A ‘Chippendale’ Folding Card or Tea Table in Mahogany - A Sheraton Period Satinwood Card Table - Regency Card Table

A ‘Chippendale’ folding card or tea table in mahogany with moulded square legs, serpentine front and elegantly shaped frieze, c.1760-70. 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’ type with a baize interior.
A very fine quality Chippendale card table c.1770. The edge of the frieze is gadrooned and this effect is followed down the corner edges of the legs. C
The edge of the top is also carved. The wood is mahogany. The legs are chamfered on the inside.
Later Georgian side table of c.1760. The ‘Chippendale’ straight chamfered leg has replaced the earlier pad feet. The top edge still shows a variant of the thumb-nail moulding but is heavier. As well as being chamfered on the inside the legs show a ’scratch’ moulding down the front corner, as seen on chairs, to give a further lightness to the effect. By now, the lock rail is evident under the top and the drawer thus comes below this.
Country versions might still omit the lock rail however and have pegged tenon joints.
A Chippendale mahogany card table, c.1760 with a green baize lined folding top. The edges, frieze and square chamfered legs are fretted in
the Chinese manner, which inexplicably makes this normally rather underpriced piece of furniture double its value.
N.B. Without this fretwork a plain card table of this type is now 50 The ‘tea’ version with polished interior is 60  70.
Later Georgian c.1770 side table similar to the previous example, with elm top and fruitwood legs. Note there is no lock rail under the top. The square Chippendale style legs are chamfered at the back and the front
corners
have the scratch moulding down the edge to lighten them. The drawer front is elm.
A George III, c.1765, country solid walnut side table on tapering legs ending in pad feet. The flap is supported when open by a gate leg. The top and flap are made of several planks.
A Sheraton period (1790 - 1800) 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 (1790 - 1800) mahogany card table cross-banded with satinwood. Note again the 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 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, which ends in a spade foot.
Value, points: Matched figuring of mahogany and stringing …
A George III satinwood and marquetry card table, c.1790, with a folding circular top, cross-banded with rosewood. The inlay consists of urns and flower festoons within a meandering band of anthemion and the frieze is similarly inlaid. The square tapering collared legs with the oval medallions at the top are of a kind generally associated with Shereton designs. These tables were frequently made in pairs.
It would be difficult to find more highly valued tables of this period.
Value points: Quality of decoration .. N.B. Inferior Edwardian copies abound.
A Sheraton period (1790 - 1800) 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 mahogany card table of c.1800 in figured veneer with square tapering legs, ending in spade feet. There is a simple boxwood stringing line around the top edges and the frieze which is repeated around the spade foot
top. It is covered in baize inside and is not quite circular when open, although not exaggeratedly oval. Circularity is an important value point, however. This table has the advantage of a double gate, i.e. both back legs open Outwards to support the folding top when open.
Decorative inlays  Satinwood
A fairly typical plain mahogany card table of late Regency or early Victorian period, probably c.1840. The centre pedestal can be either circular in section, often of gunbarrel appearance, or octagonal, and the base
usually reflects this in design. The top swivels and opens to form a baize-lined square surface.
Value points: Rosewood
Figured woods and inlays
Regency period mahogany card table, c.1820, on turned centre column. The hinged folding top pivots on the frame which forms the frieze to provide support when open. Note the fluted square leg forms.
A fairly typical Regency card table of c.1830 on a turned centre pedestal supported by four sabre legs. The fold-over top has a beaded edge moulding and swivels about the centre to allow support from the underframe when open. Inside there is a green baize covering.
Value points: Rosewood  Brass inlays ..
A Regency period  c.1820  rosewood card table, with inlaid stringing and bead-moulded edge decoration. For some reason the semi-elliptical hoop support under the top and above the centre pedestal attracts a higher
price from dealers than other types. A sofa table with a similar support is illustrated in the relevant section. Although the craftsmanship involved in executing this design is undoubtedly high, the overall effect is to
produce a confusion of styles and a weakness of support.
Value points: Rosewood  Brass stringing  Original casters the circular and oval
A Victorian folding walnut card-table, c.1845. Like dining tables of the period, it is thinly veneered in burr walnut and inlaid with marquetry patterns. The base is quite elaborately carved. Inside the
surface is lined with baize.
A late Regency rosewood card table of c.1830. The top is inlaid with a brass border line and swivels across its underframing, which supports it when open. Bead moulding doubly decorates the frieze and the top edge of the base. It is an example of the revived rococo and conflicting designs of the period: paw feet; leaf decoration; turned, reeded and carved column; and a kind of cabochon-and-leaf corner decoration to the frieze, which is also concave.

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.

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.

