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  roll-top
A rather fine oak roll-top desk in which something of Eastlake’s preaching on Gothic reformed furniture has taken effect. Note the panelled sides, the incised line decoration on the drawers and the carved trefoil motif on the slope frame. Undoubtedly intended for use by some professional of ‘reformed’ leanings. c. 1875
An oak roll-top pedestal desk with panelled sides shown open to reveal a generously complex fit-up of pigeon holes, small drawers and letter racks inside. There are four drawers in each pedestal and a pull-out shelf at either side. 1900-1920
An oak roll-top desk similar to the previous example but with a simpler inside fit-up, no foot rail and not panelled at the back. 1900-1920
An oak roll-top desk with a wooden top gallery intended as a bookshelf and fitted with metal drawer handles. The inside has a relatively simple fit-up of two drawers, pigeon holes and ink wells. There is a foot rail and the back is panelled. The piece is on castors. 1900-1920
A half-pedestal oak roll-top desk with metal drawer handles based on the previous model in design.
An oak roll-top desk with ring handles to the drawers. It has a solid frieze around the bottom but is mounted on castors. Quite a complex fit-up to the interior but not as desirable as the example shown in No. 334.
DESKS  Wootton Patent Office (Wells Fargo)
This form has become a category almost to itself, with a ready market in the USA, from which it originates. Usually made in American walnut with figured panels in more desirable versions, but also found in mahogany.
The genre originates from around 1870 and appears in a variety of designs of single- or double-opening typeswith more or less complicated interiors. Really complex large decorative versions are highly sought after and price is affected accordingly. Often referred to, loosely, as a `Wells Fargo’ desk by those fond of watching TV.
A good quality walnut Wootton Patent Office desk of the doubledoored type, shown closed. Note the fielded panels with ebonised moulding, the figured woods and the highly-carved top shelf. There are letter boxes
fitted in the doors so that correspondence can be delivered to the owner while he is away and the piece is locked up. c. 1870
Another Wootton desk, this time shown with the doors open to illustrate the quantity and variety of pigeon holes and drawers in the piece. The writing surface, which conceals more fitments, is shown in the `up’
position, i.e. closed. The top is not carved like the previous example and the wood is mahogany.
Another Wootton desk, this time of the single-opening door type, but with panels and drawers veneered with decorative burr walnut. Although the single-door is not always as convenient as the double-door and tends to off-balance the piece, this version has a complex and attractive interior.
A large double-door version with elaborate interior and carved top similar to 339, shown closed. A handsome piece. c. 1880

