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

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

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DESKS: SECRETAIRES AND SECRETAIRE BOOKCASES
About 1710-1830
Known in the 18thC as a secretary, this piece of furniture appears as a chest of drawers with a full-width, deep, top drawer fitted like a bureau with small drawers, pigeon-holes and cupboards. The drawer pulls half out and its front drops down to form a writing-surface.
Frequently a single bookcase/display cabinet above. From about 1790, sometimes a two-door cupboard instead of drawers below, generally with glazed cabinet above. Secretaire drawer also found in tallboys and breakfront and library bookcases (see p. 35 and p. 89).
Particularly popular between about 1790 and 1810. Survivals date mostly from 1750 onwards.
Almost exactly as a chest of drawers or tallboy (see p. 89 and p. 92) but slightly taller, allowing for greater depth of single top drawer. Interior fittings as for bureaux (see p. 100) though often less ornate. Upper glazed cabinet as for bookcases (see p. 37), set back several inches from front of chest. The drawer itself usually has shaped side linings.
Nearly always mahogany; occasionally satinwood after 1780. Earliest versions in walnut; some rosewood during Regency. Only rarely found as country-made oak. Pine or mahogany for carcases (with oak or mahogany for drawer linings).
Standard methods employed (see relevant sections already listed).
Upper cabinets held in place with screws fixed through bottom shelf.
Fall-front to drawer fitted with elbow hinges released by push-button mechanism.
As for chests of drawers (p. 93). Figuring and arrangement of veneers on early pieces; some carving on mahogany; arrangements of veneers plus some neo-classical inlay in late 18thC (particularly quartered veneers and ovals on cupboard doors).
Varnish or stain, followed by wax polish.
VALUES
More a gentleman’s than a drawing-room piece and always less popular than bureaux, so relatively less valuable. Prices still in four figures though, five if very high quality with a bookcase above. Small size an advantage.
Below, Hepplewhite-style secretaire bookcase, 1780-1790; right, Chippendale-style, 1760-5.
Mahogany secretaire bookcase, about 1810-1820.

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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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Carlton House desk

This extremely elegant piece of writing furniture owes its name to the Prince of Wales’ grand London town house which used to stand on the present site of Carlton House Terrace, overlooking St James’s Park. A Carlton House desk is a typical Regency design: sleek, elegant, depending entirely on its shape with no added carving - all the embellishment is in the surface treatment.
A drawing for a very similar design appears in Hepplewhite’s second edition of The Cabinet-Maker’s London Book of Prices, published in 1794, six years after his death, and some writing tables or desks of this distinctive shape had already been made before that. In any event, all but three of the 20 illustrative plates in Hepplewhite’s book were signed by Thomas Shearer. Thomas Sheraton’s Cabinet Maker and Upholsterer’s Drawing Book (published in a series from 1791-94) also included drawings of a similar desk. Sheraton
described it as a lady’s drawing or writing table which should be made in two parts, in
satinwood or mahogany with a brass rim around the top part. The name ‘Carlton House table’ first appeared in Gillow of Lancaster’s cost books for 1796. But although it can apparently
be attributed to several furniture designers its form varies only in detail - it would seem that it became almost instantly a ‘classic’ piece.
Signs of authenticity of Carlton House Desks
1. Made in two parts, with well-matching veneer on top and base.
2. Free-standing design - the veneer should follow the outside curve in a continuous unbroken sweep around the back.
3. Some early Carlton House desks were made with `bamboo-ringed’ legs and tasselled tops set under the writing top: from c.1795 the construction is similar to library tables with legs continuing up to form the sides of the frame, set slightly proud on the corners.
4. Oak-lined drawers with cast brass bolt heads with rosettes, octagonal or circular small backplates, matching in design on small and large drawers.
5. Legs tapering on insides only - outside corners form right-angles with floor.
6. Small moulded lip running on line of division of top and base.
7. Light-coloured golden satinwood veneer from West Indies with good figuring - light-coloured Cuban ‘curl’ mahogany veneer, or speckled amboyna.
8. Inlaid or painted decoration.
9. Veneer of top surface slightly faded from sunlight.
10. Inset soft leather writing surface framed with cross-cut veneer banding.
Likely restoration and repair
11. New veneered top and slight
lack of proportion to central pigeon-hole section. Victorian version with higher back removed, new curving top added to give ‘classical Regency’ horizontal lines.
12. Corners slightly proud with legs set under writing top, indicates original legs broken or replaced with earlier design to add to rarity value.
13. Speckled veneer with inlaid decoration - could be amboyna but may be later Victorian cheaper ‘bird’s eye maple’ with machine-cut inlay.
14. Light-coloured carcase
wood, usually pine, with pine drawers, indicates later reproduction.
Construction and materials
A Carlton House desk or writing table is a D-shaped library table with an additional curved tier of drawers, pigeon holes and spaces for books. It is made in two parts: the table base and the D-shaped curving upper part, the back of which should be flat and only curved on the wings. The overall design, so typical of early Regency furniture, is composed of flat planes on the horizontal and stepped or curved lines on the vertical. They are large pieces of furniture, often measuring well over five feet in width, but because of their long
low lines, are not overpowering.
Detail
In that they were described as `ladies’ writing tables they are almost the only exception to the rule that writing and library furniture of the period was usually plain and dark.
Carlton House
desks could almost be termed frivolous were it not for their solidity and excellent craftsmanship. The grandest follow the French bureau-plat tendency to gilt mounts and ormolu, but the finest rely on delicate swags and foliate inlay and the dexterous use of contrasting veneers.
The late eighteenth century delight in hidden features occasionally shows itself in some of these desks where the central block of pigeon holes and drawers slides forward towards the writer. William IV period desks have a tendency to be over-ornate, and many Victorian furniture manufacturers could not leave a good design alone, but gave added height to the central back section, so that the stepped or concave curving sides appear weak and the horizontal line is broken.
Variations
These grand ’salon’ pieces had no country-made counterparts. The nearest being large rent tables, usually constructed without any superstructure, used in estate managers’ offices. There also exist many cross breeds between the high chiffonier and the Carlton
House desk, plainly made in solid mahogany, but in no way country pieces of furniture.
This period overlaps that of the many well-made designs for solid suburban homes, often simplified or adapted from grander pieces of furniture.
Left: a simpler version, c.1820, made in rosewood, with spindle-turned legs, lion’s mask handles to main drawers, inset leather writing surface and decorated with brass beading and gallery.
Reproductions
Nineteenth century
Once the Carlton House desk had joined the repertoire of English furniture, it was made continuously through to the end of the nineteenth century, particularly in the period c.1860-85 when there was a revival in popularity of both Regency styles and pale-coloured veneers. The Victorian tendency to alter the design has already been mentioned, and taller Carlton House desks were made for a considerable period, alongside the classic design.
The line between ‘late original’ and ‘early reproduction’ is almost impossible to define, except from the poorer quality of both materials and craftsmanship of the reproduction: some Edwardian copies were also made with painted decoration and cheaper ’simulated satinwood’ veneer, usually birch. Until relatively recently these writing desks have been out of favour, but now that their popularity is again increasing it has
become a commercial proposition to restore and refurbish many poorer-quality pieces so that they can take their place spuriously among the originals.
Price bands
Early nineteenth century, with simple decoration, $10,000-15,000.
(Highly decorated pieces of this age are more expensive.)
Ornate, high quality, satinwood copy, late nineteenth century, $7,000.
Rosewood, c.1820, $4,000- 6,000.

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