Games tables

games and cards table 18th century — Table from around 1750 has a backgammon board under a chess/checkers/draughts board, and nine men's morris at the other end. Probably German. Photo by Thomas Quine

This table is a fine example of the 18th century fashion for specialised furniture designed to suit particular interests and hobbies. It’s beautifully crafted by a skilled cabinet-maker for a client with plenty of money. Look at the inlay work in the games boards, the edgings, the pairs of dice – and all over. Set in the walnut surface are maple, plum, mahogany and other woods, expertly cut and fitted together.

The later 1700s saw more and more furniture created exclusively for people’s leisure activities. Clever metamorphic step-chairs for private libraries, and card tables for the drawing-room are two examples I’ve already written about. Ladies’ (needle)work tables were surprisingly often combined with chess boards, and are sometimes as elaborate and decorative as the games table shown here. Stylish, ingenious pieces of furniture suited the mood of the times.

Georgian games table — Mahogany games table with inlaid chess board. View from side and above showing sliding, reversible top and backgammon layout beneath. English, c1795

Games boards can be seen occasionally on earlier furniture, like the amazing 16th century “Eglantine” table covered with fine marquetry at Hardwick Hall, England. (Detail pictured below.) But the 18th century brought something new. The table to the right is not as fine as the one in the main picture, but it is probably more typical:

The top is inlaid as a chessboard on the under side, and is made to slide in grooves and to be reversible when required. The top when removed discloses two compartments fitted for backgammon. This game is one of considerable antiquity in England, and was generally referred to as “the tables”. Although now relegated to country vicarages and the homes of the smaller squirearchy, it was a fashionable amusement during the eighteenth century, and one at which considerable sums were won and lost by the “bucks” of the Georgian period and the days of the Regency.
Herbert Cecsinsky, English Furniture of the Eighteenth Century, 1909

Porcelain, and more table details

The bigger porcelain box on the table at the top of the page is for game tokens or counters, and was made by Meissen, probably between 1750 and 1780. The little green one is a Meissen snuff box made c1745. Inside the lid (sorry, not visible) is a scene of people playing tric-trac, a kind of backgammon. The glass beakers with playing card decoration are the oldest things in sight; they come from early 1700s Saxony.

16th century table — Chess and backgammon boards inlaid in 16th century Hardwick Hall table. Photo by Damian Entwistle

The German table, in the Deutsches Historisches Museum, is approx. 35 by 29 inches, and 29 inches high. The English Georgian table is 28 and a half inches high. The top is only 20 by 22 inches when the side flaps are down. When up, they rest on hinged supports, and make the table’s full length 39 inches.

Photos

Photographers credited in captions. Links to originals here: Games table, Hardwick Hall table. More picture info here

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Card tables and a social life

antique American card table — American mahogany card table with gold touches. Hinged top opens out to about 36in. square. c1828. Photo by Jenny O'Donnell

Many finely-crafted card tables were made in the 1700s and 1800s. The social lives of prosperous families in America, Britain, and other parts of Europe depended on having a card table, or two, for friends to play at in the evening.

Before 1700, card-playing was popular with very rich people, and less so with people who were moderately wealthy. It stayed fashionable with the aristocracy in 18th century Europe. Wealthy gamblers sometimes lost huge sums of money in gaming houses or private mansions where a ‘banker’ oversaw games of chance like faro or basset.

During the 1700s and 1800s more people came to have more leisure time, and they furnished their homes to reflect this. Comfortably-off hosts in middle-sized houses organised card tables for their evening guests. People still played for money but the games, like whist or piquet, involved more skill and less betting. The players might enjoy conversation more than cards once a nice little group was gathered round the table. This often provides a useful scenario for dialogue in novels. Young women confide secrets over cards in Jane Austen’s Sense and Sensibility, and older ladies whisper animatedly at Cranford card tables described by Elizabeth Gaskell.

17th century card table — Playing cards c1637. By Dutch painter Jan Olis

Before it became fashionable to have special furniture crafted by cabinet-makers, cards were often played at tables covered in a floor-length cloth, as you can see in various paintings of elegant 17th century players. Artists also show poorer card players, usually men, gathered round a stool or barrel when they had time for card playing.

Decorative or simple?

