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

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

Georgian side table - George I mahogany card table - George III mahogany gate-leg table

A George I mahogany card table, showing the candle stands and cups for counters similar to the walnut tables of an earlier period. The bold cabriole legs end in ball and claw feet and the shaped frieze has an echo of the shell motif about it. Tables of this kind in mahogany continued to be made into the second quarter of the 18th century.
George I period mahogany drop-leaf gate-leg dining table. The scrolled cabriole legs show the hoof foot with which the cabriole leg was originally associated, being derived from an animal form. Tables of this type, with less refined form of leg, leading to the square ‘Chippendale’ type as with chair development, continued to be made well on towards the end of the 18th century.
George I period table in oak, the tapering legs ending in pad feet.
A side table which could be put to use for cards or other occasional use. The space behind the frieze is used for storage.
George I period dressing table in fruitwood. The arched shaping of the frieze is similar to that of earlier periods, with the projecting lip moulding or cock bead around it. The heavy thumb-nail top edge moulding of the earlier period is now more refined. The tapering legs ending in pad feet are simpler than the cabriole but retain an elegance and proportion of design in a particularly English leg form.
George III period square drop-flap mahogany gate-leg table with scrolled cabriole legs ending in ball and claw feet. The moulded edge of the table top is unusual and is similar to that found on some Victorian tables, with the exception that this is bolder but still detracts from the appearance.
Value points: Quality of legs  Seating capacity 4.
A George II mahogany side table elaborately carved on the frieze with a lion mask and acanthus leaves. The cabriole legs have lion masks carved on the knees with ribboned flower heads and terminate in paw and ball
feet. The top is a marble slab.
Oak dressing table of c. 1740. The square section cabriole legs are still of slender shape but not the most desirable form, particularly if heavy. The shaping of the frieze has become much more sophisticated. Note the top edge moulding.
George III period oak gate-leg table with tapering legs ending in pad feet. A type of table made for a considerable period throughout the mid and late 18th century. This example is exceptional in size and therefore the centre section is particularly wide.
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 later Georgian country dressing table in oak. The frieze is shaped, but the slightly tapered legs hint at Hepplewhite influence. The drawers are cock-beaded and the top edge has a rather refined moulding. Tapering legs tend to be a later feature.
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.
Later Georgian - c. 1770 - country dressing table in walnut and fruitwood. The three drawers in the frieze are cross banded in fruitwood like the top, which is veneered in plain straight grained walnut. The legs are elm.
Mid-Georgian drop-leaf table in mahogany of gate-leg type. The solid mahogany tapering legs end in pad feet. The main frame was often made from pine or else from oak and the centre flap secured to it by screws let in at an angle from underneath. A particular weakness with these tables is at the ends of the rule joints between flaps and centre, where part of the joint tends to split off. They make useful dining tables for the small modern home, since they can be folded awaybut their one defect is that of all gate-leg tables; there tend to be too many legs under the table when in use.
A George III 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 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. The edge of the top is also carved. The wood is mahogany.
A fine Adam circular table possibly for a centre or library use. The rosewood top has a wide satinwood cross banding inlaid with flower heads and cables. A large circular medallion in the centre is similarly inlaid. The
four round tapering fluted legs support the table, which has a frieze finely inlaid with satinwood urns, oval medallions and swags.
Value points: Quality of decoration

