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 Work Table - A Regency Work Table in Mahogany - A Victorian Walnut Work Table

Work tables for use by ladies, with space for needlework materials in a well below were a later 18th century phenomenon and were made in a variety of forms. We have illustrated some typical examples and have
included a number without the silk bag but with small drawers instead. It can be mentioned that Sheraton illustrated some designs, as did Gillows. In the Regency period and after, some very elaborately decorated
designs appeared in a variety of styles; the later Victorian type of octagonal form, with tapering well, supported on a tripod base, have recentlybecome popular and are being sold in a range from 15-25 depending on the veneered surface decoration.
A Regency work table in burr walnut with side drop flaps and three drawers, on Disneyesque paw feetwithreeded scrolls. Under the lowest drawer a slide acts as a drawer frame for the pleated silk bag.
Value points: Burr walnut
A Regency mahogany work table with drop flaps and a centre drawer with work bag sliding beneath. The end supports consist of two turned columns on raised feet and a turned stretcher, in the style of the columns
connects the two.
Figured woods and inlays  Quality of turning
A Regency yew wood work table on a turned baluster stem and four carved feet ending in brass paw casters. An unusually circular piece, which, had it been in any other wood than yew, should not have been priced at
more than 50.
An early Victorian mahogany work table with folding top, two drawers and silk bag on slide. Supported on an octagonal centre column on shaped platform on turned flat bun feet.
A late Georgian mahogany work table with three shallow drawers, inlaid with boxwood stringing. Note here again the slightly ‘bamboo’ effect in the turning of the tapering legs.
Choice of figured woods and inlays Quality of leg turning
A simpler mahogany work table of the later Georgian or Regency period. The turned legs are simply executed and the mahogany is not greatly figured. The casters are original.
Figured woods and inlays … Quality of leg turning
A Regency period work table on tripod stand, in mahogany. There are two flaps, Pembroke table style, which can be supported on brackets, to give greater surface area to the top. The two drawers open at the visible
end; on the other end two mock drawer surfaces are included to give balance.
Elegance of tripod stand  Choice of figured woods and inlays
A Regency work table in mahogany with three drawers veneered in figured wood. The centre column is turned and carved with leaf pattern. The four carved legs end in paw feet on casters. Note that the drawer fronts are cross banded.
A japanned and painted work table of c.1840. It is constructed on the Pembroke table principle with two side flaps which are supported by small hinged wooded brackets. The drawers are cock-beaded.
Quality of painted decoration …
Mother of pearl inlays
A Victorian walnut work table of c.1860 date. The octagonal top lifts to give access to a compartmented interior and the tapering central column is hollow to allow for storage of wools. It is raised on carved cabriole legs. Usually the tops of such pieces are veneered with a thin sheet of decorative burr, but mahogany and rosewood examples with variations exist. Marquetry inlaid tops are also fairly common in the walnut varieties.
The lids usually made of cheap pine on to which the mahogany was veneered, often warped and, therefore, do not close properly.

Antique Mahogany Tripod Table - Tripod Tea Table - Regency Rosewood Library  Table

