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

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

17th century oak gate-leg table -  William and Mary period side table - Walnut side table - William and Mary period carved wood table

One of the chief innovations of the Stuart and Commonwealth period (1603-60) was the gate-leg table. It appeared in Jacobean times but was perhaps not fully developed until after 1650. The turned leg was
predominantlya Commonwealth innovationand the plain column turning shown in the example above is typical of the period although the design continued for many years. Early Gate-leg tables were
made of oak, walnut or oak with elm tops. The example above is the latter. There are about twelve different types known, some being very rare. The number of legs varied from four to twelve and size from verysmall
side tables to fully-blown diningtables to seat twelve people. The stretchers on many were left square, as above, with the two top edges relieved by a slight bead mould. On other and richer examples the stretchers
were turned, not always to match the legs. All framing joints are mortice and tenon, with oak dowel pegs: in the mahogany gate-leg tables of the 18th century the joints were not pegged, as glue was then used and
framing was cramped while it set. If design and size permitted a drawer was fitted set in the under framing, having a special carriage and runner made of a horizontal slat of oak, fixed longitudinally in the drawer
space. The bottom of the drawer then slid on this; side bottom runners are known, but are rare. The top centre section was held on by oak or walnut dowels until the 18th century, when screws were put through the underside of the framing to secure it.
Value points: 6 seater  8 seater  12 seater
Late 17th century oak gate-leg table, of fairly small dimensions, which could seat four people. Note the bun-shaped feet and the more developed turning of the legs.
Size: - again larger tables to seat more people gain value probably following:-
4 people 6 people 8 people 12 people
N. B. This criterion does not apply to very small gate-leg tables for side use, which command a high premium.
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 abovethe level of the surface (stand proud).
A William and Mary period side table, 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 cup form on the turned
legs is more generally associated with William who brought over Dutchcraftsmen from whom this form originates. The legs would be in solid walnut whereas the top, sides, drawer front and stretcher would be
veneered.
Price Range: Marquetry
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.
A William III side table inlaid with seaweed marquetry. The thumDnail moulding is ebonised. The double-scroll legs of square section 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.
William and Mary period with arched A solid walnut side table of drawer. The X-shaped stretcher is shaping of the frieze below the
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
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 18th century.
Value points: Walnut  Fruitwood
William and Mary period carved wood table,decorated with gilt and gesso. The decoration of furniture by gesso was done in order to economise in carving by giving a pattern in slight relief without the need to carve it. It was a rich man’s style and comparatively small quantities were made, chiefly small tables and mirror frames. The style appears to have had a relatively short duration, from 1700 to 1735.
A William III Walnut Card Table,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.

