Antique Tables: English and French Oak, Mahogany and Walnut Antique Sofa, Gateleg, Writing Tables and Desks

AN OAK “CREDENCE” OR FOLDING TABLE with semi-circular hinged top, the
moulded frieze with a drawer and broad canted corners, the frame raised on four baluster legs joined by a platform stretcher, and with a baluster-shaped gateleg back support, 2ft 7in. high by 3ft. wide (78cm. by 103cm.) circa 1640, reconstructed.

A CHARLES II OAK TABLE with a moulded plank top, the frieze with a drawer and raised on ball-turned legs and stretchers, 2ft. 6in.

A CHARLES II OAK SIDE TABLE with cleated two-plank top, the frieze with a two
panelied drawer veneered in fruitwood on turned baluster legs of exaggerated form joined
by moulded stretchers, 2ft. 4V2in. high by 2ft. wide (72cm. by 90cm.) circa 1675, feet
and cleats restored.

A CHARLES II OVAL OAK GATELEG TABLE,
by a moulded flat stretcher, the gates with simple waved upnghts.

A RARE WILLIAM AND MARY CEDARWOOD TRIANGULAR TABLE, the triangular top
with three flaps with spring supports and opening to form a hexagonal top, raised on three
turned legs joined by similar stretchers, 2ft. 3′/2in. high by 2ft. 21hin. open (69cm. by 67cm.)
circa 1690, tip of one flap missing.

A RARE WILLIAM AND MARY OAK DINING TABLE, four hinged curved fiaps supported on
baluster legs joined by a moulded oval stretcher and massive.

AN OCTAGONAL OAK “CRICKET” TABLE with plank top, the moulded frieze and three
turned legs joined by a triangular shelf and three stretchers, 2ft. 6in. wide (76cm.) late-17th
Century, restored.

A GOOD OAK REFECTORY TABLE
with massive four-plank top and simple shaped walnut end supports
joined by a long bar, 2ft. 5in. high by 8ft. long by 3ft. 3in. wide (74cm. by 273cm. by 99cm.) partly constructed from I8th Century wood.

AN EARLY 18TH CENTURY REFECTORY TABLE in walnut and oak, the four plank
top on piain trestle end supports with piain stretcher and feet, 5ft. Hin. long by 2ft. 8V2in.
deep (180cm. by 82cm.) circa 1720.

A FINE PAIR OF GEORGE I LABURNUMWOOD-VENEERED CONCERT-ACTION CARD
TABLES, each quarter-veneered top with a crossbanding and projecting rounded corners,
the baize-lined interior with counter wells and candie-stands, the conforming frieze raised
on turned legs headed by piain lappets and ending in pad feet, 2ft. Win. wide (86cm.) circa
1720.

A FINE PAIR OF QUEEN ANNE BURR-WALNUT SEMI-ELLIPTICAL GAMES TABLES each
in well figured wood, each top with a moulded edge, a chevron banding and a broad
crossbanding, one with a velvet-lined interior crossbanded in walnut, the other with a
walnut-veneered interior crossbanded in oak, each plain frieze with a small chevron-
banded drawer at each side below a slide and raised on four simple cabriole legs with pad
feet, 2ft. 4in. high by 2ft. 6вОО. wide (71cm. by 77cm.) circa 1710.

A FINE GEORGE III PENWORK-DECORATED PEMBROKE TABLE in the French style,
the serpentine top with a central chinoiserie design of figures with a parasol and a child
within a broad floral border and an outer white border, the frieze with a chinoiserie
design, ivory knobs and a drawer surrounded by fruiting vines, the slender cabriole legs
headed by carved husks and decorated with fruiting vines, with brass castors, 2ft. 6in. long
by 3ft. ‘Ain. open (76cm. by 92cm.) circa 1780.

A FINE GEORGE III OVAL MAHOGANY PEMBROKE TABLE
in the French style, the flame-figured moulded top with a
narrow crossbanding, the bowed frieze with a drawer and raised on slender moulded cabriole legs headed by a fluted trumpet hung with a husk and with circular flowerhead brackets.

A GEORGE III OVAL MAHOGANY AND MARQUETRY URN TABLE, the galleried top
with satinwood banding engraved and stained with entwined leaves enclosing flowerheads
and with a narrow tulipwood outer banding, the frieze with a small slide and raised on
Square tapering legs headed by trailing garrya husks and a circular patera, 2ft. VMn. high
by lft. 2′/2in. wide (65cm. by 37cm.) circa 1780.

A FINE GEORGE II OCTAGONAL MAHOGANY TRIPOD TABLE, the gallery pierced with
Chinese fretwork and each side joining at the corner in a scroll, supported on a leaf-carved
trumpet and three tall inscrolled Supports carved with leaves and ending in bold scrolls,
2ft. 6in. high by lft. 8V4in. wide (76cm. by 51.5cm.) circa 1750.

