An American Mahogany Six Leaved Double Pedestal Base Dining Table

For collectors and appraisers, the phrase “an American mahogany six leaved double pedestal base dining table” signals a highly usable form with a long stylistic arc—from the early Federal period through Colonial Revival reinterpretations. Properly understood, it offers a clear study in American craftsmanship, imported woods, and evolving hardware. Correctly attributing, dating, and evaluating such a table hinges on careful observation of wood species, construction of slides and leaves, pedestal profiles, leg and caster types, and surface history.

This guide explains what the format entails, how to date and attribute examples, the most consequential condition issues, and the value drivers that move the market for both period and later pieces.

What You’re Looking At: Form and Terminology

• Double pedestal base: Two columnar supports (pedestals), each with splayed legs—typically three or four—ending in brass-capped feet on casters. The pedestals carry the top via framing and slides.

• Six leaved: Six removable extension leaves (usually 8–14 inches deep each) that insert between two fixed end sections to lengthen the table. Leaves are often unskirted (no apron) for knee clearance. Alignment is achieved with tongue-and-groove, dowels, or metal pins.

• Stylistic scope:

  • Federal/Regency influence (c. 1795–1825): Slender, reeded legs; urn or turned baluster pedestals; fine Cuban mahogany; cast brass caps and casters; light aprons.
  • American Classical/Greek Revival (c. 1825–1845): Fuller proportions; more robust turnings; waterleaf or acanthus carving; still fine mahogany, sometimes with veneered aprons.
  • Victorian to late 19th century (c. 1850–1900): Heavier slides, broader tops; machine-made components; Honduras mahogany common.
  • Colonial Revival (c. 1900–1940s and later): “Duncan Phyfe style” reissues; consistent machine precision; modern screws and finishes; branded makers.

• Not to be confused with:

  • Drop-leaf tables: Hinged leaves supported by swing brackets, not inserted leaves.
  • “Banquet” tables composed of two D-end console tables plus leaves and fly rails (more typical British practice). American banquet forms exist but your “double pedestal base dining table” usually has integrated slides, not fly rails.

Dating and Attribution: Construction Clues That Matter

Pinning down period and shop begins underneath. Work “blind,” by feel and light, not just the polished surface.

• Wood species and sourcing

  • Cuban (Spanish) mahogany: Dense, fine texture, ribbon figure, deep color; prevalent on higher-end American work before mid-19th century. Scarcer after the 1850s–60s.
  • Honduras (Swietenia macrophylla): More common post–mid-19th century and in Colonial Revival pieces; coarser pores, often lighter until oxidized or stained.
  • Secondary woods: Early New York and New England cabinet shops often used white pine, poplar, or oak for slides and substructure. Examine slides and bearers for species and toolmarks.

• Slides and mechanisms

  • Early 19th-century: Laminated wooden “rule” or telescoping slides in oak or maple, hand-planed with straight saw marks; dovetailed housings; no iron gearing.
  • Late 19th-century: More standardized, machine-planed slides; occasional iron reinforcing straps.
  • 20th-century Colonial Revival: Steel runners, gear/rack mechanisms, stamped adjustment hardware, uniform machining.

• Screws and fasteners

  • Hand-cut screws (irregular threads, off-center slots): Typical before c. 1846.
  • Machine-cut screws with single slot: Mid-19th century onward.
  • Phillips-head screws: Mostly 1930s forward—strong indicator of later intervention or manufacture.
  • Nails: Wrought (pre-1800), cut (19th century), wire (late 19th onward).

• Casters and feet

  • Cast brass cup-and-wheel casters with turned brass toe caps: Early 19th-century quality indicators. Wheels often brass or lignum vitae.
  • Pressed brass cups and plated steel wheels: Later 19th to 20th century.
  • Replacement casters are common; check the mortises and screws for disruption.

• Pedestal and leg details

  • Federal/Regency: Reeded sabre or splayed legs; turned urn or vase pedestals; restrained carving; fine collars.
  • Classical: Chunkier balusters, waterleaf/acanthus carvings, bolder knees.
  • 20th-century “Phyfe” style: Very consistent reeding, near-perfect symmetry, and branded or ink-stamped names beneath (e.g., established Colonial Revival firms).

• Joinery and tool marks

  • Underside aprons with glue blocks: Early examples show hand-squared, chamfered blocks, animal glue squeeze-out, and irregular hand-plane marks.
  • Circular saw marks: Widespread by late 19th century; straight (pit-sawn) marks point earlier.
  • Chalk assembly marks and Roman numerals on leaves and slides: Good sign of period shop practice.

• Labels and signatures

  • Paper labels, stenciled shop names, or pencil inscriptions under the top/apron occur but are uncommon. Surviving labels from New York, Boston, Philadelphia makers dramatically aid attribution and value.

No single clue dates a table; weigh the preponderance of evidence. Period tops married to later bases (or vice versa) are not rare.

Size, Proportions, and Seating

• Typical widths: 42–48 inches; some American examples up to 54 inches.
• Leaf depth: Commonly 10–12 inches each; six leaves add 60–72 inches.
• Length: 60–70 inches closed; 120–140+ inches with six leaves, depending on the end sections.
• Seating: Rough guide is 24 inches per place setting. A 48-inch-wide table at 132 inches can seat 12–14, subject to pedestal interference.
• Stability: Quality examples maintain rigidity at full extension with well-fitted slides. Over-extended or worn slides cause sagging; central bearers or extra leg supports are sometimes added later (a valuation caveat).

Edge treatment varies: reeded or molded edges on early tops; plain eased edges more common later. Leaves are typically unskirted; if skirted leaves are present, verify they clear knees and match wear and finish.

Condition and Conservation: What Affects Value Most

The market strongly discriminates based on originality and surface.

