ANTIQUE GAMING TABLE, MAHOGANY OVAL PEMBROKE TABLE, WRITING AND WORK TABLE, ANTIQUE SERVING TABLE, REGENCY STYLE MAHOGANY LIBRARY TABLES

A LARGE GEORGE III SEMI-CIRCULAR GAMING TABLE
with a baize-lined interior with six square tapering legs,
4ft. 5in. wide (135cm.) circa 1780.

A PAIR OF GEORGE III SEMI-CIRCULAR MAHOGANY CARD TABLES, the tops crossbanded in satinwood and each with a semi-circular shell medallion, the friezes set with oval paterae and

raised on square tapering legs with castors, 3ft. wide (92cm.) circa 1785, tops split.

A GEORGE III MAHOGANY OVAL PEMBROKE TABLE,
with a satinwood banding and a tulipwood crossbanding,
the curved frieze with a drawer, on square tapering legs
with castors.

A GOOD AND LARGE GEORGE III SERPENTINE FRONTED DINING ROOM SIDE TABLE, the frieze centred by a panel carved with grape swags, raised on six circular tapering legs headed by

leaves and with bands and petals, the front four headed by grape swags, 3ft. 2in. high by 9ft. Vhin. wide by 4ft. deep (96cm. by 278cm. by 122cm.) circa 1785, originally with

brass gallery.

A GEORGE III MAHOGANY ‘D’-SHAPED SIDE TABLE
crossbanded in satinwood and with boxwood and ebony
stringing and a frieze drawer, on square tapering legs
and block feet, 2ft. 5V2in. high by 3ft. wide (75cm. by
91.5cm.) circa 1790.

A PAIR OF GEORGE III MAHOGANY D-SHAPED BREAK-
FRONT CARD TABLES, the hinged top, with a baize-lined
interior, the frieze inlaid with boxwood stringing, on
square tapering legs, 2ft. 5in. high by 3ft. wide (74cm. by
92cm.)

A GEORGE III MAHOGANY WRITING AND WORK
TABLE, with adjustable hinged leather top crossbanded
in kingwood with a slide and a dummy drawer in the
frieze, with a drawer at the side and a work bag, on
square tapering legs, 2ft. 5in. high by lft. Hin. (74cm. by
58.5cm.) circa 1790.

A GEORGE III MAHOGANY WRITING TABLE, the rectangular leather-lined top with outset rounded acanthus leaf-carved corners, the frieze with a pair of opposing drawers, on turned

tapered legs carved with acanthus leaves and a band of drapery, on brass castors, 2ft. 5Vzin. high by 4ft. 2′Mn. wide (75cm. by 128cm.) circa 1790.

AN ATTRACTIVE REGENCY PENWORK WORK TABLE, the top with an oval panel decorated with chinoiserie figures at an al fresco music party, with an anthemion border and flowered

surround, on two pairs of ringed legs with outcurved supports, 2ft. 4Y2in. high by lft. 9in. long (72cm. by 53cm.) circa 1800, originally with a slide.

A LATE GEORGE III OVAL MAHOGANY TABLE, the
top decorated in painted paper with flowers on a cream
ground with a frieze drawer at one side and raised on
slender turned tapering legs with turned X-stretchers,
2ft. 5V2in. high by 2ft. long (74cm. by 61cm.) circa 1800,
drawer now stopped.

A GEORGE III MAHOGANY SIDE TABLE, the rec-
tangular top with rounded corners and a frieze drawer,
on square tapering legs ending in spade feet, 2ft. 4in.
high by 2ft. Win. wide (71cm. by 86cm.) circa 1790,
originally a card table.

A SMALL JAPANESE LACQUER COFFER with domed
lid decorated with panels of flowers and a horse in shades
of gilt on black, lft. wide, late 18th Century/early 19th
Century; now raised on a Regency ebonised Table with
rectangular triple ‘bamboo’ cluster column pillar and
concave triangular platform table, 2ft. 2in. high by lft. 4in.
long (66cm. by 41cm.)

A REGENCY MAHOGANY CARD TABLE with hinged swivelling top, the frieze inlaid with stars and crescent moons, on two pilaster supports and concave base supported by downcurved

sabre legs and castors, 2ft. 5lhin. high by 3ft. zoide (75cm. by 91.5cm.) circa 1820.

A PAIR OF LATE GEORGE III MAHOGANY CARD
TABLES of rectangular form and with rounded corners,
raised on elegant circular tapering legs with shaped
collars and feet, 2ft. lOin. wide (87cm.) circa 1805.

A REGENCY CONCAVE-FRONTED MAHOGANY SERVING TABLE with a boldly reeded edge, the front with string-ing and a central panel applied with a brass anthemion mount, raised on

circular tapering reeded legs, the front two headed by anthemion panels en suite with the frieze panel, 3ft. high by 6ft. 6in. wide (92cm. by 198cm.) circa 1810.

