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.

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  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.

Sutherland table

These slim, practical folding tables were reputedly named after Harriet, Duchess of Sutherland, Mistress of the Robes to Queen Victoria during the early decades of her long reign. The combination of a cheval-type construction and gate-leg is far more successful and elegant than it sounds and they are among the few really successful designs of the Victorian period.
The top of a Sutherland is so narrow that it is able to stand against a wall without taking up much space, yet when the flaps are up and supported on two swinging gate legs, it is large enough for a small supper or breakfast table. The frame is almost like a heavy Victorian clothes horse in construction: one or two slim baluster-turned uprights join a simple frieze below the table top. On the best, the gate legs tuck in beside the bracket foot. Others have half-gates with two legs swinging closed in the centre on either side of the central stretcher.
Sutherland tables were such strong little work horses that many of them have only survived in a dilapidated state and some of the more decorative, with slim bands of contrasting veneer, have been broken up to make the tops of questionable pairs of card tables.
Signs of authenticity
1. Undersides of flaps with scoremarks, pronounced where top of gate leg has been swung out and back.
2. Good patination on undersides of end overhang where it has been frequently lifted and moved.
3. Dark, glossy woods with very little decoration.
4. Cheval construction stoutly made with well-turned, simple decoration.
5. Splay of legs compact, not sprawling.
6. Solidly made underframe of mahogany or oak, to withstand hard use.
7. Flaps falling to correct height, just above curve of bracket, to show an inch or two of leg.
8. Good patination under flaps where they have been continuously handled.
Likely restoration and repair
9. Edge of flap split with weight of flaps and constant use. The repair likely to split again with the weight of the flaps after some use.
10. Repairs to join on edge of rule hinge.
11. New turned uprights, replaced uprights from parts of other table legs, even staircase balusters, stained and polished with mottled results, not caused by age or wear.
12. Made up from solid
Victorian mahogany clothes horse, built on similar lines, with new top and underframe.
Construction and materials
Sutherlands are usually about 3 ft bin long — a comfortable size to be lifted by one person. They were made in plain mahogany with mahogany cheval supports, feet and gate legs, with flattened bracket feet joined by a turned stretcher.
They were extremely narrow, not more than 9 in across when the flaps were down, which were very deep and fall to a line just above the stretcher. The two gates on either side are recessed into the underframe, and swing out on wooden hinges.
The flaps have brass hinges on a rule joint, set close to the ends of the joins, with one or two additional hinges under the flap to support the weight when lifting and lowering.
Detail
The upright supports are usually turned or baluster shaped, or twin turned legs socketing in to a single bracket foot at either end. Sometimes, on more ornate versions, there is a small drop finial on the undercurve. Sutherlands are always on castors, sometimes set beneath slightly outward-scrolling feet, or a compressed inward scroll. They are usually about 2 ft 4 in —more the height of dining furniture than writing furniture, and early versions were always in solid woods and not veneered. Later versions for provincial drawing rooms and parlours were veneered in the ubiquitous birds’ eye maple and were much more showy and not so elegant.
Variations
Often the tables are found in oak, and very pleasing when well-polished and aged. However, oak tends to split quite easily, and the weight of the flaps imposes a considerable strain to flap edges and table-top edges at the hinges. Others may be found in yew wood with elm tops, and in fruitwood with oak tops.
Broader versions of this simple design melt into narrow gate-legged tables with deep flaps, made over a century earlier in standard `country’ woods and combinations of woods. Usually the cheval supports are abandoned in favour of four simple straight legs, joined with stretchers. The flaps may be rectangular or rounded.
Reproductions
Small spindly Victorian and Edwardian `tea tables’ are low enough to be used by people sitting in sprung armchairs or sofas. These were sometimes round-leafed, sometimes square or rectangular, but the principles of construction are basically the same: narrow top, often on four turned legs with thin stretchers, and two gate legs to support the flaps.
Heavier, chunkier tables of full height, also on four stretchered legs, usually have flaps of less depth. They are almost a cross between the delicate Pembroke and the functional, unobtrusive Sutherland.
Price bands
Ornate frames, veneered tops,$300-500.
Nineteenth century, plain, solid wood, £200-260.
`Spider leg’, £500-750.
Below: the black paint and excessive turning is characteristic of a late Victorian Sutherland.
Below: in contrast to the table on the left, this elegantly turned and inlaid piece dates from c.1870.