A LATE 18TH CENTURY CHINESE LACQUER KNEEHOLE DRESSING OR WRITING
TABLE of slightly inverted breakfront form, the moulded top inset with a panel of gilt-
tooled green leather and with a frieze drawer and six short drawers flanking a recess with
three drawers, on bracket feet, decorated throughout with buildings and trees in gilt on
black, 2ft. 73Ain. high by 3ft. 8′Mn. wide (80cm. by 113cm.) late 18th Century, decoration
renewed, later top.

A GEORGE III SMALL MAHOGANY PEMBROKE TABLE, the top with a narrow
crossbanding and rounded corners with a frieze drawer and square tapering legs with
castors, 2ft. 33Ain. open (70.5cm.) circa 1780.

A FINE GEORGE III SATINWOOD MARQUETRY D-SHAPED SIDE TABLE, the top with
a swirling scrollwork hung with chains of flowers and with a giant shell medallion within
a main harewood border of ribbon meandering round seed pods and with two narrow
tulipwood crossbandings, the frieze and four square tapering legs inlaid with chains of
leaves with narrow kingwood crossbanding, 2ft. 7′Ain. high by 4ft. 6lAin. wide (79cm. by
138cm.) circa 1775.

A GOOD GEORGE III MAHOGANY TWO-PEDESTAL DINING TABLE with two extra
leaves, each hinged end with rounded corners and raised on a plain pillar and four canted
reeded sabre legs with plain brass toes and castors, 4ft. wide by lOft. 8in. long fully extended
(122cm. by 325cm.) circa 1800.

A REGENCY JAPANNED PEDESTAL TABLE, the hinged rectangular top with broad
canted corners and a chinoiserie scene in gilt with a woman seated by a table and a
fisherman walking towards a boat, on ebonised obelisk support and concave triangular
base, 2ft. 5′Ain. high by lft. 6in. wide (74cm. by 46cm.) circa 1810.

A REGENCY MAHOGANY FOLDING COACHING TABLE with hinged top and waved X-shaped
supports joined by turned stretchers, 3ft. Van. open (92cm.) circa 1815.

A LATE GEORGE III MAHOGANY KNEEHOLE WRITING TABLE
with a central frieze drawer above an arch flanked
to each skie by three drawers and a deep drawer resemble two drawers,
on a plain plinth base, ail the drawers painted (76cm. by 132.5cm.) 1810.

A PAIR OF OVAL TWO-TIER ETAGERE TABLES, each with a gilt-stamped black
leather-lined shelf on four pillars with pineapple finials and brass castors, 2ft. lin. high by
lft. 9lhin. long (63.5cm. by 54.5cm.).

A PAIR OF THREE-TIER ETAGERE TABLES of square shape, veneered in rosewood
and with gilt-brass column corners, with bail finials and castors, square (36cm )
19th Century.

A TWO-TIER ETAGERE TABLE,
each rectangular shelf veneered in rosewood with gilt-brass
border and gilt-brass circular legs and castors, lft. 8in. high by 2ft.

A LATE GEORGE III MAHOGANY SMALL TABLE, the top with rounded corners
above two drawers, the lower one panelled to resemble two drawers, on slender ringed
legs with castors, lft. 6′Ain. wide (46.5cm.) circa 1805.

A NEST OF THREE REGENCY ROSEWOOD TABLES, each on a pair of twist-ringed
pillars with downcurved legs joined by a straight stretcher.

AN IVORY-INLAID KINGWOOD-VENEERED TABLE
CABINET, the hinged lid and sides veneered with a brick
design with ivory ‘mortar’, the architectural front with
an arrangement of six short drawers flanking a dummy
drawer and a cupboard enclosing three long drawers,
the whole of the front inlaid with a eut ivory scrollwork,
lft. 5V4In. high by wide (44cm. by 75cm.) mid-
17th Century, probably Spanish.

A DUTCH MARQUETRY CENTRE TABLE, the top
inlaid with an oval set with flower vases flanked by
birds, within burr-walnut and maple crossbanding within
floral spandrels and a floral border above a similarly
inlaid frieze drawer, on square tapering legs ending in
blocks and joined by a concave X-stretcher, on later bun
feet, 2ft. 4lhin. high by 3ft. 7′Mn. wide (73cm. by 110cm.)
late 17th/early 18th Century.

A GILTWOOD SERPENTINE FRONTED CONSOLE TABLE
with a pierced C-scroll and acanthus leaf-carved apron
centred by a shell, on elaborately carved cabriole legs
hung with floral garlands and joined by an asymmetrical
pierced C-scroll and S-scroll stretcher with a grey marble
top, 2ft. 8in. high by 3ft. 9lMn. wide (81cm. by 116cm.)
circa 1750, probably German.

A DUTCH WALNUT MARQUETRY TRIPOD TABLE, the circular
hinged top inlaid with a flower vase within a scrolling garland,
on a ring-turned baluster stem and downcurved cabriole legs, 2ft. 5lhin.
high by 2ft. 4V2in. diam. (75cm. by 72.5cm.) mid-18th Century.