Early 19th century Empire or Regency tables, and later Federal Era tables in the USA, generally had fold-over tops concealing a playing surface, which might be covered in green baize. Carved pedestal bases had legs that could swing out to support the square opened top. Mahogany was a popular choice, but walnut, maple, rosewood or satinwood were also used.

pair neo-classical card tables — Card tables made in New York by Frenchman Lannuier c1817. Photo by Peter Roan

Ornamentation varied. Later card tables tended to have more elaborate flourishes than the relatively restrained pre-1800 designs. A semi-circular or demi-lune Georgian flip-top table might have simple tapered legs. Inlaid surface patterns were likely to be discreet geometric designs. Whether the top folded into a rectangle or semi-circle, a typical card table was about 30 inches high and 36 inches across: a good size for four people to chat as well as play. Some tables were made with recessed holders for coins or tokens. (See big picture below.)

In Victorian times social card playing was by no means only for the grandest section of society. A card table was almost essential for households aspiring to a middle-class way of life. An 1856 book* advising British people how to set up house on annual budgets of £100 upward assumed there would be a card table in the drawing room, even if it was only mahogany veneer on a softwood frame, with a simple round or square top.

By this time a particular style of simple oval or round table was known as a ‘loo table’. Loo, or lanterloo, was a popular game in the Victorian era, though its origins are older. Sometimes these tables had a tilting top (not folding in half), perhaps with inlaid veneer decoration, and so they could be kept upright by a wall.

18th century American card table — Card table, top open, Queen Anne legs, in the Robert Hooper House, built in Massachusetts c1754. Photo by Jonathan Dresner

There were always a few people who kept away from card playing for religious or moral reasons – but not always the ones you would expect. In George Eliot’s Middlemarch there’s a clergyman who plays cards well enough to pad out his modest income with regular winnings, though he attracts disapproval from some of his neighbours.

*JH Walsh, A Manual of Domestic Economy: suited to families spending from £100 to £1000, London 1856

More on American card tables influenced by cabinet-makers like Sheraton in Philadelphia Empire Furniture by Allison Boor

Photos

Photographers credited in captions. Links to originals here: first mahogany table, Hooper table, pair of tables. More picture info here

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Using a dough box or kneading trough

Dough box or bin — Classic dough box sloping sides, and legs that have been turned on a lathe. Photo by Nicholas Ford

If you’ve ever made bread, how much flour did your recipe call for? One pound? One kilo? Just enough for one or two tasty loaves? You need to get into a different mindset to understand a dough box. (Also called dough bin, dough trough, kneading trough or tray, with or without a lid and/or legs.)

Baking used to be an important weekly task in many households. Bread was a staple food in Europe and North America. People depended on having plenty of it: not just medieval peasants with scant resources, but 19th century middle-class families too. These might be big families, active, with farmhands or servants to feed as well.

A family of ten needed “three pecks” of flour for a week’s bread, according to Eliza Acton‘s advice around 1850. Three pecks is roughly 27 litres or 7 US gallons, so we’re thinking big sacks of flour for many households. The flour was tipped into a dough box or trough to start bread-making. It held the flour more tidily than a bowl. If the trough was on legs it didn’t need to sit on a table, and could be moved to a part of the room where the temperature was right.

Warmth

Kneading trough — Danish woman c1929 kneading dough in a wooden trough.

The flour had to be warmed in winter if it had come in from a cold barn or cellar, and a dough box was a good place for that. Once the yeast was added the mixture had to stay quite warm for the dough to rise into a nice “sponge”, which would make light bread. You could knead the dough thoroughly in a box-shaped trough without spilling much flour.

The box’s position (near the fire?) was important. The lid was good for keeping in the warmth, and it protected the dough from mice, ash, or other horrors: especially useful if the dough was left to rise a long time. Overnight was not unusual. Slow rising generally improved flavour and texture, and did not require temperatures near to blood heat.

The lid offered a surface for shaping the risen dough into loaves and then leaving them to rise again after being handled. Some lids had tray sides to make carrying the bread to the oven simpler. A kneading trough with no lid was covered with a cloth. A lidded box could be used for storing bread.

Why not bake every day or two?

There are many other jobs to do.
Getting an old brick or stone oven hot enough to bake bread took time, a couple of hours or more. You used valuable fuel, and had to rake hot ashes out before putting the loaves in with a peel.
In New England and Europe some people used a shared bakehouse, and had their turn once a week.

To make Bread … Put half a bushel of good flour into a trough, or kneading tub; mix with it between four and five quarts of warm water, and a pint and a half of good yeast, put it into the flour, and stir it well with your hands till it becomes tough. Let it rise about an hour and twenty minutes, or less if it rises fast; then, before it falls, add four quarts more of warm water, and half a pound of salt; work it well, and cover it with a cloth. Put the fire then into the oven; and by the time it is warm enough, the dough will be ready. Make the loaves about five pounds each; sweep out the oven very clean and quick, and put in the bread: shut it up close, and two hours and a half will bake it.
The Domestic Encyclopedia, Willich & Cooper, Philadelphia, 1821

In Making Authentic Pennsylvania Dutch Furniture John Shea says:

In practically all the colonies, dough tables and bins were essential items of kitchen equipment. Without them, how could the colonists’ “daily bread” have been produced? Usually, these items were made of pine, poplar or similar softwoods. Some of the most handsome models were made of walnut.
One interesting point about the design and construction of Pennsylvania dough tables and bins is that you rarely see two of them that were designed exactly the same.