Late XVIII Century Tables

18th Century tables, although not described as such in Chippendale’s Director, were a new type of table. During the first half of the 18th century, people tended to sit at small tables to eat, arranged in groups in a dedicated eating room.
Around the 1750s, people began to eat at longer tables. Quite often, these consisted of a central, rectangular gateleg table to which two D-ends were joined to make one long piece. When not assembled as such, the D-ends might be used as pier tables.
For the most part, these dining tables were plain, with either square or tapering legs. This began to change from around 1780, when tables were often supported by pedestals.
Early examples of dining tables, such as those supplied by Chippendale in 1770, had half-round ends and deep, rectangular drop leaves. These were supported, when raised, on gate legs and secured using stirrup clips.
Table legs were influenced by Neoclassical style and became more slender and tapering in shape as the century progressed.
As the passion for games and gambling now pervaded every level of society, large numbers of games tables
were made, particularly in England and the American colonies, and these gained popularity in Europe towards the end of the century.
Many games tables had a top that folded back to reveal a baize-lined surface or an inlaid games board, and one or two legs that swung back to support the open top. When not in use, the table would usually be stored
against the wall, so the side facing the wall was generally left undecorated.
Pembroke tables were multi-purpose, and could be used for dining, games, or as worktables, depending on the occasion. Being small and on casters, they could be moved around a room as required.
Like other occasional tables, Pembroke tables were usually highly decorative. Those made of satinwood or mahogany were often inlaid with Neoclassical designs, although painted decoration was also popular.
Marquetry remained fashionable throughout the period.
Dressing tables were often designed like deep tables with drawers. These usually featured ingenious mechanical fittings such as dressing mirrors that rose and fell in slots.
The escutcheons and handles are made of brass.
Carved acanthus adorns the knees of the table.
ENGLISH GAMES TABLE
Made from mahogany, this games table has a rectangular top that folds back to reveal a baize-lined playing surface. The concave corners hold counters.
c.1760.
The protruding, square corners are also functional, as their concave insides hold counters.
Metal hinges hold the two top sections together.
The rear legs do not have claw-and-ball feet. as the table was not designed to be seen from all sides.
ENGLISH CARD TABLE
This mahogany, D-shaped card table has a fold-over top and baize-lined interior. It is veneered with satinwood banding, with ebony and boxwood string inlay. c.1785.
ENGLISH PEMBROKE TABLE
This small mahogany table is intricately inlaid with various woods, including harewood, a veneer from the sycamore tree that is stained to produce a brown-green colour similar to khaki. c.1780.
SCANDINAVIAN TABLES
ade of satin birchwood, each table has a demi-lune top placed at an angle on a frae above three square-section, tapered legs. The D-shape or demi lunge is often associated with card tables that were designed to be placed
against a wall when not in use. However, these tables are more likely to have been used as side tables because they are too tall to sit at. c.1790. W87cm(34%in). L&T 3
SWEDISH PIER TABLE
This table is made of painted and gilded softwood, with a faux-marble top and plinth. Gilt balls top each turned, tapered leg, below which are carved and gilded acanthus leaves and gilt supports.
FRENCH TABLE
Made of mahogany, this rectangular table has a single frieze drawer. The square, tapering legs have brass terminals and casters, which allowed the occasional table to be moved easily. c.1785.
ENGLISH FOLD-OVER TEA TABLE
This mahogany tea table is made in the French Hepplewhite style. The serpentine top has a moulded edge and rests on a serpentine frieze, which is raised on cabriole legs. The legs are carved at the top of the knees
with stylized anthemia. c.1770.
ITALIAN PIER TABLE
This imposing table has a rectangular faux-marble top. The frame is painted and decorated with applied gilt scrolls and rosettes. The circular, tapered legs are also painted. Gilding is applied to the concave sections of
the stop-fluted legs. c. 1780.
ENGLISH DRUM TABLE
This table has an inset-leather surface, four frieze drawers, one of which is fitted with an adjustable writing slope, and four dummy drawers. The table revolves on a turned central column, which is set above four inlaid sabre legs with brass lion’s paw casters. c.1800.
DUTCH OCCASIONAL TABLE
The top of this demilune-shaped piece is decorated with an inlaid urn surrounded by crossbanding. Tambour doors slide sideways to open. It stands on three square-section, tapering legs decorated with boxwood and ebony stringing. c.1790.
FRENCH DROP-LEAF DINING TABLE
This Cuban mahogany table has a rounded, rectangular top with two D-shaped leaves. It has a plain frieze and six squared, tapered legs with brass caps and casters. The legs move out to support the open leaves and
additional leaves. Signed Jean-Antoine Brunel. c.1795.
SWEDISH CARD TABLE
This demi-lune-shaped table has a frieze and squared legs. It is very similar to an English card table, apart from the two legs, which are awkwardly bunched together. One of them swings back to support the top when opened. c.1780.
ENGLISH OVAL TABLE
This is one of a pair of French-style tables decorated with marquetry and parquetry. The oval top has a central panel with an inlaid spray of flowers and ribbons and the frieze has a floral inlay. The table has capriole legs. c.1785.
ENGLISH PIER TABLE
The top of this demi-line table is inlaid with satinwood, rosewood, ebony, and boxwood. The marquetry features a fan, echoing the shape of the table. Inlaid paterae are inserted at the tops of the square, tapering legs, which terminate in spade feet. c.1790.
SWISS GAMES TABLE
This walnut and cherrywood table has a heavy, hinged, fold-over top, with rounded corners and a brown, gilt-leather inner surface. The shaped table skirt is carved and the capriole legs are carved at the knees and
tips. The rear leg swings back to support the open top. c.1780.