A DUTCH MARQUETRY CARD TABLE, the triangular
baize-lined top and frieze with chevron bandings and
boxwood stringing, with a vase of flowers above a
bearded mask, on four tapering legs with inlaid bands of
lighter wood, 2ft. 4′/2in. high by 4ft. lin. wide (72cm. by
124.5cm.) circa 1790.

A BIEDERMEIER FRUITWOOD SMALL TABLE with a
drawer and square tapering legs, 2ft. high by lft. Hin.
wide (61cm. by 58cm.) circa 1830.

A BIEDERMEIER FRUITWOOD JARDINIERE TABLE
with panelled frieze and square tapering legs, 2ft. wide
(73cm.) circa 1830.

A LATE GEORGE II MAHOGANY SIDE TABLE, with
moulded top and frieze drawer, on square chamfered
legs, 2ft. 4′/2in. high by 3ft. wide (72cm. by 93cm.)
circa 1760.

AN EARLY GEORGE III MAHOGANY SIDE TABLE,
with brass gallery, plain frieze, with square chamfered
legs headed by pierced fluted brackets, 2ft. Hin. high by
6ft. wide (89cm. by 183cm.).

A GEORGE III MAHOGANY TOILET TABLE, with a
rising adjustable mirror and a divided hinged top
enclosing apertures for fitments with a cupboard and
square chamfered legs joined by a concave platform,
lft. 4in. wide (41cm.) circa 1770.

A GEORGE III MAHOGANY EXTENDING DINING TABLE,
with a pair of leaves, each D-shaped end raised on four
square tapering legs, 4ft. wide by 8ft. 2in. fully extended
(122cm. by 249cm.) circa 1780, with restoration.

HOLE DESK OR DRESSING TABLE, of triple bow-front
form, the top with reeded edge, three frieze drawers and
each pedestal with a bowed door enclosing tray shelves
on a phnth base, 2ft. 4′Mn. high by 4ft. min. wide (72cm
by 138cm.) circa 1800.

A GEORGE III MAHOGANY SERPENTINE-TOP CARD TABLE,
on square tapering legs and block feet, 2ft.
high by 2ft. 7in. wide (74.5cm. by 79cm.) circa 1780.

A GEORGE III MAHOGANY SIDE TABLE with semi-
circular top and panelled tapering legs, 2ft. 103Ain. high
by 4ft. 3in. wide (88cm. by 129cm.) circa 1785, the frieze
now containing a drawer.

A REGENCY MAHOGANY TRIPOD TABLE, the
rectangular hinged top on slender ring-turned baluster
stem and reeded downeurved legs ending in bun feet,
2ft. 3′hin. high by 2ft. lin. wide (70cm. by 63cm.)
circa 1805.

A LATE GEORGE III MAHOGANY WRITING DESK
with a tambour front enclosing a fitted interior and
writing slide above a pair of frieze drawers on square,
tapering, fluted and stop-fluted legs, 3ft. 5in. high by 3ft.
‘hin. wide (104cm. by 93cm.) circa 1790.

A REGENCY BREAKFAST TABLE, the rectangular hinged top with
reeded edge on a ring-turned baluster stem and reeded sabre
legs ending in brass castors, 2ft. 4in. high by 4ft. wide (71cm. by 150cm.) circa 1820.

A PAIR OF GEORGE III MAHOGANY GAMES TABLES,
the rectangular tops with reeded borders and deep
chamfered corners, the friezes inlaid with stringing and
raised on turned tapering legs, 2ft. 5′hin. high by 2ft.
ll3Ain. (75cm. by 91cm.) circa 1800, one with Upper
section of top replaced.

A FINE GEORGE III MAHOGANY THREE-PEDESTAL
DINING TABLE, each pedestal with a vase-shaped stem
and downcurved legs ending in brass castors, 2ft. 4in.
high by 8ft. Hin. long by 4ft.deep (71cm. by 274cm.
by 136cm.) circa 1800.

A GEORGE III MAHOGANY TWO PEDESTAL DINING
TABLE, with rounded square ends on nng-turned
baluster and reeded sabre legs, ending in brass.castors
2ft. 5in. high by 6f, Win. long by
209cm. by 122cm.) circa 1815.

A REGENCY MAHOGANY SOFA TABLE, the top
crossbanded in satinwood and inlaid with boxwood
stringing with two real opposing two dummy drawers,
and with D-shaped flaps, on trestle supports joined by
an arched stretcher, 2ft. 5in. high by 5ft. lin. wide (74cm.
by 155cm.) circa 1805.

A LATE GEORGE III ROSEWOOD SOFA TABLE, with
two frieze drawers in one side, on a ring-turned baluster
stem carved with lotus leaves and down-curved sabre
legs, ending in downcurved feet and castors, the whole
inlaid with brass stringing, 2ft. 4in. high by 5ft. ‘Mn. wide
(71cm. by 153cm.) circa 1815.