He says a typical dough box from that part of the world has curved handles spanning the lid. Slanting sides are the norm, and the box shape doesn’t vary much, but if the box has legs their designs can be quite different. A photograph of an exceptional 18th century box shows fine painted floral decoration, with a German folk art look.

Kneading dough in troughs — Swedish dough trough in a kitchen 1889 (detail from Andreas Zorn painting). 15th century German baker. 2500-year old terracotta woman (Greek?) from Munich Museum of Antiquities.

And…

Some French dough bins have ornate carving and are polished on the outside.
Some Eastern European “kneading troughs” were bucket-shaped and used with a paddle.
No soap was used for cleaning a dough box for fear of tainting the flavour.

Thank you, and photo credit

Thank you to Rebecca who asked a question here that got me to write this piece.

I always link to any photographer who’s licensed their work for reuse, and thanks go to Nicholas Ford for his great image of a dough box. (I wish I knew its date – antique or repro.) Other pictures are from Wikimedia: Danish woman, Swedish girl, German baker, terracotta woman (photo by Matthias Kabel).
More picture info here
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Early American candlestands: light at the right height

Threaded candle stand screw type — Threaded screw candlestand allowed someone working at the desk to raise candles that had burned down. The drawer is a nice base for stability as well as storage. In the parsonage at Mission Mill in Salem, Oregon, photographed by Glen Bedsoe

When you’re working by candlelight you want as much light on your sewing or reading as possible, but you don’t want to waste candlewax or tallow. It helps if you can raise or lower the light to suit the task, or to allow for the candle getting shorter.

Candlestands colonial screw tripod table type — Early 20th C candlestands inspired by early American designs. On the left, a model for a recreated early American room (photo Knoxville Museum of Art). On the right, a woodworking design for a so-called Puritan candle stand, a "copy of a genuine antique", to be made of maple with brass tubing to hold the candles.

Colonial Americans and their descendants left behind them a kind of threaded candlestand with a special charm. It’s thought of as a distinctively American design: twin candle holders on a wooden bar which moves up or down on a central stem. Floor-standing candlestands like this, with a small tabletop, are desirable antiques, while 20th and 21st century craftspeople have gone on making both full-height and “desktop” versions. For a classic example in maple wood look at this 18th century one in the Metropolitan Museum of Art.

Grandmother’s front room had bow-backed chairs with flag seats, and tables supported by curiously-carved and twisted legs, a candle stand that screwed up and down like a piano stool, a handsome mirror, and the buffet was resplendent in its appointments.
Memories of a Massachusetts room c1800 in Reminiscences of a Nonagenarian by Sarah Emery, 1879

shoemaker candle stand — Candle stand in shoemaker's workshop at Colonial Williamsburg (a living history exhibit). Photo by Jeff Kubina.

What are they called?

Now for the name problem. Is there a name that summons up an image of a tripod-legged table with a pair of candle holders on an arm that screws up and down? Or even a name for the top part with or without legs? Here are some that I’ve seen used:

Candlestand or Candle Stand – the name used by the Met, but they use it for plain tables too. Light, portable tables, aka candlestands, were made in quantity in the 1800s as bedside or parlor tables suitable for holding a candlestick. Candlestand can also mean a very ornamental tall stand.

Shoemaker’s or Cobbler’s Candlestand – Adjusting the level of the candle was certainly important for shoe makers and other craftspeople, but they didn’t stick just to the threaded twin-candle type. The photo left shows a very simple candle holder with some scope for height adjustment, while the shoemaker’s shop at Williamsburg also has a more elaborate kind with the “light-focusing” globes associated with lacemaking.

Shaker Candlestand – Is it right to call screw-threaded candle holders “Shaker”? They weren’t just made by Shakers, and the Shakers themselves also made tables with a single hole and shaft for a candle holder, as well as plain small tables to place a candlestick on.

