ANTIQUE GAMING TABLE, MAHOGANY OVAL PEMBROKE TABLE, WRITING AND WORK TABLE, ANTIQUE SERVING TABLE, REGENCY STYLE MAHOGANY LIBRARY TABLES

A LARGE GEORGE III SEMI-CIRCULAR GAMING TABLE
with a baize-lined interior with six square tapering legs,
4ft. 5in. wide (135cm.) circa 1780.

A PAIR OF GEORGE III SEMI-CIRCULAR MAHOGANY CARD TABLES, the tops crossbanded in satinwood and each with a semi-circular shell medallion, the friezes set with oval paterae and

raised on square tapering legs with castors, 3ft. wide (92cm.) circa 1785, tops split.

A GEORGE III MAHOGANY OVAL PEMBROKE TABLE,
with a satinwood banding and a tulipwood crossbanding,
the curved frieze with a drawer, on square tapering legs
with castors.

A GOOD AND LARGE GEORGE III SERPENTINE FRONTED DINING ROOM SIDE TABLE, the frieze centred by a panel carved with grape swags, raised on six circular tapering legs headed by

leaves and with bands and petals, the front four headed by grape swags, 3ft. 2in. high by 9ft. Vhin. wide by 4ft. deep (96cm. by 278cm. by 122cm.) circa 1785, originally with

brass gallery.

A GEORGE III MAHOGANY ‘D’-SHAPED SIDE TABLE
crossbanded in satinwood and with boxwood and ebony
stringing and a frieze drawer, on square tapering legs
and block feet, 2ft. 5V2in. high by 3ft. wide (75cm. by
91.5cm.) circa 1790.

A PAIR OF GEORGE III MAHOGANY D-SHAPED BREAK-
FRONT CARD TABLES, the hinged top, with a baize-lined
interior, the frieze inlaid with boxwood stringing, on
square tapering legs, 2ft. 5in. high by 3ft. wide (74cm. by
92cm.)

A GEORGE III MAHOGANY WRITING AND WORK
TABLE, with adjustable hinged leather top crossbanded
in kingwood with a slide and a dummy drawer in the
frieze, with a drawer at the side and a work bag, on
square tapering legs, 2ft. 5in. high by lft. Hin. (74cm. by
58.5cm.) circa 1790.

A GEORGE III MAHOGANY WRITING TABLE, the rectangular leather-lined top with outset rounded acanthus leaf-carved corners, the frieze with a pair of opposing drawers, on turned

tapered legs carved with acanthus leaves and a band of drapery, on brass castors, 2ft. 5Vzin. high by 4ft. 2′Mn. wide (75cm. by 128cm.) circa 1790.

AN ATTRACTIVE REGENCY PENWORK WORK TABLE, the top with an oval panel decorated with chinoiserie figures at an al fresco music party, with an anthemion border and flowered

surround, on two pairs of ringed legs with outcurved supports, 2ft. 4Y2in. high by lft. 9in. long (72cm. by 53cm.) circa 1800, originally with a slide.

A LATE GEORGE III OVAL MAHOGANY TABLE, the
top decorated in painted paper with flowers on a cream
ground with a frieze drawer at one side and raised on
slender turned tapering legs with turned X-stretchers,
2ft. 5V2in. high by 2ft. long (74cm. by 61cm.) circa 1800,
drawer now stopped.

A GEORGE III MAHOGANY SIDE TABLE, the rec-
tangular top with rounded corners and a frieze drawer,
on square tapering legs ending in spade feet, 2ft. 4in.
high by 2ft. Win. wide (71cm. by 86cm.) circa 1790,
originally a card table.

A SMALL JAPANESE LACQUER COFFER with domed
lid decorated with panels of flowers and a horse in shades
of gilt on black, lft. wide, late 18th Century/early 19th
Century; now raised on a Regency ebonised Table with
rectangular triple ‘bamboo’ cluster column pillar and
concave triangular platform table, 2ft. 2in. high by lft. 4in.
long (66cm. by 41cm.)

A REGENCY MAHOGANY CARD TABLE with hinged swivelling top, the frieze inlaid with stars and crescent moons, on two pilaster supports and concave base supported by downcurved

sabre legs and castors, 2ft. 5lhin. high by 3ft. zoide (75cm. by 91.5cm.) circa 1820.