A REGENCY MAHOGANY SOFA TABLE, with
D-shaped flaps crossbanded in satinwood, the frieze
with one real and one dummy drawer on lyre-shaped
scrolling supports and sabre legs joined by an arched
stretcher, 2ft. 6in. high by 5ft. o’frin. wide (76cm. by
169cm.) circa 1815.

A GEORGE III MAHOGANY SOFA TABLE, with
D-shaped flaps and one real and one dummy drawer in
the frieze on trestle supports, joined by a ring-turned
stretcher on moulded sabre legs ending in brass castors,
2ft. 4in. high by 5ft. VMn. wide (71cm. by 156cm.)
circa 1810.

A PAIR OF GEORGE IV MAHOGANY CARD TABLES,
with canted corners and swivelling tops, raised on four
turned pillars, a platform and canted sabre legs, inlaid
throughout with a pale wood stringing, 2ft. Hin. zoide
(89cm.).

A WILLIAM IV ROSEWOOD CENTRE BREAKFAST
TABLE, the circular top with a beaded edge on a triangular
pillar and moulded beaded base and concave platform,
on moulded ball feet, 2ft. in. high by 4ft. 3′/2in.
diameter (72cm. by 130cm.) circa 1830.

A WILLIAM IV ROSEWOOD-VENEERED WORK TABLE,
with rounded corners, frieze drawer above a U-shaped
back support with turned pillar and coneave rectangular
base with bun feet, 2ft. 4in. high by 2ft. Hin. open (71cm.
by 89cm.) circa 1835.

A GEORGE III MAHOGANY SEMI-CIRCULAR CARD TABLE
with a baize-lined interior, crossbanded in satinwood, on
square tapering legs ending in block feet, 2ft. 5in. high by 3ft.
wide (74cm. by 91.5cm.) circa 1790.

A GEORGE III MAHOGANY SIDE TABLE with
crossbanded top and a hinged flap panelled to resemble
two long drawers, with a curved apron and square
tapering legs ending in spade feet, the whole inlaid with
ebony stringing, 2ft. high by 2ft. 4in. wide (80cm.
by 71cm.) circa 1790.

A GEORGE III PROVINCIAL MAHOGANY DRESSING
TABLE, the rectangular top with adjustable dressing
mirror on ratchet support, with two long and two short
drawers round a kneehole, on square tapering legs and
brass castors, 2ft. lO’hin. high by 2ft. 9′/2in. wide (87cm.
by 85cm.) circa 1800.

A REGENCY MAHOGANY CARD TABLE, the hinged
top crossbanded in rosewood, with a beaded frieze and
spirally ringed baluster stem on a concave platform
stretcher and hipped sabre legs ending in lion-paw
castors, 2ft. 5V2in. high by 3ft.wide (75cm. by 92cm.)
circa 1815.

A GEORGE IV CIRCULAR MAHOGANY TRIPOD TABLE
of George II style, with hinged top, baluster stem and
plain cabriole legs with pointed pad feet, 2ft. 4in. high by 2ft. 6in.
diameter (71cm. by 76cm.) circa 1820.

AN EBONISED PARCEL-GILT REGENCY CHEVERET
TABLE, the superstructure with a brass three-quarters
gallery above a pair of grille-filled doors flanked by lotus-
carved baluster columns, the frieze decorated with an
olive leaf motif centred by a rosette, on ringed tapering
legs joined by a platform stretcher, 3ft. 9in. high by 2ft.
wide (114cm. by 61cm.) circa 1815.

A LATE GEORGE III MAHOGANY PEDESTAL PEMBROKE
TABLE, the rectangular top with rounded corners, with
a frieze drawer and central reeded column on four
moulded legs, 2ft. 4in. high by 2ft.wide
(71cm. by 90cm.) circa 1820.

A GEORGE IV MAHOGANY CARD TABLE,
with a hinged swivelling top enclosing a well, supported
on two ring-turned columns and a concave platform with hipped sabre
legs and brass castors, 2ft. 4V2in. high by 2ft. 11in. wide (72cm. by 90.5cm.) circa 1825.

A LATE GEORGE III MAHOGANY BREAKFAST TABLE,
the circular top with turned column and four legs, 2ft. 5in.
high by 4ft. 3in. diameter (74cm. by 130cm.) circa 1815, originally
part of a pedestal dining table.

A WILLIAM IV GILTWOOD SIDE TABLE,
with verde antico marble top and a pair of massive
foliate scroll supports, resting on a rosewood-veneered base with
giltwood egg and dart moulding and a mirrored backboard, 3ft. 3in.
high by 4ft. 8in. wide (99cm. by 142cm.) circa 1830, distressed and gold painted.

