SEMI-CIRCULAR MARQUETRY CARD TABLE, antique porcelain metal top table ANTIQUE SIDEBOARD, 17th century style antique sideboard MARQUETRY COMMODES, antique chairs 1890 casters on front legs ANTIQUE DRESSING TABLE

A GEORGE III SEMI-CIRCULAR MARQUETRY CARD TABLE, carved cabriole legs oak dining the top with a panel of flame-figured ANTIQUE within a broad satinwood banding inlaid with miniature anthemion and leaves, 1920’s jacobean walnut dining room sets the

frieze inlaid on satinwood with chains of flowers and husks and the square tapering purple heart-veneered legs inlaid with chains of husks, 19 century winsor chair 3ft wide (94cm.) circa 1780, antique large oak gate leg table some

inlay later.

A GOOD GEORGE III OVAL TABLE, crucifix door knocker antique the top segment ally veneered with hardwood, arts nouvous small sideboard satinwood and tulipwood and with a central oval reserve inlaid with the initials M.L., wood 4 post bed 1860 with a drawer

in the frieze, knee well dresser square tapering legs, balloonbackchairs and splayed feet, delftware box 2ft. 3in. high by 2ft. 3in. wide (69cm. by 69cm.) circa 1785.

A GEORGE III ANTIQUE CYLINDER BUREAU BOOKCASE with an arched rectangular top, coloured pottery decorated with scrollwork the frieze set with an oval panel of Boadicea, wood english pottery jugs with astragal glazed paneled doors, antique dutch delftware the cylinder

enclosing small drawers, harmony home tallboy dresser pigeon-holes and a lifting leather-lined writing surface, antique card table no 77 with three long drawers, bauluster glassfront breakfront on splayed bracket feet, antique 1860’s wooden beds 7ft. din. high by 3ft. 8in. wide (236cm. by

112cm.) circa 1780

A GOOD GEORGE III ANTIQUE BUREAU CABINET, gothic l court cupboards the broken triangular pediment outlined with dentil molding and filled with pierced scrolling fretwork above a pair of

thirteen-paneled glazed doors, a metallic cast of a tiger, meiji, the quarter-veneered flap with a giant oval of flame figured wood cross banded in calamander wood, goldscheider with myott son & co staffordshire with two short and three long drawers, marquetry urns on ogee

bracket feet, georgian table pierced gallery 8ft. wide (250cm. by 110cm.) circa 1780.

A LATE GEORGE III ANTIQUE CHIFFONIER, kangxi prunus broken ice the three-tier graduated top with a pierced gilt-metal gallery and sides, antique veneer maple one drawer dressing table with large ornate mirror with a fitted secretaries drawer below with a leather lined lid

and inkwells and pen compartments, antique tables from 1700 to 1800 with a pair of oval paneled cupboard doors below, english regency sofa the interior with an adjustable shelf, american inlaid wood marble top and back washstand on short rectangular legs and casters and with

carrying handles at the sides, antique commode with marble top and tiled back 3ft. 11 Win. by 2ft. 3in. wide (121cm. by 68cm.) circa 1800, hall side antique table with brass rim the feet possibly reduced in height.

A GEORGE III SEMI-CIRCULAR ANTIQUE SIDEBOARD with a drawer above an arch and a hinged cupboard at each side, federal chest of drawers with paneled ends on tapering legs with block feet, late 19th century sofa bed with ratcheting fold down arms 2ft. high by 3ft. Bin. wide

(85cm. by 107cm.) circa 1785.

A FINE GEORGE III SATINWOOD MARQUETRY TABLE, drawer handles for chippendale bow front desk the oval top inlaid with a central panel of three cherubs with bow and arrows and surrounded by ribbon-tied chains of husks and

flower heads within a border of anthemion and cross banded in rosewood, france antique sofa the border inlaid with spots, double wing chair the frieze inlaid with linked anthemion and containing a drawer at one end, trestle table replacement leaf

the square tapering legs inlaid with anthemion and husks and ending in wasted block feet, antique armchair 2ft. 4lhin. high by 2ft. 2in. wide (72.05cm. by 66cm.), were ribbon handles applied in 18th century circa 1780.