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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: ENGLISH BUREAUX AND BUREAUX CABINETS
About 1690-1740
Walnut veneered two-part bureau, about 1700.
Acombination of the bureau on stand and the escritoire, having an upper desk section with a fitted interior mounted on a chest of drawers; can have a cabinet above with further interior fittings for ledgers, papers.
Initially made in two sections with applied ‘waist’ moulding around join. (Moulding sometimes retained for decorative effect, even when made in one piece.)
Base: Until about 1725, square (oak) lopers at top, thereafter rectangular. May have single or pair of drawer(s) between, above two or three long drawers of graduated size, or blank space fronting a well with sliding top accessible from desk interior. A well suggests a slightly earlier date.
Usually narrow moulding at base. Bun feet until about 1710, then bracket. (Many buns replaced with brackets at later date; modern trend is to revert to type.)
A few have full-width writing-slide at top, usually with corresponding book-rest moulding on fall.
For details of drawer fronts, etc. see CHESTS OF DRAWERS, p. 86.
Desk: Sloping fall; generally flush with surrounding framework. Sometimes ovolo lip moulding around 1710-1720, matching drawers below. Narrow cock-beading introduced about 1730. Top always flush with sides; never overhanging.
Interior fittings: Plenty of variation, but always symmetrically arranged and set back from front edge. Simplest with open pigeon holes (often with arched top and aprons) and maybe two or three shallow drawers below, frequently of undulating outline. Early interiors generally stepped (later on country versions), with drawers of convex or concave section. Best have central cupboard flanked by pilasters (the grandest with ormolu or gilt brass capitals). Secret compartment usually concealed behind; reached by removal of
shelf, drawer or other fittings.
Upper cabinet: Sits within applied moulding. Two, occasionally one door(s). Fashionable early pieces panelled with mirror glass (with bevelled edges), but can be wooden, finished both inside and out, as doors were often left open to show off elaborate interior. This has further drawers and pigeon-holes etc. all flush with front. Some partitions tall and narrow for ledgers, folios.
Moulded cornice above may be:
straight
domed (single arch)
broken dome
double dome (most highly prized in its day)
broken architectural (i.e. straight-edged) pediment (found after 1725 and on mahogany only)
All with finial(s) at centre and/or sides.
Mirrored cabinets may have pair of candle slides at base (so that light could be reflected in glass). Both features went out of fashion around 1740.
Principally -walnut veneer on pine carcase (with oak for drawer linings). Occasionally other figured veneers of mulberry, yew etc. Mahogany after about 1725.
Oak for some country and provincial pieces;
sometimes elm, ash or other indigenous woods.
Oak and walnut for interior fittings, sometimes with inlay of box, holly, bone.
Standard methods employed (see CHESTS OF DRAWERS for details, p. 87). Basically veneer on dovetailed carcase; through dovetails increasingly replaced by lapped after 1700.
Double-lapped on bureau top.
Figured veneers were often used only on top and front (i.e. the most visible surfaces) with vertically-running, straight-grained veneer on the sides.
Hinged fall cleated for stability (to prevent warping). Expect signs of damage to hinges and around lock due to faulty handling.
Usually  but not invariably  cabinet cornice integral with carcase until about 1725; thereafter more commonly separate piece, merely sitting on top with glued corner blocks to carcase to maintain position.
FAKEBUREAUX
Because of their very high value, fakes and marriages of early walnut bureaux and bureaux cabinets are not uncommon. Check for matching grain and colour of all timbers, and for matching interior and base drawer construction. The top of the bureau section should be rough, dry and untouched, with no signs of new timber, if a cabinet was originally present.
Newly-veneered  but originally plain and solid  oak bureaux may also be encountered, not infrequently veneered with old timber taken from a less valuable piece. So even though the veneer itself may look right (i.e. hand-cut and of irregular thickness, about 1/8 inch/3 mm) the all-oak carcase will indicate this practice. The interior fittings will either be too plain for the outer casing, or will also have been veneered, or even replaced. Check for signs of new wood and see if the drawer construction matches that of the large drawers below. See also if signs of former handles inside the drawers correspond with filled holes outside.
Principally figuring of timber, especially burr veneers. Additional effects achieved by cross-
banding, feather banding, quartering. Occasionally fine marquetry; mostly floral, preferably seaweed, patterns.
Handles: Typical for day (for details see page 87.) Earliest with brass drop handles (smaller inside than out; seldom matching). Thereafter brass bails with solid backplates outside, smaller ring handles with circular backplates inside. Interior fittings more commonly have small bone, ivory or brass knobs. Fan-shaped pulls common on lopers until about 1725, then brass knobs.
All drawers and fall fitted with locks and surface-mounted escutcheons.
Generally large brass carrying handles at sides; usually on both parts of two-piece base; only occasionally matching those on drawers.
Oak: Stain (applied in oil).
Walnut: Varnish (to fill grain). Mahogany: Varnish or oil stain.
All followed by wax polish (for further details see CHESTS OF DRAWERS, p. 82).
VALUES
Early walnut pieces extremely valuable, especially those with cabinets; prices can be counted in tens of thousands. Original handles and bun feet  although both unlikely  an advantage; so too interesting veneer, intricately shaped and stepped interior fittings.
Walnut bureau cabinet, about 1700.

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English Walnut and Mahogany Secretaires

A William and Mary period fall-front secretaire cabinet on chest in walnut. c. 1690. The heavy mouldings in cross grained walnut, convex cushion drawer, and bun feet show the Dutch influence of William’s reign. The piece is veneered in fairly straight grained English walnut without much figure and shows herring-bone inlay around the panel in the fall as well as herring-bone cross banding on the drawers. The handles are of correct period style and may be original. Note that the veneer on the fall front is quartered, like chest tops of the period.
Price Range: $300-$400 Value points: See section notes

The walnut fall front secretaire of the previous photograph shown open. Note the continuation of the drawer front style within, where herring-bone cross banding and simple half-round or ‘D’ mouldings echo the exterior arrangement. All the drawers in the piece are oak lined, even the convex fronted cushion drawer under the top moulding, which is a shallow drawer the full width of the piece. These fall front secretaries, although often finely made and exhibiting all the merits of their period decoratively, are not as popular as normal bureaux due to their size and lack of space under the fall when closed - we are all untidy with our papers and one cannot just drop them into the space under the fall on this piece, for it does not exist:
Price Range: $300-V400