A WILLIAM IV ROSEWOOD TRESTLE TABLE, the
rectangular top with rounded corners and inlaid with a
satinwood band, with a drawer in the frieze and simple
trestle Supports, 2ft. high by 2ft. 4in. wide (70cm.
by 71cm.) circa 1830.

A WILLIAM IV ROSEWOOD BREAKFAST TABLE, the
circular top with a gadrooned border, the hexagonal
stem with concave-sided triangular base on gadrooned
feet, 2ft. 5′/2in. high by 4ft. 6in. wide (75cm. by 137cm.)
circa 1835.

A WILLIAM IV MAHOGANY TEA OR GAMES TABLE,
the rectangular hinged top with a beaded edge, on
columnar lotus-leaf carved pedestal and concave
platform stretcher on reeded bun feet, 2ft. high by
3ft. wide (75cm. by 91.5cm.) circa 1830.

A WILLIAM IV MAHOGANY GAMES TABLE, the top
with a central sliding panel enclosing a backgammon well
and reversing to form a chessboard, with two drawers
flanking an arch with a dummy drawer, on piain trestle
supports, 2ft. high by 2ft. Hin. wide (77cm. by
89cm.) circa 1830.

A FLEMISH PARQUETRY SIDE TABLE,
the rectangular top with concentric oyster-veneered
circles in olivewood with hollywood stringing, a drawer
in the frieze and turned legs joined by wavy stretchers, 2ft. 6in. high by 3ft. wide (76cm. by 95cm.)
circa 1700, legs and stretchers replaced.

A GEORGE I WALNUT TABLE, with a moulded mottled pale
apricot-coloured top and rounded corners, the frieze with a
drawer at each end, the turned legs with lappets and pad feet, 2ft.
5in. high by 2ft. 8in. long (74cm. by 81cm.) circa 1725, marble modern.

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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 French and Italian Desks (1715-1770)
Louis XV kingwood bureau plat with serpentine top.
In France, about 1715, the bureau-Mazarin with eight legs and banks of drawers is replaced, probably by Boulle, with the bureau plat (flat-topped writing-table) on four cabriole legs with only three drawers set in line in the frieze, the centre one slightly recessed. Veneers are protected, especially on outside angles of legs, with ormolu mounts. By 1750, bureau plat in fully developed Louis XV style is an assembly of flowing curves, sometimes without drawers in frieze to detract from its elegance, sometimes with cartonnier
(separate, matching rack of shelves for documents) placed at end next to wall. Flowing lines followed in solid French provincial and Swiss versions.
About 1760, the secretaire-a-capucin (or a-la-Bourgogne) is made by Vandercruse and others; a small table on cabriole legs when closed, but when folding top is extended, a mechanism releases a bank of drawers. The bonheur-du-jour is also a lady’s desk, but with Louis W kingwood and parquetry bureau de dame.
bank of drawers and/or pigeonholes permanently in position. The bureau-de-dame is on cabriole legs and in its early form has a sloped fall, modified by Oeben who replaces it with a tambour composed of slats glued to fabric and running in curved grooves. He invents cylinder-top desk for Louis XV – solid, curved lid moving in grooves – unfinished on Oeben’s death in 1763 and completed by Riesener, 1769; considered finest piece of French 18thC furniture extant.
The secretaire-a-abattant is a revival of late-17thC secretaire with vertical fall, but carcase often has bombe curves. Rococo curves become less marked during transitional period in 1760s, when royal mistresses, de Pompadour and (later) du Barry help steer court taste in direction of neo-classicism.
German birch bureau-cabinet, mid-18th century.
In Germany, the bureau-cabinet remains favourite form of desk. Rococo decoration is applied to heavy, shaped carcases. In some, cabinet section has cabriole feet resting on top of bureau. Makers include Schnell in Dresden and Hermann of Bamberg, who also produces writing-table in French style about 1765 with tambour top. Lighter types of bureau without cabinet produced by Roentgen family at Neuwied. Danish and Finnish examples mostly follow German. In Holland, bureau-cabinet retains heavy baroque flavour with rococo touches; base has boldly canted corners, top of cabinet is often stepped to hold oriental vases. In Italy bureau-cabinet reaches dizzy heights of rococo extravagance, notably at hands of Piffeti, Turin. Simpler bureaux were made in Tuscany.
Northern Italian walnut bombe bureau, mid-18th century.
Sophisticated types: Exotic veneers, e.g. kingwood, tulipwood, citrus.
Provincial types: Solid cherry, walnut.
Bureau, bureau-cabinet: Basically as for previous period, but elaborate shaping of carcase in German examples achieved by ‘brick’ system – building up with small sections.
Bureau plat: Rails tenoned into tops of cabriole legs; top of sophisticated type framed up and fixed to rails with pegs and glue-blocks. Top of French provincial type made up with solid boards, tongued and grooved.
French: Delicate marquetry on fall of bureaude-dame and secretaire-a-abattant bureau plat more reliant on fine veneers and elaborate ormolu mounts; e.g. Cressent, cabinet-maker to Regent during minority of Louis XV, sets fashion for espagnolettes– mounts cast as busts of nymphs and fauns.
German and Italian: Elaborate carving and marquetry for bureau-cabinets; cresting on cabinet can be wildly asymmetrical. Best Dresden work has very fine ormolu mounts.
Veneers varnished, sanded down and waxed. German carving parcel-gilt – i.e. details gilded in contrast to woodwork. In Italy, painting with lacca; Venice specializes in lacca povera (lacca contrafatta) – prints by Bassano del Grappa of Remondini, glued to coloured ground and varnished.
Ostentatious pieces bring very high prices and demand handsome settings. Best buy is probably French provincial bureau plat in cherry or walnut.
Principal maker of bureau-cabinets in mid-18thC Copenhagen was Ortmann, who numbered all his products and pasted a trade label inside. Some were disposed of as prizes in lotteries, and could turn up anywhere.
Finnish oak bureau-cabinet, mid-18thC.