In the evening, after the dishes were washed and cleared off the table and the table set back, the candle stand would be moved out from its proper corner and the whole family gathered around it; some of the men reading a newspaper or a book or the women sewing or knitting, or spinning flax or tow. If there was not room around the stand for all, one or more would hang a candle on the back of a chair.
Memories of a Virginia farm in the 1820s by John Janney

Adjustable candle stand 18th century — A different way of adjusting candle height and position with this holder from Upper Saddle River, NJ, believed to date from c1735. (Bergen County Historical Society report 1920)

English candlestands

What ancestors or relatives did these candlestands have in Europe? I turned to Pinto’s Treen and other wooden bygones for clues. He describes a variety of adjustable one- or two-candle holders and stands: to go on the floor, on a table, or hanging on a wall. The type that sounds most like the taller early American kind discussed here is an 18th century “threaded wood stem or pillar, on which were mounted one or two threaded candle brackets, adjustable in height by turning them on the stem”. “Ratchet adjustment” or “friction rise and fall” were alternative mechanisms. He shows an early single candle friction type, floor-standing with a small square tabletop incorporated in the design. There’s also a short 18th century boxwood candle holder with threaded shaft holding an arm with a candle at each end.

As mentioned above, there’s some similarity with lacemakers’ candlestands, which Pinto says were used not only for lace but for other “close work” too. Usually, in England at least, these were “crude”, “three-legged” like milking stools, with holes for the “flashes” or water-filled globes and for a single “spring controlled rise and fall candle holder”.

Photos

Photographers credited in captions. Links to originals here: main picture, scale model candle stand, Williamsburg candle stand. More picture info here
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Rocking cradles – wood or wicker

Wooden cradle 1600s — Oak hooded cradle, English, 1683, carved initials, alongside 16th and 17th century oak furniture. Photo by HomeThingsPast

Cradle designs have changed, but are parents’ concerns any different? 200 years ago people were writing about the well-known dilemma: how much can I let my baby sleep in the day without stopping it from sleeping well at night?

It only remains…to say something of the cradle…I believe there is no doubt but the custom of laying children down awake, and rocking them in a cradle in the day time, or…in the evening when they are to go into their night’s sleep, as it is called, may [make] them sometimes more wakeful in the night… From: A Treatise on the … Management of Infants, 1784*

wicker rocking cradle with hood — Wicker cradle on oak rockers used by first baby born to settlers in America, probably. Dutch origins, c1620?*. Photo by Sarah Houghton

Two of the cradles pictured on this page are 300-400 years old, but they look much the same as cradles from only 100 years ago. For centuries, babies in Western Europe and North America were put into small baskets or boxes raised slightly off the floor, on rockers, with or without a hood. Rocking cradles like these have gone out of fashion, and we have different customs now.

Rockers, hoods, drapes, handles, straps

Babies could be strapped in, either with strips of cloth tied right round the whole thing, threaded through holes, or attached to wooden knobs or basketry handles. The child was protected from draughts and damp floors, especially in a hooded cradle. Wicker cradles often had fabric drapes over the hood for extra warmth and daytime darkness.

Child rocking baby in wicker cradle — Hand- rocking in: A Little Girl Rocking a Cradle, c1655, Nicholas Maes (detail)

A small cradle can be rocked by an older sibling or a busy adult with a foot to spare for rocking while her hands are busy with other tasks. It can be lifted to another place using handles or convenient bits of wood-carving. Overall, the baby was fairly safe but questions remain. Was it left alone? What about mice in a world without chemical pest control? Would a busy carer tie the baby in and neglect it?

I had made it an invariable rule always to dress and undress my infant, never suffered it to be placed in a cradle, nor to be fed out of my presence. A basket of an oblong shape with four handles (with a pillow and a small bolster) was her bed by day: at night she slept with me. I had too often heard of the neglect which servants show to young children, and I resolved never to expose an infant of mine either to their ignorance or inattention. From: Mrs. Robinson’s Memoirs, looking back at the 1770s*

Wooden rocking cradle — Simple wooden cradle from the Scottish Western Isles. Holes for cord ties. Photo by HomeThingsPast

Materials and styles varied regionally, though the basics stayed the same. Planks of wood from big trees were available inmuch of Britain and Scandinavia. Numerous paintings of Dutch domestic life confirm that wicker cradles were common in the Netherlands. Cradles were ornamented with colourful folk art in areas with strong traditions of painting on wooden furniture.

