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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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: BONHEURS DU OURS AN CHEVERETS
About 1770-1915
Lion’s mask handles on 19thC pedestal desk.
A satinwood bonheur du jour with simple inlaid decoration.
Handles: Generally very simple brass swan-neck in 18thC, turned wooden knobs in 19th, joined by a variety of metal ring, bail or drop handles around 1870, and horizontal wooden pulls around 1900.
Generally skeleton escutcheons; sometimes surface-mounted in late 19thC.
Stain or varnish followed by wax polish. French polish from about 1820. Dark  almost black  stain on ‘Elizabethan’ oak. Various brown stains and varnishes to simulate mahogany used on cheap quality pine.
Very few genuine 18thC pedestal desks about; those that are fetch enormous sums. Any example pre-dating 1900 invariably in four figures; only the cheapest type of post-1900 examples can be found for less. On
pieces of all dates, any decorative feature  even the use of a wood other than oak or mahogany  may seem to raise the price disproportionately.
Note: Original leather is rare; replacement (if done properly) does not affect value.
Sometimes simply described as writing cabinets on stands, these are small lady’s writing-tables, with a superstructure of drawers, pigeonholes and cupboards. Those with a long bookshelf above
drawers and a lifting handle at the back are called cheverets (sometimes spelt sheverets). Both types were introduced from France (as their name suggests).
Another popular subject for Edwardian reproductions. Manufacture restricted at all times to high quality makers.
The base was a small rectangular-topped table with one, sometimes two, shallow frieze drawer(s), occasionally opening to the side. Narrow, tapering legs (in 18thC tapering on inside edge only), usually ending in spade feet, sometimes with applied ankle mouldings; not infrequently in socket castors. Turned legs not unknown, but rare. Sometimes top folds out to form larger writing-surface, supported on small lopers in frieze, or occasionally on (opened) drawer.
Conformation of superstructure varies considerably. Most pieces bordered by low brass or wood gallery.
Can have tray shelf below, with shaped front to accommodate feet. Sometimes narrow stretchers on back and sides, or of X-plan.
Some burr walnut pieces in so-called ‘Louis’ style with cabriole legs, ormolu mounts etc. made from about 1860.
Principally satinwood; also mahogany and rosewood. Occasionally walnut from 1860 onwards.
Pine or mahogany for carcases (with oak or mahogany for drawer linings). Kingwood, harewood, tulipwood etc. for inlay and for small panels of contrasting veneer.
Standard methods employed.
Many good reproductions about: check drawer construction carefully for indications of date (see CHESTS OF DRAWERS, P. 103). Look particularly for 19thC machine-cut dovetails and quarter mouldings around inside
edges. Being good quality, inner surfaces may be lightly polished.
Principally figuring and arrangement of veneers; often inlay, mostly of stringing lines and simple ovals.
Some pieces painted with neo-classical motifs and/or flowers, wreaths etc. particularly from 1860 onwards. Late decoration tends to be less delicate than previously and covers greater surface area. Panels of classical
figures also popular.
Occasionally Wedgewood plaques or imitation Sevres porcelain panels set in doors.
Handles: Standard for day (for details see page 93).
Principally varnish, sometimes stain, followed by wax polish. French polish after 1820.VALUES
Even 19th/early 20thC reproductions command substantial sums; in fact there isn’t always a lot between them and the originals. Prices well into the thousands. Inlay a bonus.

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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: DAVENPORT