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DESKS: ESCRITOIRES
Approximately 1680-1720
William & Mary mulberry wood fall-front escritoire.
0riginally known as a scrutoire or scriptor, this was a valuable piece of furniture in its day, its flat fall-front providing a good surface for
decorative veneers. The earliest versions are small and mounted on a stand, but the majority of survivals are large and sit on a chest of drawers. Rare objects today.
In two sections, the upper part slightly taller and narrower than the lower. join concealed by applied ‘waist’ moulding, matching one around base. Usually a pair of drawers above two deeper drawers in base. Originally
bun feet (usually replaced later with brackets).
Upper part with single fall-front writing-
surface (usually with velvet or coarser cloth base), supported first on brass chains, later on elbow hinges. There is a convex-fronted ‘cushion’ drawer in frieze, below a projecting moulded cornice.
Interior fittings: Flush with front and reaching full height. Vary in conformation; usually lockable central cupboard above deep recess, open pigeon-holes at top, all surrounded by differently-sized drawers. May be secret drawers concealed behind.
Mostly walnut (often burr); occasionally mulberry, yew or other highly figured woods. All veneered on pine carcase, with oak for drawer linings. Box, holly, harewood, various fruit-woods, occasionally ebony for
marquetry.
Note: An all-pine carcase will indicate Continental manufacture.
Standard methods employed (see CHESTS OF DRAWERS, p. 84). Hand-cut veneers about 1/8 inch/3 mm thick. Banding cross-cut with mitred corners. Often burr veneers on front; vertically-running, straight-grained veneer on sides. Fall-front cleated to prevent warping.
Mostly figuring of veneers, sometimes with cross- or feather banding. Occasionally oyster patterns. Sometimes seaweed or floral marquetry is seen.
Handles: Typical for day (for details see page 85). Brass drop handles, smaller inside than out, seldom matching. Thereafter brass bails with solid backplates outside; smaller ring handles with circular backplates inside. Large, surface-mounted, decorative brass escutcheons.
Varnish (to fill grain) followed by wax polish.
VALUES
Being rare, very highly priced, invariably in five figures. Even marriages (of top originally on stand to chest of drawers), if done convincingly, of considerable value. Fine marquetry, or any attractively figured alternative
to walnut, a price advantage.

