19th Century Irish Country Squire's Oak Telescopic Dining Table

Presenting a gorgeous 19th century Irish country squires mahogany Hunt table. This table was made in the late 19th century circa 1880, and is made of solid mahogany and sits on 8 legs with padded hoof feet. 2 drop leafs on either side supported by swinging gate legs on either side when upwards. Beautiful interlocking detail to the side leafs and central section. Oval in shape …. it would comfortably seat 8 people. Made in Ireland. This is a ‘Hunt’ table and not to be confused with an Irish ‘Wake’ table. Whilst ‘Hunt Tables’ and ‘Wake Tables’ are similar in shape and design their original purposes could not be more different. Wake Tables were made and used by indigenous Irish people for 2 purposes: (1) As a full functional dining table and (2) the central section had to be of sufficient width and length to support a coffin for the purpose of ‘waking’ the deceased in their home. Wake Tables were almost always made of oak, as this was the most common wood found in Ireland and therefore available to the ordinary (and poor) Irish Folk. Sometimes they might also be made of elm or sycamore. Hunt Tables. however, we not made for the purposes of holding a coffin or ‘waking’ the dead. They were made for the ruling classes, nobility or gentry for the sole purpose of use on the day of the ‘hunt’. This would be the fox hunting season of Fall and Winter, where the participants in the ‘hunt’ would gather at the local manor house early in the morning and the snacks and refreshments would be displayed for eating and drinking on the ‘hunt’ table. Hunt Tables are almost always made of mahogany which was an expensive and exotic hardwood imported from Cuba and the West Indies. When not in use they would be put up against a wall with the leafs down and items would be displayed on top. This table is obviously a ‘hunt’ table because: (1) It is made of mahogany (2) the central section is not wide enough to safely hold at coffin at rest. We are of the firm opinion that this is in fact an Irish-made Hunt Table due top the legs and padded hoof feet which more closely resemble the feet one would find on an Irish Wake Table...

PRESENTING an EXTREMELY UNIQUE and RARE 19C British Tunbridgeware Hair Pin/Bobbin or Slide. This slide is unlike any of it’s kind we have seen before, it is a VERY RARE survivor. From circa 1860 – 80 and made in Tunbridge Wells, England. Made of walnut with gorgeous marquetry inlay on the entirety of the front with classic Tunbridgeware micro-mosaic all over the front. The rear is walnut. The marquetry inlay appears to be various different woods, namely, maple, walnut and satinwood. Would have been worn in a Lady’s hair bun with the micro-mosaic facing forward. This would have belonged to a VERY ELEGANT LADY in the mid to late 19th Century. Tunbridge ware is a form of decoratively inlaid woodwork, typically in the form of boxes, that is characteristic of Tonbridge and the spa town of Royal Tunbridge Wells in Kent in the 18th and 19th centuries. The decoration typically consists of a mosaic of many very small pieces of different coloured woods that form a pictorial vignette. Shaped rods and slivers of wood were first carefully glued together, then cut into many thin slices of identical pictorial veneer with a fine saw. Elaborately striped and feathered bandings for framing were pre-formed in a similar fashion. There is a collection of Tunbridge ware in the Tunbridge Wells Museum and Art Gallery in Tunbridge Wells. The famous makers of Tunbridge ware were in the Tunbridge Wells area of Kent; their most notable work was from circa 1830-1900. Early makers of Tunbridge ware, in Tunbridge Wells in the mid-18th century, were the Burrows family, and Fenner and Co. In the 19th century, around 1830, James Burrows invented a technique of creating mosaics from wooden tesserae. Henry Hollamby, apprenticed to the Burrows family, set up on his own in 1842 and became an important manufacturer of Tunbridge ware, employing about 40 people. Edmund Nye (1797–1863) and his father took over the Fenner company when William Fenner retired in 1840, after 30 years in partnership with him. Thomas Barton (1819–1903), previously apprenticed at the Wise factory, joined the Nyes in 1836, and worked as Nye’s designer; he took over the business in 1863 and continued there until his death. In Tonbridge (near to Tunbridge Wells), George Wise (1703–1779) is known to have had a business in 1746. It continued with his son Thomas, and Thomas’s nephew George (1779–1869), who took over in 1806. In its early years the company made articles such as workboxes and tea caddies with prints of popular views; later items had pictures created from mosaics. Their workshop in Tonbridge, Wise’s Tunbridge Ware Manufactory, was next to the Big Bridge over the Medway; the building was demolished in 1886 to widen the approach to the bridge. Tunbridge ware became popular with visitors to the spa town of Tunbridge Wells, who bought them as souvenirs and gifts. Articles included cribbage boards, paperweights, writing slopes, snuffboxes and glove boxes. At the Great Exhibition of 1851, Tunbridge ware by Edmund Nye, Robert Russell and Henry Hollamby was shown; Edmund Nye received a commendation from the judges for his work. He exhibited a table depicting a mosaic of a ship at sea; 110,800 tesserae were used in making the picture. The manufacturers of Tunbridge ware were cottage industries, and they were no more than nine in Tunbridge Wells and one in Tonbridge. The number declined in the 1880s; competent craftsmen were hard to find, and public tastes changed. After the death of Thomas Barton in 1903 the only surviving firm was Boyce, Brown and Kemp, which closed in 1927. Marquetry was an old technique which was continued by Nye and Barton to create images such as birds or butterflies. ‘Green Oak’ as caused by the fungus Chlorociboria aeruginascens. Stickware and half-square mosaic was invented by James Burrows in about 1830: a bunch of wooden sticks of different colours, each having triangular or diamond-shaped cross section, were tightly glued together; in the case of stickware, the resulting block was dried, then turned to form an article such as the base of a pincushion. For half-square mosaic, thin slices were taken from the composite block, and applied to a surface. Tesselated mosaic, was a development by James Burrows of half-square mosaic; it was adopted by George Wise and Edmund Nye. Minute tesserae were used to form a wide variety of geometric and pictorial designs. Many sorts of wood were used for the various colours; about 40 were in regular use. Only natural colors were used; green was provided by “green oak”, produced by the action of fungus on fallen oak. Designs for articles were often taken from designs of Berlin wool work.

Rustic 19th century country French provincial farmhouse dining table crafted from solid oak timbers. The table features a massive slab top measuring nearly 3 inches thick. The top is...

Charming 19th century country French provincial farmhouse dining table crafted from fruitwood. The table features a framed plank top supported by a trestle base. The fruitwood has a ...