A William and Mary Period Side Table - Mid-seventeenth Century Oak Side table - A William III Walnut Card Table

Probably one of the most collected forms of antique furniture is the occasional side table which is both decorative and sometimes functional. Early forms of side table of the seventeenth century are perhaps a little too heavy, being mainly made of oak in ponderous design, but from the late seventeenth century onwards many delightful forms of games and side tables in prevailing fashions were produced.
Value points: The common value points for examples illustrated are:
1. Top Surface. The first thing to strike the eye is usually the condition, patina and decorative figuring or inlays of the top surface. The more perfect and decorative this surface is, the more the .. rating will apply.
2. Structural Condition. This must again be good, particularly where folding tables are concerned. The Georgian and Regency card tables usually had side hinges to the folding top and these are often the cause of
damage, leading to unsightly patching, replacement and alteration. The legs and stretchers, if applicable, must be sound.
3. Legs. Depending on the period, the design and always the proportion of the legs must constitute a very important factor in the assessment of a side or games table. Carving on cabrioles, or moulding of straight legs, affects value. Legs are, of course, always liable to damage and their originality with the above points, constitutes an  factor.
4. Handles. Where a drawer or drawers are involved, original period handles constitute a  factor.
5. Shape. Later Georgian folding card tables on tapering square legs in designs generally associated with Hepplewhite and Sheraton are affected by an important factor: the shape of the top. If this is circular when
open, i.e. half round when shut, a .. factor may be assumed. Tables which are oval, or with geometrical straight sides do not attract as high a price. On these tables cross-banding of the square tapering legs constitutes a  factor.
A William and Mary period side table, c.1690, of a type generally found in walnut, but also frequently decorated with marquetry. The serpentine X stretcher is also found on earlier tables, but the inverted   form on the turned legs is more generally associated with William who brought over Dutch craftsmen from whom this form originates. The legs would be in solid walnut whereas the top, sides, drawer front and stretcher would be veneered.
Walnut side table of the post ‘Restoration’ period, c.1680. The twist turning so popular to the Restoration period continued to be used on the legs and stretchers of tables though simple turning still persisted. Walnut was by far the most favourite wood though oak by no means went out of use. While the legs and bun feet are solid walnut, the top and drawer fronts are veneered. The veneered stretcher is ‘Y’ shaped at each end, connected by an oval widening  intended for a bowl. It is more
common to have one drawer only and the best examples would be inlaid with marquetry panels.
Marquetry - Walnut - Oak
Mid-seventeenth century oak side table, c.1650, with two drawers in the frieze. Note the panelled shape of the drawer fronts, reminiscent of
chests of drawers of the period. The turned legs and square stretchers are still retained.
A solid walnut side table of William and Mary period, c.1690, with arched shaping of the frieze below the drawer. The X-shaped stretcher is well illustrated and the heavy turning and bun feet are typical. Note the
thumb-nail top edge moulding.
Value points: Proportion and quality of leg turning  Shaping of frieze
Country side table in fruitwood of William and Mary period. The baluster turning of the legs shows later characteristics but the country maker has retained the square stretchers and construction from an earlier period.
Note the drawer fitting tight under the lock rail and the square, pegged tenon joints. This type of table was made well on into the late eight= eenth century.
Small oak side table, c.1675. The simple column turning of the legs and the stretchers is of the same type as the gate-leg table illustrated earlier. The top is fixed to the framing with oak dowel pegs. The two drawers fit tight under the top without a lock rail in the framing. Note that there are now simple bun-like feet under the square leg-stretcher joints, which lift the stretchers slightly higher off the floor. On original undisturbed
pieces the dowels protrude above the level of the surface (stand proud).
A William III side table, c.1700, inlaid with seaweed marquetry. The thumb-nail moulding is ebonised. The double-scroll legs of square secticn are particular to this period and not to everyone’s taste, but the stretcher form and flat bun feet are typical. Seaweed marquetry of this quality demanded a high degree of skill and such pieces are increasingly rare.
Quality and area of decoration
A William III Walnut Card Table, c.1700, the oval folding top veneered outside and inside with burr-walnut, cross banded and with herringbone lines, the shaped frieze with three small drawers, on six tapering
octagonal legs including two rear gate-legs, united by stretchers, and with turned feet.

