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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17th Century French, Italian and Spanish Desks about 1630
Byzantine: Desks combining flat surfaces with sloped lecterns fairly commonplace.
Romanesque: The few literate people (mainly monks) used a writing-slope – often a portable box with hinged, slanted lid, but sometimes on a fixed base. A desk dating from about  pieces of furniture designed specifically for writing have taken many different forms, the work-surface sometimes being the most important feature, sometimes little more than a hidden accessory in a prestige piece designed  to proclaim the owner’s power and cultural pretensions.
1200 at Valstena Church, Gotland, Sweden, has a simple sloping lid on a chest-like carcase and with turned corner-posts forming the legs.
Gothic: Writing-slopes sometimes supported on panelled stands with some carved decoration.
Renaissance: In Italy, scholars’ studies were fitted with desks, sometimes flat-topped and free-standing but more often fixtures with sloped tops. A painting in Venice by Carpaccio, about 1502-08, shows St Augustine seated at a table with one end attached to wall, the other on a turned support.
Desk and chair of Romanesque form, probably Swedish, from about 12 South German walnut writing-box inlaid with bone, about 1600.
Craftsmen in Augsburg, southern Germany produce elaborate writing cabinets, e.g. one made for Charles V in 1554 by Strohmeier, with numerous drawers, carved with figures symbolic of literature and history. A less grandiose German type is a free-standing table with a compartment placed below the top. Many tables used as desks in Germany, Low Countries, Scandinavia are based on designs by Vredeman de Vries published about 1588. In that year, Spanish power suffers setback, but rich decoration continues to be lavished
on the vargu&o (writing cabinet) with vertical fall- front serving as a work surface, the interior fitted with many small Spanish iron-bound walnut vargueno grouped around a central cupboard. Related type (papeleira) has drawers for papers but no writing-leaf. Both types have Portuguese equivalents.
Spanish boa.
Mainly local woods for construction. Augsburg craftsmen use great variety for intarsia work. After 1500, Spain and Portugal import ebony, rosewood, mahogany, jacaranda, silver from New World.
Writing-slopes simply constructed, using nails or coarse dovetail joints. Augsburg writing-cabinets finely constructed with mortise-and-tenon, dovetail joints. Spanish vargueno assembled with flush boards forming tops, bottoms and ends, coarsely dovetailed together; drawers crudely made; early stands on
turned legs or shaped supports with wrought-iron stretchers.
Renaissance writing-slopes often carved with strapwork; interior surface of slope in Italian examples sometimes painted naively with religious subjects. Augsburg writing  cabinets inlaid with architectural fantasies.
Drawer-fronts of Spanish varguenos faced with carved ‘Romayne’ heads in boxwood or vory, overlaid with fretted silver, inlaid with abstract patterns with strong Mudjar (Moorish) influence.
Simpler types oiled, waxed or varnished. Carvings on luxurious types often gilded. Exteriors of varguenos sometimes covered with velvet and mounted with wrought-iron.
Very few authentic examples earlier than 16thC appear on open market. Attractive writing-slopes often sell at modest prices. German writing cabinets expensive. Spanish varguenos not really dear considering the wealth of decoration and indeed their decorative value.
The vargueno continued to be made in Renaissance style until 19thC. Later examples should be regarded not so much as fakes or reproductions — more as traditional status symbols.
Louis XIV boulle bureau Mazarin
Table types: Still in late- Renaissance, mannerist style of Vredeman de Vries, brought up to date with richer carved decoration by son’s designs – Versheyden Schrynwerk– published 1630, widely used in northern Europe throughout 17thC. By about 1650, legs developed heavier, baroque turnings, very busy-looking in Portugal. In Holland, from about 1660, writing-tables on spiral legs fitted with one drawer in frieze.
From about 1680, the flat-topped bureau Mazarin– prototype pedestal desk with kneehole – appears in France, well after death in 1661 of Cardinal Mazarin. Made also in Italy, especially Piedmont.
Cabinet types: In Holland from about 1675, medieval form of desk is adapted by moving hinges of slope from top edge to bottom so that it opens out as flat writing-surface supported by lopers (sliding bearers) or, a method soon abandoned, with gates forming part of separate stand with turned legs. About Dutch slope-front bureau.
Northern ltalian bureau cabinet, about 1715.
1700, stand may still be table type (cabriole legs from about 1710), or chest of drawers type, often with cabinet above. In early 18thC bureau-cabinet develops complex features: concave drawer-fronts in Germany; double-dome tops in Holland.
Fall-front secretaire has a flat top above vertical fall, with drawers filling space below. Spanish version – vargueno– continues as obligatory status symbol, but is often mounted on chest of drawers type base which, in many examples now on market, is old but not original.
Favourite wood internationally is walnut, used in solid and veneer forms, with ebony and wide variety of woods for marquetry and banding. Veneers laid on foundation of oak or pine which, together with walnut, chestnut, elm and poplar, according to regional availability, are used for drawer linings. Some Dutch
bureau-cabinets have mirror glass doors, similar to English. Ivory and bone for inlay; brass, pewter and turtleshell for boullework. Brass handles, lockplates; locks fitted with brass screws (see below).
Bureau-Mazarin: Eight scrolled or square, tapered legs, arranged in sets of four, each set joined by X-shaped stretchers, support carcase fitted with three drawers (fronts often slightly bowed) each side, one at centre, and a recessed cupboard in kneehole. In northern Italy, the number of legs is sometimes reduced from eight to six.
Bureau-cabinet: Originally constructed in three separate sections — chest of drawers base supporting sloped desk with two-door cabinet above; about 1700, base and desk are integrated; cabinet always separate.
Desk Fall-front secretaire: Carcase in one piece, lower part fitted with drawers; large writing-leaf, in vertical position when closed, supported on iron stays when open.
Shallow ,map drawer’ in frieze, disguised as moulding.
Secret drawers, when found behind overt ones in interiors, often appear new and unused since the day they were made.
Bureaux-Mazarins: Boullework or floral marquetry in France; inlaid figures in bone or ivory in northern Italy (Turin especially).
Bureaux, bureau-cabinets, secretaires: Some provincial types in solid wood have carved decoration in baroque style, but most are veneered in walnut inlaid with geometric bandings; floral or ’seaweed’ marquetry in Holland, banded in boxwood ornamented with penwork in black ink. Heavy moulding, especially in Germany.
Solid types oiled, varnished or left natural. Veneered types varnished, waxed.
Really fine bureaux- Mazarins and bureaux-cabinets for the seriously rich. Bureaux can be bought at sensible prices. Fall-front secretaires often reasonable because large writing-leaf creates problems in small rooms.
From late-17thC onwards, screws used for fixing locks, hinges. Early screws usually brass, only slightly tapered, with irregular threads filed by hand. Lathe-turned screws with regular thread from about 1750, but still without much taper, and slot across head to receive screwdriver is rarely centred precisely. Sharply tapered, machine-made steel screws with slot usually dead centre not in general use until about 1850.
Left, before 1750; centre. 1750-1850; right, after 1850.
Cabinet base rests on the desk, which sits on the base to form a unit.