A PAIR OF LATE GEORGE III MAHOGANY CARD
TABLES of rectangular form and with rounded corners,
raised on elegant circular tapering legs with shaped
collars and feet, 2ft. lOin. wide (87cm.) circa 1805.

A REGENCY CONCAVE-FRONTED MAHOGANY SERVING TABLE with a boldly reeded edge, the front with string-ing and a central panel applied with a brass anthemion mount, raised on

circular tapering reeded legs, the front two headed by anthemion panels en suite with the frieze panel, 3ft. high by 6ft. 6in. wide (92cm. by 198cm.) circa 1810.

A LATE GEORGE III SEWING TABLE, the rectangular top with a moulded edge and a shallow drawer fitted with divisions above a double long drawer and bag frame, on turned tapering

legs and brass castors, 2ft. 6in. high by lft. lOin. wide (77.5cm. by 56cm.) circa 1810.

A GEORGE IV MAHOGANY PEMBROKE TABLE, the top with rounded corners and crossbanded in satinwood, with two frieze drawers and slender turned legs, lft. 8in. long by 2ft. Vkin.

open (51cm. by 64cm.) circa 1815.

A GEORGE IV OVAL MAHOGANY DINING TABLE, the hinged top with a reeded edge and raised on a turned pillar and four moulded downcurved legs, 3ft. 9′Mn. wide by 4ft. 3in. long

(116cm. by 130cm.) circa 1820.

A GEORGE IV GILTWOOD CENTRE TABLE with
rectangular top, the frieze carved with guilloche and
flowerheads, on heavy cabriole legs carved with
palmettes and flowering branches and ending in paw
feet, 2ft. 6in. high by 3ft. 7in. wide (77cm. by 109cm.)
circa 1820, constructed from a pair of side tables, black
marbletop.

A GEORGE IV MAHOGANY DROP-LEAF TABLE, with
reeded edge and rounded corners and simple turned legs,
3ft. 3in. wide by 4ft. 5in. open (99cm. by 135cm.) circa
1820.

A MAHOGANY SOFA TABLE with canted corners, two dummy and two real drawers, on later ring-turned frame and downcurved legs, 2ft. 4′/2in. high by 5ft. 2V2in. wide (72cm. by

159cm.) part early 19th Century.

A LATE REGENCY MAHOGANY SOFA TABLE, cross-
banded in rosewood and inlaid with boxwood stringing,
with two real and two dummy drawers, on lyre supports
joined by a serpentine stretcher, on downcurved sabre
legs and brass castors, 2ft. 4V2in. high by 5ft. l’Ain, wide
(72cm. by 156cm.) circa 1820.

A PAIR OF REGENCY ROSEWOOD CARD TABLES, the
swivelling baize-lined tops with rounded corners and
inlaid with brass stringing, over the similarly inlaid
frieze centred by a rectangular brass moulded panel, the
simulated rosewood acanthus-leaf carved baluster stem,
brass inlaid and on down-swept legs ending in castors,
circa 1815.

A GEORGE IV MAHOGANY TWO PEDESTAL DINING
TABLE of unusual form, each rectangular end with a
drawer and a flap raised on a turned pillar, the concave-
sided rectangular platform on four canted scrolled legs,
3ft. 5in. wide by 4ft. Hin. fully extended (104cm. by 105cm.)
circa 1820.

A PAIR OF WILLIAM IV ROSEWOOD-VENEERED CARD
TABLES, each swivelling rectangular top with rounded
corners and a burr-yew banding, the friezes and square
pillars outlined with bead mouldings, and raised on a
concave-sided square base with burr-elm scroll feet,
3ft. wide (91cm.) circa 1830.

A GEORGE IV MAHOGANY SOFA TABLE of good
colour, and the top with rounded corners crossbanded
in rosewood with a frieze drawer and a pillar on a concave-
sided rectangular base with hipped cabriole legs, outlined
throughout with narrow bead mouldings, 4ft. TMn. open
(141cm.) circa 1825.

A PAIR OF REGENCY STYLE MAHOGANY LIBRARY TABLES in the manner of Thomas Hope, each baize-lined top with canted corners and hinged bookrest, with three frieze drawers at the

front and back and circular tapering reeded legs with ebonised paw feet headed by metal puma ring handles, 5ft. wide (152cm.).

A REGENCY MAHOGANY SOFA, the moulded frame with over-scrolled ends of equal height, the seatrail set with three diagonally reeded panels raised on sabre legs, 6ft. 4in. long

(193cm.) circa 1820, possibly Scottish.