Natural rocking

The last word goes to the 18th century “expert” quoted earlier:

Painted cradle — Cradle from Swedish farmhouse. Painted and carved traditional folk art decoration. Photo by Wolfgang Sauber

I cannot help thinking, there is something so truly natural, as well as pleasant, in the wavy motion of a cradle, and so like what children have been used to before they are born, ….that, always wishing to follow nature as I do, I cannot, on the whole, but give an opinion rather in favour of the cradle. From: …Management of Infants, 1784*

Notes

* Michael Underwood, A treatise on the diseases of children, with directions for the management of infants from the birth; especially such as are brought up by hand, London 1784
* Memoirs of the late Mrs. Robinson, written by herself. With some posthumous pieces. Edited by her daughter, M. E. Robinson, London 1801
* More about the American wicker cradle picture here.

Photos

Photographers credited in captions. Links to originals here:
Dutch-American wicker cradle, Swedish cradle.
More picture info here
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Hanging salt boxes

Hanging salt box, wood, Victorian — Sloping lid of this elm wood salt box is hinged with a leather strip. English, Victorian, about 7 inches across. Photo by Leeds Museums.

Hanging salt boxes used to be taken for granted in kitchens throughout northern Europe and colonial America. There they were, on the wall next to where you cooked.

The pictures on this page are all European, but salt boxes were an essential part of life for settlers in North America too. They pounded salt lumps with a mortar and pestle to make it ready for culinary use. Salt was important for preserving food as well as cooking it.

In colonial homes, free-flowing grains [of salt] began with placing the salt box near the fire for drying out lumps or removing a brick to make a salt niche.
Mary Ellen Snodgrass, Encyclopedia of Kitchen History

Polish salt box, hanging, wooden — Wooden salt box hanging near cooking hearth in 18th century mansion in Gdansk, Poland. Photo by Piotrus.

In damp, cool weather salt absorbs moisture from the air. Cooks in colder places used to help it stay dry by keeping it:

near the fire or stove – most important
in an airy place – hanging on the wall kept it away from damp
covered – though not all salt boxes had a lid

The practical Pennsylvania Dutch housewife suspended a patterned and decorated covered salt box on the wall to contain enough crystals for preserving meat or as a granular extinguisher for dousing a kitchen fire.
Snodgrass, Encyclopedia, as above

Wooden salt boxes could be covered with decorative carving, sometimes as an engagement gift, painted, veneered, or left plain. Antique boxes that look simple may be very well crafted. Look at the quality of wood and joints, the hinging of the lid, the hanger, and the overall finish.

A salt box and a welcoming home

Enamelled salt box Germany — German 1920s kitchen has an enamelled metal salt box and a matching flour container near the stove. Photo by Ziko-C

The salt box was full of meaning, over and above its practical importance. It was a symbol of hospitality in Germany, and suggested a well-run and comfortable home in Britain and Ireland too. Like salt itself the box might not be noticeable, and yet it was essential for cooking.

…her kitchen was…large, comfortable, and warm. …to the right hung a well-scoured salt-box…Over the door…were nailed, “for luck”, two horse-shoes that had been found by accident. In a little ” hole” in the wall, beneath the salt-box, lay a great bottle of holy water to keep the place purified…
Lianhan Shee, an Irish story collected by William Carleton, 1833

But if the salt box was unavailable the house was miserable and unwelcoming.

It was a very dark miserable place, very low, and very damp…The grate…was…screwed up tight, so as to hold no more than a little thin sandwich of fire. Everything was locked up; the coal-cellar, the candle-box, the salt-box, the meat-safe, were all padlocked…The pinched and meagre aspect of the place would have killed a chameleon.
Charles Dickens, Master Humphrey’s Clock, 1840-41

Salt box variations

Hanging wooden salt box, Scottish — This simple wooden salt box by the fireplace in a Scottish longhouse has no lid. Photo by Donald Strachan.

Not all hanging boxes were wooden. You may see relatively modern ones in enamelware or earthenware with a wooden hanger and lid. Also see this highly decorative pewter salt box from before 1600.

Silver miniature or toy salt boxes: familiar domestic objects made in precious metal for fun.

Ceramic salt holders to sit in a niche or on a shelf were an alternative to boxes for some people. They often had a round opening in the side like this characteristically Scottish “saut bucket”.

Photos

Photographers credited in captions. Links to originals here: Victorian salt box, Polish salt box, German salt box, Scottish salt box. More picture info here

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Antique work tables for sewing and crafts

needlework and sewing table with silk pouch — A rosewood veneer work table with sliding needlework bag and chess board, from Georgian London c1815. Note the candlestick on a nearby stand. Photo by bortescristian.

Before the 18th century ladies used to keep their needlework projects in a work-basket or bag. Then furniture designers started to create elegant little tables for the drawing room with a silk work-bag or box-holder hanging beneath. You have only to look at one to understand why Sheraton, the famous cabinet-maker, called his designs pouch tables.