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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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Antique English Pedestal Desks

mahogany library or writing table - mahogany pedestal desk - kidney-shaped writing table or desk - burr yew pedestal desk on paw feet - nineteenth century mahogany pedestal desk - kidney-shaped desk of Sheraton design

Pedestal desks for study, library and office use do not really stem from the same origin as the kneehole dressing table. They come from another branch of the furniture tree  those grand library and writing tables of the mid-eighteenth century which the great cabinet makers, including Chippendale, made for wealthy clients. This has some bearing on style, for these grand tables did not have bracket feet, like kneeholes, but had a flat plinth base right around. Antique pedestal desks tend to follow this design, with a solid base, rather than bracket, splay or later forms of turned foot.  As a broad rule ‘the higher the leg the lower the price’.
A fairly grand mahogany library or writing table, with a leather inlaid top, blind-fretted frieze and carved decoration on the angled corners and kneehole section.
A mahogany pedestal desk with leather top and a typical arrangement of cock-beaded drawers. A type illustrated by Hepplewhite.
1770-1800
The kidney-shaped writing table or desk was very popular in the nineteenth century but is originally an eighteenth century form, being illustrated by Sheraton in his design books (and in his early nineteenth century books on paw feet). This is a mahogany example with cross-banded drawers and leather top.
Made in Britain 1800-1820 (early 19th Century)
A burr yew pedestal desk on paw feet in the early nineteenth century manner. Being large and with drawers both sides, it is termed a partners’ desk. There is a possibility that this could be early eighteenth century, with later feet and top, in which case the price would be much greater.
Early 19th century
A nineteenth century mahogany pedestal desk of a type made throughout the century for office use. This has a bit of extra quality in the fluting on the front carcase edges and features a lip moulding to the drawers.
A burr walnut pedestal desk with ring handles which gives the piece an attractive appearance. 1840-1860
A typical nineteenth century standard quality pedestal desk. Made in mahogany, oak and pine throughout the period and understandably popular due to its utilitarian value.
Any small feature of interest adds to its value almost disproportionately.
Late 19th /early 20th century
An almost exhibition desk in the Talbert-Eastlake-SeddonBurges manner. All these mid-nineteenth century designers reverted to ‘medieval’ designs and revealed construction in some degree. This piece is made of oak and is considerably decorated with inlays. No longer underestimated.
A kidney-shaped desk of Sheraton design, made by Edwards and Roberts, a nineteenth century firm who specialised in reproductions of eighteenth century designs. This is a Sheraton design, made in plum-pudding mahogany with inlaid satinwood banding and with stringing.

More examples of antique pedestal desks -

Late 19th Century oak pedestal desk of nine drawers with turned wood handles.

A Victorian stripped pine inverted break-front kneehole desk with brass handles.

Victorian mahogany pedestal desk of nine drawers with turned wood knobs.

Late 19th century oak roll-top desk.

Late 19th century mahogany cilinder top pedestal desk.

A 19th century inlaid desk with brass loop handles and bracket feet.

19th century mahogany kneehole desk with pressed brass handles.

19th century secretaire kneehole desk in mahogany.

A George III mahogany inlaid pedestal writing table with one long drawer in the frieze.

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