A similar but less elaborate table was sold in these rooms on 9th June.

A GEORGE III SATINWOOD WRITING TABLE, antique oak claw foot dining table the tambour top opening to reveal a leather-lined writing surface and seven small drawers, 18th century chippendale american drop leaf table the frieze drawer fitted with a reading and

writing surface and raised on square tapering legs inlaid with ebony stringing, mahogany with harlequin design furniture 2ft. high by 2ft. 6in. wide (86.05cm. by 77cm.)circa 1785.

A PAIR OF HIGHLY IMPORTANT GEORGE III MARQUETRY COMMODES William Moore of Dublin, sheraton antique buffet each with a semi-circular top inlaid with a half-pattered with borders of husk swags and

anthemion and with a gilt-metal anthemion outer border; the frieze inlaid with anthemion and husk-draped urns on a satinwood ground, spiral-twist victorian novelty armchair: claw-and-ball feet - brass claw feet holding glass balls the centre panels inlaid with crossed ‘S’s

beneath an Earl’s coronet flanked by olive branches on oval satinwood reserves and surrounded by ribbon-tied olive branches on a hare wood ground, antique buffets with pull out desk with a roundel at each corner

inlaid with the Talbot crest, inlay and marquetry gallery the side panels inlaid with urns, repair antique table under wood leaf anthemion and chains of husks on a hare wood ground, are peruvian candelabra weighted? the stiles with gilt-metal ram’s heads and with gilt-metal

leaf feet, mahogony sideboard furniture inspired by english 1920s 2ft. high by 4ft. 5in. wide (87cm. by 135cm.) circa 1780.

Provenance: The Earls of Shrewsbury; given by the 20th Earl to the Hon. Mrs. E. W. H. Eliot.

An inventory of Alton Towers, antique furniture richland washington the Staffordshire seat of the Earls of Shrewsbury, mixing current furniture with antique dining buffet taken in 1869, 17th century long dining room table includes the description which fits these commodes.

These commodes were presumably made for George, floral in 19th century 14th Earl of Shrewsbury, antique chest on chest dresser with inlay doors on top who succeeded his uncle, fall front secretaire the 13th Earl, hand painted furniture of the 1920’s floral baskets in 1743, georgian cylinder bureauand display cabinet and died in 1787. That he was interested in works of

art is proved by an account in a Birmingham periodical on September 28th 1772: Last week their Excellencies the French and Danish Ambassadors, old ladik rug with their Ladies, breakfront bookcase construction together with

Lord Shrewsbury, harlequin davenport desk the Count of Calibers, rococo, thomas chippendale and the Marquis de Pasay, 18c jacobean chair arrived in this town, william and mary chest on stand when they visited the Sotho, nude inlay knife and several other manufactories here, expand dining table rectangle slide and afterwards

proceeded on their journeys.

The Shrewsbury family owned two houses in the 18th Century, barley twist oak draw leaf table Heathrow in Oxford shire and Alton Abbey in Staffordshire, poodle wood furniture but neither of these appears to have undergone any

extensive exterior or interior alteration in the latter part of the 18th Century. Heathrow was built in the early 18th Century to designs by Thomas Archer but, dining table with pull out leaves as it was

destroyed by fire in the 19th Century, victorian carbuncle and diamond rose gold bar brooch it is not known whether any interior alterations were carried out in the late 18th Century. There is also no reference to a London House

in the Shrewsbury papers, act deco oak dining table except for a property in Shooter’s Hill, spanish antique chair at the time outside London.

As the cupboards and drawers have obviously been incorporated in the present commodes at a later date, small capron table it is probable that they were originally purely ornamental cases, antique 3 legged table like the

pair of commodes made for Easterly Park, tudor style buffet see M. Tomlin, north carolina 18th century walnut drop leaf table Victoria and Albert Museum, reproduction renaissance english tester bed for sale Catalogue of Adam Period Furniture, vintage wood dropleaf tables number F/l, brass skultuna oil lamp -ebay page 42.

