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.

Antique Mahogany Tripod Table - Tripod Tea Table - Regency Rosewood Library  Table

The principle role of tripod tables has been as wine or occasional tables for social use. As a piece of furniture a tripod table of small size is decorative and useful in this respect but easilyknocked over and liable to damage. Many of the tripod tables for sale in shops nowadays are marriages of top and base from different origins for this reason. The tripod legs, keyed into the central column, are also easily damaged and the joint split due to an excessive weight being placed on the table. A metal spider is often screwed under the base to reinforce the legs against this.
The original method of securing the top was by two parallel bearers hinged to fit on to the squared top of the stem. Sometimes a gallery or ‘bird cage’ was used and this, being regarded as a mark of quality, tends to
add to price. By placing a weight too near the edge of the table it is possible to damage the top fixingalso and many of these have had to be repaired.
To detect a ‘marriage’ examine the underside of the top for old screw holes or marks of previous bearers. Although successful unions do take place there is usually a loss of proportion and relationship between top and base. Do not be misled, in country versions, by talk of country craftsmen using one wood for the top, another for the stem and another for the legs. Although this may have happened it was not nearly so widespread as the subsequent repairers would have us think.
Value in tripod tables is dictated by the same considerations as those of other furniture; quality of craftsmanship, proportion, colour and choice of wood, polish and patination. Above all , originality is to be prized as much as structural condition.
Regency rosewood library or rent table with octagonal revolving top inset with tooled leather. The inlaid stringing lines are of brass.
Large Regency period dining table of extendable type with leaves which are inserted in the centre section to provide greater seating capacity. A type of table now somewhat reserved for board rooms and public
banqueting halls but which nevertheless follows the development of the earlier Georgian type with two ‘D’ ends between which leaves could be inserted. This table would seat approximately 20 people.
N. B. It is interesting to note that ten years ago such tables were hard to sell and often cut up for the good quality wood of which they were made.
The tripod table is not strictly speaking derived from the candle stand in our illustration above but it is possible to trace the influences derived from it. This stand is of walnut and was made originally for holding a light.
The octagonal top has a moulding round it which is typical of the late 17th and early 18th century walnut period and the twist turned stem represents a high degree of technical accomplishment.
A mahogany tripod of mid-18th century. The top is dished to give the rim around it and the plain column is of pleasing simplicity. The mahogany used is of the heavy Cuban variety, very dark in colour. Note the
development of the height of the legs, becoming bolder.
A mahogany tripod supper-table of c. 1750. The scalloped top is decorated in the centre with leaf carving. This illustration is in fact a reproduction and the centre column turning is not perhaps of as beautiful a design as the top should be supported on.
A walnut stand of the early 18th century. The octagonal top again has the moulded edge of the period and is veneered in figured walnut. The base of the stand is now lifted off the floor by the three curved feet of square section.
A tripod mahogany tea table of c. 1760 with fluted column and scalloped edge carved with shell patterns.
A Chippendale style mahogany tripod table. The top shows the .’pie-crust’ edging which requires a high degree of craftsmanship, since the whole top is made in one piece. The stem is fluted down to the carved bulbous vase and the legs, with shell and pendant decoration on the knee, end in ball and claw feet. Note the scroll on the inside of the knee of the leg. One of the most ornate and decorated examples of this type.
Typical 18th century tripod table in mahogany, probably dating from 1760-80. The legs have now become almost aggressively higher and bolder in curve. The tapering column has the bulbous vase at the base.
Late 18th century tripod table with baluster turned stem and chamfered legs.
Fruitwood tripod table 27″ in diameter. Note the rather abbreviated feet and the.fact that it has been necessary to use several planks to make the top due to the lack of width in fruit-wood trees.
Another tripod mahogany table of 1770-90 date with similar stem, but the legs now flattening in curve slightly. The rounded curves are modified by the chamfered edges and more pointed design.
18th century tripod mahogany table of larger dimensions - the top approx. 2ft. 9in. in diameter. Note the spirally fluted vase at the base of the tapering column stem. Until recently these were more difficult to sell, being too large for occasional or wine table use. Now they are rising in price and being used as tea tables or small dining tables.
18th century yew wood tripod table. The legs are better proportioned than the fruitwood example although they show the steep outer curve of the later period. The top again is several planks, but yew is a wood which
is always more highly valued.
Early 19th century tripod table with rectangular top, of a type expanded in size to produce a breakfast table. This smaller size could be used as a supper table and, being of the tip-up type, was useful in smaller rooms.
The wood is generally mahogany and the legs and stem exhibit the same characteristics as dining tables of the period.
A rather delicate tripod table of c. 1800. The top is octagonal and painted - in line with other furniture of the Sheraton period. Note that the legs are now in a reverse curve from previous styles.
Later 19th century version of the tripod table - the tripod legs have actually vanished and all that remains is the triangular shaped flat base with its three turned feet. The stem is now thoroughly over-
turned with far too many bulbs and vases. Early 19th century country tripod table in mahogany. The legs are in the same reverse type of curve as the previous example, but the stem shows the rather bulbous turning
that heralds the Victorian period.

