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: 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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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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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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