TABLES  centre pedestal
Not all the tables in this section started out life as dining tables by any means. Many were intended as centre tables or for occasional use, but the modern collector, with more modest space and size of household, is
happy to adopt them for dining. Indeed, many of the large extending tables used in Victorian dining rooms are now more suitable for boardrooms or for those who entertain many people at a time than for modern
dining purposes. These larger tables are dealt with in the section, TABLES  dining.
A walnut centre table on four scrolled supports which are themselves on four scrolled cabriole legs. A very popular design in the 1850s. (Smee’s catalogue shows an almost identical table, 1850.) Now perhaps regardedas a high-point of scrolled Victorian rococo, whose exuberance and frivolity snap their fingers at the stolid, classical dourness of the other prevailing styles. Not designed constructionally for heavy use but a splendid example of the genre. c.1860
An oval walnut centre table on a centre turned support and four carved scrolled supports on an X-shaped platform which is, in its turn, on four scrolled feet. This elaborate base is of a type popular in the 1850s and
1860s.
A circular walnut centre table on a gadrooned baluster column and three scrolled rococo legs. The top is veneered in sections of burr walnut whereas the base is solid. A design popular in the 1850s but still offered by various manufacturers in modified form to later dates. 1860-1870
An oval walnut table on a four-column base with four scrolled feet and a finialled circular central section. The top is inlaid with boxwood stringing and stylised foliage marquetry. Stylistically derived from the 1850s and 1860s but more likely to have been made twenty years later when this four-column version of the base was very prevalent in commercial catalogues such as C. & R. Light. 1865-1885
A walnut oval breakfast table inlaid with stringing lines and a centre marquetry panel. The designer has adopted a belt-and-braces approach in using both a centre column and four smaller supporting columns rising from the curved legs. Similar designs occur in catalogues of the 1860s to the 1880s.
A circular rosewood table in the George III manner, with a broad satinwood banding to the top and satinwood panels in the curving legs supporting the turned centre column. The top is veneered in two matched halves
of figured rosewood and the quality of execution is very high. 1910-1930
A mahogany two-pedestal rectangular dining table of Georgian design. The column-turned supports end in four curved reeded legs with brass paw castors and the table is a straightforward reproduction of one of the
most popular forms of English dining table. 1920 to present day
TABLES  centre pedestal, Gothic
The centre pedestal table was quite a favourite of the Reformed Gothic designers who adapted Pugin’s models to their own ideas. The use of structural timbers of more architectural configuration was a hallmark of the type and some of the really high-quality, roof-beamed versions in oak with inlaid tops are now very expensive collectors’ pieces.
An oak centre pedestal table with a tip-up top which is of Puginesque design, although probably not by him. The use of the grotesque carved animals’ heads and the heavily-pillared centre column, more like stonework
than wood, is typical of the use of Gothic design. Note the carved edge of the table top, with its Gothic-Islamic motif. Possibly intended as a library table and of the mid-Victorian Gothic style transitional between fanciful Regency `Gothick’ and the severer Reformed Gothic of the 1860s.
A typical Reformed Gothic octagonal centre table using ,revealed’ construction and an architectural structure to the base, following Pugin’s example. The top is inlaid and the joints are pegged, with ebony ‘dowels’ to
mark them, reiterated in the decoration of the frieze. Note also the carefully-designed handles.c. 1865
An octagonal walnut centre table on four column supports and a structural stretchered base ending in-shaped feet. The piece has all the hallmarks of Reformed Gothic design: turned collars on the columns, ebonised for emphasis; moulded stretchers connecting the heavy central crossed base with its chamfered edges; incised Gothic trefoil motifs.1865-1870
Another, very popular, design of octagonal table in which the Reformed Gothic style is marked by the heavy crossed stretchers on the base on which the four turned column supports stand. These crossed stretchers
curve downwards to form feet and, in this case, have a further stretcher between them at the base of each column.c. 1865
Put here for contrast and instruction, this octagonal pitch-pine table is still ‘Gothic’ in style but is probably ecclesiastical in origin and taken from a chapel or a church. The base looks a little out of proportion with the top. 1870-1880

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

TABLES  Sutherland
The Sutherland table is a 19th Century English Victorian form of gateleg table with a particularly narrow centre section. It has the virtue that when the flaps are down the piece fits into a very small space. It is thus a useful occasional table. The earliest designs are by W. Smee & Son, from 1850 with the typical twin column ending. The single stem is first shown in 1864 and an example is illustrated left.
The heavy rounded bun turned in the end column and the markedly carved feet pronounce a relatively early date. A good solid piece and not, by Victorian standards, very fussy. Booth shows a less solid but similar
example in 1864. c. 1865
Nowadays this would be a veneer merchant’s waiting room table, but to the Victorians the use of segments of exotic stained woods was just another way of making impressive furniture.    The fluting, thin line
decoration and beading suggest the date.
Square flaps are less common and the design books show several for the 1880s. This design of foot appears at that time. Spirals are shown for the late 1870s. Those here are well turned and the general quality of the
piece is high. But why make a different turning for the gates Economy c. 1880
Another late example. Black and lots of turning for the sake of it without any idea of creating an overall design. Black is so unpopular that the best thing to do is to pop it in the stripper caustic tank.