TABLES  reading, writing and artists
Architects’ tables were large and solid; others were of lighter construction and designed to fit in with furnishings in the fine reception rooms. The best are to be counted among the most elegant furniture. Even the inelegant are loved  collectors love pieces that do things.
A much more simple reading table with adjustment by a series of notches, but none the less an elegant piece in the same rococo style as the first example. It has a good deep patination and one should not underestimate the desirability of metal fittings even when as simple as the band round the top of an elegant dark tripod. The band is, of course, part of the vertical adjustment fittings. c. 1760
A superb Chippendale example of a mahogany reading table with elegant curved supports and well carved tripod legs. The small repetitive decorative design sets off the bottom edge of the table. It is almost identical to, if not the pair of, one in the Victoria and Albert Museum and as provenance or comparability are important, especially in high quality pieces, the price is substantial. c. 1760
The well-shaped feet and solid gun barrel turning suggest the date. Two slides either side provide space for glasses, spectacles, etc. The adjustable top, controlled from beneath for height, folds down to make a rectangular leather topped tripod table. c. 1770
Again, elegance is the keynote of this superb piece which has two facing adjustable stands and folds down into a tripod table. The square box-like projection has two drawers, inlaid at the edges, which held rosin and hence the piece must have been a double music stand. The candlesticks are adjustable at three points. It is made in satinwood and cross-banded in a darker wood and again in rosewood at the edges. It has a lovely mellow colour and original patination. c. 1790
A good design for a table which can be made into a reading table. The front drawer is, of course, false, as are the ones on the opposite sides, hence the piece qualifies for a centre table. The flexibility enhances the value. The fact that it is in partridge wood adds considerably to the interest, since, although the little piece is solid and heavy, it has specks of brown and dark red which, being mellowed, will give it a good tone.
A well-made artist’s table (perhaps strictly not quite big or solid enough for an architect’s) with drawer under. The top comes down to make a not inelegant quatrepod. The ivory keyholes and reeded top to the legs suggest the date.
A mahogany adjustable reading table with feet and turned stretchers that seem to be anticipating a stack of folio ledgers or the weight of a collapsed bibliophile. Note the two fine tulip-shaped candleholders with elegant curved supports. c. 1820
A good, honest, Georgian mahogany reading table. It has tapering legs and slide and the usual adjustable top. From the point of view of design the small drawer bolted on the side seems an afterthought and detracts from the line of the piece. c. 1790
Shows a very good early form in oak, with cross-stretcher between the legs and ogee curves under the frieze edged by a small lip moulding. The simple drawers have a double-D moulding on the carcase around them and the legs show turned inverted cup or ‘bell’ forms which is a Dutch influence. The handles are period. Note the thinness of the top and compare with chests of the period and slightly earlier. c.1700
The classical Queen Anne walnut type  in fact of George I period  with veneered surfaces and solid cabriole legs ending in pad feet. The drawers are edged with herring-bone crossbanding and the top is quartered, inlaid with herring-bone and cross-banded. The  handles may well be original. c. 1720