A similar commode at Warbeck Abbey with an ivory label stating that it was made by William Moore of Dublin in 1782 for the Duke of Portland is discussed by W. A. Thorpe, 1800’s chinese chippendale chair

‘William Moore, antique circularwashstand Inlayer’, greek silver teapots in 1867 Country Life, victorian rosewood worktable volume XCIX, thin art drawers 3rd May, leap drop round tables 1946, claw feet desk page 807. Another similar in the Victoria and Albert Museum is illustrated in the Catalogue of Adam Period

Furniture (Victoria and Albert Museum 1972) page 172, footed green majolica pottery number U/5. Another commode almost identical to the example in the Victoria and Albert Museum, antique spice sets from czechoslovakia possibly the companion

piece, drop leaf trestle leg table and then in the collection of Frank Partridge, antique mahogany sideboard is illustrated by R. W. Symonds, 1870 cherry chest of drawers The Present State of Old English Furniture. All three Commodes have identical upper

friezes, jugendstil glassware borders to the central oval panels and very similar side panels to the present pieces. Another similar commode is at Co sham Court, late 1700s round pie crust table worth with a bill from William Moore dated

1772. Two more commodes with very similar parquetry, robj french ceramics and probably also by Moore, poole pottery animal plates are illustrated by Herbert, lamps blog English Furniture of the 18th Century, irish firearms proof marks from 19th century London 1911, vignette, antique, neoclassical style volume III, 1958 cherry stickley table chairs

figure 331, antique couch with birds feet and by Ralph Edwards, large aug moreau lady holding basket with bird spelter lamps The Shorter Dictionary of English Furniture, 1910 oak table oval shaped 3 leaves London 1964, mahogany fretwork corner whatnot page 253, antique bedroom sets from grand rapids michigan louis xvi style figure 25. The identical parquetry frieze appears on a pair of side tables, masons yellow flowers vase ironstone

one of which was on loan to the Metropolitan Museum of Art, 19th century copy of queen anne and one of which was sold in these rooms, sheraton antique chair 28th June 1974.
Compare also a semi-circular commode in the Lady Lever Art Gallery, list the townmark of mons, belgium Catalogue number 375, mahagony large dinning room table probably also by Moore, english ironstone pottery stoke on trent and with identical ram’s head and drapery mounts and similar

parquetry side panels to the present piece.

William Moore, gentleman’s dresser walnut flourished 1775-1815, danish ceramics doll four seasons and settled in Dublin in 1783 having worked for some time for the firm of Ice and Mayhew in London. From 1785 to 1790 he worked in Abbey

Street and moved to Carpel Street in 1791. In 1782, dating antique furniture mounts the same year at the Warbeck Commode, rococo picture molds he advertised in the Dublin Evening Post: as the greatest demand is for Pier-Tables, thomas sheraton chest he

has just finished in the newest taste a great variety of patterns, door bookshelves sizes and prices, sonic silver flatware from three guineas to twenty. This shows that he certainly kept quite a number of pieces in

stock rather than just accepting commissions. He continues his advertisement stressing his long experience at Mayhew and Inca, english chests 1700 London.

Other Properties

A GEORGE III ANTIQUE DRESSING TABLE, types of bookcases, caskets the cross banded serpentine fronted top centered by two oval panels inlaid with ribbon-tied flowers and opening to reveal two velvet-lined

display trays, antique escritoire with one dummy drawer inlaid with husks and pattered above a brushing slide with two short drawers beneath, antiquw childs wardrobe on square tapered inlaid legs, factory stools used 2ft. 8in. high by 2ft.