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

TABLES  work, without bags
Not all work tables had bags beneath. The selection shown here is of a type in which the drawers, fitted into a small table, were sufficient for needlework implements and materials.
A Regency rosewood table with the lyre form built into its supports and brass inlays  enough to give any dealer a rush of blood to the head, for these lyre form pieces are very popular and fetch more than curved wood and brass rods justify. c.1815
However, with more drawer space and more decoration than 918 this sort of design disaster can easily occur.
A mahogany work table showing a distinct type with flaps and three drawers on a column support with a flat base on typical Regency feet. 1820
A burr walnut version of 918, with real drawers and an octagonal column which forecasts the piece in 921. c. 1830
This type of leg is more commonly seen on piano stools of the period. As long as the reeding is refined, as in this case, the effect is very successful. c.1810
More elaborate mid-nineteenth century in form, with inlays and delicate curved construction. Although of much less quality, it has a distinct design similarity to 727. Fittings are important. c. 1855
A William IV rosewood example on a much flatter base. The gadrooning is fine and the effect elegant, as is the hexagonal pillar which supports the box with its fake drawer front. The paws are brass. 1830
Made at the same time as the previous example, this piece owes more to Georgian than Regency forms. A little thin in the legs and the termination is not a success, but this is still desirable as a useful small piece.   c. 1810
A simple little work table whose square shape and type of turning proclaim it as late in the century. The drawers are dummy. c.1870-1880

TABLES  sofa, pillar supports
The final group of sofa tables is the one in which there is a central pedestal. These pieces are therefore linked with pedestal dining tables, for the same type of base was often used.
In mahogany and remarkably similar to a design in zebrawood which can be dated exactly to 1810. The pillars are well turned and the decoration of split beading lines (fine around the drawers, slightly greater round the platform) is restrained. White stringing line is also used. The table edge is reeded and there is a thin line of crossbanding on the top. c.1810
Another example with four pillar turning in which the knee has moved towards the peculiarly high Regency form. The piece is in rosewood and the pillars are well turned. A small amount of split beaded decoration and metal mounts on the leg. More cramped and not quite the quality of the first example. c. 1815
An example which illustrates the desire for show at not too much extra cost, and a type that became an obsession later on. Simply cut on a band-saw these solid mahogany supports are reeded to match the feet. The top, too, has the customary reeding around the edge and is cross-banded in the same wood. Not as good as it looks at first sight. c. 1830
Down to two pillars. The same ringed decoration marks the place where the top of the legs don’t pierce the platform. The turning on the pillars is getting somewhat aimless  a series of rings and the odd bulge, not like the careful baluster form of the first two examples. c. 1830
Equivalent to the previous example with a straight-sided pillar. Again plenty of brass inlay and some ebony in the leg which turns with the characteristic sharpness of the period.
As can be seen, it has high decorative quality, but the drawback is its being mahogany.
When restored
A very simple example where the decoration is confined to a modest black stringing line on the side of the legs and a broader band on the top of the legs and the table itself. The two unimaginative rectangular pieces supporting the top affect the value. c. 1825
A bit of light relief. The vast base, heavily gadrooned, is supported by an equally substantial humanised version of the ball-and-. One would expect the top to be about 8ft. long, but in fact it is a normal sized sofa table, again gadrooned in calamander wood. The misalliance is condoned by two very elegant and beautifully reeded vase-shaped pillars with rims. It was sold at auction by a very knowledgeable specialist firm, so it must be right. Early 19th century
A robust turned and heavily carved centre pillar rosewood table. Plenty of brass inlay and a Regency knee with good stylised design. The edges of the table have a very refined beading. Rich effect without undue ostentation.

