8-10 crns deep.
TABLES AND STANDS About 1815 to 1890
(overlapping previous period)
French kingwood and marquetry centre table, 19thC, in Louis XVI style.
Restoration of monarchy in France in 1815 provides excuse for reviving Louis XVI neoclassicism; fashions follow for neo-everything else, often mixed together in eclectic frenzy–octagonal tables with boullework tops, Gothic stands; gueridons on baroque spiral columns with rococo enamel tops. Napoleon III style (Second Empire) distinctive with tapered, fluted legs, black and gilt – but even these are derived from Louis XIV, XVI types. Each country resurrects features from its past. International exhibitions stimulate makers to vie with each other, no expense spared, but pieces imitated for middle market with as much expense spared as possible.
Leading craftsmen and/or designers:
France: Viollet-le-Duc (medievalist); Biardot (manufacturer of Renaissance, oriental).
Italy: Barbetti, Baccetti (carvers of Renaissance types).
Spain: Maeso (designer of Neo-Gothic, painted white and parcel gilt)
Great variety of woods, with preference for strongly marked grains, e.g. burr walnut, figured ebony (Coromandel wood), amboyna, kingwood, mahogany. Walnut in Scandinavia.
Bar tables with marble tops on cast-iron, cabriole-legged stands.
Industrialization gradually undermines craftsmanship. Dowels and glue, screws and bolts often substitute for mortise-and-tenon joints. In country districts, traditional types, e.g. farmhouse dining-tables, were still produced by hand.
Lavish carving, marquetry, gilt metal mounts, porcelain and enamel plaques.
Painting, japanning, French polishing.
Decorative pieces of exhibition quality now much sought after and very expensive. Simple, country-made tables – French, Austrian, Swiss, Scandinavian – not cheap but easier to live with.
The mere presence of a maker’s name stamped on a table in Louis XV/XVI style does not always indicate 18thC work. Although 19thC French makers were no longer required by law to stamp their products, some – e.g. Dasson – chose to do so, and their signed pieces are well worth having.
Table with porcelain top, legs inlaid with ivory, 1887.
ancient kitchen utensil attic fund
10 antique damask towel monogram
sheet in large monogram lin
old sheet linen embroidered monogramm
comforter cover of old flying
Tags: 1780s, circular tables, dressing tables, English, France, Mahogany, Renaissance, Scandinavia, STANDS, TABLES