DESKS  Victorian, Edwardian Pedestal
A handsome burr walnut pedestal desk with superstructure including a sloping writing surface, drawers and a turned baluster gallery. A type of desk once rather despised for its superstructure, which was often
removed to convert the piece into a flat-topped pedestal desk of more Georgian appearance. Now, however, the form is coming into its own as a genuine Victorian one with its own usefulness. 1855-1885
A mahogany cylinder bureau with a kneehole. The pedestals each have three drawers and under the sliding tambour there is a writing surface with six small drawers and letter compartments. It is a type illustrated in
several catalogues of the 1870s and 1880s, although the design goes back to earlier George III forms. This is a very plain version. 1870-1890
The Victorian era was a great boom time for the pedestal desk, which was clearly much more popular for a long time than the fall-front or cylinder bureau. Not only for domestic use but also for equipping the thousands of offices which developed throughout the industrial scene, this form was adaptable to several varieties and types of wood. On the whole, oak and mahogany prevailed due to their endurance. Walnut and other woods, apart from pine, tend to be more highly valued for this reason.
The desk was made and reproduced throughout the entire period covered by this book (and still is). Where possible, approximate dates have been shown but some types such as ‘Georgian partners’ or ‘Chippendale’ can be very difficult to date precisely.
A highly decorated Reformed Gothic desk in a style which brings Burges, Seddon, Talbert and Eastlake to mind. Burges and Seddon would go for such lavish decoration; all of them would use the diagonal planking and pillared columns with central collars. It is interesting to compare this version of Gothic with that of ‘Chippendale’ shown in no. 325 in this section. 1860-1870
The designer of this pedestal desk has imbibed more than a little of the spirit of Reformed Gothic  note the panelled sides and slightly ‘revealed’ construction, with shaped feet.
A mahogany pedestal desk of a type made fairly continuously throughout Victoria’s reign and onwards to the present day. There is a tooled leather top, three drawers in the frieze and three drawers in each pedestal.
The moulded edge is a fairly bold type and so is the thumb nail moulding around the base.
A plain mahogany pedestal partners’ desk of large dimensions  three feet by six feet  with drawers in each opposing side, the concept being that the two partners involved could work at the same desk, facing each
other.
1870-1890 but a type made on into the present day
A carved oak pedestal desk with characteristic lion-mask carved handles to the drawers. The late Victorians and Edwardians were fond of carved oak  a taste for the medieval transmitted to them by the work of the
Gothic reformers, who would have hated this piece. 1895-1915
A further version of a carved oak pedestal desk with lion-mask carved handles. The ‘Elizabethan’ effect has been taken a stage further by the inclusion of reeded bulbs on the legs. More carving has been packed on in
foliage form and the top edge is also carved with leaf forms.
A mahogany partners’ pedestal desk on carved serpentine bracket feet in ‘Chippendale’ style. The canted corners are carved with leaf and foliage decoration and the top edge is gadrooned. The top is inset with tooled leather. A straightforward high quality piece which states that it is reproduction from the carved decoration.
A mahogany cylinder bureau or pedestal desk on serpentine feet with a pierced brass gallery rail around the top. The piece is inlaid with marquetry of 18th century inspiration (Adam, Hepplewhite and Sheraton all
spring to mind) including the splendid central vase in an oval panel on the cylinder front and swags, husks, leaf and floral decoration elsewhere. It has been said of other ‘Edwardian Sheraton’ pieces that the craftsmen
of this period had a tendency to over-egg the pudding and this piece is inclined towards an example of this trait. There is just a bit too much decoration, a tendency to flashiness which distinguishes the piece from its
18th century original. A handsome piece, nevertheless, requiring some first class craftmanship to execute.