A WILLIAM IV ROSEWOOD AND MAHOGANY WORK TABLE, the rectangular hinged top with solid gallery and canted corners, above one dummy and one real bead-decorated frieze drawer and an

upholstered work-bag beneath, the acanthus leaf carved end standard supports supported by double eagle head scrolls to a platform support and acanthus leaf-carved eagle heads,

2ft. 5′Mn. high by lft. 9in. wide (75cm. by 53cm.) circa 1835.

A WILLIAM IV ROSEWOOD-VENEERED CARD TABLE,
the swivelling top with rounded corners above a panelled
frieze, raised on a pillar, the leaf-carved base on a concave
rectangular platform and four scroll and paw-carved feet,
2ft. lVhin. wide (90cm.) circa 1825.

A GEORGE I WALNUT KNEEHOLE WRITING TABLE
with a rectangular top, a drawer in the frieze above the
kneehole which contains a shallow drawer and recessed
cupboard, with three drawers in each pedestal, 2ft. 7in.
high by 2ft. 7in. wide (79cm. by 79cm.) circa 1725, top and
bracket feet replaced.

A ‘Chippendale’ Folding Card or Tea Table in Mahogany - A Sheraton Period Satinwood Card Table - Regency Card Table

A ‘Chippendale’ folding card or tea table in mahogany with moulded square legs, serpentine front and elegantly shaped frieze, c.1760-70. Tables of this kind are always higher in value if of the ‘tea’ type, i.e. with solid wood surface on the interior, rather than ‘card’ type with a baize interior.
A very fine quality Chippendale card table c.1770. The edge of the frieze is gadrooned and this effect is followed down the corner edges of the legs. C
The edge of the top is also carved. The wood is mahogany. The legs are chamfered on the inside.
Later Georgian side table of c.1760. The ‘Chippendale’ straight chamfered leg has replaced the earlier pad feet. The top edge still shows a variant of the thumb-nail moulding but is heavier. As well as being chamfered on the inside the legs show a ’scratch’ moulding down the front corner, as seen on chairs, to give a further lightness to the effect. By now, the lock rail is evident under the top and the drawer thus comes below this.
Country versions might still omit the lock rail however and have pegged tenon joints.
A Chippendale mahogany card table, c.1760 with a green baize lined folding top. The edges, frieze and square chamfered legs are fretted in
the Chinese manner, which inexplicably makes this normally rather underpriced piece of furniture double its value.
N.B. Without this fretwork a plain card table of this type is now 50 The ‘tea’ version with polished interior is 60  70.
Later Georgian c.1770 side table similar to the previous example, with elm top and fruitwood legs. Note there is no lock rail under the top. The square Chippendale style legs are chamfered at the back and the front
corners
have the scratch moulding down the edge to lighten them. The drawer front is elm.
A George III, c.1765, country solid walnut side table on tapering legs ending in pad feet. The flap is supported when open by a gate leg. The top and flap are made of several planks.
A Sheraton period (1790 - 1800) satinwood card table cross-banded with rosewood. Note the tapering legs and the medal set in the top panel of the leg.
Value points: Satinwood
A Sheraton period (1790 - 1800) mahogany card table cross-banded with satinwood. Note again the oval medals at the top of the tapering legs and the inlaid stringing lines.
It is to be noted that a pair of identical tables causes the individual piece to be more than doubled. Thus a pair of such tables would be in the 600-700 range.
A mahogany circular folding table of c.1790 with Hepplewhite-cumSheraton influence in the design. A type which could be used as a games or tea table, the latter usually being claimed when the inside is not lined with baize but veneered in the manner of the outside. The stringing lines add considerable elegance as do the oval medallions in the panels at the top of each leg, which ends in a spade foot.
Value, points: Matched figuring of mahogany and stringing …
A George III satinwood and marquetry card table, c.1790, with a folding circular top, cross-banded with rosewood. The inlay consists of urns and flower festoons within a meandering band of anthemion and the frieze is similarly inlaid. The square tapering collared legs with the oval medallions at the top are of a kind generally associated with Shereton designs. These tables were frequently made in pairs.
It would be difficult to find more highly valued tables of this period.
Value points: Quality of decoration .. N.B. Inferior Edwardian copies abound.
A Sheraton period (1790 - 1800) mahogany serpentine fronted side table on tapering legs. An elegant design with interesting enlargement of the
square section added as ornamentation near the bottom of legs.
A mahogany card table of c.1800 in figured veneer with square tapering legs, ending in spade feet. There is a simple boxwood stringing line around the top edges and the frieze which is repeated around the spade foot
top. It is covered in baize inside and is not quite circular when open, although not exaggeratedly oval. Circularity is an important value point, however. This table has the advantage of a double gate, i.e. both back legs open Outwards to support the folding top when open.
Decorative inlays  Satinwood
A fairly typical plain mahogany card table of late Regency or early Victorian period, probably c.1840. The centre pedestal can be either circular in section, often of gunbarrel appearance, or octagonal, and the base
usually reflects this in design. The top swivels and opens to form a baize-lined square surface.
Value points: Rosewood
Figured woods and inlays
Regency period mahogany card table, c.1820, on turned centre column. The hinged folding top pivots on the frame which forms the frieze to provide support when open. Note the fluted square leg forms.
A fairly typical Regency card table of c.1830 on a turned centre pedestal supported by four sabre legs. The fold-over top has a beaded edge moulding and swivels about the centre to allow support from the underframe when open. Inside there is a green baize covering.
Value points: Rosewood  Brass inlays ..
A Regency period  c.1820  rosewood card table, with inlaid stringing and bead-moulded edge decoration. For some reason the semi-elliptical hoop support under the top and above the centre pedestal attracts a higher
price from dealers than other types. A sofa table with a similar support is illustrated in the relevant section. Although the craftsmanship involved in executing this design is undoubtedly high, the overall effect is to
produce a confusion of styles and a weakness of support.
Value points: Rosewood  Brass stringing  Original casters the circular and oval
A Victorian folding walnut card-table, c.1845. Like dining tables of the period, it is thinly veneered in burr walnut and inlaid with marquetry patterns. The base is quite elaborately carved. Inside the
surface is lined with baize.
A late Regency rosewood card table of c.1830. The top is inlaid with a brass border line and swivels across its underframing, which supports it when open. Bead moulding doubly decorates the frieze and the top edge of the base. It is an example of the revived rococo and conflicting designs of the period: paw feet; leaf decoration; turned, reeded and carved column; and a kind of cabochon-and-leaf corner decoration to the frieze, which is also concave.

