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.

TABLES  occasional, centre
A walnut centre table inlaid with a marquetry panel and with ormolu mounts. Very similar to the writing table 582 and, again, made in a French Louis XVth style of perennial popularity. Not as high quality as 582 but
nevertheless still a well-made and very decorative piece. 1860-1890
A centre table of Reformed Gothic character from Blackmoor House, c.1872 (see British Furniture, 1880-1915 by Pauline Agius, pl. 74). Possibly designed by the Manchester architect, Alfred Waterhouse, a friend of Norman Shaw. Waterhouse designed for Blackmoor, starting in 1869 and imitated Shaw’s ‘Old English’ style as used at Leyswood, which still had Gothic features such as the gate tower. The table is interesting in its construction of Reformed Gothic style and structure but incorporating half-and full suns of Japanese character and the spindled gallery. The move from Gothic to Anglo-Japanese can be perceived.
An interesting ebonised centre table with a turned spindled gallery connecting the end supports which are pierced and carved with stylised flowers and leaves. Of Reformed Gothic character but with later developments in the carving.
A mahogany centre table of rather Continental design on spun brass cup feet of a type associated with W.A.S. Benson, a designer for Morris & Co. who specialised in metalwork. The same feet are used on furniture
attributed to the firm of J.S. Henry (see British Furniture, 1880-1915, by Pauline Agius, p.94, pl. 112).
An occasional centre table of octagonal shape, in rosewood, with eight turned legs and a centre column joined by stretchers radiating from the centre. An arcaded apron also joins the legs. Possibly by Collinson & Lock. c. 1880
Another spider-like centre table with a moulded top edge, by Morris & Co. Made in mahogany. The firm produced several similar designs, available in mahogany or fumed oak. C. 1900
A six-legged mahogany centre table by a commercial firm of general furnishers. Clearly the type was popular up to 1914. Also available with only four legs.
A ‘Chippendale’ version of the octagonal mahogany centre table on eight legs. This time the radiating stretchers are pierced and fretted with scrolled work. The top edge is gadrooned. 1910-1920
An oval ‘Sheraton’ style centre table on four tapering square section legs ending in castors and connected by curved stretchers emanating from a central finial. The top is inlaid and crossbanded; there is satinwood
banding and boxwood stringing around all the normally approved edges.
Two small occasional tables of the type ideal for coffee or tea drinking in the sitting room. On the left, a scalloped top with dished edge and chinoiserie decoration, mounted on carved cabriole legs ending in hoof feet.
On the right, a segmented feather-veneered mahogany top with cross-banding, mounted on cabriole legs ending in hoof feet, with a lion mask carved at the top and a frieze also carved in bas-relief with scrolls and
shells. Nothing, of course, like these two tables was made in the periods from whose styles they have borrowed. The 20th century had advanced both comfort and practicality in arriving at the dimensions, then it has imposed the most marketable styles associated with high quality on to the design. 1920-1940
TABLES  occasional, tripod
The tripod table is an 18th century invention, probably developed from candle stands. It is still one of the most popular occasional tables and has been much reproduced.
A Victorian version of the tripod table, in walnut, with a scalloped edge in emulation of the 18th century ‘pie crust’ edge. The shaping of the column is unmistakably mid-19th century and the use of the finial below the
column is also characteristic of mid- to late Victorian furniture. The shaping of the legs is also not that associated with Georgian tripods. c.1870
A mahogany tripod table with a brass gallery rail around the circular top and decorative scrolled supports in addition to the centre column.  1900-1920
Mahogany tripod tables with moulded rims, fluted columns, reeded vases  spiral to the left, straight to the right  and elegant legs carved with acanthus leaf decoration. Essentially straight reproductions of 18th century tripod tables but looking shorter in proportion and the tops of a greater diameter than the period originals would probably have had. Good quality pieces, though. 1900-1920
TABLES  Sutherland
A walnut drop-leaf gateleg table of a type known in the trade as a Sutherland table (for some obscure reason). Made in mahogany or walnut (i.e. veneered in figured or burr walnut), these tables can be supported on a single turned column at each end, as shown above, or on a double column with spiral or other turning. There is an extra, thin, turned leg on a gate at each side which swings out to support the flap when open. They can be seen clearly above. The Victorians do not seem to have minded this rather unhappy lack of cohesion in leg design; the gatelegs often look like a pair of poles or walking sticks that someone has leant in random fashion against the frame under the flaps. The merit of the design is, of course, that the table, when folded, is very slim in end elevation and the whole is mounted on castors so that it can be tucked away neatly. The spiral grooving turned into the legs of the above example is often found on these tables.
An ebonised Sutherland table which shows very clearly how undesirable ebonised furniture looks when dusty and in poor condition. c. 1890
A similar design of Sutherland table in mahogany, with the same form of end columns and mounted on white castors. 1860-1890
A rectangular Sutherland table with spirally-turned double end supports on a simple arched foot design. The thumb-nail top edge moulding appears on almost all the tables at the time.

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  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.

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  Architects
Antique Architects tables are rather specialised pieces and were produced for professional use and seem to have been very solidly constructed perhaps, as Cescinsky suggests, because the ledgers architects used were so heavy and it was useful to have a means of inclining them to a more convenient position.
This well-fitted architect’s table is in mahogany. It has castors on all six turned legs which, as can be seen, are masked by rather ugly straight false legs. It has brass candlestands and a side drawer. The front pulls out to form a convenient writing table. The date is suggested by the indented corner mouldings. c. 1740s
A lighter architect’s table in mahogany, without pillars, shown with the front open.
This mahogany architect’s table with candlestands and on square legs makes an interesting comparison with the previous example. The inner legs show the columns inside with castors which are said to give greater stablility. The side drawer is missing.
Another type of architect’s table, with fitted drawers, on castors.