The principle role of tripod tables has been as wine or occasional tables for social use. As a piece of furniture a tripod table of small size is decorative and useful in this respect but easilyknocked over and liable to damage. Many of the tripod tables for sale in shops nowadays are marriages of top and base from different origins for this reason. The tripod legs, keyed into the central column, are also easily damaged and the joint split due to an excessive weight being placed on the table. A metal spider is often screwed under the base to reinforce the legs against this.
The original method of securing the top was by two parallel bearers hinged to fit on to the squared top of the stem. Sometimes a gallery or ‘bird cage’ was used and this, being regarded as a mark of quality, tends to
add to price. By placing a weight too near the edge of the table it is possible to damage the top fixingalso and many of these have had to be repaired.
To detect a ‘marriage’ examine the underside of the top for old screw holes or marks of previous bearers. Although successful unions do take place there is usually a loss of proportion and relationship between top and base. Do not be misled, in country versions, by talk of country craftsmen using one wood for the top, another for the stem and another for the legs. Although this may have happened it was not nearly so widespread as the subsequent repairers would have us think.
Value in tripod tables is dictated by the same considerations as those of other furniture; quality of craftsmanship, proportion, colour and choice of wood, polish and patination. Above all , originality is to be prized as much as structural condition.
Regency rosewood library or rent table with octagonal revolving top inset with tooled leather. The inlaid stringing lines are of brass.
Large Regency period dining table of extendable type with leaves which are inserted in the centre section to provide greater seating capacity. A type of table now somewhat reserved for board rooms and public
banqueting halls but which nevertheless follows the development of the earlier Georgian type with two ‘D’ ends between which leaves could be inserted. This table would seat approximately 20 people.
N. B. It is interesting to note that ten years ago such tables were hard to sell and often cut up for the good quality wood of which they were made.
The tripod table is not strictly speaking derived from the candle stand in our illustration above but it is possible to trace the influences derived from it. This stand is of walnut and was made originally for holding a light.
The octagonal top has a moulding round it which is typical of the late 17th and early 18th century walnut period and the twist turned stem represents a high degree of technical accomplishment.
A mahogany tripod of mid-18th century. The top is dished to give the rim around it and the plain column is of pleasing simplicity. The mahogany used is of the heavy Cuban variety, very dark in colour. Note the
development of the height of the legs, becoming bolder.
A mahogany tripod supper-table of c. 1750. The scalloped top is decorated in the centre with leaf carving. This illustration is in fact a reproduction and the centre column turning is not perhaps of as beautiful a design as the top should be supported on.
A walnut stand of the early 18th century. The octagonal top again has the moulded edge of the period and is veneered in figured walnut. The base of the stand is now lifted off the floor by the three curved feet of square section.
A tripod mahogany tea table of c. 1760 with fluted column and scalloped edge carved with shell patterns.
A Chippendale style mahogany tripod table. The top shows the .’pie-crust’ edging which requires a high degree of craftsmanship, since the whole top is made in one piece. The stem is fluted down to the carved bulbous vase and the legs, with shell and pendant decoration on the knee, end in ball and claw feet. Note the scroll on the inside of the knee of the leg. One of the most ornate and decorated examples of this type.
Typical 18th century tripod table in mahogany, probably dating from 1760-80. The legs have now become almost aggressively higher and bolder in curve. The tapering column has the bulbous vase at the base.
Late 18th century tripod table with baluster turned stem and chamfered legs.
Fruitwood tripod table 27″ in diameter. Note the rather abbreviated feet and the.fact that it has been necessary to use several planks to make the top due to the lack of width in fruit-wood trees.
Another tripod mahogany table of 1770-90 date with similar stem, but the legs now flattening in curve slightly. The rounded curves are modified by the chamfered edges and more pointed design.
18th century tripod mahogany table of larger dimensions - the top approx. 2ft. 9in. in diameter. Note the spirally fluted vase at the base of the tapering column stem. Until recently these were more difficult to sell, being too large for occasional or wine table use. Now they are rising in price and being used as tea tables or small dining tables.
18th century yew wood tripod table. The legs are better proportioned than the fruitwood example although they show the steep outer curve of the later period. The top again is several planks, but yew is a wood which
is always more highly valued.
Early 19th century tripod table with rectangular top, of a type expanded in size to produce a breakfast table. This smaller size could be used as a supper table and, being of the tip-up type, was useful in smaller rooms.
The wood is generally mahogany and the legs and stem exhibit the same characteristics as dining tables of the period.
A rather delicate tripod table of c. 1800. The top is octagonal and painted - in line with other furniture of the Sheraton period. Note that the legs are now in a reverse curve from previous styles.
Later 19th century version of the tripod table - the tripod legs have actually vanished and all that remains is the triangular shaped flat base with its three turned feet. The stem is now thoroughly over-
turned with far too many bulbs and vases. Early 19th century country tripod table in mahogany. The legs are in the same reverse type of curve as the previous example, but the stem shows the rather bulbous turning
that heralds the Victorian period.

Mahogany Pembroke Table - Mahogany Writing Table - Regency Period Dining Table - Mahogany Library Table