A Chippendale mahogany card table - A George III satinwood and marquetry card table - A Sheraton period mahogany serpentine fronted side table

A ‘Chippendale’ folding card or tea table in mahogany with reeded square legs, serpentine front and elegantly shaped frieze. Of c. 176070 date. Tables of this kind are always higher in value if of the ‘tea’ type i.e. with
solid wood surface on the interior rather than ‘card’ i.e. with a baize interior.
A Chippendale mahogany card table of c. 1760 with a green baize lined folding top. The edges, frieze and square chamfered legs are fretted inthe Chinese manner, which inexplicably makes this normally rather
underpriced piece of furniture double its value.
N. B. See note under previous example concerning plain mahogany baize lined versions at  and ‘tea’ versions with polished wood interior up to.
A mahogany circular folding table of c. 1790 with Hepplewhite-cumSheraton influence in the design. A type which could be used as a games or tea table, the latter usually being claimed when the inside is not lined with baize but veneered in the manner of the outside. The stringing lines add considerable elegance as do the oval medallions in the panels at the top of each leg.
Value points: Matched figuring of mahogany and stringing
A George III satinwood and marquetry card table with a folding circular top cross banded with rosewood. The inlay consists of urns and flowerfestoons withina meanderingband of anthemionand thefrieze is similarly
inlaid. The square tapering collared legs with the oval medallions at the top are of a kind generally associated with Sheraton designs. These tables were frequently made in pairs.
It would be difficult to find more highlyvalued tables of this period.
Value points: Quality of decoration
N. B. Inferior Edwardian copies abound
A Sheraton period mahogany card table cross banded with satinwood. Note againthe oval medals at the top of the tapering legs and the inlaid stringing lines.
It is to be noted that a pair of identical tables causes the individual piece to be more than doubled. Thus a pair of such tables would be in the 600-700 range.
A George III mahogany dressing table with square legs chamfered at the back. An unpretentious table whose origins are clear from previous illustrations and of a type increasingly popular. The top edge still retains a
moulding derived from the thumb-nail but now more sophisticated with an ogee curve.
A Sheraton period  Satinwood card table cross banded with rosewood. Note the tapering legs and the medal set in the top panel of the leg.
Value points: Satinwood
A Sheraton period mahogany serpentine fronted side table on tapering legs. An elegant design with interesting enlargement of the square section added as ornamentation near the bottom of legs.
A fine mahoganydining table of c. 1800 on turned columns each with three curved legs. The sweep of the latter from the central column out to the brass casters is particularly elegant. On such tables the centre section is generally bolted to the end pieces.
Pembroke tables are said to be named after the Countess of Pembroke, who first gave orders for one of them. It seems that they appeared about 1750 and were generally made in mahogany with square tapering legs.
The flaps on either side are supported by hinged wooden brackets. A drawer is usually to be found opening at one end while a mock drawer is put at the other to give design balance.
The example above is perhapsone of the finest of the fine: in satinwood, with marquetry inlaid, and cross banded with rosewood. It is on square tapering collared legs and the marquetry inlay consists of urns and
naturalistic festoons of flowers.
Price Range: This is a top of the table version;A country mahogany Pembroke table in heavy Cuban wood and with no drawer. The square chamfered legs owe more to the Chippendale influence than the tapering
variety normally associated with this type of table. A simple and pleasing version.
A rather broad mahogany Pembroke table with slightly tapering legs of c. 1790. The solid top is of a particularly finely figured wood and there is abroad boxwood stringing line under the cock-beaded drawer which is continued across the leg.