1890-1910
A mahogany pedestal desk in the early Georgian manner, with clustered columns on the pedestal corners and Gothic blind fret tracery around the frieze. There are three drawers in the frieze on the viewed side, with
three drawers in each pedestal below. The out-of-view side has three drawers in the frieze and cupboards below  an arrangement normally fitted to a ‘Partners’ desk but in fact allowing the desk to be viewed
favourably from both sides. The quality of workmanship and carving is high  note the carved moulded edge to the top and the plinth around the base. 1920-1940
A walnut ‘Queen Anne’ kneehole desk, made as an accurate reproduction of a period piece. The top is quarter veneered and the drawers have a diagonal banding and lip moulding round the edges. The pierced handles
are a little late in design for the period of the desk, but otherwise the proportions and restraint of the veneers are a good copy. 1920-1930
right) A somewhat 1930s interpretation in the use of matched figures walnut veneers on the drawer fronts but without excessive over-figure or burring (’Queen Anne’ versions of pedestal desks, with feather banding,
etc., etc., were not uncommon in the 1930s). The choice of ring handles, however, if original, is odd.
An inlaid mahogany kidney-shaped pedestal desk or writing table in the Sheraton manner, with boxwood inlaid stringing lines and set on square tapering legs ending in brass castors. The top is inset with tooled leather.
The kidney-shaped desk is a perennial favourite and can often be highly decorative, with burr veneers and marquetry adding enormously to value.
A rather spindly cabriole-legged writing table-cum-pedestal desk, half way between either definition, which shows how, in Edwardian times, there was a movement towards versions of the ‘Queen Anne’ style which
heralded the outburst of burrs and cabrioles of the 1920s. In this case the decoration of the drawers is late 18th/early 19th century Sheraton in origin, whereas the legs are somewhat apologetic cabrioles, i.e. a version of an early 18th century style. The piece is in mahogany, which is not a Queen Anne wood. 1900-1910
A high quality mahogany pedestal desk, on square tapering legs, with inlaid boxwood stringing lines. There is a brass gallery rail about four inches high at the back, which has a diamond-pattern fret. By using the
stringing lines to describe panels on the drawer fronts and facings of the frame, the makers have managed to convey the impression of a restrained, quality piece. c.1900
A mahogany half-pedestal desk of Sheraton style with drawers banded in satinwood. The top is inset with tooled leather.
Figured walnut and cabriole legs  a 1920s pedestal desk of considerable quality, showing the onset of the modified Queen Anne styles which became so popular. This is a slightly more modernised approach
than the slavish copies of the style that were prevalent. 1920-1930

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Antique English Furniture - Mahogany and Walnut Bureau

An Edwardian inlaid bureau with cylinder front, c.1905. Eighteenth century and Regency styles became popular at the end of the nineteenth century and this is a good example of Edwardian ‘Sheraton’. The square tapering legs with their thin stringing line end in casters. The inlay of the rosewood drawers and front is however, more profuse, and incorporates Adam motifs, whereas the gallery shows Gothic arching. Beneath the cylinder front, itself a feature of the late eighteenth century, there is a slide which pulls out to provide additional writing space. Highly exportable.
Decorative woods and inlays
A antique country bureau in solid walnut of c.1730. The interior shows the earlier William and Mary influence in the stepped concave drawers and well. The shaped aprons over the pigeon holes are also typical. The exterior drawers and outside of the fall are cross-banded in walnut or fruitwood. The handles are riot original and the bracket feet have been repaired. The drawers are pine lined.
Quality of workmanship, i.e. approximation to contemporary town craftsmanship
Country walnut (solid) bureau of c.1730, again showing William and Mary period influence in the stepped interior, but which is simpler and less refined than the previous example. The stepped drawers for instance are not concave. There is a well and the exterior drawers are again cross-banded in walnut or fruitwood.
A walnut bureau of c.1725-30 furniture, showing the interior, where the stepped design of the William and Mary period has given way to the Georgian straight interior with its corresponding loss of charm. The centre door is flanked by pillars with secret drawers. The interior and exterior drawers are inlaid with boxwood and ebony stringing. The carcase fronts around the drawers are flat veneered and the drawer edges have a ‘lip’ ovolo moulding. There is no interior well; a shallow drawer under the fall occupies this space.
