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.

A Chippendale mahogany card table - A George III satinwood and marquetry card table - A Sheraton period mahogany serpentine fronted side table

A ‘Chippendale’ folding card or tea table in mahogany with reeded square legs, serpentine front and elegantly shaped frieze. Of c. 176070 date. 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’ i.e. with a baize interior.
A Chippendale mahogany card table of c. 1760 with a green baize lined folding top. The edges, frieze and square chamfered legs are fretted inthe Chinese manner, which inexplicably makes this normally rather
underpriced piece of furniture double its value.
N. B. See note under previous example concerning plain mahogany baize lined versions at  and ‘tea’ versions with polished wood interior up to.
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.
Value points: Matched figuring of mahogany and stringing
A George III satinwood and marquetry card table with a folding circular top cross banded with rosewood. The inlay consists of urns and flowerfestoons withina meanderingband of anthemionand thefrieze is similarly
inlaid. The square tapering collared legs with the oval medallions at the top are of a kind generally associated with Sheraton designs. These tables were frequently made in pairs.
It would be difficult to find more highlyvalued tables of this period.
Value points: Quality of decoration
N. B. Inferior Edwardian copies abound
A Sheraton period mahogany card table cross banded with satinwood. Note againthe 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 George III mahogany dressing table with square legs chamfered at the back. An unpretentious table whose origins are clear from previous illustrations and of a type increasingly popular. The top edge still retains a
moulding derived from the thumb-nail but now more sophisticated with an ogee curve.
A Sheraton period  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 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 fine mahoganydining table of c. 1800 on turned columns each with three curved legs. The sweep of the latter from the central column out to the brass casters is particularly elegant. On such tables the centre section is generally bolted to the end pieces.
Pembroke tables are said to be named after the Countess of Pembroke, who first gave orders for one of them. It seems that they appeared about 1750 and were generally made in mahogany with square tapering legs.
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.
The example above is perhapsone 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
naturalistic festoons of flowers.
Price Range: This is a top of the table version;A country mahogany Pembroke table 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.
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 abroad boxwood stringing line under the cock-beaded drawer which is continued across the leg.

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.