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.

Regency Rosewood Sofa Table - A Sheraton Mahogany Pembroke Table

Pembroke tables are said to be named after the Countess of Pembroke who first gave orders for one of them. It seems they first appeared about 1750 and were generally made in mahogany. They do not seem to have
really caugla on until after 1780, when they were made with square tapering legs and followed Hepplewhite or Sheraton designs. The flaps on either side are supported by hinged wooden brackets. A drawer is usually
to be found opening at one end while a mock drawer is put at the other to give design balance.
Sofa tables are similar except that the flaps are at the ends of the table instead of the sides. Sheraton referred to the normal dimensions as being `between five and six feet long and from twenty-two inches to two feet broad!’ The most serviceable type have two drawers and they were frequently used to write, draw or read upon.
1. Top Surface. The condition, patina and figuring of the top surface is very important. The more perfect and decorative the top surface, the more the  rating will apply. Exotic inlays and cross-banding in satinwood,
zebrawood or other prized veneers usually constitute  factors.
2. Structural Condition. Due to their rather elegant but more fragile construction, large numbers of Pembroke tables on the market have been damaged at Borne time or another. Usually it is a leg joint or loss of a caster
which causes the trouble. The rule joints to the flaps should be examined for patching because these tend to be damaged in the same way as those on gate-leg tables. Prices shown assume sound structural condition.
3. Legs. Design and proportion of legs is important. On Pembroke tables, cross-banding of the square tapering legs can constitute a  factor.
4 Drawers. A Pembroke table without a drawer  we illustrate one — is considered a severe disadvantage from a value point of view.
A Thomas Sheraton mahogany Pembroke table, the top cross-banded with herringbone bands of kingwood, with a rising ‘Harlequin’ section with a fall-front inlaid with ribboned festoons of flowers in scorched and green fruitwood, in the manner of Pierre Langlois, the frieze with a drawer either side and simulated drawers, on square tapering panelled legs.
The design for this ‘Harlequin Pembroke Table’ was published by Thomas Sheraton as plate LVI in his ‘Drawing Book’ (1791-94). In his notes he describes such table as “serving not only as a breakfast, but also as a writing table, very suitable for a lady. It is termed a Harlequin Table for no other reason but because, in exhibitions of that sort, there is generally a great deal of machinery introduced in the scenery”. This type was also illustrated in Hepplewhite’s Guide .
This table is of further interest in that the ’till’ is inlaid with a floral garland, knotted with a ribbon-tie, in a marquetry of many woods. This is reminiscent of the highly distinctive style of inlay favoured by the emigrant French ebeniste, Pierre Langlois.
A country mahogany Pembroke table, c.1780, in heavy Cuban wood and with no drawer. The square chamfered legs owe more to the Chippendale influence than the tapering variety normally associated with this type of table. A simple and pleasing version.
The example above of c.1790 date is perhaps one of the finest of the fine: in satinwood, with marquetry inlaid, and cross-banded with rosewood. It is on square tapering collared legs and the marquetry inlay consists of urns and naturallistic festoons of flowers.
Good quality Pembroke table in mahogany with cross-banded top edge, c.1790. The tapering legs end in elegant brass casters.
Value Points: Cross banding of top  Circular or oval shape
A Sheraton mahogany Pembroke table of c.1810, The square tapering iegs have given way to the centre pedestal, the pillar of which is fluted. The four sabre style legs which support the platform at the pillar base have typical later Georgian and Regency brass casters of decorative style. The
top is veneered in highly figured mahogany and cross-banded with satinwood, which is used for the inlaid decoration also.
A rather broad mahogany Pembroke table with slightly tapering legs of c.1790. The solid top is of a particularly finely figured wood and there is a broad boxwood stringing line under the cock-beaded drawer which is continued across the leg.
A fine quality late eighteenth century  c.1790  sofa table in mahogany and satinwood. The end supports, curving elegantly out from the vertical to end in brass casters, are particularly noteworthy.
Regency sofa table, c.1810, in mahogany with lyre-shaped end supports. The top edge is moulded as well as cross-banded.
Note. The existence or hint of the lyre motif in any form inexplicably pushes prices to the top of the range.
Mahogany sofa table of later Georgian period, c.1800. The reeded curved legs on the end supports terminate in brass paw casters.
Regency sofa table with gadrooned top edge, c.1820. The curving splayed legs on the end supports are reeded.
The sofa table above is of c.1805 date and has brass mounts and stringing. The inward curving legs are reeded. Rosewood and zebrawood were used for higher quality examples as well as mahogany. The addition of brass stringing or more detailed inlay in brass adds considerably to value.
Exotic woods and inlays …
Sofa table of slightly later date c.1810 with turned supports in conjunction with inward curving legs. This form of centre support is to be found on card and other tables of the period and is never valued as highly as the end-supported type.
Regency rosewood sofa table, c.1820, the top and flaps cross-banded in satinwood. The stringing which can be seen round the drawer fronts is of brass, and brass stringing is also used on the top and in the unusual
curving support and base. The table when extended is five feet long. The semi-elliptical support under the top is highly valued by dealers.
A library or writing table of c.1820 with turned legs on casters. The three drawers are cock-beaded and the handles are typical of those used from 1780 onwards. In this case the top is solid mahogany, but leather tops are also common.
Regency rosewood library or rent table, c.1810, with octagonal revolving top inset with tooled leather. The inlaid stringing lines are of brass.
A Victorian library table of c.1850 with a leather top. The table is of oak, with drawers at each end and false drawers in the frieze at the sides. The cabriole legs are carved with flower decoration at the knee and leaf
decoration at the foot. Similar tables for library and writing use are made in mahogany or walnut.