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 Sheraton mahogany Pembroke table of c. 1810, The square tapering legs 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.
Value points: Inlaid decoration of high quality
Good quality Pembroke table in mahogany with cross banded top edge. The tapering legs end in elegant brass casters.
Value points: Cross banding of top  Circular or oval shape
Later Georgian period mahogany writing table on turned legs with casters beneath.
A fine quality late 18th century sofa table in mahogany and satinwood. The end supports, curving elegantly out from the vertical to end in brass casters, are particularly noteworthy.
Regency period dining table in mahogany on two turned columns each supported by three curved legs. The shaping of the turning on the columns suggests a later part of the period, as do the legs, but the top is reeded round the edge and light in appearance.
Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Sofa tables are similar to the Pembroke table with the exception that the extending flaps are at the end instead of the sides. They seem to have become popular at about the same time as the Pembroke. The normal dimensions, referred to by Sheraton, “are generally between five and six feet long and from 22 inches to two feet broad”. The most serviceable type have two drawers and they were frequently used to write, draw or read upon. A variety of designs were used.
The example above is of c. 1805 date and has brass mounts and stringing. The inward curving legs are reeded. Rosewood and zebra wood were used for the higher quality examples as well as mahogany. The addition of brass stringing or more detailed inlay in brass adds considerably to value.
Value points: Exotic woods and inlays
A Regency period dining table on two columns, again each supported by three elegantly curved legs. The apron frieze under the two end sections tends to add weight to the overall effect and breaks the line.
Value points: Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Mahogany Sofa Table of later Georgian period. The reeded curved legs on the end supports terminate in brass paw casters.
Regency sofa table 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.
Regency mahogany library or writing table. A derivation in some ways of the sofa table. The end supports show in their design the influence of the lyre motif.
Regency sofa table with gadrooned top edge. The curving splayed legs on the send supports are reeded.
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.
Regency period breakfast table in mahogany, cross banded with kingwood. The octagonal column is on a platform supported by unusual curved and shaped legs ending in brass paw casters. The spur shape on the knee of the legs is particularly unpleasant.
Value points: Seating capacity 6  8 …
Regency rosewood sofa table ,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.
Regency period mahogany card table on turned centre column. The hinged folding top pivots on the frame which forms the frieze to provide support when open.
Regency mahogany library or ‘rent’ table with leather-covered top. A type introduced in George III’s reign which Was made on into the 19th century, sometimes with an octagonal top. Used sometimes on estates where the relevant documents were kept in the drawers; hence the popular term ‘rent table’.
A Regency rosewood and Coromandel console table with marble top. Originally made to accompany pier glasses, console tables were made uniquely for side use and in the early 18th century types were of highly
baroque decoration. The classical revival of the later 18th century produced console and side tables of prevailing fashions and both Sheraton and Hepplewhite illustrated examples. They were largely for the decoration of more important houses.

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  smallish tripod and quadripod, 1800-1850
At first antique tripod tables followed the same form as the larger single tables but, with the inventiveness of the Regency period, individual designs emerged. The Victorians produced small Victorian tripod tables with four small legs which strictly speaking do not belong in the same section but which, for the sake of convenience, have been included.
A more decorative treatment of the same basic design Sweeps to the top and bottom of the legs are emphasised with applied brass rosettes. The stem is tapered and ringed, the top has a rim. Value is enhanced by the fact that the height is adjustable. Anything which moves, adjusts or can be fiddled with seems to command a premium. c. 1815
A turn of the century mahogany table, showing plain classical elegance. The legs have a clean simple curve and the stem is decorated with spiral reeding. The top is cross-banded in satinwood. c. 1800
If you look at page  you will notice that many high quality ‘hairy feet’ have wings or spurs at the back and one can see that they provide a good balance by supporting the base over a reasonable area, instead of
looking as though they were screwed on at the end. This is a well-thought-out mahogany design, the sturdiness of which is justified by the heavy marble top. c. 1825
A novel little four-legged table note its quality and the scroll behind the hairy feet. Curious that the carved Chippendale vase is retained on the centre column. The flaps have well-matched veneers which meet when the table is in the erected position, giving a fine effect. One of the best of its sort.
It really is hard to be charitable about this horrible little table. Loudon
(1833) had the same problem about a fairly revolting sofa table of the period. “The justness of this criticism will appear more obvious, by applying it to the table… which has two supports more highly enriched by
carving than those of any of the other pieces and yet has a plain top. This is in bad taste and ought not, in a work like the present, to be passed over without notice.” Quite right. Not only is the top plain but out of
proportion to the base and the decoration seems mindless. c.1830
Loudon would approve this design because both top and bottom have ,enrichments’, but he might, like the present writer, be happier with it if the two sets of beading had been more of a size. c.1830
A conventional papier mache floral and gilt, with mother-of-pearl inlay, tilt-top table. Well decorated and elegant with the shape of the top helping to create an interesting piece. A good compact pedestal. c. 1840
Typical small mahogany tripod table of the period. Commercially not desirable. Not enough decoration for the Continental buyer and too small for a cheap dining table. Same design still offered by Light in 1881. 1830-1850
The use of iron was an obvious method of obtaining the maximum decoration as cheaply as possible. Once the mould was made presumably any number could be cast. Again the quality of painting is important. The
price in this case is helped because the painting is topographical  shipping on the Clyde. c. 1850
A good papier mache table with a delightful hop harvest scene painted on the top. If one can discover the artist or if it is by Jennens and Bettridge then the value will be more than quoted. c. 1850
Made over a considerable period of time, a form of simple table which was produced in huge quantities. The baluster-shaped turning on the pedestal is competent but attempts too much. Basically 1830s

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

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

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

TABLES  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