TABLES  writing
A satinwood ‘Carlton House’ writing table with oval panels in the upper doors. The type appears in Gillow’s cost books for 1796 and is also illustrated in the ‘Cabinet Maker’s Book of Prices’ of 1788. Carlton House was the residence of the Prince Regent. Gillows simply describe the piece as ‘A Ladies’ Drawing and Writing Table’. We tend to associate square tapering legs with Sheraton, but this type of table had a considerable revival in about 1890 and is still being made to the present day. (Harrods usually stock one or two.) Readers of the Price Guide to Antique Furniture will know from page 258, items 942-945 that there are marquetry ones, satinwood ones, plain mahogany ones and there are even painted ones. Variations in the design are very frequent in lesser Edwardian pieces.
1890-present day marquetry/satinwood satinwood as above painted/inlaid mahogany.
The borderline between a writing table and a desk or bureau is sometimes hard to define. On the whole a writing table remains a table, on four legs with some drawers in the frieze, but the Carlton House version is
almost a desk or bureau due to the upper structure. Here, we have followed accepted practice and, after the Carlton House version, show the simpler pieces of furniture.
An inlaid satinwood writing table in the French Louis XVth style on cabriole legs with ormolu mounts. The top surface has an inset leather area, crossbanded around it with additional inlay. The top edge has an ormolu moulding surround. 1860-1880
Three writing tables in 18th century styles, using square tapering or turned legs, brass ring handles with circular pressed plates and with drawers in the frieze. The central example has small upper drawers as well. All have an inset leather top.
Three writing tables of rather less quality. The central one is kidney-shaped and the other two are oak examples with square section legs. 1890-1920
An inlaid mahogany writing table in the ‘Sheraton’ style which also incorporates an oval mirror with flanking small drawers.
An oak writing table in ‘William ‘and Mary’ style, evidenced by the turned legs with inverted cups or ‘bells’ and the bun feet. The front stretcher has been thoughtfully omitted so as to allow the writer to get his or her
feet under the table without hindrance.

TABLES  writing, Carlton House and similar
A ‘Carlton House’ writing table appears in Gillows’ Cost Books for 1796, described as a ‘Ladies Drawing and Writing Table’ and is also illustrated in the Cabinet Makers Book of Prices 1788. They are, naturally, associated with the late Georgian and Regency period  Carlton House was a London residence of the Prince Regent but the square tapering legs are what we now associate with Sheraton. These writing tables are usually made in satinwood or mahogany, were made throughout the nineteenth century, and are still being reproduced today.
This mahogany table is perhaps more faithful to the restraint of the original strain. It has stringing lines as its principal decoration apart from inlaid oval panels of satinwood.
An illustration of a top dog of the breed, in satinwood with inlaid decoration of musical and armorial instruments, as well as scroll and leaf forms. The inlays perhaps betray its provenance, for it is in fact a copy of the original table.
Late 18th century
A simpler version in rosewood, decorated with brass beading and gallery. c. 1820
Edwardian, but its origins are clear  the Edwardian love of Sheraton design has become much appreciated recently, both aesthetically and materially.
Early 1900s

TABLES  writing, cabinet
The writing table with some sort of structure at the back is clearly a continuation of the fall front bureau design, which inexplicably had gone out of fashion by the start of the nineteenth century.
The piece looks wrong. A deep heavy top resting on thin legs. Look at the previous example, it has less superstructure and the legs if anything are thicker. What goes in the top anyway Books would break it and
porcelain would be at grave risk as the piece is fitted with castors. On the side of the base there is a broad band of inlay with none on the top. One would want to inspect this piece very carefully.
The sharp curve at the ends provides the clue to the date of this ‘inlaid writing cabinet’ even if it did not have the very Sheraton inlays, tapered legs, tambour slides and handles. A good elegant piece with what looks
like an adjustable writing slope. Overseas demand is still amazingly indiscriminating, hence the small difference in price. c. 1805
Here is a case where the whole piece looks right. Both in the design and in the manner and distribution of decoration. Curved reeded legs and a bold stretcher suggest the date. The drawer slides in and a cover pulls
from the back to make the front flush, while the tambour slide comes down to cover the drawers and pigeon-holes. A useful piece.
A very much simpler version of the previouswriting table. Here the panelled front (an inelegant feature with the top of the hinges exposed) folds back to knock objects off the galleried top, while the thin front folds out to be supported by lopers in the manner of a bureau. A curious feature is the slide at the side, but it too is thin. It says it is Sheraton but one doubts it. More likely Edwardian. Early 1900s

TABLES  writing and library, late 18th and 19th century
The long writing tables, often referred to as library tables, of the late Georgian, Regency and Victorian period have a marked design similarity to sofa tables of the early part of the period, except that they do not have
end flaps. Perhaps designers produced one drawing which the retailer was happy to produce with or without flaps.
Shows a Sheraton style table in figured mahogany with rosewood crossbanding on end supports that are, clearly, late Georgian in design. There are drawers in the frieze, with false drawers at the ends, indicating that this really was designed as a centre table, to be viewed from both sides and ends.
A rosewood table with end supports of similar construction to the previous example except that scrolls have been included in the design, both at the bottom and the top of the support. The turned stretcher is, perhaps,
decoratively intended. c. 1810
A Regency rosewood example in which the legs sweep from the top to the floor. They are supported by a curved arch very similar to the first example. Metal decorations. c. 1830
A very similar design to the previous example except that here rosewood cross-members are used in place of metal and of course it lacks drawers and so is simply a centre table. Note that the mouldings of these last
three examples are simply cross-grain veneers, slightly rounded.
Fussy it may be, but the parquetry top in exotic woods with bold corner finials goes well with the equally bold fretted base and stretcher to make a good solid ornate writing table. Rather hard to date with assurance
because, looking through the Pictorial Dictionary of Nineteenth Century Furniture Design, one sees that the variations were being offered in the 1840-1860 period.
The hairy feet are a couple of sizes too big, and heavy lyre ends are complete with brass strings with (appropriately enough) knobs on. All that to support a pedestrian two drawer top which can only manage some effete bead moulding with miniscule ‘drops’ at the corners.
Again in mahogany and a contrast to the previous example. The restraint in the design is obvious but one can clearly see the decoration gaining in importance. Typical of a whole group of stretcherless tables using
designs of the period.
A bobbin turned version of a type more often seen in the design books as spiral turned. It produces decoration for less original cost than the previous example. c. 1840
An octagonal library table in faded mahogany with four well-moulded legs. A good example of this popular type.