2in.. 92in. deep (81cm. by 66cm. by 55cm.) circa 1780, dovetail antiques chinese bamboo chairs 1920s restored

A GEORGE III SATINWOOD WORK TABLE, circular display table with a hinged cross banded adjustable top above a long drawer and a work bag, shiraz cypress carpet motif iran with a baize-lined slide in the frieze, antique hanging bookshelf the back with a fire

screen panel now embroidered with a young deer in a woodland setting, victorian golden burr oak side cabinet 1850 on square legs inlaid with ebony stringing on brass castors, antique black inlay folding card tables 2ft. 52in.. 8in. wide (75cm. by 51cm.) circa

1790

A similar table is illustrated by Ralph Fast edge, antique spoon collecters Sheraton Furniture.

A GEORGE III ANTIQUE PEDESTAL LIBRARY TABLE, antique chair with wood carved swan arms rates the frieze with three drawers at each side divided by flower head pattered, royal galery bowl make in poland crystal each pedestal with a cupboard at each side, antique pottery with dark blue spanish buildings design one

enclosing shelves and the other drawers, antique style desk table legs the stiles carved with chains of husks, vintage snuff spoon case 2ft. high by 5ft. 8in. wide by 3ft. 93Ain. deep (77.05cm. by 173cm. by 101cm.) circa 1790, antique mahogany display table with fretwork the

top inset with a panel of gilt-tooled green leather.

A GOOD GEORGE III ANTIQUE ARMCHAIR, triangular card table inlaid the molded frame with an almost square back with three elegant leaf-capped stick splats, repainting and fixing mistakes of gouache with down-curved arms, antique side table with claw glass ball feet stuffed seat and square

tapering paneled legs, maple and co envelope card table circa 1795.

A LATE GEORGE III ANTIQUE PEDESTAL DESK, 17 century london date letters & makers mark the gilt-tooled leather-lined top with an adjustable receded flap, writing cabinet davenport with three frieze drawers opposing three dummy drawers, clock antique lancet bracket on two

pedestals each with three real and three dummy drawers, 17 th centery mirrors on a plinth base, amstel porcelain -ebay sold 2ft. 5in. high by 4ft. 4in. wide (75cm. by 132cm.) circa 1810

A LATE GEORGE III KINGWOOD-VENEERED SOFA TABLE, campaign chest of drawers netherlands the well figured top with rounded corners and a satinwood cross banding, narrow 12 top dropleaf table with long sides -round the frieze with a pair of drawers and raised on

brass-inlaid lyre supports with saber legs and joined by a turned pole stretcher, antique colonial chair 4ft. wide, what is value of clarice cliff age of jazz open by 2ft. 4in. deep (149cm. by 71cm.) circa 1805.

GEORGE III ANTIQUE CHAIRS, art nouveau furniture makers mark ANTIQUE ARMCHAIRS, chippendale fretwork screen ANTIQUE BREAKFRONT BOOKCASE

A GOOD SET OF TWELVE GEORGE III ANTIQUE CHAIRS with arched backs, tripod table round gate carved wood antique inlaid wood pierced splats carved with pineapple urns and drapery and with stuffed seats and fluted tapering front legs

joined by stretchers, french satinwood dining room table antique circa 1785.

A GEORGE III ANTIQUE “GAINSBOROUGH” ARMCHAIR, victorian wainscot chair the rectangular back with out-curved leaf-carved padded arms, french country oaktable and with down-swept supports, antique library table with greek god carving a stuffed seat on square cut legs with

blind fret decoration joined by an H-stretcher, pair of pier tables upholstered and covered in early 18th Century gross and petit point needlework, antique porcelain markings circa 1765.

A SET OF SIX GEORGE III ANTIQUE DINING CHAIRS with molded shaped backs and wasted pierced splats joined by a fluted panel with drop-in seat and square tapering legs joined by

an H-stretcher, anton hoffmann violin circa 1780.

A GEORGE III ANTIQUE BUREAU, camerer cuss & co ladies pocket watches the flap enclosing a fitted interior, robert adams style in neo classical period two short and three long graduated drawers, swansea porcelain limited on bracket feet, ebony mahogany caskets 3ft. 9in. high by 4ft. wide (115cm. by 122cm.)

circa 1770.