• Surface/finish

  • Original or early shellac/french polish with even oxidation and minor craquelure is prized.
  • Full stripping and polyurethane clear coats flatten the figure and depress value.
  • Sensitive conservation (cleaning, spot-coloring, shellac padding) is preferred over wholesale refinishing.

• Leaves: uniformity and fit

  • A complete matched set of six leaves, numbered and fitting snugly, is ideal.
  • “Married” leaves (later replacements) may differ in thickness, edge profile, and color. Poor matches reduce value and usability.
  • Warped or cupped leaves telegraph as gaps at the seams.

• Slides and supports

  • Wear in slide rails leads to racking and sag. Woodworm damage (less common in North America) and split slides require proper repair.
  • Later metal braces or added center legs suggest structural issues; disclose in appraisals.

• Pedestals and legs

  • Repairs at leg-to-pedestal joints are common. Check for reglued breaks, replaced toe caps, and plugged screw holes.
  • Loose or replaced casters affect both function and attribution.

• Top boards and veneers

  • Early tops may be solid mahogany with end battens; veneer laid over secondary cores appears on some later/high-style examples.
  • Watch for shrinkage splits, veneer bubbles, patches, and color-in fills visible under raking light or UV.

• Odors and stains

  • Heat marks and alcohol spills (shellac sensitivity) are typical; deep water staining may indicate past flooding and hidden delamination.

Professional conservation notes should describe each intervention, materials used, and reversibility. Keep replaced parts labeled and documented.

Market Context and Valuation Drivers

Values swing with age, scale, originality, and name recognition.

• Period Federal to Classical (c. 1805–1845)

  • Top examples with documented New York or Philadelphia origin, fine Cuban mahogany, crisp reeding, and original caps/casters can command the strongest prices, especially with full sets of leaves and good surface.
  • Provenance to a known household or maker amplifies value.

• Mid-to-late 19th century

  • Solid, usable tables with machine-made slides, Honduras mahogany, and decent finish trade well, particularly at longer lengths. Values rise with condition, width, and seating capacity.

• Colonial Revival (c. 1900–1940s) and later

  • Quality branded makes in the “Duncan Phyfe style” have a strong practical market. Collectors favor well-proportioned pieces with intact mechanisms and original finish, though investment-level appreciation is usually lower than period works.

• What moves the needle

  • Scale: Wide tops and six true matched leaves increase desirability.
  • Surface: Original or well-preserved early finish versus stripped/repolyestered.
  • Integrity: No marriages, good slides, original hardware, honest wear.
  • Design: Fine turning, reeding, brass details; elegant pedestal profiles.
  • Provenance and documentation: Receipts, labels, and family history matter.

As a general orientation (not a quote), documented period New York-quality tables can reach low five figures or more; sound mid-19th-century examples often sit mid-to-high four figures; 20th-century Colonial Revival typically ranges from low-to-mid four figures, depending on maker and condition. Local demand and shipping realities—these are big tables—affect outcomes.

Authentication and Red Flags

• Uniformly modern hardware throughout, including Phillips screws and plated hinges, with no evidence of earlier fastener holes.
• Leaves that are perfectly uniform in color yet lack oxidation on tongues/grooves and underside—suggesting recent fabrication.
• Mismatch between pedestal style and top: e.g., heavy late pedestals under an early thin top, with extra screw holes or fresh dowels—often a “marriage.”
• Modern machine-geared steel slides on a purported early 19th-century table without signs of earlier slide mortises.
• Toe caps that don’t seat cleanly over leg ends or show bright filing marks—recent replacements.
• Veneer “picture framing” around the top edge inconsistent with claimed period technique.

If in doubt, compare toolmarks under the aprons, check for consistent oxidation inside screw holes, and look for coherent wear patterns where hands, aprons, and leaf edges meet.

Practical Inspection Checklist

• Confirm configuration: two pedestals, number of legs per pedestal, and six separate leaves.
• Measure: width, closed length, each leaf depth, and full extended length.
• Test slides: extend fully; check for sag, binding, or lateral play.
• Inspect hardware: screws (type/age), casters (cast vs pressed), toe caps, and alignment pins.
• Examine wood: mahogany figure, secondary woods on slides and aprons, toolmarks.
• Check leaves: numbering, fit, thickness, color match, and edge profile.
• Assess finish: original/old shellac vs recent poly; look for sanding through edges.
• Look under: glue blocks, repairs, plugged holes, extra braces or added center legs.
• Document: labels, stamps, chalk marks, family provenance.

FAQ

Q: How should I store the six leaves when not in use? A: Flat, horizontal, and fully supported, ideally in a felt-lined rack or on a padded shelf. Avoid leaning vertically, which encourages cupping. Keep in the same room humidity as the table.

Q: Is refinishing always a bad idea? A: Full stripping usually reduces value. Many surfaces respond well to careful cleaning and French polishing with shellac. Reserve complete refinishing for severely compromised finishes, and document the work.

Q: What is the right humidity for a large mahogany table? A: Aim for a stable 40–55% relative humidity. Rapid swings cause movement, seam opening, and warping of leaves and slides.

Q: How many can a six-leaved double pedestal table seat? A: It depends on width and leaf size. A 48-inch-wide table extended to around 132 inches typically seats 12 comfortably, sometimes 14 with tight spacing.

Q: Are Colonial Revival “Duncan Phyfe style” tables collectible? A: Yes, especially from quality makers with original finish and complete leaves. While they generally don’t reach period values, they are prized for usability and design fidelity.

A six-leaved double pedestal table rewards close looking. When the wood, slides, hardware, and surface all tell the same story, you’ll know you’ve found a coherent example—one that’s as functional today as it was two centuries ago.