TABLES  side and card
An ebonised card table decorated with inlaid boxwood stringing and marquetry. The canted edges of the folding top are banded with burr walnut. The four-pillar support and curved feet with arched cross-stretchered design topped by a vase-shaped finial is typical of mid-Victorian popular designs dating from 1860 onwards to the 1880s. C. & R. Light (1881) and Wyman (1877) show similar tables. The stylistic origins are French-classical and had a considerable vogue but ebonised furniture is not now a widespread taste. The inside top surface is baize lined.
An octagonal walnut card table with folding top, of similar date to 557. This time the base has more scroll decoration, leaning towards rococo stylistic ornament. Again a popular mid-Victorian style but more acceptable to modern taste due to the presence of walnut rather than ebonising, so a higher price to be expected.
A burr walnut card table with a rectangular top inlaid with ebony stringing lines and boxwood marquetry. This table has again got four turned columns supporting it but the base has been designed in end-standard or trestle fashion instead of a central platform. There is, again, the popular mid-Victorian turned finial, echoed in reverse below, between the end columns and the base is quite crisply carved with classical elaboration. 1860-1880
A figured walnut card table in a ’semi-Gothic’ style, in which the maker has used the same principle as the previous example for construction  i.e. a double-pillar-and-stretcher base  but adapted cleverly to Gothic
reformed styling in treatment with addition of some ideas of his own in the carving. A quite high quality piece probably made by a `commercial’ firm.
An inlaid marquetry card table in the French 18th century manner with metal mounts. As we have shown in the Bureaux  bonheurs-du-jour section there was a considerable vogue for these high quality French pieces in the 1860-1880 period and considerable skills were involved in their production.
A satinwood table with folding top incorporating a shell inlay in the Sheraton manner. Useful as an occasional or games table with tray below and a superior example of a whole range of occasional tables with
stretchers, trays or ledges below, made very popular in the Edwardian period.m 1900-1910
A mahogany side table in the Adam manner, with serpentine top veneered in segments and fluted frieze and legs. There is a central drawer in the frieze with a panel carved with a vase motif. Another example of the
return to Adam classical designs which occurred in the 1880s. A rather difficult piece to place for the average collector and more likely to find an interior decorator’s approval.
A satinwood and marquetry card table in the ‘High Sheraton’ or Adam manner, inlaid with ribbon-tied swags of flowers on the top and frieze. The square tapering legs, ending in block feet, are also inlaid. It is a classic
example of the return, in Edwardian times, to late 18th century inlaid furniture and is a high quality reproduction, only erring in its probable tendency to over-elaboration. The Edwardians often felt that they could out-perform the original inlayers and this results in an over-profuse marquetry that betrays the reproduction from the original.
A reproduction ‘Chippendale’ folding card table in mahogany, on square legs with gadrooned edges. The serpentine shaping of the top is authentic but the carving on the frieze would give rise to a query from someone seeking the 18th century original. The ribbon and carving around the top edges is also perhaps a little too bold for the original article. A high quality piece nevertheless. 1900-1910
A mahogany card table of half-round type (’demilune’), opening to a circular top, in the ‘Sheraton’ manner. The top and frieze are inlaid with marquetry showing swags of husks. The square tapering legs end in castors.
Again a good example of the return to late 18th century Sheraton taste of classical type in the Edwardian period with a fairly faithful reproduction of the original 18th century type. 1900-1910
The oak craze personified  an oak chair-table in imitation of a 17th century piece, in which the top tilts to act as the back of the chair when it is not used as a table. The rosettes carved into the top, which appear to
adorn both sides so as to be constantly visible, are not particularly in period spirit. The straight column turning of the legs and arm supports is, however, bold and laudable. A piece of convertible furniture which has always been a bit too clever by half  one can neither sit at it to eat, nor eat off it when sitting.
A mahogany side table with 18th century square tapering legs, connected at back and side by an unnecessary stretcher. There is a back piece with a broken pediment. Intended as a hall table, but bordering on a washstand.
A mahogany reproduction ‘Chippendale’ card table in the 18th century rococo manner, on cabriole legs ending in ball-and-claw feet. The scrolled carving on the knees of the legs is crisply executed and so are the carvededges to the top. Just a little weakness at the ankles to identify the reproduction from the original, although colour and patina would be important indications.
A large mahogany version of a side or console table with carved central lion mask and profuse carving of acanthus leaf, fruit and floral forms. The cabriole legs end in hairy paw feet. An imitation of mid-18th century console tables in the grand manner, but rather high, large and clumsy for any use other than a hotel sideboard in Eastbourne or Gleneagles.
A floral marquetry reproduction side table with the very difficult form of ‘open-twist’ turned walnut legs ending in bun feet and with a veneered cross-stretcher. The spirit of the c.1680 date it is emulating has been very carefully kept even though it is obviously brand new  look at those crisp sharp edges on the square section joints above the bun feet, and the cross-stretcher is a bit too square in section. (It should have been wider and shallower.) There is also something a bit unfinished about the rail below the drawer. The marquetry is fine quality even if a bit too bold and big in individual flower for 17th century work. Admirable, nevertheless.
A ‘William and Mary’ walnut side table with turned legs incorporating inverted cup (or `bell’) forms and bun feet, connected by an ‘X’ stretcher. A reproduction which is identifiably modern yet reasonably close to the
original in spirit. c. 1925