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DESKS: PEDESTAL
About 1750 onwards
Mahogany pedestal desk, early-19th Century.
Asubstantial piece of writing furniture deriving from the type of pedestal ‘library’ or ‘writing-table’ made and illustrated by Thomas Chippendale and other high quality London-based cabinet makers in the mid-18thC. Subsequently made in a wide range of sizes, the largest being the double. sided partners’ desk, the smallest the half-pedestal devised around 1900. Particularly popular during the 19th and 20thC for office use.
Early library tables with two pedestals of four drawers with a plain top with frieze below and carved and shaped apron fronting kneehole recess. Sometimes panelled cupboard doors enclosing pedestal drawers.
From about 1765 standard form evolved. Made in three parts: two pedestal bases, each containing a flight of three drawers of graduated depth. Sides generally flat when veneered, panelled when solid. Top with three frieze drawers, outer two of equal width to drawers below. Continuous plinth around bases (in late 19thC sometimes fitted with concealed castors). Occasionally bracket feet; short turned legs after 1790. Overhanging top with lip or thumb-nail moulding; narrow moulding around lower edge of top section.
Writing- surface with tooled (sometimes gilt) border. Later 19thC cloth imitation common. Can be laid in three sections. One pedestal sometimes has a cupboard, fronted by dummy drawers.
Above, late- Victorian mahogany pedestal desk, about 1880-1890; below, kidney-shaped mahogany pedestal desk, about 1800-1820.
By far the majority were rectangular; a few kidney- or D-shaped between about 1790 and 1820. Being free-standing, all visible surfaces were finished (i.e. back and inner sides of pedestals). Occasionally there was a solid back to the recess. (This feature was often found on simple provincial and country-made versions; used in smaller rooms of smaller houses, against the wall  i.e. not free-standing.)
Second half of 19thC saw continuous production of the standard model, but also an attempt to apply the prevailing historic revival and other styles such as:
Reformed Gothic: Chamfered edges, panels of diagonal planking, incised line decoration, carved trefoils.
Elizabethan: Heavily carved, dark-stained oak, carved wood, lion’s mask, pull handles.
Sheraton: Principally inlay, some marquetry, in contrasting coloured satinwood. Cross-banding too.
Variations included:
Partners’ desks (from about 1770): As a standard pedestal but double-sized and double-sided. Sometimes there are drawers one side and cupboards the others, but usually the configuration was identical.
Half-pedestals (about 1900 onwards): Made in one piece with apron below single drawer and simple legs replacing missing side.
Simple office desks (about 1900 onwards):With two four-drawer pedestals and plain top (i.e. without drawers). Curved apron fronting recess.
Late versions of standard pedestals may have bracket feet or short, turned or tapering legs ending in cup of box socket castors, considerably altering overall proportion, generally looking too insubstantial to support significant weight above.
From 1900 solid backs to recesses of office desks (for purposes of modesty) much more common. Some pieces with additional floor-level foot-rail.
Mostly mahogany. Commonly oak in 19thC, or pine, originally stained to simulate mahogany, but now usually sold stripped and waxed. Occasionally rosewood during Regency; burr walnut, yew and other figured woods in Victorian times. Sometimes satinwood for decorative panels of veneer.
Standard methods employed (see CHESTS OF DRAWERS, p. 93). Top framework with mortise-and-tenon joints. Top slots over blocks were glued to top of base.
Structural alterations not common, but occasionally marriage of bases to different top, or the superstructure (feature sometimes found on late 19thC pieces) removed and top re-veneered or replaced with new. Occasionally plain oak versions were veneered later to up price; look for all-oak carcase.
MOCK-GEORGIAN DESKS
Very many Victorian and early 20thC desks refurbished with new leather and period-style brass handles and sold as `Georgian’. Check construction of drawers carefully; watch particularly for plywood linings (an inter-war feature). The holes left by former handles may give a clue to the date. The horizontal wooden pulls common from about 1900 will show two screw holes (both inside and out) further apart than you would expect on a standard handle; the semi-elliptical metal handles popular between the wars will leave three
small screw or pin holes on the outside only, arranged as the three points of a triangle; Victorian wooden knobs will leave a 1/2 inch/I cm diameter hole on both sides.
Very little decoration. Some carving on verticals and friezes of early writing-tables. Inlay, mostly in the form of stringing lines, and occasionally marquetry of neo-classical inspiration, on drawers from about 1780; revived again in late 19thC (though this tends to be heavier, executed in strongly contrasting yellow satinwood). Sometimes narrow cross-banded veneer rather than inlay.
Some use of burr or highly figured veneers throughout 19thC.

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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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Fall Front Desks and Secretaires