Occasional Tables

In the 18th century occasional tables became more varied in style. They were small and light, and so could be moved into reception rooms as required. Many of these tables were highly
decorative, but gradually they became more utilitarian and were often designed for specific purposes.
A passion for games and gambling resulted in a proliferation of card tables. By the end of the century, French card tables were fitted for every sort of game: roulette, chess, backgammon, and jeu de l`oie.
A wide variety of writing tables was developed. The larger, portable tables made for writing were called tables d ecrirc. Some were fitted with candle slides that pulled out from the sides.
The newly fashionable custom of gathering to drink tea and coffee required two or even three tables: one table with a gallery around the edge, on which to place the china; a round table at which people sat and
conversed; and a kettle stand. In the grandest homes, the kettle stand had a silver salver shaped to fit the top, with a silver coffee- or tea-pot on top of it.
Worktables first appeared in the second half of the 18th century. Those made for sewing often had tops that lifted up to reveal small drawers for holding reels of thread and other sewing accessories. Some sewing tables had fabric bags hanging beneath them, in which the needlework was kept. These were made from wooden frames covered with fabric that slid into runners in the base of the frames. French sewing tables, tables en chiffoniere, did not usually have these. Some English worktables were also fitted with a leather surface for writing.
The French table de salon, meaning sitting room table”, served many purposes. It had an ormolu gallery around the top, with three drawers and a shelf below The intricate decoration meant it was elegant enough for formal reception rooms.
Many portable tables contained a fire screen, often made of the finest textiles or displaying needlework
displaying skills. The screen protected the face and legs of anyone sitting in front of a fire, and was particularly important for ladies who wished to protect their
wax-based cosmetics from melting.
The cabriole legs are gently curved.
The legs terminate in foliate ormolu sabots.
The tambour front slides back to reveal six small, ring-handled drawers.
The top is inlaid with flowers and has protruding; rounded corners.
The frieze is inlaid to simulate fluting. It has a single front drawer.
The sides are inlaid with crossbanded borders wit, geometric banding and Neoclassical decoration
ENGLISH WORKTABLE
This transitional-style worktable has an inlaid top above a single drawer. The table has a tambour front and an incurved shelf, and terminates in cabriole legs. c.1770.
FRENCH TABLE DE SALON
This satinwood and holly table has a pierced ormolu gallery. The case, three drawers, and shelf are ornately inlaid. The tapering legs end in ormolu sabots. c.1780.
ITALIAN FIRE SCREEN TABLE
The entire surface of this olivewood table is veneered. It has a serpentine skirt and slender cabriole legs. The silk-lined fire screen moves up and down at the back of the table. c.1780.
ENGLISH WRITING TABLE
This one-drawer, mahogany table has a leather-inset top. A silk-upholstered, adjustable face screen is fitted at the back. It has square, tapering legs with brass casters. c.1790.
FRENCH WORKTABLE
This diagonally veneered, single-drawer table has a cambered top and cabriole legs. It has a drawer in the mid-shelf, and a fire screen at the back. c.1760.
ENGLISH KETTLE STAND