A LATE GEORGE III SEWING TABLE, the rectangular top with a moulded edge and a shallow drawer fitted with divisions above a double long drawer and bag frame, on turned tapering

legs and brass castors, 2ft. 6in. high by lft. lOin. wide (77.5cm. by 56cm.) circa 1810.

A GEORGE IV MAHOGANY PEMBROKE TABLE, the top with rounded corners and crossbanded in satinwood, with two frieze drawers and slender turned legs, lft. 8in. long by 2ft. Vkin.

open (51cm. by 64cm.) circa 1815.

A GEORGE IV OVAL MAHOGANY DINING TABLE, the hinged top with a reeded edge and raised on a turned pillar and four moulded downcurved legs, 3ft. 9′Mn. wide by 4ft. 3in. long

(116cm. by 130cm.) circa 1820.

A GEORGE IV GILTWOOD CENTRE TABLE with
rectangular top, the frieze carved with guilloche and
flowerheads, on heavy cabriole legs carved with
palmettes and flowering branches and ending in paw
feet, 2ft. 6in. high by 3ft. 7in. wide (77cm. by 109cm.)
circa 1820, constructed from a pair of side tables, black
marbletop.

A GEORGE IV MAHOGANY DROP-LEAF TABLE, with
reeded edge and rounded corners and simple turned legs,
3ft. 3in. wide by 4ft. 5in. open (99cm. by 135cm.) circa
1820.

A MAHOGANY SOFA TABLE with canted corners, two dummy and two real drawers, on later ring-turned frame and downcurved legs, 2ft. 4′/2in. high by 5ft. 2V2in. wide (72cm. by

159cm.) part early 19th Century.

A LATE REGENCY MAHOGANY SOFA TABLE, cross-
banded in rosewood and inlaid with boxwood stringing,
with two real and two dummy drawers, on lyre supports
joined by a serpentine stretcher, on downcurved sabre
legs and brass castors, 2ft. 4V2in. high by 5ft. l’Ain, wide
(72cm. by 156cm.) circa 1820.

A PAIR OF REGENCY ROSEWOOD CARD TABLES, the
swivelling baize-lined tops with rounded corners and
inlaid with brass stringing, over the similarly inlaid
frieze centred by a rectangular brass moulded panel, the
simulated rosewood acanthus-leaf carved baluster stem,
brass inlaid and on down-swept legs ending in castors,
circa 1815.

A GEORGE IV MAHOGANY TWO PEDESTAL DINING
TABLE of unusual form, each rectangular end with a
drawer and a flap raised on a turned pillar, the concave-
sided rectangular platform on four canted scrolled legs,
3ft. 5in. wide by 4ft. Hin. fully extended (104cm. by 105cm.)
circa 1820.

A PAIR OF WILLIAM IV ROSEWOOD-VENEERED CARD
TABLES, each swivelling rectangular top with rounded
corners and a burr-yew banding, the friezes and square
pillars outlined with bead mouldings, and raised on a
concave-sided square base with burr-elm scroll feet,
3ft. wide (91cm.) circa 1830.

A GEORGE IV MAHOGANY SOFA TABLE of good
colour, and the top with rounded corners crossbanded
in rosewood with a frieze drawer and a pillar on a concave-
sided rectangular base with hipped cabriole legs, outlined
throughout with narrow bead mouldings, 4ft. TMn. open
(141cm.) circa 1825.

A PAIR OF REGENCY STYLE MAHOGANY LIBRARY TABLES in the manner of Thomas Hope, each baize-lined top with canted corners and hinged bookrest, with three frieze drawers at the

front and back and circular tapering reeded legs with ebonised paw feet headed by metal puma ring handles, 5ft. wide (152cm.).

A REGENCY MAHOGANY SOFA, the moulded frame with over-scrolled ends of equal height, the seatrail set with three diagonally reeded panels raised on sabre legs, 6ft. 4in. long

(193cm.) circa 1820, possibly Scottish.

A WILLIAM IV ROSEWOOD AND MAHOGANY WORK TABLE, the rectangular hinged top with solid gallery and canted corners, above one dummy and one real bead-decorated frieze drawer and an

upholstered work-bag beneath, the acanthus leaf carved end standard supports supported by double eagle head scrolls to a platform support and acanthus leaf-carved eagle heads,

2ft. 5′Mn. high by lft. 9in. wide (75cm. by 53cm.) circa 1835.

A WILLIAM IV ROSEWOOD-VENEERED CARD TABLE,
the swivelling top with rounded corners above a panelled
frieze, raised on a pillar, the leaf-carved base on a concave
rectangular platform and four scroll and paw-carved feet,
2ft. lVhin. wide (90cm.) circa 1825.

A GEORGE I WALNUT KNEEHOLE WRITING TABLE
with a rectangular top, a drawer in the frieze above the
kneehole which contains a shallow drawer and recessed
cupboard, with three drawers in each pedestal, 2ft. 7in.
high by 2ft. 7in. wide (79cm. by 79cm.) circa 1725, top and
bracket feet replaced.

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

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.