TABLES, card, games and tea, centre pedestal
The centre pedestal applied to side and card tables is a late Georgian or early Regency form.
This table is in rosewood, with elegant curved legs ending in brass paw castors. The top is cross-banded in satinwood and the octagonal centre column has an inlaid boxwood line at the edge of each vertical surface. c. 1800
A similar base platform but the reeded legs are simpler. The column has been replaced by four curving supports with carved floral forms on the ends of the scrolls. This piece is in mahogany with a refined bead mould around the edges of the top and frieze.
A slightly later form in which the top has similar treatment but the centre column has been embellished with a turned base. This stands on a flat platform instead of flowing into the four legs which support the platform, shaped to give a ‘knee’ at the top of each leg.
A table in which can be seen the curving arc support, much valued by the antique trade as a cabinet maker’s sleight-of-hand.
A simpler form with a rather bulbously-turned centre support. Figured mahogany veneer and applied mouldings of the split-turned type. c. 1820
A high quality mahogany type with a four-column support and metal embellishments. An opening (i.e warped) top like this seriously reduces the value.
Classically Regency; the rosewood is profusely inlaid with brass decoration and the centre column terminates in a flat base supported on four scrolled feet carved with leaf decoration.
he top is relatively simple but the spiral column with heavy foliage decoration sits on a heavy circular gadrooned base supported by heavy Thomas Hope-type paws. c. 1830
A simpler variant of the previous example and on the type of rectangular base with hollowed-out sides that one associates with this period.
Straight out of W. Smee and Sons’ 1850 Catalogue and C. and R. Light’s for 1881. It was a popular and long-lasting design. A good example of the Victorian obsession with curves commented on elsewhere. A superb piece of decoration.