This small mahogany stand has a circular top with a brass-lined spindle gallery. The fluted column has a leaf-carved baluster knob above a tripod base, with claw-and-ball feet. c.1760
FRENCH SEWING TABLE
This table has a marble top surrounded by a pierced three-quarter gallery. The parquetry-veneered case contains two drawers. It has a shaped frame, lower shelf, cabriole legs, and ormolu feet. c.1765.
BONHEURS-DU-JOUR
A SMALL, FEMININE WRITING TABLE FOR LADIES, THE BONHEUR-DU-JOUR WAS FIRST MADE IN FRANCE IN THE 1760s. ITS NAME REFERS TO THE FACT THAT SUCH PIECES SOON BECAME EXTREMELY POPULAR.
The bonheur-du-jour (”pleasure of the day ) is a small, light, elegant desk or dressing table. It is different from other writing tables in that it has a raised back, like a miniature cabinet, made up of shelves, drawers, or pigeonholes designed to hold papers, writing accessories, and sometimes toiletries. Occasionally,
a mirror was also included. The top of the table is usually surrounded by a brass or gilded gallery which often served for displaying small ornaments. Beneath it are drawers, or a small cupboard. These sometimes have tambour doors that slide into the case – another example of the technical skill of the cabinetmaker. The table invariably has long, graceful, slender legs, occasionally with a shelf attached to them about halfway down.
The bon lieu r-du jour was made by many of the famous French cabinet-makers, such as Martin Carlin, who designed 11 of them. The most exquisite examples, such as Carlin, were mounted with plaques of Sevres
porcelain and painted with delicate floral patterns, or richly decorated with fine marquetry, Oriental lacquer panels, and ormolu
jour were valued both for their delicate beauty and for the skill and ingenuity with which hidden drawers and compartments were concealed within such a small space. Originating in France, their popularity soon spread,
partly due to the increased importance of women in society at this time. They appeared in grand British houses from about 1770 onwards.
Louis XVI mahogany bonheur-du-jour This desk has a marble top and a brass three-quarter gallery, with a glazed upper section and a roll-top desk element.
Louis XV cherrywood honheur-du-jour The
upper section has two doors, and the lower section holds a long, single drawer. The case is set on cabriole legs.
GERMAN DRESSING TABLE
This solid cherry table from southern Germany has a wide, overhanging top above two small drawers. It stands on tall, tapering legs. Late 18th century.
FRENCH WRITING TABLE
The table top has a gilt-bronze-edged frieze and is inlaid with flower-heads and a ribbon border. The drawer is fitted with a sliding writing surface, inkwell, pounce-pot, and pen tray. c.1780.
FRENCH WRITING TABLE
The top is inlaid with lozenges and a central floral cartouche. The frieze has a geometric inlay and a drawer. Each side has a pull-out writing slide. c.1780.
GERMAN GAMES TABLE
This provincial walnut, cherry, and native fruitwood table top is supported on tapered legs. The surface is inlaid with a chess board; the interior is fitted for back-gammon. c.1780.
ENGLISH WORKTABLE
This satinwood table has contrasting ebony stringing, an inset leather top, and two candle slides. The case has a fitted drawer over a wool box and is supported on square, tapered legs. c.1785.
FRENCH OCCASIONAL TABLE
This sycamore, kingwood, and floral marquetry table has a Sevres-style plaque in the top. It has a pierced brass gallery and mounts, three drawers, and a lower shelf. c. 1780.