Not a renegade from the chest section but a George I period secretaire tallboy in walnut veneer. The top drawer front of the bottom chest falls forward to reveal secretaire fittings such as pigeonholes and small drawers for use as a writing piece. Otherwise the features are common to those of tallboys of the period i. e. herringbone cross banding, chamfered and reeded sides to the top half and a sunburst in the bottom drawers inlaid in boxwood and ebony.
Price Range: F250-E350
Value points: See section notes

A mahogany secretaire -bookcase of c. 1790 reflecting more of the Sheraton nomenclature in its squarer lines. The latticed glazed doors and simple top moulding reflect a more refined style. The top drawer of the chest section falls to reveal a secretaire. The feet are of the tapering, slightly splayed type with curved apron attributed to Hepplewhite/Sheraton but probably more simply in the then current taste.
Price Range: F400-Z500
Value points: See section notes Satinwood

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English Bureau Bookcase

A Queen Anne walnut bureau bookcase of the slender ’single width’ type with simple bookcase above. There is a chamfered edge period glass mirror in the door. The bureau section exhibits all the characteristics of ordinary bureaux of the period - herring-bone inlays and cross banding, drawer edge mouldings and stepped interior. The door on the bookcase is beautifully veneered in cross-banded effect.
Price Range: E2,000-Z2,500 Value points: See section notes

A burr walnut Queen Anne period bureau-bookcase of fine quality, with a broken pediment showing a fine bold cross grained moulding. The chamfered door mirrors are edged by a thin ‘D’ moulding and beneath the doors the two tiny brass knobs indicate candle slides. The interior shows the pillar flanked door which has a star pattern inlay in boxwood and ebony. The exterior drawers are edged with cock beading and have a herring-bone inlay.
Price Range: $2, 500 - $5, 000 Value points: See section notes

A bureau-bookcase of the Hepplewhite period in which the change to the latticed glazed doors instead of mirrors which took place after the mid-18th 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 18th century.
Price Range: $1,500-$2,000
Value points: This is an extremelyfine example as far as choice of veneers and craftsmanship are concerned, hence the high price scale.
See section notes.

A fine quality mahogany mid-18th century bureau-bookcase 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.
Price Range: $500-$700
Value points: See section notes

A country bureau-bookcase of c. 1750 in yew wood with double domed doors and having a narrow drawer on either side under the fall to act as bearers. The interior has pigeon holes and drawers with an unusual centre door let into a well. The sides are left in oak. Evidently a countryman’s version of the town style and possibly made a few years after the latter became fashionable; one could surmise that an attempt at imitating the double-domed walnut pieces of the Queen Anne period is possible.
Price Range: $150-$175
Value points Yew wood

A mahogany bureau-bookcase of mid-18th century date. 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 dimens ions.
Price Range: $230-$320
Value points: See section notes

A George I period walnut bureau-bookcase of heavier proportions. The top of the bookcase shows the deep concave section below the moulding, veneered in crossgrained wood, which was a feature of later pieces of the walnut period. There are candle slides beneath the bookcase doors. The drawers have a lip edge moulding to overlap the flat veneered carcase edges.
Price Range: $1,000-$1,500 Value points: See section notes

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Antique English Georgian Walnut and Mahogany Pedestal Desks.

Original pedestal desks - George III mahogany desk - George III provincial kneehole pedestal desk - Victorian oak desk with mahogany veneer - 18th Century walnut desk

