Bramley Ebonised and Gilt Round Dining Table with Matching Chairs | Classical English Regency Formal Dining Set - EKAR FURNITURE
No.EK-MS-10070136
Furnish the formal dining room with the Bramley Ebonised and Gilt Round Dining Set by EKAR FURNITURE. A book-matched figured veneer top with an inset revolving centre, an ebonised body with a wide carved gilt frieze on a column and cross base, matched by ebonised and gilt chairs with embroidered silk backs and blue silk seats, a classical English Regency dining set built for formal entertaining.
Bramley Ebonised and Gilt Round Dining Table with Matching Chairs | Classical English Regency Formal Dining Set - EKAR FURNITURE A round table is the most sociable shape you can put in a dining room, and the Bramley Ebonised and Gilt Round Dining Set by EKAR FURNITURE uses that shape with a distinctly formal hand. It is a classical English Regency-style dining set, a circular table raised on a single central column, matched by a group of dining chairs built on the same black-and-gold language. The table pairs a warm, highly figured veneer top with a deep ebonised body, and the wide carved gilt band that runs around its edge gives the whole piece a bright horizontal line at table height. The chairs repeat the same reading, dark frames with gilt carving and pale patterned silk. We build the set as bespoke custom furniture in our Foshan furniture factory, to your own diameter, seat count, cloth, and finish.
The tabletop is the first thing anyone sees, and it is composed rather than simply polished. The surface is veneered in a richly figured wood, its grain book-matched around the circle so the figure opens symmetrically from the centre outward and reads as radiating rather than random. Fine concentric rings of gilt stringing are inlaid into the surface to draw the circular form and give the eye a clear boundary line. Set into the middle of the top is a revolving centrepiece, a turned circular plate that spins on a fitted bearing so shared dishes, a centrepiece, or bottles can be passed easily to every seat without anyone leaning across the table. That inset plate carries its own inlaid motif worked in gilt, a wreath-like band that continues the language of the main top, and the whole piece sits flush with the surface so it does not disturb the line of the table when it is not turning. The finish is laid on in thin, polished coats to a hard, deep sheen that resists marks from glasses and plates and can be maintained over years of use.
Below the top, the structure is where the design sits. The body is ebonised and carries a broad carved gilt frieze, a continuous band of repeated leaf and anthemion forms worked with real depth so it reads as cast metal at a distance and as hand carving up close. From there the table stands on a single turned column, ebonised, with a carved and gilded capital where it meets the body and a matching ring at its base, and the column falls to a cross-form spread base with shaped arms resting flat on the floor, edged in fine gilt lineing and finished with pads. This pedestal arrangement is one of the main practical virtues of the set, as it removes corner legs from under the table entirely, so every seat has clear leg room and guests can be pushed in close without a leg intruding. As export furniture, the column and base are engineered to bolt together rigidly so a large round table never wobbles or creaks, and every element is finished, checked, and packed in-house.
The chairs are built to the same rules and in two roles, arm chairs and side chairs, so the set can be arranged with the ends marked. Their frames are ebonised and shaped, with a gently arched crest rail picked out in gilt carving at the top and slim, sweeping sabre legs that curve backward at the rear to give a comfortable reclined posture. The legs are decorated in fine gilt fluting with gilded feet, which catches light down at floor level and links them to the frieze above. The backs are open rather than solid, upholstered in a patterned silk on a soft pearl-grey ground with a blue and gold ornamental motif worked through the centre, and the seats are faced in a richer blue silk over a padded core. On the arm chairs the rails sweep forward and are topped with padded, upholstered arm rests, and the frames are joined and blocked to stay rigid despite the curved, raking stance.
In the room, the set is made for a formal dining room, a private dining space in a residence, a hotel's VIP dining room, an embassy or club dining room, where a full matching set is expected rather than a table and mismatched chairs. The circular form suits rooms where guests are entertained and dishes are served together, since everyone faces the centre and no one sits at a disadvantaged position. Its black, gold, and blue palette is deliberately strong, sitting well with panelled walls, a crystal chandelier above the centre of the table, patterned carpet, mirrored or lacquered cabinets, and cream or deep-toned walls. There is real demand for complete formal dining sets of this kind in the India import furniture market, where buyers in Mumbai and New Delhi specify matched round tables and chairs for villas, farmhouse dining halls, and hospitality dining rooms built around large shared meals.