TABLES  dressing
The most successful form of dressing table seems to have been one with drawers in pedestals on either side. Indeed, the walnut reproduction desk shown in the Desk Section (No. 326) is, in fact, a copy of a kneehole
dressing table of c.1700 (but see the Price Guide to Antique Furniture for all about that). The simpler the design, very often, the more successful it was. Apart from the pedestal type  which has been much converted
into desks  the , lowboy’, with its two deep drawers and one central shallow one, on cabriole legs, is the very other popular form.
The advent of built-in bedroom units has meant the demise of many large pedestal dressing tables but the smaller, prettier ones have survived as whimsical occasional tables, even in the bedroom. These smaller tables tend to be the more highly valued.
A dressing table of a type made by Holland & Co. in satin ash with ebony stringing lines and brass gallery rails above the upper drawers. Perhaps made en suite with the ‘Wellington’ chest 303. A high-quality piece of
furniture in a simple pleasing style. 1850-1880
A dressing table designed by Owen Jones for Eynsham Hall, Oxon, in 1873. In fact, Shoolbred’s catalogue of 1876 shows examples very similar in design. This piece is in a pleasant, light wood and the stringing lines and neat black knobs contribute to an easy formality of design which is wholly missing from much furniture of the period. Unfortunately many dressing tables of this sort have had the top section removed to cater for the enormous trade in pedestal desks. 1870-1880
A rather more ‘Victorian’ mahogany version of the preceding examples, with scrolled carved supports to the shaped mirror. The pedestals are bow-fronted and the descent from simple clean lines to something less
tasteful is clearly illustrated. 1850-1880
Down further we go, into semi-rococo ugliness. The oval mirror is all right but the rest is fairly unpleasant and extremely wasteful of space. Apart from the central drawer the frieze is totally unused and probably ‘false’ while as for the legs and bottom shelf … !
An oak dressing table and mirror to match with revealed construction in the manner approved by the Gothic reformers. The arcaded painted decoration is in keeping.
A painted dressing table which has borrowed something from the art furniture brigade in its design and perhaps something from Regency ‘bamboo’.
An inlaid mahogany dressing table in the Sheraton manner, owing something to the Carlton House writing table in the curving design of the centre section which leads, in the upper storey, to two drawers. The inlays
incorporate shell and swag motifs.
An inlaid mahogany kidney-shaped dressing table in the `Sheraton’ manner, depending on a late 18th or early 19th century original design but somewhat over-decorated by the Edwardians. c.1900
A walnut ‘Queen Anne’ dressing table of a type known as a lowboy. One of the most popular and pretty pieces from the walnut period of 1710-1730 and much reproduced. See the Price Guide to Antique Furniture for several original examples. c.1925
A Liberty’s dressing table in the ‘art nouveau’ style in its more straight-line English variety. Usually made en suite with an accompanying washstand (see 608). C. 1900
A mahogany dressing table of ,art nouveau’ design with inlaid decoration and square tapering legs ending in round feet. C. 1900
Another walnut dressing table of `Queen Anne’ style but which is immediately apparent as a reproduction version, not true to original proportions, from the long cabriole legs. The previous example is much more true to the original.
A ‘William and Mary’ style dressing table, so termed because of the inverted-cup turning, bun feet and shaped stretcher of the base. Not the correct proportions for a period piece. c. 1925
One of Maurice Adams ‘original’ designs, successful commercially in the 1920s and 1930s, based on ‘Queen Anne’ styles. This example is in figured walnut but mahogany versions were also available. An entirely
post-1920 interpretation of Queen Anne and quite identifiably 20th century. c.1925
A veneered walnut dressing table, with wardrobe-chest to match, on cabriole legs with shell carving to the knees. Anyone seeking to comprehend why 20th century burr walnut furniture is so far in appearance from the early 18th century pieces it vaguely emulates should look at the sheer fussiness of the figure in these veneers and the confusion it generates even when laid in matched symmetrical sheets. 1920-1940
Lacquered versions of ‘Queen Anne’ (right) and ‘William and Mary’ (left) dressing tables. There was a revival in lacquer furniture (often on a blue ground, but also red and black) in the 1920s which now has a market in
the interior decoration business.
A walnut veneered dressing table and wardrobe with drawer above. Very much post-1918 in design, with solid pedestal bases emphasised by dark applied mouldings, no separate feet, square unembellished edges and solid square ebonised wooden handles. The central drawer of the dressing table has been replaced by a glass shelf. Quite what the drawer above the wardrobe was used for is not certain  Something the Children Must Not Find, perhaps 1920-1940