The pedestal desk was not made until c.1765 when it can be seen in its grandest form  very large and ornate, and designed by Thomas Chippendale. It developed from bedroom or dressing-room furniture. The kneehole dressing table, a small, extremely decorative piece of furniture, is contemporary with the lowboy of the Queen Anne period.
There was a cupboard in the kneehole for shoes, often a pullout writing or ‘brushing’ slide, and two sets of three small drawers either side of the kneehole. A single drawer ran the length of the piece above the kneehole. Rare to find are those with drawers which pull out, their fronts hinged, to disclose a fitted writing compartment.
In simple and ornate versions, pedestal desks have remained part of library furniture in England down to the present day. Although the name `pedestal’ implies that these desks were always without shaping to the bases, from c.1765 to c.1785 many were made with curving arch-shaped brackets beneath the two pedestals, running,  a solid line down the inside of the kneehole to be repeated decoratively at the back.
Signs of authenticity of desks
1. Three-piece construction should sit solidly.
2. Backs finished and veneered.
3. Carcase of Honduras mahogany, baywood or red pine.
4. Rich, dark veneer.
5. Lip-moulding overhang to writing surface.
6. Drawers oak sided. Bottom timbers running front to back until c.1780. No corner mouldings inside.
7. Inside of pedestal of same wood as rest of piece.
8. Small line of moulding at join of pedestal and top.
9. Veneer and timber grain on sides of top run vertically.
10. No cross-cut veneer round drawers.
11. Locks with rimmed brass keyholes rather than escutcheons. Steel levers to locks, brass casing.
12. Three top drawers, outside pair equal width to drawers in pedestal. Undersurface of central drawer in unveneered carcase wood.
Likely restoration and repair
13. Cut down from larger size. Central top drawer will have had veneer lifted and replaced. New handles may have been added and the holes of the old ones may still be visible inside the drawer.
14. New thin veneer on coarse-grained oak carcase.
15. New tops of solid wood with no frame of cross-cut veneer around stuck-down (rather than stud-fixed) leather panel.
16. Made-up from damaged kneehole desk with one long top drawer. New timber and veneer on inside and either side of pedestals.
17. Cut-down depth. A ’split’ can be felt under the lip-moulding where original top has been cut and veneer replaced after lifting.
Construction and materials
Original pedestal desks had three elements: two pedestals and a top section of writing surface with three integral drawers. The carcase of early desks was of cheap Honduras mahogany or baywood covered with a rich, dark veneer. Later desks had a carcase of Scandinavian, close-grained red pine. Early examples had, in each pedestal, a door concealing a flight of drawers, but by c.1790 the doors were often omitted and the drawers, with locks, became the more familiar pattern. As pedestal desks were free-standing, the desk back was well-finished and veneered.
There was no projecting decoration, such as carved feet or applied fretwork. Canted corners and pilaster mouldings were only incised where there were no doors to the pedestals. Except on very grand versions, there was little ornament unless it was flush with the surface  perhaps a small inset medallion or, from c.1790, brass stringing.
Although some desks had a solid top rather than an inset leather panel, larger versions may be found with three leather panels: one large central piece and two smaller flanking pieces. An overlap of lip-moulding ran round all four sides of the top.
Variations
Below: Twin-pedestal desk in mahogany veneer, c.1850.
Above: George III provincial kneehole pedestal desk with solid back and moulded edge to top. Note the brass carrying handles.
Pedestal desks were essentially `town’ pieces but they were made in less grand designs, usually of oak on plain pedestals, by most of the leading provincial manufacturers: Gillows of Lancaster, Morgan and Sanders, Thomas Butler, John Mayhew, George Seddon. These same manufacturers would have also made grander versions for more fashionable households. In country estate offices, pedestal desks and partners’ desks, as well as rent tables, were part of the estate manager’s general equipment. Kneehole desks, either with plain backs or with the back of the kneehole filled in, were more common in country houses. They were not necessarily free-standing and were often made with lip-moulding on three sides only, unlike their smarter town counterparts.
Reproductions of antique desks:
As with the classic bureau, pedestal desks have been made continuously down to the present day. Care should be taken when `period’ pieces are offered at high prices because there are far more poorly designed, mass-produced versions around than there are high-quality craftsman-made pieces. Originals were solidly made and, with care, were durable, but many have lost one of their original three elements and have had to be made-up of pieces cannibalized from other desks. Often, this marriage produces something less than the rock-solidness of the original.
The Victorians often made them in plain, coarse-grained `bleached oak’ and the Edwardians favoured inlaid bands of light veneer outlining the drawers. Recently, standard mass-produced desks have been veneered to resemble eighteenth-or nineteenth-century pieces and sold extensively on the Continent. The veneer is likely to lift because it has been applied to the wrong carcase wood. Their tooled leather writing panels are an obvious giveaway.
Price bands
George III mahogany desk with doors concealing pedestal drawers, $10,000-12,500.
George III pedestal desk with less detail than above, mahogany veneer, $6,000–7,500.
Plain, twin pedestal desk, early nineteenth century, $1,700-2,200.
Victorian oak desk with mahogany veneer, $800-1,200.

How to identify antique desks?  See some more examples and pictures:

George III kneehole mahogany desk.

18th Century walnut desk with crossbanded top.

Late 18th Century mahogany kneehole desk with a fall front secretaire drawer.

An early 18th century walnut kneehole desk, the top moulded and inlaid with feather stringing on bracket feet.

Georgian Mahogany rolltop desk, with finely fitted interior.

One-piece mahogany pedestal writing desk.

19th Century walnut and kingwood, kidney-shaped kneehole desk, the top lined with tooled leather.

Walnut kneehole writing desk with a recessed cupboard and pierced brass handles.

Mid 19th Century Anglo-Indian ivory inlaid kneehole desk.

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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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