TABLES  writing and library
A round or multi-sided library table, with a number of drawers, supported on a central base, normally a pillar, is referred to in the antique trade as a ‘rent’ or `drum top’ table. By tradition they were used to keep account of rents paid and due, for some tables have initials on the drawer fronts. In some cases false drawers alternate with genuine ones, while others have false books or spaces for real books. They first appear at the end of the eighteenth century and command high prices.
An extremely fine rent table with a central well shown open. A plain cannon turning and three well-shaped legs with decorative carving down the centre. The feet have a turned over scroll effect. c. 1790
A superb example almost identical with one illustrated by Sheraton. Extremely elegant on four ormolu paws. The applied moulding to the doors is typically neoclassical.
By comparison with the previous example, not so successful for it is let down by the ‘unrelieved square plinth. It has, however, inlaid initials on each drawer. It is veneered in good quality mahogany on a square stand with door. The only additional decorative treatment is a white stringing line.
c. 1800
A typical late Georgian round library table with blank spaces instead of false drawers. The four reeded legs show a well-balanced curve.
A slightly later example, though the similarities with the previous example are strong. The same flat moulding and tooled leather top. The higher knee provides the clue to the date. c. 1790
Another bad attack of Regency knee with the applied turned pieces on either side. The legs are no longer reeded and the general effect lacks elegance. However, the piece is in rosewood which does help the price though the cracks across the top, if indeed that is what they are, would depress it. c. 1825
Almost an occasional table because it is small but the drawers suggest it should go into this section. The price is less because of its size but this is no reflection on its excellent quality. c. 1790

TABLES  reading, writing and artists
Architects’ tables were large and solid; others were of lighter construction and designed to fit in with furnishings in the fine reception rooms. The best are to be counted among the most elegant furniture. Even the inelegant are loved  collectors love pieces that do things.
A much more simple reading table with adjustment by a series of notches, but none the less an elegant piece in the same rococo style as the first example. It has a good deep patination and one should not underestimate the desirability of metal fittings even when as simple as the band round the top of an elegant dark tripod. The band is, of course, part of the vertical adjustment fittings. c. 1760
A superb Chippendale example of a mahogany reading table with elegant curved supports and well carved tripod legs. The small repetitive decorative design sets off the bottom edge of the table. It is almost identical to, if not the pair of, one in the Victoria and Albert Museum and as provenance or comparability are important, especially in high quality pieces, the price is substantial. c. 1760
The well-shaped feet and solid gun barrel turning suggest the date. Two slides either side provide space for glasses, spectacles, etc. The adjustable top, controlled from beneath for height, folds down to make a rectangular leather topped tripod table. c. 1770
Again, elegance is the keynote of this superb piece which has two facing adjustable stands and folds down into a tripod table. The square box-like projection has two drawers, inlaid at the edges, which held rosin and hence the piece must have been a double music stand. The candlesticks are adjustable at three points. It is made in satinwood and cross-banded in a darker wood and again in rosewood at the edges. It has a lovely mellow colour and original patination. c. 1790
A good design for a table which can be made into a reading table. The front drawer is, of course, false, as are the ones on the opposite sides, hence the piece qualifies for a centre table. The flexibility enhances the value. The fact that it is in partridge wood adds considerably to the interest, since, although the little piece is solid and heavy, it has specks of brown and dark red which, being mellowed, will give it a good tone.
A well-made artist’s table (perhaps strictly not quite big or solid enough for an architect’s) with drawer under. The top comes down to make a not inelegant quatrepod. The ivory keyholes and reeded top to the legs suggest the date.
A mahogany adjustable reading table with feet and turned stretchers that seem to be anticipating a stack of folio ledgers or the weight of a collapsed bibliophile. Note the two fine tulip-shaped candleholders with elegant curved supports. c. 1820
A good, honest, Georgian mahogany reading table. It has tapering legs and slide and the usual adjustable top. From the point of view of design the small drawer bolted on the side seems an afterthought and detracts from the line of the piece. c. 1790
Shows a very good early form in oak, with cross-stretcher between the legs and ogee curves under the frieze edged by a small lip moulding. The simple drawers have a double-D moulding on the carcase around them and the legs show turned inverted cup or ‘bell’ forms which is a Dutch influence. The handles are period. Note the thinness of the top and compare with chests of the period and slightly earlier. c.1700
The classical Queen Anne walnut type  in fact of George I period  with veneered surfaces and solid cabriole legs ending in pad feet. The drawers are edged with herring-bone crossbanding and the top is quartered, inlaid with herring-bone and cross-banded. The  handles may well be original. c. 1720