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  writing
A satinwood ‘Carlton House’ writing table with oval panels in the upper doors. The type appears in Gillow’s cost books for 1796 and is also illustrated in the ‘Cabinet Maker’s Book of Prices’ of 1788. Carlton House was the residence of the Prince Regent. Gillows simply describe the piece as ‘A Ladies’ Drawing and Writing Table’. We tend to associate square tapering legs with Sheraton, but this type of table had a considerable revival in about 1890 and is still being made to the present day. (Harrods usually stock one or two.) Readers of the Price Guide to Antique Furniture will know from page 258, items 942-945 that there are marquetry ones, satinwood ones, plain mahogany ones and there are even painted ones. Variations in the design are very frequent in lesser Edwardian pieces.
1890-present day marquetry/satinwood satinwood as above painted/inlaid mahogany.
The borderline between a writing table and a desk or bureau is sometimes hard to define. On the whole a writing table remains a table, on four legs with some drawers in the frieze, but the Carlton House version is
almost a desk or bureau due to the upper structure. Here, we have followed accepted practice and, after the Carlton House version, show the simpler pieces of furniture.
An inlaid satinwood writing table in the French Louis XVth style on cabriole legs with ormolu mounts. The top surface has an inset leather area, crossbanded around it with additional inlay. The top edge has an ormolu moulding surround. 1860-1880
Three writing tables in 18th century styles, using square tapering or turned legs, brass ring handles with circular pressed plates and with drawers in the frieze. The central example has small upper drawers as well. All have an inset leather top.
Three writing tables of rather less quality. The central one is kidney-shaped and the other two are oak examples with square section legs. 1890-1920
An inlaid mahogany writing table in the ‘Sheraton’ style which also incorporates an oval mirror with flanking small drawers.
An oak writing table in ‘William ‘and Mary’ style, evidenced by the turned legs with inverted cups or ‘bells’ and the bun feet. The front stretcher has been thoughtfully omitted so as to allow the writer to get his or her
feet under the table without hindrance.

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  work, with bags beneath
The work table fitted out with receptaces for needlework and embroidery implements as used by the ladies of the household, did not appear until the later part of the eighteenth century. Chippendale did not illustrate
them, but Sheraton, true to form, showed a variety of ingenious designs. They must have been very popular, for every manufacturer or designer showed a wide variety right through the century.
Table-cum-firescreen  work could be done in warmth but the delicate skin shielded from the heat. It is in satinwood with ebony stringing lines, and has a fabric work bag beneath  sometimes on a slide for ease of
access. A curious feature of this piece is the hollowed out inside edges of two of the legs  perhaps to fit over
the corner of a particular fender The most popular type of work table. c. 1795
An example on a turned centre pillar and veneered in rosewood. It has brass ball-andclaw castors and brass decoration at the base of the pillar. The top lifts up and the drawers are false. c. 1820
A rosewood work and games table of a type very highly valued. It has brass inlays and decorations and a brass gallery round the sides. The work bag is of pleated silk. The ends are almost lyre-shaped which further
helps the price. c. 1820
Thomas Hope at his best/worst. esque paws jutting malevolently from look as though they should belong prehistoric weighing about three tons. and is in burr walnut.
The Disney-heavy scrolls to something It has a slide
A more modest mahogany William IV type on flat base with a simple top without drawer. c. 1835
High Victorian in style, with burr walnut veneers and a wooden veneered work ‘bag’ beneath. A type illustrated in manufacturers’ catalogues in the 1870s and 1880s, but stemming from earlier designs. c. 1865
A work table showing the scroll-decorated end standards and finials under the top which one associates with the Victorians. The feet show the remains of the paw-foot design of the Regency. It is otherwise a simple piece, and very similar in design to one by T. King. c. 1835-1845
A mahogany design with reeded baluster end standards and turned stretcher of a type illustrated by Loudon in 1833 and popular for some time afterwards. 1835-1845
A type introduced in the late 1850s as an elegant supported urn which settled down to this funnel shape by the 1870s. In walnut. The  price depends on the quality of the interior fittings. Marquetry would help. 1875

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

DRESSING TABLES
Georgian enclosed mahogany on tapering fluted legs with a slide. 1760-1780
Mahogany, shown open with mirror resting on the rack. A fairly simple piece with none too elegant legs. 1760-1780
A mahogany dressing table of Chippendale style, with fretted brackets, slide and tray beneath. 1750-1700
An interesting enclosed dressing table/chest with concave tambour doors and drawers beneath. 1780-1800
A very fine harlequin dressing and writing table in fiddle figured mahogany cross-banded in tulipwood. The back section pushes down against a spring. A tambour concave cupboard beneath, tapered legs and original small leather castors. 1780-1800
more if it can be attributed to a known designer
A fine mahogany dressing table of enclosed type, shown open and closed, with cupboard below and a crossed flat stretcher with rimmed chamber platform. 1790-1810
A painted satinwood dressing table/chest, with Adam-style neo-classical decoration. This type of decoration was much copied in Edwardian furniture. 1780-1800
An interesting mahogany dressing table shown closed and open with hinged top which lifts to reveal its fitments. The oval handles are a replacement. 1790-1810
Late eighteenth century Sheraton type dressing table with the usual fittings. Decorated with shells and using stringing lines to vary the veneered decoration.
Early 19th century
A walnut kneehole of high quality on replacement bracket feet. The pillars in the recessed corners are fluted and the top is quarter veneered and cross-banded. The drawers have a simple, straight crossbanding, with a lip edge moulding. North country with new heavy feet with canted corner decorated with a blind fret. There is a slide under the top and the piece has single serpentine bracket feet. The three previous examples all have ‘double’ bracket feet, i.e. a foot under each front corner both forms are found in this period. 1740-1760

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