TABLES  games and tea, Sheraton
As we have seen, the half-round (or demi-lune’) table, opening to a circular form, has a very early provenance, which continued in the early Georgian period and lent itself to taper- or turned-leg form as fashion progressed. It is commercially important that there is no warping of the top.
The form is more oval, the satinwood inlaid more simply, but the quality is evident. The inlaid stringing lines and the inlaid black line around the edge of the legs all point to quality. c. 1790
A veneered mahogany serpentine-fronted table of fine quality, showing the shaping that
related back to earlier forms and allied with an inlaid Sheraton shell and satinwood crossbanding.
A table of satinwood with kingwood crossbanding but the chamfered corners are not very successful despite the evident quality of the piece. The small square sections near the bottom of the legs are to balance the proportions. c. 1800
One meets this type of simple D-end card table frequently. Any inlay or stringing lines help the price, whereas warping or an awkward angle to the legs send the price down. c. 1810
The maker has tried to introduce more fashionable Regency forms of post-1820, with ’sabre’ legs, paw feet and lion masks, all made in rosewood but although, again, the quality of execution is high, the design is not of universal appeal. Still, it is highly decorative and that commands a good price.
A variant with carefully turned legs. The top is good quality, being in a pale faded mahogany.

TABLES  folding card and tea, square Chippendale
The fashion for taking tea and other refreshments such as chocolate undoubtedly led to more occasional use of folding side tables, some even being made in pairs, one with baize interior covering for games and one with a polished surface for use when entertaining. These latter are often referred to as tea tables although multipurpose use must have been frequent.
As in the last section we see the shape of the leg altered in sympathy with those of chairs. If you have read the chair section, it hardly needs to be pointed out that variations increased considerably during this period as did the decoration on fine examples. Rococo carving was back in fashion again and the solid, even grain of mahogany made it an ideal medium for the carver, who apart from a few acanthus leaves and some restrained husks and flowers, had been largely unemployed since the excesses of the Restoration.
A high quality mahogany Chippendale treatment with clustered column legs in the ‘Gothic taste’, carved edges and figured veneer on the frieze. The square bases to the legs are scooped underneath so that the fitted castors are not too prominent. Although not clearly discernible in this photograph, the edges of the table are decorated with two motifs, a simple four petal flower and a rounded oblong projection (cabochon) which are used alternately. A typical Chippendale style decoration.
This table also exhibits decorative treatment associated with Chippendale: bas-relief carving (or blind-fretting) in the `Chinese’ taste on all surfaces except the figured top. The castors are more prominent and the convex treatment of the frieze is perhaps a bit heavy. But then the table itself is very foursquare and lacks the grace of the earlier designs.
Notice that here too a number of standard devices are repeated to decorate the edge of the table. c. 1760
This is a much more restrained example with blind-fretting to the front edges of all four legs and fretting to the brackets. This piece looks lighter than the previous example because the insides of the legs are chamfered.
Carving appears on the top edges, the delicately gadrooned edge to the frieze, a pattern that last appeared in the early seventeenth century, and a beaded edge to the simple legs  a nice touch, this. Note the lightening effect of chamfering on the square leg. The carving applied to the frieze is light and rococo. In this table the concertina action for moving the back legs to support the open top is clearly visible on a simple straight-leg mahogany table. Normally one associates this mechanism with earlier examples but, clearly, individual cabinet makers continued to please themselves. The top surface is decorated with an inlaid boxwood and ebony stringing line and star.
This is another good mahogany example with just a remnant of the candlestand in the shaping of the corners. The serpentine top is echoed in the shaped frieze. The legs are chamfered and moulded on the front surfaces. c.1770
A serpentine three-flap example of a games-and-tea table. The legs are moulded in typical Chippendale manner. Interestingly, the leg which moves out to support the table when open is slightly out of place. This suggests that the hinge on which the leg moves is probably loose. c. 1760
A Sheraton form of the highest quality, in satinwood with inlaid ‘fan’ decoration on the top and legs, which are of tapering square section with reeded and fluted front surfaces ending in spade feet. There is a crossbanding of kingwood on the top and the frieze. c.1790
Another late eighteenth century table, made in solid mahogany, with a concave moulded edge to the top. The legs are thicker and less finely tapered. c. 1795