As well as slide-out pouches to hold sewing materials, these small tables had drawers and compartments under a flip-up top. The owner wouldn’t always be sewing alone, though. Many kinds of fancy craftwork were done while families, or groups of friends, sat together. The novelist Jane Austen mentions a “work-table” used for “making a filigree basket” decorated with rolled paper quills.* Later in the 19th century a “Complete Guide to the Work-Table” offers instructions for “Berlin work, crochet, drawn-thread work, embroidery, knitting, knotting or macramé, lace, netting, Poonah painting & tatting”.

Various extras like a pull-out reading & writing slope and a chess board were common, and you could have an ink-stand, a backgammon board, and fold-down extensions. By 1800 many prosperous households had a lady’s work station that doubled as a play station. One 1815 table auctioned in 2001 (for over £4000) even had a zograscope built in; a high-tech optical toy by the standards of its time. More ordinary furniture of this type included many nicely-made needlework tables with a couple of drawers, a compartment under a hinged lid, but no silk bag. Some fine pieces defy categorisation, like this French porcelain-topped tulipwood veneer table from the 1770s.

globe Biedermeier work table — Work table with sewing tools inside globe. Biedermeier style. Photo by DDDiana. (Please comment if you have more info about this table.)

American Federal or Empire work tables sell at auction for thousands of dollars; one made from mahogany and bird’s-eye maple in Boston around 1800 fetched nearly $20,000 in 2007. UK prices for Georgian and Regency tables vary a great deal according to quality: from hundreds to thousands of pounds. If you are buying, check any restoration work; newly-replaced silk pouches should be in an appropriate style.

Some rare European Biedermeier pieces are hardly tables at all, but globes opening to reveal perfectly crafted compartments for needlework tools and games pieces. Most of these elaborate neoclassical pieces were made, with great skill and fine veneer work, in Vienna or Berlin. Some drum-shaped work tables were made in this style, too.

A magazine in late Georgian London published a picture and description of a “fashionable” ladies’ work table in 1823. This suggests the idea was spreading out from the really wealthy and stylish upper class to more middle-class homes whose owners were interested in the furnishings of the upper social echelons. The writer of the piece quoted next probably thought readers would aspire to have a table like the one illustrated, instead of keeping their needlework in bags and boxes.

sewing table with drawing and writing flaps — Design for a work table from an English style and culture magazine in 1823. The needlework pouch slides out, the desk flap lifts to show a decorative interior, the writing surface can be sloped.

FASHIONABLE FURNITURE. Ladies’ Work-table –
This elegant table forms a pleasing and commodious appendage to the sitting-room of mansions fitted up in a style of superior elegance. It is equally adapted to the boudoir and drawing-room, and answers the purpose of a drawing-table as well as a work-table, and a desk for writing and reading. The silk bag suspended from the desk is, in the engraving, of azure blue, with silk fringe of the same colour, but should be made to correspond with the colour of the apartment for which the table is designed.

In order that it may harmonize with the rest of the furniture, the frame-work should be formed of rose-wood of a rich dark colour, and varied in its grain. The ornaments are wholly of burnished and matt gold. The top of the table should be adorned with some rich design in water-colours, highly varnished, for the purpose of preserving it: this will be at all times a pleasing object to the eye. Fruit or flowers, well grouped, are particularly to be recommended. The interior may exhibit some pleasing landscape, or any other similar embellishment, according to the taste or fancy of the fair proprietor.
From: Repository of arts, literature, fashions &c, Ackermann & Shoberl, 1823

Photos

Photographers credited in captions. Links to originals here: silk pouch rosewood veneer work table, globe needlework table. More picture info here

Notes

* Sense & Sensibility

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Love tokens and betrothal gifts carved from wood

carved wooden love spoon — Lovespoon from Wales carved with hearts and initials. Photo from Museum of Wales

I keep coming across nicely carved antiques that were made to be useful, while the decoration shows they were designed as courtship, engagement or marriage gifts. The idea of handmade love tokens is still alive today: especially the tradition of carving love spoons. Craftspeople who make them often use longstanding folk art designs that evolved over time.

Love and commitment gifts developed in pre-industrial communities when craft skills were widespread. Men could work with wood. Women understood textiles and thread. Girls often prepared for marriage by sewing for their beloved, as well as weaving and stitching linens for their future home. Young men made something wooden that would be of value in a woman’s adult life: for instance, a knitting sheath, mangle board, or distaff.

Originally I wanted to make a list of as many different European and North American betrothal or love gift traditions as possible, but even if you limit it to Europe and European immigrant communities in the USA, and limit it to home-made carved wood, or treen, the task is still huge. Still, I’ve made a start below and would enjoy hearing more in the comments.