A RARE SET OF FOURTEEN GEORGE II ANTIQUE ARMCHAIRS, antique serpentine sideboard pennsylvania with pierced
topsails and railed backs, jacobean furniture antique dining table stuffed drop-in seats and square legs joined by stretchers, antique wash basin stand and mirror circa 1750, stickely antique dining North Country.

A GEORGE II ANTIQUE SOFA, antique revolving bookcase small size the molded frame carved with leaves, 1940 curved sided buffet with arched stuffed back, antique double flight of drawers over scrolled arms, marquetry bureau bookcase double serpentine fronted seat and cabriole legs with scrolled

toes, veneering in carolean period 7ft. 3in. wide (221cm.) circa 1755.
Provenance: The Earl of Harrington, antique chair high backed wheels Evanston Castle, 18th century english drop leaf dinning tables Derby. One of a pair sold in these rooms, bronze meiji teapot 8th November.

A GEORGE III SOLID YEW TABLE, how to restore antique picture frames the molded top with incurved front corners, cabinet makers of the 1900s with a frieze drawer and square tapering fluted legs with block front feet, f. boucher sevres 2ft. 32in. high by 2ft.

62in. wide (70cm. by 77cm.) circa 1770.

A GOOD GEORGE III ANTIQUE DUMB WAITER with two circular graduated molded tiers, china cabinet narrow wrought iron the receded pillar with three receded saber legs, washstand 17th century 3ft. 3V2in. high (100cm.) diameter of larger

tier 2ft. (62cm.) circa 1785.

A FINE PAIR OF GEORGE III ANTIQUE ARMCHAIRS in the French style, inexpensive chippendale straight leg sofas with shaped stuffed backs, antique greek crest outcurve scrolling arms, antique hall stands mohogany dowels stuffed serpentine fronted seats and molded cabriole legs

carved with stylized leaves at the knees, burr walnut piano top davenport circa 1780.

A very similar pair, iron baby cribs from mid 1900’s from the Hoch child collection, west indies style cupboard was sold in these rooms 1st December, chelsea gold anchor period porcelain 1978.

A GOOD SET OF TEN ANTIQUE CHAIRS including a pair of Armchairs with stuffed cartouche backs, a.e. gray & co. ltd silver resist lustre cigarette box padded arms with molded down curved supports, lion’s paw legs with painted gold claws the stuffed serpentine seats on

molded cabriole legs headed by fan panels.

A GEORGE III CARVED GILTWOOD MIRROR, what year were five legged tables invented the oval plate with a frame carved with rose and ribbon decoration and flanked by foliate scrolls with a crowned Prince of Wales feather

cresting, antique junghans alarm clock 3ft. 7in. high by 2ft. wide (109cm. by 61cm.) circa 1765, louie xv antique bedroom restored.

A GEORGE III GILTWOOD MIRROR, 18th century european sideboards the shaped mirror plate within a molded and leaf-carved frame hung with carved swags, fluted tapered columns miniature with a scrolled pediment and leaf-carved cartouche, how to repair antique spring bottom chair 5ft. 4in.

high by 2ft. 4in. wide (162cm. by 71cm.) circa 1770.

A GEORGE III GILT WOOD PIER GLASS, antigue farmhouse dining chairs the divided arched plate enclosed by narrow husk-carved pillars, antique ball claw couch the mirrored border enclosed by pillars of flowers with an urn in the

serpentine base and a large urn cresting swaged with husks, antique furniture, lyons head sofa 6ft. high by 2ft. (185cm. by 87cm.) circa 1770.

A SET OF EIGHT GEORGE III ANTIQUE DINING CHAIRS, circa 1920 dressers, bureau including a pair of Armchairs, french antique escutcheons each molded arched back with pierced wasted splat, flemish german furniture 16th century the stuffed serpentine seats on square

tapering molded legs, library wicke rbergere armchair circa 1780, turkish numeral watch partly re-railed.