An interesting antique mahogany bureau on stand, c.1740. The style is one which can be traced back to the Queen Anne period, when veneered walnut bureaux of this type, on stands with cabriole legs, were made. The early ones incorporated the stylistic features of the period, with shell carving, quartered veneers and so on. The bureau above has cock-beaded drawers and swan-neck drop handles. The stand has rather provincial cabriole legs ending in pad or club feet and the flat facets at the knee have been left without brackets. A slight relic of former style is in the downward pointed centre apron, which would have been ogee curved or carved on earlier pieces.
The mahogany bureau, c.1740, of the preceding page, shown open. It can be seen that the interior also follows the style of an early period since it is stepped and the pigeon holes have arched shaping at the top, which incorporates the ogee curving of the Queen Anne period. There is no well and the drawer fronts are straight.
A typical mahogany bureau furniture of the rnid and later eighteenth century.The example illustrated here is perhaps a rather boldly wide one but as a type such bureaux, with cock-beaded drawers, were made in large numbers in a variety of sizes throughout the epoch. The mahogany varies in figure and decoration from piece to piece but they are extremely durable and many survive in almost original condition. At present, with walnut and oak making all the running, it could be that they are rather underpriced; the danger is that the larger ones tend to jet’ converted into bureau-bookcases by the addition of a suitable cabinet. Size is, of course, an all-important factor in such pieces.
The mid-eighteenth century antique bureau of the preceding example shown with the fall open. The interior still owes much to earlier styles, with the outer pairs of drawers set forward from the line of the centre; they are not stepped vertically however. The inlaid star decoration and chequered panel line in boxwood and ebony on the centre door also owe their origin to earlier influences but the almost dentilled effect of the frieze under the top edge is of later inspiration. Note that the pillars of earlier designs on either side of the door have been replaced by a fluted surface.
A mahogany bureau-bookcase of c.1750. The bureau section follows the characteristics of ordinary bureaux, with cock-beaded drawers, bracket feet and a straight interior under the fall, with no well. The bookcase section has mirrored doors and a dentil section incorporated in the top edge moulding. This is a simple and undecorated example of fairly broad dimensions.
A small George III period mahogany bureau on ogee bracket feet, c.1770 This is a veneered piece, evidently because the wood is so finely figured and would have been wasteful to use in the solid. There is a chequered stringing line around each cock-beaded drawer and the fall, which are cross-banded. The inside is fitted with pigeon holes and five drawers.
A bureau-bookcase of the Hepplewhite period c.1790, in which the change to the latticed glazed doors instead of mirrors,which took place after the mid-eighteenth century, is demonstrated. A broken arched pediment with pierced fret completes the design above a dentillated moulding. The bureau section reflects the change towards commodes in the chest of drawers field, in that panelled veneered doors enclose the drawers below the fall. The feet are still of bracket type but a shaped apron between them reflects the taste of the last part of the eighteenth century.
Value points: This is an extremely fine example as far as choice of veneers and craftsmanship are concerned, hence the high price scale.
An early nineteenth century mahogany bureau with symmetrical veneers in a vertical grained figure, c.1820. The interior is straight, with pigeon holes and drawers and the sides are of solid mahogany. In the later period the veneered pieces tended to be of better quality, usually lined in oak.
An early nineteenth century antique mahogany bureau on splayed feet with a shaped apron, c.1820. The fall is cross-banded and the drawers have a normal cock-bead. Due to the angle of the photograph the bureau appears to be perched rather high on its legs, but its proportion follows that of the chests of drawers of the same period.
A fine quality mahogany bureau-bookcase furniture, c.1750, with broken pediment above and candle slides beneath the bookcase doors. The bureau section is made of well chosen figured mahogany and the piece appears to feature the unusual characteristics of having the two small upper drawers on either side beneath the fall to act as bearers for the fall when open. The shaping of the mirrored doors to echo the cornice, with its dentil frieze beneath the top moulding, adds considerable quality to the design.

