Marquetry Occasional Table with Folding Leaves and Gilded Mounts

• Cabriole Leg - The cabriole leg evolved from an elongated scroll, curving out at the knee which may or may not be carved, and forming a serpentine shape as it descends to the foot.
  
  First introduced into English furniture in the late 17th century, cabriole legs were widely used during the Queen Anne and early Georgian periods, where they frequently terminated in a pad foot or ball and claw foot. The style has had many imitators since then. The cabriole leg was re-introduced in the mid-19th century, and is commonly associated with the balloon-back dining or drawing-room chairs made in walnut, mahogany or, in Australia, cedar. The Victorian cabriole leg, on the whole, was rather more slender than the earlier form, following the French style, which emphasized the delicacy and daintiness of the chairs they were designed to support. Cabriole legs are sometimes found on windsor chairs, especially those made during the 18th century.
• Mounts - Mounts are used to describe bronze, brass and ormolu adornments on furniture especially quality furniture in the rococo and classical revival style, and are also the cabinet makers' name for the metal fittings on furniture, such as hinges, locks and handles, and metal edges and guards which protect furniture from damage.
• Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.
  
  For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.
  
  Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.
• Marquetry - In marquetry inlay, contrasting woods, and other materials such as ivory, shell and metal are inlaid either as panels or in a single continuous sheet over the surface of the piece. The design may be straightforward, such as a shell pattern or a basket of flowers, or it may be infinitely complex, with swirling tendrils of leaves, flowers and foliage, such as one finds, for example, in the "seaweed" patterns on longcase clocks of the William and Mary and Queen Anne periods.

This item has been included into following indexes:

• tables, French - French, wine and ocasional 548
• tables, purpose or type - occasional 806