A GEORGE III ANTIQUE DESK, chinese fret work joinery the rectangular top with an inset gilt-tooled leather panel with two D-shaped leather-lined flaps to each end, leather tooled tilt top table one side with an arched frieze and

pedestals each containing four drawers, regency cabinet grilles bearing a stamp “Home of William IV Inventory Mark”, antique sheraton painted chairs the other side with three blind frieze drawers above a pair of blind panel doors, gilets e-pole

2ft. by 6ft. 63Uin. wide flaps up (77.05cm. by 200cm.) circa 1765.

AN UNUSUAL EARLY GEORGE III ANTIQUE SIDE CABINET, antique paw foot furniture the serpentine top with a gadrooned border, art deco french original furnitureauction the serpentine front containing a shallow drawer above a pair of paneled cupboard

doors carved with flower heads at the corners, antique kitchen dressers 3ft. high by 4ft. wide (92cm. by 122cm.) circa 1765.

A GEORGE III ANTIQUE BREAKFRONT BOOKCASE, louis xvi secretaire desk the molded pediment carved with a large fan medallion, antique hepplewhite chairs each door with six paneled glass ovals, drawings of antique doors the lower central part with a fitted

secretaries drawer below and flanked by four short drawers, settee carved gilded flanked by a cupboard door fitted with adjustable shelves, barker brothers furniture los angeles 10ft. high by lift. 6in. wide (316cm. by 351cm.) circa

1780, antique furniture identification the fitted lower part constructed at a later date.

A GEORGE III ANTIQUE BOOK OR DISPLAY CASE with a fluted frieze and a pair of doors, napoleonic furniture the elegant urn-shaped glazing bars flanked by panels carved with pendant leaves and headed

by oval leaf parterre, how did the cabinet makers in the 18th century affect the community the lower part with a pair of paneled cupboard doors flanked by fluting, true mayer china pembroke patented 9ft. high by 4ft. 9in. wide (275cm. by 144cm.) circa 1780.

A GEORGE III SATINWOOD SIDE TABLE, meissen man leaning against tree stump the shallow semi-oval top inlaid with a half patter from which radiate chains of husks, refectory leaf what is the border inlaid with trailing ivy leaves and cross

banded in ANTIQUE, late jacobean reproductions the frieze and square tapering legs inlaid with chains of husks, tudor oyster london self winding 2fthigh by 4ft. When, antique desksfolding top wide 9in. deep (87cm. by 148cm. by 53cm.) circa 1780.

A GEORGE III METAL HALL LANTERN, old dresser value of hexagonal shape, bleached pine furniture each glass panel headed by pierced scrolling leaves surmounted by an anthemion and with chains of husks below, bulgarian ensi rug with rams’

heads at the corners, antique chairs thin legs the top with S-scrolls reaching together at the top, thonet’s bentwood rocker - materials used 2ft.

COMPANION DRESSING TABLE, antique bed turn of the century ANTIQUE SOFA TABLE, antique pewter rosettes and pearl grape vine jewelry stand ANTIQUE WRITING TABLE, silver victorian shell bon bon fish legs dish ANTIQUE SECRETAIRE CABINET

A REGENCY ANTIQUE SOFA TABLE, art nouveau wood inlay designs the rectangular top cross banded in rosewood and satinwood, straight grain pine 10 glazed door’ with one real and one dummy drawer at each side of the frieze, antique potter on trestle supports and

saber legs ending in castors, antique leather tables with drop leafes 2ft. 4lhin. high by 2ft. 4in. wide (72cm. by 71cm.) circa 1810.

A GEORGE III ANTIQUE DROP-LEAF , georgian hanging corner cabinet the oval top with receded edge and six
receded tapering legs headed wit anthemion, antique drop leaf occasional table 2ft. 4in. high by 5ft. 92in. wide (71cm. by
177cm.) circa 1790.

A GEORGE III ANTIQUE DRESSING TABLE attributed to Gallows of Lancaster, victorian kidney desk the galleried top with reeled border, victorian seat ladder the frieze with a central concave drawer flanked by two drawers on

each side and raised on reeled tapering legs ending in brass castors, large antique wood wash bucket 2ft. 8in. high by 3ft. 6in. wide (81cm. by 107cm.) circa 1805.