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DESKS: CYLINDER AND TAMBOUR
About 1780 onwards
Both terms are used to describe any desk with a superstructure enclosed by a half- or quarter-round sliding lid which disappears into the structure when lifted. A cylinder top has a continuous smooth surface; a tambour is slatted. This type of desk originated in France a little earlier.
Early examples (about 1780-1830) mostly with a base as a lady’s writing-table (see BONHEURS DU )OURS, P. 108), but often larger and sometimes with extra lower drawer on each side. Frequently an upper cabinet or
bookcase above. Super-structure fitted with small drawers, pigeonholes. Sometimes the inner writing-surface pulls forward as top lifts. If quarter-round (most common type) the flat shelf at the top bordered by a brass gallery.
Pedestal versions (mostly tambour) about 1870 onwards. Similar interior fittings; inset leather (later ‘imitation’) writing-surface. Flat
George III satinwood tambour desk with pedimented bookcase above.
top above bordered by low wooden gallery. Tambour sometimes serpentine instead of quarter-round.
At all times lid on both types lifted by two (occasionally one) knob(s) or handle(s) fitted at its base.
Mahogany, occasionally satinwood in 18th/ early 19thC. Commonly mahogany or oak in Victorian, Edwardian and inter-war periods. Mahogany or pine for carcases when veneered, with mahogany or oak for drawer linings. Matching timber usually used for interior fittings, but popularly ’satin walnut’ from about 1870.
Standard methods employed.
Tambour: Constructed of large number of horizontal laths or narrow mouldings, laid close together, their flat sides glued to a piece of stiff fabric.
Note: These are often damaged  especially if the fabric and glue have dried out  and are difficult and expensive to repair. Do inspect the tambour carefully and open and close it several times to make sure it functions well.
Cylinder: Always veneered; on base composed of many long and narrow, angled or grooved, pieces of timber, planed on the outer edge to provide a smooth surface.
Both types slide in grooves cut in sides of superstructure.
Some restrained inlay on early writing- table types; more pronounced inlay, occasionally painted decoration, on Edwardian Sheraton revival versions. Seldom any decoration  not even interesting figured woods  on
pedestal.
Handles: Standard for dates. Brass bail or ring on table type; wooden knobs, joined by various metal handles around 1870, in 19thC. Horizontal wooden pulls after 1900.
Stain followed by polish. French polish from about 1820.
Victorian and later oak more often stained a light honey colour rather than the usual dark, treacly, brown.
Early-19thC mahogany tambour desk.
VALUES
Very large numbers of these desks were mass-produced for office use beween the wars (though some would date them pre-1914). Characteristic features are horizontal wooden pull handles on lower drawers,
rectangular metal label frames (either with integral pull or separate small turned knob) on inner drawers, panelled back to recess and simple curved apron at front. Plywood drawer linings will be an instant giveaway.
Early writing-tables rare and correspondingly expensive: even Edwardian reproductions fetch four-figure sums. Victorian pedestals relatively less; only the meanest half-pedestal or coarsely-made inter-war pieces found for three-figure sums.
Late-19MC mahogany tambour pedestal desk, much more common in oak with wooden pull handles.

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DESKS: CARLTON HOUSE
About 1785-1915
An Edwardian reproduction of a satinwood Carlton House desk.
Associated by name with the Prince Regent’s London house, and mostly dating from the Regency period, these were first mentioned as such in the 1796 cost books of Gillows of Lancaster, Described in contemporary pattern books as a `lady’s writing-table’. Made throughout the 19thC; very fine ‘Sheraton’ reproductions made by the Edwardians. Still reproduced today.
Carlton House desks are distinguished from other writing-tables by their large size (width usually more than 5 feet/1.5 m) and their low superstructure extending around the curves of their D-shaped top.