TABLES  smallish tripod and quadripod, 1800-1850
At first antique tripod tables followed the same form as the larger single tables but, with the inventiveness of the Regency period, individual designs emerged. The Victorians produced small Victorian tripod tables with four small legs which strictly speaking do not belong in the same section but which, for the sake of convenience, have been included.
A more decorative treatment of the same basic design Sweeps to the top and bottom of the legs are emphasised with applied brass rosettes. The stem is tapered and ringed, the top has a rim. Value is enhanced by the fact that the height is adjustable. Anything which moves, adjusts or can be fiddled with seems to command a premium. c. 1815
A turn of the century mahogany table, showing plain classical elegance. The legs have a clean simple curve and the stem is decorated with spiral reeding. The top is cross-banded in satinwood. c. 1800
If you look at page  you will notice that many high quality ‘hairy feet’ have wings or spurs at the back and one can see that they provide a good balance by supporting the base over a reasonable area, instead of
looking as though they were screwed on at the end. This is a well-thought-out mahogany design, the sturdiness of which is justified by the heavy marble top. c. 1825
A novel little four-legged table note its quality and the scroll behind the hairy feet. Curious that the carved Chippendale vase is retained on the centre column. The flaps have well-matched veneers which meet when the table is in the erected position, giving a fine effect. One of the best of its sort.
It really is hard to be charitable about this horrible little table. Loudon
(1833) had the same problem about a fairly revolting sofa table of the period. “The justness of this criticism will appear more obvious, by applying it to the table… which has two supports more highly enriched by
carving than those of any of the other pieces and yet has a plain top. This is in bad taste and ought not, in a work like the present, to be passed over without notice.” Quite right. Not only is the top plain but out of
proportion to the base and the decoration seems mindless. c.1830
Loudon would approve this design because both top and bottom have ,enrichments’, but he might, like the present writer, be happier with it if the two sets of beading had been more of a size. c.1830
A conventional papier mache floral and gilt, with mother-of-pearl inlay, tilt-top table. Well decorated and elegant with the shape of the top helping to create an interesting piece. A good compact pedestal. c. 1840
Typical small mahogany tripod table of the period. Commercially not desirable. Not enough decoration for the Continental buyer and too small for a cheap dining table. Same design still offered by Light in 1881. 1830-1850
The use of iron was an obvious method of obtaining the maximum decoration as cheaply as possible. Once the mould was made presumably any number could be cast. Again the quality of painting is important. The
price in this case is helped because the painting is topographical  shipping on the Clyde. c. 1850
A good papier mache table with a delightful hop harvest scene painted on the top. If one can discover the artist or if it is by Jennens and Bettridge then the value will be more than quoted. c. 1850
Made over a considerable period of time, a form of simple table which was produced in huge quantities. The baluster-shaped turning on the pedestal is competent but attempts too much. Basically 1830s

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

TABLES  Pembroke
Named after the Countess of Pembroke, said to have been the first to order one. Antique Pembroke tables appeared about 1750 but really became popular around 1780. There are therefore some rare museum quality Pembroke tables in the Chippendale styles. They were considered to be a small useful table, with hinged wooden brackets to support the flaps, a drawer at one end and a mock drawer at the other, for symmetry. Used for many purposes, including writing, they were largely superseded by the pedestal table at the end of the eighteenth century. The Edwardians admired them and one must be watchful for period examples which they improved by adding marquetry or painting.
In satinwood with serpentine shaped flaps which, like the drawers, are cross-banded in kingwood. The inlaid shell on the top is generous in size, superb quality is emphasised by the ebonised edges and the gently curved apron below the drawer which compliments the shape of the flaps. Note the width of the original castors. c. 1790
Made in mahogany with the less popular turned and reeded legs, it is none the less very good quality. Note that the figured veneers on the flaps fan out to the edges to match the inlaid decoration. The flaps look even better down. c. 1795
A fine example in satinwood  considered the top of the scale for Pembroke table-building  with a broad inlaid band of purplewood and further crossbanding in kingwood. The shape of the flaps corresponds closely with that advocated by Sheraton c.1794. The square section tapering solid satinwood legs have collars at the ends and are mounted on brass castors. c.1795
Further down the quality scale, but still very desirable with its broad satinwood inlay and white wood edging. The front is bowed and the top of the legs inlaid with a diamond pattern. c. 1795
Well-chosen veneers with a black stringing line and cross-banded ends. A well-made table. c. 1795
Two variations of the plain solid mahogany variety which continued to be made well into the nineteenth century  ‘honest brown mahogany’. The one on the left has Chippendale moulded legs and a small satinwood stringing line. On the right the most simple type. c. 1800