TABLES  sofa, vertical supports and stretchers
The sofa table is a variation which was evolved from the Pembroke table and gets its name from its intended application, namely, to stand against a sofa. It is therefore long and thin with flaps at the end, whereas the Pembroke is squarer in shape, and so popular did it become that it gradually superseded the Pembroke. Although considered a typical piece of Regency furniture, the sofa table did in fact become popular at the end of the eighteenth century.
There are two distinct types, first those supported each end by a vertical member  or end standard as it is called  in a variety of forms and secondly, those with a central pillared support standing on a flat base which in turn rests on feet. The pillared support can of course vary considerably.
A high quality mahogany table, with satinwood cross-banding and satinwood veneered legs and cross-stretchers. The legs sweep out naturally from the end standards. There are false drawer fronts on the far side. The piece shows the late-Georgian restraint one associates with pre-Regency designs.
c. 1790The early Regency has set in, but with equivalent quality and restraint in design. The piece is veneered in rosewood and the flap supports are carved with Egyptian heads and wings a la Thomas Hope of 1820  the heads being fixtures. The legs still sweep elegantly out of the end standards but the feet make a vertical ’stop’ in the curve not seen in 864. c. 1800
The high leg of the Regency is seen clearly in this fine satinwood veneered piece which is cross-banded in rosewood. The classical motifs are inset in ebony and it is very good quality. Satinwood obviously helps the price, as does good grain arrangement. c. 1810
A satinwood veneered attempt which is somewhat less successful than the first two examples. The end standard is wider, making the feet look small. The veneer runs in fairly strong straight figures across the top and the legs in a way which conflicts with the striped ebony and boxwood stringing lines on all the surface edges.
The variations in end standards can be considerable. This form, the lyre, is seen on a mahogany table which is otherwise a fairly plain piece. The main alternative form of lyre is a reversal of the form shown here. With a brass strip, this, if genuine, helps the price considerably. There is an ominous line towards the right-hand side of the near flap. If this is indeed a patch, take 20% off the price. c. 1820
A plainer form of the previous example with simple reeded end standards terminating in carved paw feet. The sole decoration is the light coloured stringing line. c.1825
For convenience we have sub-divided vertically supported sofa tables into a). the earlier types, mostly without stretchers, shown on these pages, and b). those with stretchers, generally later or not always such good examples (see next section).
A fairly typical (if there is such a thing) Regency reeded leg support. The dramatic wedge-shaped end standards meet in a large circular centre section, with turned decoration, which looks like an oversize draught.
An example veneered and cross-banded with mahogany. There are lengths of plain gadrooning attached to the bottom of the frieze and around the leg supports; this and the rather aimlessly turned pillars would suggest a later date, while the solid legs with the inset line an earlier one. It has the same strange arch support as 867. c. 1830
Not a conventional sofa table but it relates to the next piece so well that, logically, it falls in here. This table is breathtaking: superbly light in appearance, the reeded, tapered cross-shaped supports are perfectly executed. Compare the reeding on the legs of 758. The use of gilt and ebonised decoration is restrained and the more effective, for one’s eye is drawn to the carved bandage by which the middle stretcher appears to be tied at the ends. It relates to a known type. c. 1800
A further crash down on the quality scale and yet still a good sofa table. The design is successful if a trifle thick on the moulded legs which terminate in attractive unusual castors.
The melons () which support the table are attractive as is the leaf carving beneath them. The top with reeded edges is in plain mahogany. c. 1830
Next come sofa tables with end standards and stretchers. These can be sub-divided, as can be seen below, into those with cross-stretchers and those with double pillars. One of those sections in which quality varies dramatically. Condition, too, is important. Patches on the top affect prices dramatically.
A finely figured mahogany example in which mid-Regency classical motifs are used lightly. It has good, small, inturned paw feet  a device which surprisingly enough works, and lion head handles. The cross-shaped curving supports, beautifully reeded with stretcher to match, shows Thomas Hope’s influence at its most felicitous. c. 1805
Double pillar rosewood, turned to give a slight bamboo effect. It is in rosewood with metal mounts both on the edge of the legs, between the pillars and on the fronts. The top is selected veneers cross-banded with satinwood and ebony stringing lines between them. c. 1810
A very pleasant spirally turned mahogany example. Brass inlay on the leg and a simple satinwood stringing line around the top and drawer fronts. Simple round edges to the table top. c. 1820
A faded mahogany table with ebony stringing line in the square classical form and banding used as the principal inlays to contrast with the satinwood edging to the table top. The stretcher has a restrained turning, while the pillars show later turning.
The heavy gadrooning on this plain mahogany table suggests a later than normal date. The turned stretcher is not very inspiring. c. 1830
A small mahogany sofa table of simple form. The maker was none too happy about getting the legs on to the pillar. They look what they are, two curves dowelled and stuck on to a rectangular piece of wood which in turn is built up like a Lego set into the top. Even the stringing line is a bit mean. c. 1830