Made in two parts, the lower with two or three shallow frieze drawers; sometimes with an additional shallow lower drawer on each side. Generally tapering legs with spade feet (correctly tapering on inner edge only),
extending up to form corners of framing and standing slightly proud of vertical rails. Alternatively, turned legs with occasional ring mouldings (from about 1800) set underneath rectangular top, often with rounded (but no D) corners. Slightly overhanging top with moulded edge; inset leather writing-surface
bordered by cross-banded veneer.
Early superstructures comprised a small central cupboard flanked by tiers of drawers, they in turn flanked by concave-fronted cupboards and concave-lidded compartments with single or dummy drawer below.
Continuous flat top generally bordered by brass occasionally wood  gallery. Later superstructures more varied, often lacking concave-sectioned parts.
Principally satinwood and mahogany, with inlay of box, holly, harewood, kingwood etc. Occasionally rosewood. Sometimes amboyna and other figured woods. Bird’s-eye maple used for some Victorian pieces.
Pine or mahogany for carcases (with oak or mahogany for drawer linings). Pine throughout used for late reproductions.
Standard methods employed. Glued mortiseand-tenon joints with fine, lapped dovetails on drawers (machine-cut in later 19thC). All outer surfaces (except turned legs) veneered.
Stain or varnish, followed by wax polish.
Chiefly figuring of veneer with inlaid stringing lines and neo-classical motifs such as shells, drapery, scrolls etc. Sometimes similar painted decoration (these often Edwardian reproductions).
Handles: Can be simple bails with circular backplates on lower drawers; small brass knobs above. Occasionally lion’s mask ring handles below. Often small ring handles matching on all drawers  with plain or decorative (but basically circular) backplates.
VALUES
Original, early and finely veneered and inlaid examples are immensely valuable. Even good Edwardian reproductions may reach five figures. The least desirable are mid- to late-Victorian rectangular versions
particularly those with a raised centre to the superstructure  but even so, prices can still rise to four figures.

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DESKS: KNEEHOLE
Kneehole desks were made in the 18th century about 1700`s-1780`s
Mahogany kneehole desk with bracket feet about 1760-1770,
A small and attractive piece, originally devised as a dressing-table, not a desk, but in appearance like a chest of drawers with a central recessed kneehole space backed by a cupboard. Occasionally a hinged top, lifting to reveal fitments for dressing accessories; rarely, a secretaire drawer.
One long drawer above two tiers of three small drawers of graduated depth. Generally a shaped apron fronting recess between. Overhanging top with moulded edge. Base moulding above either four or six bracket feet (ogee after about 1750). Maybe a brushing (or writing) slide immediately below top.
Door of recessed cupboard often panelled; sometimes flush, with cock-beaded edge to match drawer fronts.
Straight or serpentine front; sometimes with canted corners; these either plain, or carved, sometimes with half-columns, pilasters. (See CHESTS OF DRAWERS, p. 92).
Walnut, mahogany; occasionally other indigenous hardwoods. Pine (with oak for drawer linings) for carcase when veneered. Sometimes also mahogany around 1760.
Conversions from chests of drawers were common, particularly in early 20thC. Despite the high costs involved most ended up as four-feet type (to save creating two new ones).
Dovetails and suitable timber for drawer linings, as well as the new recessed door and inner sides, have to be well-matched in colour and grain to be convincing. Check the edges of the drawers for equal wear on both sides and for similar wear from the movement of drawers within the carcase. New locks will have been fitted and handles possibly repositioned.
Standard methods employed, as for chests of drawers.
Both decoration and handles as for chests of drawers (see p. 93). Decorative veneers and/or marquetry on walnut; sometimes restrained carving on mahogany.
Varnish on walnut; stain on mahogany. Both followed by wax polish.
VALUES
These are valuable antique kneehole desks when right, especially if walnut or with secretaire or dressing drawer. Prices invariably well into four figures; be suspicious if not.
Edwardian ‘Sheraton’ kneehole desk.

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