As antique desks especially for writing grew in popularity in the 18th century, different styles were developed. The secretaire a abattant, a tall French writing desk, was first produced in the 1700s in Paris by the cabinet-maker, Jean-Francois Oeben.
The secretaire a abattant looked, from its flat-fronted exterior appearance, like an armoire, or wardrobe. However, its upper section was hinged and, when opened, fell forward to reveal a leather-lined writing surface.
The lower section had drawers or doors, behind which were shelves or drawers for storage.
In many examples, an additional drawer was located below the cornice Of the upper section, often concealed by decoration.
Many secretaires a abattant were tall and narrow. Their rectilinear shape, which was sometimes softened by the use of legs and rounded corners, was Neoclassical in style, and made the earliest ones very influential in
furniture design.
High-quality woods were used in the construction and marquetry was often employed, particularly on the fall-fronts, in geometric or Classically inspired designs. Panels of Oriental lacquer were also popular,
and during the 1770s and 80s secretaires a abattant incorporating Sevres porcelain plaques were produced. Neoclassical motifs such as Vitruvian scrolls, keyhole escutcheons of laurel leaves, and inlaid urns were sometimes used.
The design of the secretaire a abattant quickly spread across Europe. In the Low Countries. lacquer and marquetry were sometimes combined with Dutch floral marquetry, while in Germany Eastern Europe, and
Scandinavia, decoration was more restrained. British pieces became particularly good examples of the country’s Neoclassical furniture.
The apron is centred by a grotesque ormulu mask.
A pierced ormolu gallery runs around three sides at the top.
The white marble top with canted corners is set into a brass frame.
The side panels are lacquered, decorated with foliage, and inlaid with mother of pearl.
The lion’s head mask, here made of gilt bronze, is a common Neoclassical mnotif.
The doors - inlaid and lacquered with an eagle and a peacock - conceal a safe.
ENGLISH DROP-LEAF DESK
This mahogany desk has hinged, drop leaves. The frieze contains one drawer with a dummy drawer on the opposite end. The square, tapering legs are joined by a cross-stretcher. A hinged, butterfly bracket supports
the leaves. c.1790.
MID-ATLANTIC DROP-LEAF DESK
This mahogany desk has hinged leaves, which are supported by a butterfly bracket. The beaded frieze has a cock-beaded drawer and a dummy drawer. The square, tapering legs are joined by a cross-stretcher near
the bottom of the legs. c.1790.
ENGLISH TRIPOD DESK
FRENCH SECRETAIRE A ABATTANT
This Parisian secretaire is covered with black lacquer, with mother-of-pearl decoration, and gilt-bronze mounts. Made by Philippe-Claude Montigny. c.1770.
ENGLISH FALL-FRONT SECRETAIRE
This English secretaire has tulipwood and satinwood crossbanded inlays. Its fall front and cupboard door are quarter-veneered, with a central oval fan medallion and vase. c.1780
FRENCH SECRETAIRE A ABATTANT
This Parisian marble-topped, harewood secretaire is inlaid with geometric marquetry. Ormolu borders surround its panels. Below the long drawer is a fall front and a pair of doors. c.1780.
SECRETAIRE A ABATTANT
This kingwood and rosewood veneered desk, has maple inlay and marble top. Under the cornice a locking drawer that opens, supported by hinges, to reveal a fitted interior. The legs
are high and tapered. c.1780.
LOW COUNTRIES SECRE TAIRE A ABATTANT
This mahogany secretaire uses different veneer patterns to create ornament and movement. Its doors are quarter veneered and crossbanded. A shell-shaped oval patera adorns the centre of the fall front, and a
geometric ribbon inlay decorates the canted corners of the case. c.1790.
ROSEWOOD SECRETAIRE
This secretaire is made of rosewood, kingwood, and other exotic woods. It has marquetry decoration and gilt-bronze mountings. Below the cornice is applied ormolu, in a Vitruvian scroll, which in this piece serves to conceal a drawer. c.1780
SWEDISH SECRETAIRE
This Swedish secretaire lacks a lower cupboard, but its upper section is a writing surface that opens in the same way as a French secretaire. It has a marble top, a geometric brass band across the top, and decorative inlay on the fall front and side panels. c.1780.
LOW COUNTRIES SECRETAIRE A ABATTANT
The corners of this Dutch secretaire are rounded, with etched escutcheons in the Chinese style as the decorative focal point. It is also japanned, in imitation of Chinese lacquer, with a design of idealized landscapes and figures, using two shades of gold on a black ground. The fall front opens to reveal drawers, pigeonholes, and shelves. c.1800.
SOUTHERN SECRETAIRE
The primary wood of this bookcase is walnut, but the poplar and yellow pine interior woods identify this as a southern piece. The upper part is flat-topped with two hinged, panelled doors; doors of this type are rarely seen in the northern states. The lower section consists of a slant-front desk above four graduated drawers supported on bracket feet. The slant front conceals an interior with drawers and cubby holes flanking a central prospect door. c. 1770.
WRITING OR DRESSING DESK
This small walnut desk with a single drawer has a rectangular top with a large overhang, a typical feature of southern desk. The brass handle and plate wen, imported from Britain.
INLAID SECRETAIRE
The marble top of this secretaire rests above a case with canted corners. The fall front opens onto a fitted interior with six drawers and a green leather insert. Below are two drawers, each with Japanese-style light
wood inlays. With gilt-bronze mounts throughout, this piece stands on fluted, tapering feet with sabots. c.1780.
FRENCH SECRETAIRE A ABATTANT
This Parisian secretaireis made of woods including rosewood and kingwood, with floral inlays. Decoration comes from its geometric patterns, as its mounts are limited to the central drop and feet fronts. Its fall front opens to reveal green, gilded leather. The lower section doors cover three drawers either side of a large shelf. 1778.
ENGLISH DROP-LEAF desk
The top of this mahogany desk tilts back when a latch under the desk top is released. The top rests on a turned baluster column, which is joined to a tripod base with a mortise-andtenon joint. The calbriole legs have pad feet. c.1770.
PHILADELPHIA TRIPOD DESK
This mahogany tea desk has a dish top birdcage device, which holds the top onto the turned base. The claw-and-ball feet are a typical feature of American Chippendale pieces, but were no longer fashionable in Britain.  c.1770.
ENGLISH TRIPOD DESK
This oval-topped mahogany desk is made up of a rectangular section with two leaves. A hinged butterfly bracket supports the extended leaves. Tapering legs end in brass casters. These desks are known as Pembroke desks. c.1780.
MID-ATLANTIC DROP-LEAF DESK
This mahogany Pembroke desk has an oblong top and hinged D-shape leaves, with a bow-shaped frieze. The frieze is inlaid with lily-ofthe-valley flowers and the desk is supported on square, tapering legs. c.1800.

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