Early 18th Century Tables

Changing social customs at the beginning of the 18th century created a need for many new types of table. The fashion for entertaining small groups of people led to a demand for light, portable tables that could be arranged wherever required. Specific tables were made for playing cards, taking tea, and writing letters.
The card table was primarily a British innovation. In the early part of the 18th century the card table was basically a square table with a hinged top that folded back. The rear leg swung back to support the open top. As card tables were stored against the wall, only the front skirt and legs were carved. The top often had hollowed-out corners for holding cards, chips, or candlesticks.
Writing tables were often fitted with a velvet or leather writing surface. Lady’s writing tables were small, with a sloping top and a drawer for storing writing materials. These tables could also be used for embroidery or needlepoint. Men’s writing tables, which were known in France as bureaux plats, were larger and had flat tops and a storage drawer.
Both console tables and pier tables were created as part of the design for an integrated interior. A console table usually had supports at the front only, because the back was attached to a wall. Pier tables were also designed to be positioned against the wall, but these were usually smaller, and had four legs. Traditionally, they stood between two windows or doors, and often had matching mirrors, known as pier glasses, above them. Both types of table were often elaborately decorated with carving and gilt, and had decorative marble tops, but the designs were generally lighter than the Baroque style favoured in the 17th century and they incorporated the asymmetric, natural motifs of the Rococo style.
Pedestal tables were columnar and had three splayed legs. The style of the tabletops varied. These tables were often used in dining rooms as tea tables for holding china and crockery
Tripod candlestands generally had small, rounded tops. Larger tripod tables were often called tea tables, and the finest examples had scalloped tops with moulded edges, and elaborately carved columns and feet.
FRENCH REGENCE TABLE
This table is made of ebony with brass inlays. It has a serpentine bronze-framed top above three drawers at the front and blind drawers at the back. The piece is decorated with ormolu and sabot mounts, and has cabriole legs. c.1720.
The top is covered with inset gold leather.
The corners and sides are decorated with ormolu masks.
The legs are cabriole shaped.
Ormolu mounts in the shape of animal hooves protect the feet.
SWISS CONSOLE TABLE
This gilt table, probably made in Bern, has a marble top above a carved, pierced frame with Rococo scrolls, foliage, and asymmetrical shells. The apron and stretcher are both carved with an asymmetrical cartouche. c.1765.
GERMAN PIER TABLE
This small pier table displays both Rococo and Neoclassical elements. The top is made of marble and sits above a frieze, decorated with a stylized Greek key motif. It is supported by four carved, scrolled legs. c.1760.
GERMAN OAK TABLE
This imposing oak table is made in the Franconian Baroque style. It is veneered in walnut and the shaped top is inlaid with damson, cherrywood, and maple wood in a geometric marquetry pattern within a crossbanded surround. A shallow frieze,
which is also crossbanded, leads into carved cabriole legs with scroll feet. The legs are joined by flat, shaped stretchers. The piece terminates in ball feet. 18th century.
ENGLISH SIDE TABLE
This small, vernacular side table is made of oak and fruitwood. It has one narrow frieze drawer above an undulating, shaped apron. The table stands on turned, slightly tapering legs, and terminates in pad feet. c.1750.
SICILIAN SIDE TABLE
This table is made of gilded pine with a marble top. The frieze is faced with glass panels painted on the underside to simulate blue-grey onyx. Neoclassical symbols, such as egg and dart, bay leaf mouldings, and lion’s masks, provide decoration. The tapered legs have acanthus plumes and are faced with glass panels. 18th century.
GILTWOOD SIDE TABLE
This French Regence side table is heavily carved and covered with gilt. The top is made of rosso antico marble. The frieze and cabriole legs are elaborately decorated with carvings of pierced foliage surmounted by nymphs’ heads. The table was bought by an English gentleman for his country house. c.1725.
GILTWOOD SIDE TABLE
This marble-topped giltwood table, which may be of German origin, has an ornately carved frieze and apron, which are enlivened with Rococo flames and swags of flowers on each side. The cabriole legs have carved knees decorated with large, bearded masks. 18th century.
ENGLISH TEA TABLE
This George II tea table has a mechanical concertina action, which means that when the two-part hinged tabletop is open, it reveals compartments for holding games. The piece stands on cabriole legs and terminates in claw-and-ball feet. c.1750.
GERMAN TABLE
This simple table, which has one small drawer underneath an inlaid floral marquetry top, is decorated with more marquetry over the shaped frieze and cabriole legs. It is small enough to move easily, and would have fulfilled many uses.
LOUIS XV WRITING TABLE
This small French writing table has a raised, pierced brass edge around the top. The sides and feet are decorated with ormolu mounts. The escutcheons are asymmetrical in typical Rococo style. c.1750.
AMERICAN TEA TABLE
This vernacular table is made of painted maple. The rectangular top has a moulded edge projecting over a shaped skirt with a drawer. The corners of the frieze continue into sharp edges down the cabriole legs, which lead into pad feet. c.1740.
Tilt-top tables had three parts: the top, a “birdcage” mechanism that enabled the top to tilt and revolve, and a columnar support with a tripod base. The top folded flat, so that the table could be stored against a wall.
The top had a lip around the edge, to protect items on the table, such as valuable porcelain cups. The birdcage, named after its appearance, was used in England but was more popular in America. An iron catch was fitted to the underside of the top and birdcage, to lock the top in place. The column was anchored to the birdcage with a removable wedge. The various parts of the table were purchased from different craftsmen, then assembled by a cabinet-maker.
Tilt-top tables from Philadelphia arc considered the best examples of colonial cabinet-making. The finest ones are made of solid mahogany, which makes it difficult to distinguish them from English examples.
TILT-TOP TABLES
Detail of mechanism
Philadelphia tilt-top tea table This fine table has a birdcage support, a scalloped edge, a tripod base, and claw-and-ball feet. The top is made from a single piece of figured mahogany.