TABLES  Pembroke
Named after the Countess of Pembroke, said to have been the first to order one. Antique Pembroke tables appeared about 1750 but really became popular around 1780. There are therefore some rare museum quality Pembroke tables in the Chippendale styles. They were considered to be a small useful table, with hinged wooden brackets to support the flaps, a drawer at one end and a mock drawer at the other, for symmetry. Used for many purposes, including writing, they were largely superseded by the pedestal table at the end of the eighteenth century. The Edwardians admired them and one must be watchful for period examples which they improved by adding marquetry or painting.
In satinwood with serpentine shaped flaps which, like the drawers, are cross-banded in kingwood. The inlaid shell on the top is generous in size, superb quality is emphasised by the ebonised edges and the gently curved apron below the drawer which compliments the shape of the flaps. Note the width of the original castors. c. 1790
Made in mahogany with the less popular turned and reeded legs, it is none the less very good quality. Note that the figured veneers on the flaps fan out to the edges to match the inlaid decoration. The flaps look even better down. c. 1795
A fine example in satinwood  considered the top of the scale for Pembroke table-building  with a broad inlaid band of purplewood and further crossbanding in kingwood. The shape of the flaps corresponds closely with that advocated by Sheraton c.1794. The square section tapering solid satinwood legs have collars at the ends and are mounted on brass castors. c.1795
Further down the quality scale, but still very desirable with its broad satinwood inlay and white wood edging. The front is bowed and the top of the legs inlaid with a diamond pattern. c. 1795
Well-chosen veneers with a black stringing line and cross-banded ends. A well-made table. c. 1795
Two variations of the plain solid mahogany variety which continued to be made well into the nineteenth century  ‘honest brown mahogany’. The one on the left has Chippendale moulded legs and a small satinwood stringing line. On the right the most simple type. c. 1800

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.