TABLES  night, and chamber pot holders
A Georgian mahogany night table of serpentine front with a good shaped tray top with hand holes for carrying. 1750-1770
A mahogany antique night table with matched figured veneers. Very typical of the type which have split front legs to give support when the lower half is pulled forward for use. 1760-1780
In the second half of the eighteenth century the night table was of quite sophisticated design and was included in Chippendale, Ince and Mayhew, and Sheraton’s repertoire. Variously disguised as a small chest of drawers or in a more distinct tray-top form, these pieces display considerable ingenuity of craftsmanship. Later on the chest form was still used though the more obvious pot holder also made its appearance. As they are now technically obsolete, they have been adapted to a variety of modern uses according to the shape  drink cupboards, and hi-fi units for instance. If this has been done intelligently and the visible surfaces (when closed) have not been damaged, the value is enhanced rather than diminished  an almost unique situation in the antique furniture world.
A good quality mahogany night table with tambour shutter which slides horizontally across the front, and tray top with handles fretted into the rim. The tambour shutter, when opened, slides round the inside edge of the cupboard space. The pot holding drawer front has been simulated to look like two cock-beaded and veneered drawers. Often these have been fitted with linings and made to work. 1780-1800
A simple night table with fretted handles, cupboard and crossed flat stretcher with rimmed pot platform. A good construction. 1760
A step ladder type pot holder of Sheraton design in mahogany with ebony inlaid stringing lines. Adapts well to mini cellar. 1810-1830

TABLES  nests of
Antique nests of tables are illustrated by Sheraton in his Cabinet Directory of 1803 and have been much reproduced since then. They were described as ‘quartetto’ tables and, while Sheraton envisaged them as useful for needlework, George Smith in his Household Furniture of 1808 saw them in their more modernly accepted role  for refreshments. A rosewood set with the collared embellishment shown by Sheraton in his design. The clawfeet are curved over in ogee form. c. 1810
An unusual table design similar to a set illustrated by Edwards as coming from Leighton Hall, Lancashire, a house owned by Robert Gillow. It has satinwood and walnut veneer on the table tops and a chequer board inlaid on the smallest table. The nicely-turned cabriole legs are ebonised and have three tiers of stretchers. The smallest table also has a scooped tray between the bottom stretchers, perhaps for games pieces. c.1810
A papier mache set with varied top decoration including an inlaid and painted landscape as well as a chequer board.
A ‘quintetto’, with dragons decorating the japanned top surfaces and carved heads on the feet. The uprights are turned and reeded but the stretchers are heavy.

TABLES  side, pier and console
We join side, pier and console tables together because they are both rich man’s furniture. Once furniture was treated as part of the architecture of the room, say with Adam and the neo-Classical movement onwards, such tables were used to decorate formal reception rooms.
A console is a piece of furniture, without back legs, which is screwed to the wall. It is not unknown for some suitably flamboyant small Regency table to get sawn in half to make a pair of Regency consoles. A pier table is a rich man’s side table a pier being the gap between two windows  and above it one found the pier glass to help reflect as much light as possible. Again the table had to fit in with the general architectural scheme. They are now fairly rare and expensive pieces. We give a small selection below.
A richly carved mahogany table in the style of William Kent, supporting a heavy marble top which it does without obvious effort though with a considerable show of muscle. Without the charm of the previous table it is, none the less, a most impressive piece and a pair would be very much more desirable.
Faded and finely grained mahogany half-round (or in terms of this sort of furniture semi-elliptical) pier table. Sheraton decoration, good tapering leg. c.1790
A giltwood semi-circular pier table with a gouache painted top of very high quality depicting classical scenes. Slender tapered, reeded legs. The frieze with a simple but impressive line of interlinking circles with flowers inside. Clearly a piece of this kind, which is one of a pair, has to be valued very much in terms of the quality of the painting. c. 1760
Not strictly speaking a console table because it is free standing but often described as such. The scene ‘Dolphin on the Rocks’, is a common one and lends itself to decorative excesses. Carved wood gilded with an important painted hunting scene by a known artist. c. 1740