TABLES  side, early, single drawer
We have separated out lowboys or dressing tables and have defined them as having three or four drawers, while side tables are defined as having one or at most two drawers.
The types are clearly related but side or centre tables are found well back into the early seventeenth century. However, for collecting purposes (i.e. availability) they start towards the end of the seventeenth century.
A charming fruitwood side table from the end of the seventeenth century with the typical column-shaped turnings that one associates with the mid-century. The square stretchers and thick top are also part of this design. However, the ogee fretted frieze indicates a later date. c. 1680
A superb olivewood oyster veneered side table with walnut spiral twist turned legs. The wavy stretcher is veneered on the top and the facing edge. This is a classic piece of the period. Note how the design is nearly identical to that for a chest on stand, and indeed one does see well-turned side tables with very poor tops (i.e. disposed stands often partly rebuilt), but this superb geometrically laid pattern could never have been intended for anything else than a side table top. c.1680
Moving on a decade, this marquetry piece with well-turned legs shows a later form of stretcher arrangement, one that country makers seemed to prefer to the last example; at any event it was widely copied. Note the inverted acorn in the turning near the bottom of the leg. The quality of the marquetry  of green stained bone and other warm colours  is important. c. 1690
Perhaps the country variant of the twists, though attractive, are only mere imitations of the original. c. 1700
An oak variation of 841. One is tempted to say country, but the turnings are excellent quality, bold and imaginative: only the earlier type of moulding round the drawer front suggests that it was made out of the fashionable area. c. 1700
An exuberant bobbin-turned stretcher structure derived from earlier pieces, c.1660, but the thick top with shallow moulding is of later date. A very popular design. c. 1690
A William and Mary design of crossover stretcher with slightly less interesting (though by no means bad) turning. One feels that the maker got into a mess at the bottom of the last round and didn’t quite see what to do so left it. He could perfectly well have repeated the top pattern at the bottom if he had measured correctly before he started. Thick moulding on top and below drawer. c. 1710
A much simpler fruitwood version of 845. Here the stretchers are of the normal type. The top and mouldings are very much the same and so is the date. c. 1690
Shows a delightful walnut table of very high quality both in design and execution, with cabriole legs of exceptional form in which the feet are ’stepped’ and the top contained within a fold backed by a scrolled shoulder under the frieze. The drawer is inlaid with an ebony and boxwood stringing line and cross-banded in cherrywood. c. 1710
An oak table cross-banded in walnut on the top and drawer front. The cabrioles are very pronounced and end on pointed feet. The shoulder pieces fit in well and the piece has a strong sturdy look without being over muscular. c. 1740
Shows a simpler, but still very high quality, version in cherrywood throughout, with cabriole front legs ending in pad feet and having a scrolled carving inside the knee. The drawer has an ovolo lip moulding and the back legs are the straight pad-footed type. A simple cross-band, also in cherry, decorates the edge of the drawer and top. c. 1720
A high quality example in dark Cuban mahogany. Notice how the cabrioles are just that bit more
restrained when compared with the last example. (By comparison with which, incidentally, it will weigh more than half as much again). The C scroll is well designed and executed and small carved decoration is
appearing above it. Notice the quarter round moulding we saw in the lowboy section on walnut, early for mahogany. The frieze could be more exciting. c. 1740
The introduction of the cabriole leg affected all furniture and, as we have seen with the lowboys, many interesting and very collectable examples were made. The development in design is predictable and clearly seen.
A country elm piece which fails to excite. The legs are chamfered and the moulding is a broad quarter-round which is repeated on the outside of the leg. In burr elm with a good deep rich colour one might treble the price.
A pad foot example with frieze, the drawer is scratched around the edge to look like cockbeading which suggests a date a shade later than the piece might otherwise be. c.1740
New classical elegance, serpentine front and tapered legs. A reasonable quality example, almost Hepplewhite  see the small square near the bottom of the leg which is a typical feature. c. 1780
Clearly from the restrained turned legs and the moulding a product of the early nineteenth century. In this design restraint is still the keynote; is there, one wonders, just the slightest hint in the tulip-shaped top of the leg that ‘things’ might soon be happening. c. 1800