Lithuanian spinning board and needle — Elaborately carved board with pin is a kind of distaff holding unspun fibre: a characteristic Lithuanian spinning wheel attachment called prieverpste.

Spoons

Spoons have to come first: not only Welsh lovespoons like the one in the picture, but Scottish ladles and pairs of spoons linked by a carved chain, and many other regional types. Chained pairs of spoons are still known as a marriage “ritual” object in Germany. Scoops and spoons sometimes incorporated a freely-moving “caged ball” in the design. Another way of showing off the carver’s skill was to carve all the links from one piece of wood. The single piece of wood may symbolise the marriage union.

Textile tools

Knitting, spinning, and needlework aids which were carved and decorated by loving young men include knitting sheaths, famous in the Yorkshire Dales, lace bobbins, distaffs, and spinning wheel parts like the Lithuanian distaff board in the picture. Pincushions inside a carved box were made by some lovers.

Laundry tools

The Baltic countries, Russia, and parts of eastern Europe have very strong traditions of fine wood carving on the humblest domestic items. This allowed for a wide range of pre-marriage gifts even including decorative washing bats, not very well suited to modern ideas of romance since they’re only ever used for arduous, repetitive routine work. A slightly more glamorous laundry item was the classic Scandinavian engagement gift: a mangle board.

Culinary equipment

gingerbread mold — Gingerbread mould from Silesia, Poland. Photo by praccus.

Gingerbread or cookie moulds give lots of scope for personalised carving which will look good twice over: once as an ornament on a shelf and also on home baking at future meals and social gatherings. German springerle moulds are an example. Some butter stamps were carved as love gifts. Other food-related opportunities for betrothal gifts with initials and hearts and anything else you want include rolling pins, salt boxes, and bread boards.

Dress & grooming

Stay busks and combs were once well-liked betrothal or love gifts. Stay busks, worn close to the heart, were for shaping a corset. But they weren’t always wood. Whalebone or scrimshaw busks were carved by British sailors. Some of the most elaborate folk art carving styles in maritime regions developed on long sea voyages, it is often suggested.

The finest gifts

In some regions professional wood-carvers offered a service to young men who wanted to impress their sweetheart or her family. Is this a disappointment? If I had a wonderful heirloom with my ancestors’ initials on, I would like to think it was home-made, not purchased.

Some gifts chosen by wealthy lovers are obviously not made by amateurs. Spoons and lace bobbins, for example, can be so finely-crafted and elaborate that they stand out from homemade folk art and are clearly the work of expert craftsmen. Other love tokens often commissioned by the privileged classes included combs (in the Renaissance especially) and snuff boxes given to men by women.

Photos

Photographers credited in captions. Links to originals here: Welsh love spoon, gingerbread mould, or see more picture info here.

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Medieval and Renaissance combs

H-comb France 1500 — French boxwood comb made c1500. Letters say "por vog servir", "to help you". ("Pour vous servir" in modern French) Photo by Thomas Cowart.

The most beautiful combs owned by ladies in late medieval and Renaissance times were highly ornamented in between their two rows of teeth. They look special, and they are. Some of the best were given as love tokens, and the fine, lacy carving included mottos, hearts, dates or initials. Did the young ladies use their admirers’ gifts? Or did the real hairdressing get done with plainer combs? The simple comb in the 17th century painting below looks easier to hold than a really gorgeous piece of carved wood.

H comb for combing hair 1600s — Combing a young lady's hair in 1633. From a Jan Miense Molenaer painting with various titles: Woman at her Toilet, Vanity, or Lady World.

And would you use your romantic, artistic comb for everyday hair hygiene? Apologies to anyone who is squeamish about infestation, but the fine-toothed side of the comb helped people deal with nits and lice, which people used to take more for granted than today.

H-combs

The H-shaped structure framing the teeth means that some people call these H-combs. Archaeologists call them double-sided. In Northern Europe there were double-sided H-combs in the early medieval period, while in the Middle East they go back more than 2000 years.

In late medieval Europe, especially France and Italy, beautifully decorated combs were considered a desirable gift from a knight to his lady. They could be teamed with a matching mirror and hair parter, and fitted into a dressing case (trousse de toilette), typically made of leather. Boxwood, bone and ivory were the most common materials; in all of these the teeth needed to be cut along the grain for strength. Boxwood is probably the only European wood dense enough to allow a special saw (a stadda) to cut fine teeth into the comb. These saws had two blades set close together and could cut 32 teeth to the inch or even more.† There are numerous pictures from medieval times onward showing ladies using plain H-combs, like the one from the Luttrell Psalter below right. Yet I don’t know of any showing an elaborately carved and pierced comb being used.