Antique Mahogany Sofa Table, Walnut Centre Table, Rosewood Card and Games Table - 18th-19th Antique Furniture

A ROSEWOOD LIBRARY TABLE, early 19th century and later.
With a tooled leather-lined top and two frieze drawers with dummy drawers to the reverse, on fluted column standard end supports and splayed and needed feet.
A PAIR OF WALNUT AND FEATHER-BANDED CENTRE TABLES, late 19th century
Each with a crossbanded oyster-veneered panel top inlaid with lines with lobed and roundel decoration, on cabriole legs terminating in pad feet.
A GILTWOOD SIDE TABLE, late 19th/early 20th century
With an associated green marble top, with a foliate frieze and pierced apron centred by an acanthus bound cartouche and hung with scrolls with oak and acorn swags, on acanthus headed cabriole legs terminating in
paw feet.
A GEORGE III AND SATINWOOD-BANDED CARD TABLE
With canted angles and baize-lined hinged top, on square tapering legs with spade feet.
A GEORGE III MAHOGANY, SATINWOOD BANDED AND MARQUETRY CARD TABLE
With canted angles, the top centred by a fan medallion within a flower and ribbon-tied husk decorated border, with a simulated fluted frieze, on husk decorated square tapered gaitered legs with brass caps and castors, the marquetry of a later date.
A VICTORIAN ROSEWOOD GAMES TABLE
With a sliding central panel with a chequerboard to the reverse enclosing a backgammon board, fitted with two frieze drawers, on tapered standard end supports joined by a ring-turned stretcher and terminating in
turned feet.
A WILLIAM IV ROSEWOOD READING TABLE
By Gillow, the adjustable top with two hinged racketed slopes, a pen compartment and a frieze drawer, on a tapered octagonal and baluster column, with a trefoil platform and castors, stamped twice Gillows.
A ROSEWOOD SOFA TABLE, early 19th century
With a rectangular hinged top and two frieze drawers, on standard and dual splayed end supports terminating in brass caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
Inlaid with lines, the rectangular hinged top with D-shaped ends fitted with a frieze drawer and dummy drawer to each side, on standard and dual splayed end supports joined by a ring-turned stretcher terminating in brass caps and castors.
AN EDWARDIAN NEST OF THREE BLACK-LACQUER AND PARCEL-GILT OCCASIONAL TABLES
Each top decorated with birds, amongst bullrushes and trees, on dual ring-turned and splayed end supports joined by stretchers.
A REGENCY MAHOGANY BREAKFAST TABLE
Inlaid with ebony lines, the rectangular hinged top with canted angles with stellar motifs, fitted with a drawer to either end, one with a pen compartment, on two tapered supports, platform and stepped splayed
quadruped supports terminating in brass paw caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
Inlaid with lines, with a rosewood and satinwood-banded hinged top and two frieze drawers, on standard and dual splayed end supports terminating in brass caps and castors A REGENCY MAHOGANY CENTRE TABLE
Fitted with two frieze drawers with dummy drawers to the reverse, on standard and reeded splayed supports, joined by a stretcher and terminating in brass caps and castors.
A GEORGE III MAHOGANY SOFA TABLE
With a rosewood-banded hinged top and two frieze drawers to either side on standard and dual splayed end supports terminating in brass caps and castors.
A VICTORIAN ROSEWOOD OCTAGONAL WORK TABLE
The hinged top enclosing a fitted interior and covered well, on four inswept and a central column extending to floral-carved splayed tripod supports terminating in scroll feet with castors.
A GEORGE III MAHOGANY OCCASIONAL TABLE
With a circular hinged top and extending baluster column with splayed tripod supports terminating in pad feet.
A MAHOGANY ENCLOSED GAMES TABLE
With a baize lined hinged top and two frieze drawers, on ring-turned tapered legs terminating in brass caps and castors 51in.
A REGENCY MAHOGANY OCCASIONAL TABLE
With a rectangular hinged top on a turned tapered and lotus-carved column and splayed tripod supports with brass caps and castors.
A REGENCY MAHOGANY READING AND WORK TABLE
The hinged racheted top with a stay, fitted with two drawers to one side on ring-turned tapered legs with brass caps and castors.
A GEORGE III MAHOGANY OCCASIONAL TABLE
The hinged top with a reeded edge and canted angles, on a ring-turned tapered column with splayed tripod supports terminating in brass caps and castors.
A REGENCY ROSEWOOD WORK TABLE
Inlaid with lines, with a satinwood-banded top and frieze drawer, on a ring-turned column and splayed quadruped supports terminating in brass paw caps and castors.
A SATINWOOD BREAKFAST TABLE
With a rectangular hinged top on a square section column and quatrefoil platform with bun feet and castors

A PAIR OF WILLIAM IV ROSEWOOD CARD TABLES.

Each with a circular baize-lined hinged top and turned tapered column, on a quatrefoil platform with paw feet and castors.The dished top (possibly associated) with re-entrant angles, on angled and turned cabriole legs terminating in faceted pad feet, restorations 32in.
A MAHOGANY TRIPOD TABLE
The circular top with a galleried edge, on an inverted baluster column and splayed supports terminating in pointed pad feet.
A GEORGE III MAHOGANY CENTRE TABLE
Fitted with a drawer to one end, on square chamfered legs 24V4in.

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  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  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