Regency rosewood Davenport desk with swivel top.
Antique davenport desk produced in 18th century 1795-1885 small free-standing writing-desk made in large numbers and with many variations through the 19thC. The name derives from an entry in the 1790s cost books of Gillow in Lancaster - ‘For Capt. Davenport, a desk’- alongside a design for a boxlike desk with drawers opening to one side and a writing-slope above. Although presumably as a space-saving design for use on board ship, its small size and lower-than-average height ensured its popularity with women and children.
Regency davenport desk had a simple slope-top box which could either slide forward or sideways on runners to provide knee-space, or swivel to one side on a stout peg. Some had a brushing and/candle slide at one side (see p. 329). The flat surface above the slope was generally bordered by a brass gallery. Many had a long, narrow drawer fitted with small compartments for ink and writing implements which pulled out from one side. This was usually released by removal of a long pin inside the desk, its head masquerading as the knob of a small dummy drawer. Most desks were supported on bun feet, some on short, turned legs on castors.
During the 1820s the front of oak and mahogany davenport desk was often faced with pilasters, but more commonly a fixed slope, supported on pillars rising from a plinth, replaced the sliding top. The lower drawers became correspondingly narrower. Galleries were constructed from wood, and bun feet were flattened or replaced by semi-concealed castors.
By the mid 1850s elaborately carved rococo cabriole (or triple C-scroll) desk supports were fashionable, their curves often echoed by a serpentine front to the slope above. Gal-black walnut Davenport with inlaid stringing and ebony bandings, about 1860.
Rosewood, about 1880,
Mid-Victorian walnut Davenport with rococo scroll supports.
After 1860 ‘piano lid’ tops were popular, with pull-out writing-slides.
Pillars gradually retreated under a cantilevered top and by the 1870s were more decorative than functional, in some cases being replaced by brackets.
During the 1880s fashionable ‘Art Furniture’ Davenports had short ring-turned legs and panels of gilded and painted decoration.
The greatest variation in Victorian Davenports occurred in the position and conformation of the stationery compartments which could be quite varied:
Simply inside the desk (as in a bureau, seep. 100);
The early-type pull-out drawer desk, hinged to lie flat against the side of the desk when fully extended;
A raised and lidded box on the flat shelf above the slope, or a lidded compartment set beneath it;
In a large ’secret’ compartment rising up at the back of the desk when released by a lever, button or sliding panel hidden somewhere inside. Sometimes they moved in conjunction with a pull-out writing-slide. Pieces with these rising ‘harlequin’ superstructures are generally
Design for Davenport of around 1880, referred to as ‘harlequin Davenports’;
Later examples sometimes had a small two-door cupboard above the slope.
Features common to all types include:
Symmetry of design. Drawers matched by dummy drawers on opposite side. Similarly, a panelled door enclosing drawers matched by panelling.
Finished on all sides. The back panelling usually complements the front.
Matched colour and grain of timber on top and bottom sections. (Failure to do so may indicate a later ‘marriage’.)
Locks on desk, stationery compartment and all drawers (or enclosing door). Commonly Bramah locks (see p. 94), but sometimes skeleton escutcheons).
Right, Victorian walnut Davenpod, with piano front and harlequin writing superstructure.
Very late mahogany examplc.
Standard practices for the day employed. Harlequin rising superstructures generally work on a spring mechanism, but occasionally on counter-balanced weights.
Solid mahogany, rosewood and walnut, and veneers of the same on an oak or deal base. Occasionally satinwood. Other highly figured veneers such as amboyna or burr walnut
were greatly favoured by the Victorians. Cheaper versions were made in solid oak, elm or poor quality mahogany or imported walnut.
Brass, ebony, mother-of-pearl, boxwood and many other timbers used for inlaid decoration.
Writing-surfaces fitted with inset leather panels, with tooled and often gilded borders.
Restrained inlay and stringing lines of brass or ebony on some pre-Victorian examples.
In the early Victorian period (up to the mid-1860s) decoration was largely supplied by ornate carving on the supports, applied split mouldings on flat surfaces and pierced galleries
around the top. Until about 1870 highly figured veneers were considered a decorative feature in their own right.
During the 1860s inlaid panels of stylized or naturalistic flowers popularly adorned the front panel and occasionally the sides too.
Handles: Small, turned wooden knobs on all drawers. Metal handles only correctly seen on very late examples.
In most cases, wax polish. Very cheap Victorian versions were heavily stained and usually finished with a glossy French polish (see p. 16). During the 1880s many were fashionably ebonised with gilt incised decoration.
VALUES
Totally plain Victorian davenport desks are within the average buyer’s reach. Highly decorative, burr veneer, harlequin examples can fetch sums in high four figures. The majority are in the low four figures. Surprisingly, fussy Victorian Davenports sell better today than more elegant Georgian ones.

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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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