Library table

In its most general meaning, a library table is simply a table used for writing or reading in the library of a grand house. The term covers a wide variety of tables, from the slender eighteenth century writing table derived from the French bureau plat, to the solid drum-shaped tables which were smaller versions of the rent tables used in the offices of large estates. All were leather-topped, all had drawers in the frieze to hold writing materials and were 2 ft 6 in to 2 ft 8 in high.
For immediate identification only the derivations of the French bureau plat will be considered in detail: a writing table with a leather-covered surface and three drawers in the frieze. French bureaux plats are similar to the English lowboy, having two deeper drawers on either side of a shallower drawer, but the `kneehole’ is less pronounced and they are much longer. English library tables have a straight frieze, are free-standing
and have drawers on both sides, often three to one side and two to the other. Often there is a pull-out writing slide which can be lifted to make an easel over the centre drawer. Sometimes the whole central leather-covered panel lifts to rest on easel struts as a bookrest or `architect’s table’. Regency libraries were equipped with library tables and, from that period onwards, designs of all sorts were made. The Regency archetype is the design described below.
Signs of authenticity
1. Solid, close-grained dense woods with good figuring.
2. Tops of legs continue to form end pieces of drawer frieze, set proud, rounded or square.
3. Minimal lip above frieze, usually less than 1 in.
4. Legs terminating in simple peg foot below a turned collar.
5. Drawers lined with oak.
6. Underside well patinated where knees have rubbed.
7. Underside of drawers enclosed with pine or mahogany with strengtheners and corner pieces.
8. Good patination on inside front of drawer and drawer sides where they have been handled.
9. Lock escutcheons set centrally above handles on single-handled drawers.
10. Lock and lock rail.
11. Drawers are usually same width.
Likely restoration and repair
12. New leather inset panel.
13. New top with panel planed out of damaged solid surface and inset leather panel added. Grain will continue through in one direction.
14. Legs broken at frieze level: break in grain on point of join, often concealed by ring turning.
15. Top section of small pedestal desk mounted on legs. Grain of
all legs will stop short at frieze level, underside of drawers with new wood, or patched and stained where tops of pedestal were originally.
16. Library table tops reset on cheval supports – could have been altered during Victorian period, but more likely to be a recent event.
17. Cut down from more massive Victorian piece: drawers of equal width where centre drawer has been reduced. Tell-tale crack on underside of small overhang beneath veneered top edging where width and length have been reduced.
Construction and materials
Library tables were made in solid mahogany, or mahogany veneer on a mahogany carcase, and in rosewood or Brazil wood (closely resembling mahogany but of a redder, more chestnut colour). Library tables are distinctive and differ from all other tables. The legs were set out from the frieze, giving unusual lobed corners. The same is true of the French bureau plat where the legs are usually squared and set slightly proud of the frieze. The English favoured a smoother line, with rounded corners, undecorated except for a thin line of double stringing, framing and emphasizing the curve.
Detail
Drawers were oak lined, outlined in double stringing, often with squared handles on cast brass bolt heads with rosettes, octagonal or circular small backplates on either side of the handle. Legs were always elegantly turned and reeded or fluted, terminating in plain peg feet. The table edges were never carved or decorated, and there is almost no lip or overhang above the frieze drawers. Usually the edge of the table was decorated with two single thick reeds, continuing round the lobed corners. The drawers were usually edged with thin cockbeading or half-round beading, and the leather writing surface is inset and edged with cross-cut veneer.
Variations
Most common are circular rent tables used in the offices of large estates, with small drawers in the circumference of the frieze. Plain oak or oak-and-elm tables of solid construction often had drawers set in the ends as opposed to along the length and square chamfered legs. Country versions should be wider than a side table and may have plain square stretchers for extra stability.
Below: a late Regency design, probably provincial.
Above: drum or rent table.
Reproductions
Victorian
Variations are legion: octagonal leather-topped tables set on pedestals with drawers; drum tables set on central pedestals with bow-fronted drawers set fairly far apart (usually four on a small drum table, and not tapering in shape towards the centre); leather-topped tables on almost Davenport-type pedestals with two flaps, one on either side. Also popular were ,architect’s tables’ with tops lifting on easel supports. Victorian versions of the bureau plat had ornate, over-curvaceous serpentine lines, often with mass-produced mock-ormolu embellishments. ‘Gothic’ Victorian library tables with pillared legs on square plinth feet had carved edges to tops and applied or shallow machine-cut decoration on side friezes.
Twentieth century
Edwardian library tables were well-made and often quite well-proportioned but of mahogany veneer which was darker than earlier veneer. They often have a bigger overhang and lip moulding, and the grain of the veneer running vertical and not horizontal on frieze and drawer fronts, which can cause wrinkling, chipping or splitting.
From the turn of the century, there was a plethora of mass-produced reading/writing tables for public libraries, hotel
reading rooms and public institutions. Many library tables have been made up’ from other pieces of furniture, so it is particularly important to
examine similar-shaped pieces and styles with great care, and to scrutinize materials, detail and construction of the piece under consideration.
Price bands
Fine quality, c.1790, £3,000-4,000.
Later versions with less detail, £1,500-2,000.
Drum or rent table, c.1790, £900-1,200.