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

Pembroke table

This slender, elegant table was first made, so it is said, at the request of the Countess of Pembroke, around 1750. It was an all-purpose occasional table
Signs of authenticity
1. Legs always tapered from inside only: outside corners of legs form right angles with floor.
2. Tops of legs continuing up to form side-frame of drawer.
3. Single drawer in frieze – sham matching drawer at opposite end.
4. Bow-fronted end friezes on oval tables, matching curve.
5. Two fly brackets to each flap – three ‘knuckles’ to each hinge.
6. Side frieze inset to take width of closed brackets – flaps falling flush with straight sides of legs.
7. Correct height and proportions – flaps fall one-third the table height and may appear too shallow to the modern eye.
8. On oval Pembrokes, flaps should be generous enough in curve to hide the tops of legs and frieze when not raised.
9. Lock and lock rail to drawer.
10. Undersides of flaps in plain veneer of equal thickness.
11. Narrow overhang of top at either end, not exceeding 12 in.
Likely restoration and repair
12. Most prevalent minor damage is to legs, split and broken on slender extremities. `Collar’ applied to hide and strengthen repair.
13. One or both flaps damaged on hinge near edges, with consequent splitting of flap edge or table top along rule joint –repaired with some impairment to value.
14. Plain-surfaced mahogany veneer cut into with recent decorative panel to increase value. Grain of ground veneer will continue through in same direction.
15. Legs tapering on outsides as well as insides: indicates recent restoration or complete remake.
16. Straight ends to oval topped tables indicates new oval top on original square-shaped frame to increase value. Oval tops are worth more than squared shapes.
which was free-standing, unlike side tables of the period, with the added advantage of two flaps to increase the size of the surface. Its original function is unclear, but it was not destined for anything but ladylike use, being fragile in construction and usually richly decorated and veneered.
Pembroke tables did not really become universally popular until the 1770s, when they became some of the finest, most delicate pieces of furniture ever made in England.
The best Pembroke tables are oval in shape with the two side flaps raised. In this case the frieze of the underframe should be bow-fronted, following the curve of the top. They were also made with serpentine flaps and sides, and squared, with rectangular flaps, often richly decorated with inlay and
veneer. Whatever their shape, Pembroke tables always have slender square-sectioned tapering legs and their flaps, falling one-third of the height of the table, always have two supporting fly brackets on wooden hinges.
The squat, chunky, two-sided flap tables used in Victorian nurseries, passages and even bathrooms, bear no more resemblance to a real Pembroke table than a packing case does to a coffer. Yet they are far too frequently referred to by their antecedent’s illustrious name.
Narrow tables with two flaps supported with a single central pillar-type pedestal, or variations of the pillar-andclaw, or of `cheval’ construction are often also referred to as Pembroke tables. Correctly speaking, they are sofa tables.
Construction and materials
Pembrokes were made in a wide variety of woods and finishes: satinwood, and mahogany veneer inlaid with rosewood, laburnum, harewood, zebrawood, fruitwoods, delicate floral marquetry in swags and festoons as well as medallions, in many-coloured woods and dyed woods.
The frame was of beech or close-grained red or white pine. Fly brackets were often of plane-wood, which is white and harder than beech. With oval Pembroke tables, the flaps should be sufficiently deep in the curve to hide the frieze when not raised, including the tops of legs. The finest ovals also have a bow-fronted frieze. There was a single deep drawer at one end and a sham or dummy drawer to match at the opposite end.
The square-sectioned legs were always tapered on the inner sides, with the outside corners at right-angles to the floor. Each side flap, however small, was supported with two fly brackets, and each bracket had three ‘knuckles’, or hinges.
Detail
Undersides of flaps were in plain veneer of equal thickness to that of the surface. With one flap raised, the underside of the other should be clearly visible. The drawer front was inlaid and decorated as profusely as the top and flaps.
Height 2 ft 4 in including castors –Pembrokes were often on small cast-brass box castors. The proportions are narrow: the top being just over twice as long as the width, the flaps one-third its total height.
Variations
The ubiquitous two-flap, narrow table with one or two drawers, one either end of the frieze, has been made in a variety of solid woods since the end of the eighteenth century. Square, chamfered legs are sturdy versions of the delicate tapering legs, and in their component parts these little tables may sound similar in description, but they do not in any way add up to the fragile little ladies’ tables used in bedrooms, morning rooms for breakfasts, letter-writing and
Below: French: influencedserpentine version, c.1800.
mirror-gazing. The country way of life precluded such luxuries. Made of oak, elm, fruitwood, occasionally Virginia walnut, they were seldom if ever veneered but sometimes had boxwood stringing. Some country side tables with frieze drawers were made with two flaps extending on either side, but not all small two-flapped tables are Pembrokes. It is the narrowness and slenderness of line which distinguishes one from the other.
Reproductions
There are two main periods of reproductions: the Victorian Regency revival, during which reproductions were extremely well-made with proportions very nearly right, usually in darker toned West Indian satinwood veneer; and the Edwardian period where the tables were usually emasculated, thinned down to spindly pieces of furniture with no more use than to hold a bowl of flowers and a silver salver for cards. Better were the flapped tables – small square tables with triangular flaps opening out to larger squares.
Above: Sheraton-style, nineteenth-century reproduction.
Price bands
Rectangular, satinwood, inlaid and finely veneered, c.1790, £5,000+.
Bow-front, satinwood, high quality, c.1790, £6,000.
With fine veneers, c.1790, £2,000-3,000.
Plain, with little decoration, c.1790, £1,250-1,850.
Serpentine ‘French’, c.1800, £3,500-5,000.
Plain mahogany, nineteenth century,$300-450.

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.