Medieval lady hold H comb as maid helps with her hair — A lady and her comb, with a maid helping arrange her hair. Early 14th century.

The most decorative combs started to become less popular as love gifts around 1600, though opinions vary on exactly when the fashion faded away. Plainer wooden H-combs were handmade up to 1900 or so. In the later 17th century there was a fashion for engraved tortoiseshell combs of this shape in the West Indies. Incised patterns with white filler, and frequent use of tulip designs, suggest combs there were influenced by Dutch craftsmanship.

†Information about the saw and other historical details come from Edward Pinto’s Treen and other wooden bygones. He casts doubt on the idea that many surviving combs were “liturgical combs” for priests to use when preparing for church rituals. Some of these were undoubtedly secular combs, made for rich people, but not for the clergy, he believes.

A lover may freely accept from her beloved these things: a handkerchief, a hair band, a circlet of gold or silver, a brooch for the breast, a mirror, a belt, a purse, a lace for clothes, a comb [pecten], sleeves, gloves, a ring, a box, a keepsake of the lover, and, to speak more generally, a lady can accept from her love whatever small gift may be useful in the care of her person, or may look charming, or may remind her of her lover, providing, however, that in accepting the gift it is clear that she is acting quite without avarice. Capellanus, De Amore, Book 2, c1180

Pivoting carved comb from 16th century France — Comb with two flat sections that pivot into a cross shape, from 16th century France. Photo by Kotomi Yamamura

boxwood comb 16th century French — French boxwood comb, 16th century. Photo by Kotomi Yamamura

Photos

Photographers credited in captions. Links to originals here: First comb, Other combs, More picture info here

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Metamorphic library steps, chairs and tables

convertible steps table — Sheraton first published this design for Library Steps & Table in 1793.

In the 18th century wealthy men with private libraries in their grand houses wanted elegant furniture around them. The upmarket cabinet-makers of the period created fine desks and chairs, but how could they design new, improved versions of the step-ladders needed for reaching books from the highest shelves?

One idea was to conceal steps under the seat of a long stool. Turned upright, its upholstered seat to the wall, it made a short ladder with three treads, each smaller than than the last: perhaps not a very stable arrangement. It is rare to find any of these on the antiques market, and it is unlikely that many were made, as better furniture soon followed.

Chippendale designed the kind described above in the 1750s, but in the next decade he created hinged steps that could be folded into a stool. This type can be seen at Harewood House and Nostell Priory in England. One was described at the time as a “large mahogany library stool with the seat to rise as a step ladder the seat stuff’d and cover’d with black leather”. (Nostell Priory accounts 1767) The other was given a neo-classical look with rosewood veneer and marquetry.

Benjamin Franklin had something better than a stool: a leather-upholstered chair with steps beneath. There are claims that his seat was the first ever chair and steps combination. Whether or not this is true, it is comfortable enough to be a real reader’s chair: ideal for someone who loves books as well as good furniture.

Tables were part of this new wave of convertible library furniture, and a British patent for a dual-function table with steps was registered in 1774. Sheraton published a design for one of these library tables before the end of the century. (Picture above)

This design was taken from steps that have been made by Mr. Campbell, Upholsterer to the Prince of Wales. They were first made for the King, and highly approved of by him, as every way answering the intended purpose. There are other kinds of library steps which I have seen, made by other persons, but, in my opinion, these must have the decided preference, both as to simplicity and firmness when they are set up. The steps may be put up in half a minute, and the whole may be taken down and enclosed within the table frame in about the same time.
Thomas Sheraton, The cabinet-maker and upholsterer’s drawing-book, London, 1802 edition

metamorphic library chair steps — Steps folded under the seat of this Morgan & Sanders chair, designed c1811

The name metamorphic (shape-changing) was not used for the earliest pieces of library furniture, but appeared in a London patent of 1811. The first ever “patent metamorphic library chair” with curving arms spawned many varied chair designs, some quite plain, others very elaborate. Georgian or Regency pieces of dual-purpose library furniture can fetch thousands of dollars at antiques auctions, and even later Victorian metamorphic chairs may be quite valuable.

One 19th century curiosity is based on a library staircase design that was boxed in at the sides. One stair-tread was a hinged lid giving access to storage beneath. This was adopted as bedroom furniture and used in some homes as a commode to conceal the chamber pot for night-time use.

Note

Since I first wrote this short piece for another website, Clive Taylor has published a fascinating, detailed, and original dissertation on The Regency Period Metamorphic Library Chair.

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