TABLES  folding card, 1720-1750
On the previous page we show how, from early sacred examples, tables could be adapted for profane purposes. The move from turned or turned and faceted leg to a cabriole form followed quite simply the general furniture pattern (see Chairs). The fold-over as opposed to hanging flap type was ideal for the card-cum-side table. While the gateleg method of support was still used a new method was also evolved. ‘Concertina action’ as it has come to be known, enabled the two back legs to be folded out and stand square,
giving a more stable and attractive appearance to the table which in this position could be used as a centre table and looked the same from every angle. A photograph of this mechanism half extended is seen in 708.
The pad foot coexisted with the cabriole leg but seems in general to have been used for the more humble pieces. However, as can be seen, some very attractive early pad foot examples exist.
Another variation which one meets is the three-top table in which there is merely an additional flap to provide an alternative top. This is sometimes inset with contrasting woods to provide a games top, e.g. a chess board. The value of these pieces is greater than their two-top equivalent by about fifteen to twenty per cent. They are found mainly from the second quarter of the eighteenth century.
The fold-over action requires hinges to be placed on the side. This is a perfectly sound method, but abuse over the years can lead to ugly or ineffective repairs having been made which will, of course, reduce value.
A mahogany example with a baize top surface highlighting the corner candlestands and the inset scoops. This table also has cabriole legs ending in ball-and-claw feet, but the knee is carved with leaf and scroll forms. The flap is supported by a leg which pivots on a gate. c. 1735
Shows a fine quality walnut example, the cabriole legs having shell decoration carved on the knee and being hipped’ at the top to flow into the veneered frieze surface in
the same way as the chairs of this quality of that period. The legs end in ball-and-claw feet. The only features of quality lacking in this table are, on the top playing surface, the candlestands and scoops for gaming counters which can be seen in the next example. c.1720
Not all the early desirable pieces have cabriole legs. This delightful little pad foot table is veneered in red walnut with a fifth leg to give stability when the table is open. The decoration includes the typical early protrusions on the lower rail and the spur at the top of the legs.
A more simple gateleg type with pad feet and fold-over top. It still, however, retains the spurs at the top of the legs. Although they are straight, the legs are canted out very slightly and give an impression of foursquareness lacking in later pieces. c. 1740
In this example the decoration is confined to ball-and claw feet and shaped apron to the frieze which is constructed as a drawer. It has, however, the desirable feature of concertina action. Fitted with candlestands and inset scoops.
A simpler but good quality table with legs ending in pad feet. The cabriole form is used only on the front legs, while the back ones are straight. In this table the top, when folded open, is supported by one of the back legs swinging open on a gate, as is also the case in 701.
A George II folding top table in heavy mahogany. The straight legs ending in pad feet are a modification of earlier cabriole legs in that the earlier exuberance has been curbed and the leg is now much more restrained. These tables were probably multipurpose, being used for both games and for refreshments such as tea.

TABLES  early card and side
It is perhaps ironic that the design of early games tables can be traced back to sacred and ecclesiastical pieces. Furniture from one period borrows from another in ways which can be surprising. Card playing and gaming once occupied a place which has since been replaced by other forms of gambling and much care was lavished on the instruments used.
An oak folding-top table with a back gateleg to support the flap when open. It is a type known as a credence table, used in churches on which the bread, wine and water were placed before consecration. The block-like feet are clearly not original and must be ignored, but above the stretchers all is original, including the drawer. The column turned legs, with rims at top and bottom, taper almost imperceptibly at the top. The bold curve below the stylised arcaded moulding shows the maker was aware of the need to avoid a
straight line.
When sensibly restored $1,500  2,500
A development of the previous design. The main difference lies not in the legs, which have overall retained their simple cannon turning and only acquired decoration at the base, but in the rounded top frame. It is still a credence and very overpriced for what it is.
Late 17th century
The Continental influences which arrived with the Restoration, 1660, and the coronation of William of Orange and Mary, 1689, are described in every textbook on furniture but the progression from the previous table to this example provides a dramatic demonstration of the effect on British furniture design. Techinically it can hardly be improved upon: splayed feet, shaped stretcher, finials, turned hexagonal legs, ogee frieze with cock-beaded edges, veneered frieze, double-D drawer edgings, herring-bone crossbanding to the drawers, double-D moulding to the top and Italian figured veneers, but even that had to be touched up with black to show more contrast. Within a few years craftsmen had adopted the techniques to produce some of the most elegant furniture ever made in Britain.
If walnut as shown $7, 500  -10, 000. If burr walnut or burr elm $9, 000 -12, 000
The shape has changed to the rectangular form, which is more
familiar,    but the arrangement of the legs remains the same. Although there are formal contrasting inlays on the top, it is the turning on the legs which attracts attention  sharp rims and baluster forms and, at the top, flat bobbins are mixed to provide a decorative arrangement. A feature of this type is that the tops of
the legs are veneered and fit flush into the carcase. c.1690