THE COMPANION DRESSING TABLE, open back antique settee circa 1805.

A LATE GEORGE III SECRETAIRE BOOKCASE, queen anne table legs walnut the upper part with glazed doors, antique table with let down sides the projecting lower part with fitted secretaries drawer enclosing satinwood-fronted small drawers with

three long drawers below, italy table wood lacque on saber feet, deco in germany 7ft. 7in. high by 3ft. 9in. wide (231cm. by 114cm.) circa 1810.

A GEORGE III PAINTED SIDE CABINET with a galleried white marble top, georgei iii dumbwaiter table the gentle breakfront frieze carved with stylized flowers and leaves interrupted by parterre and with four

grille-mounted doors below with trellised sides and turned toupee feet, capodimonte 1895 3ft. high by 5ft. 6in. wide (94cm. by 168cm.) circa 1790.

A similar Cabinet is illustrated by Clifford Musgrave, research corner side chair Regency Furniture.

A LATE GEORGE III ROSEWOOD WRITING CABINET, secretaire regency beading the superstructure with two cupboards flanking an open centre section, longwy auction prices the lower part with a hinged velvet-lined writing surface, early sevres or vincennes a

drawer in the frieze and a cupboard in the concave lower part, duncan phyfe buffet on square tapering feet, antique furniture referance the whole banded in satinwood and inset with satinwood panels, george 111 mahogony bureau bookcase 3ft. 8in. high by 2ft.

6in. wide (112cm. by 76cm.) circa 1805.

A REGENCY BRASS-INLAID ROSEWOOD CHIFFONIER, claw feet antique 1819 end table the superstructure with a pierced gilt-metal gallery on baluster supports joined by a gilt-metal X-stretcher and with two drawers

below, crested silver hot water jugs the lower part with a fitted writing drawer and a pair of cupboard doors below with trellis flanked by columns, carved 19th century table bulbous carved legs on toupee feet, 3 foot high cherrywood table 4ft. high by 2ft. 9in. wide (125cm. by

84cm.) circa 1810.

A LATE GEORGE III ANTIQUE BREAKFAST TABLE, ironstone markings the rectangular top with rounded corners and raised on a bulbous turned column with four saber legs, russian bureau a cylindre 5ft. wide (152cm.) circa 1810, taisho teapot eggshell

possibly originally part of a pedestal dining table.

A PAIR OF REGENCY ROSEWOOD AND ANTIQUE SIDE CABINETS, english 18th century country chairs each with a marble top above an outset pediment applied with a brass trellis grille against a pleated silk ground, antique bookcase 1920s flanked

by baluster pillars centered by receded brass mounts, antique chair round cane seat short arms on ball feet, antique watches (curtis) 3ft. high by 3ft. 5in. 4in. deep (94cm. by 104cm. by 41cm.) circa 1815.

A PAIR OF GEORGE III PAINTED ARMCHAIRS in the French style, antique blue mirror glass the molded frames with cartouche shaped backs headed by a flower, spanish oak chests with padded arms, late 18th century oval gilt rococo mirror with 3 candle holders the serpentine seatrains

similarly carved and raised on cabriole legs headed by fan panels, antique walnut swivel top game table circa 1775.

A GEORGE III SATINWOOD READING TABLE with hinged, lyre mirror desk rectangular leather-lined top on ratchet support with a drawer in the frieze and square tapering legs, english medieval beds the frieze inlaid with

lozenge panels, 1930 antique designs desks 2ft. 5V2in. 4lhin. wide (75cm. by 72cm.) circa 1790.

A REGENCY BRASS-INLAID CARD TABLE in ANTIQUE with a broad rosewood cross banding, sheffield silver caldelabra the swiveling top of bowed rectangular form, royal worcester 1890 saucer the conforming frieze inlaid with brass and ebony

and raised on two pairs of elegant lyre shaped legs and elegant scrolling stretcher, japanese metalwork 2ft. wide (90cm.) circa 1815.

A RARE ANTIQUE HARLEQUIN WRITING CABINET, bronze by jules mene stallion and mare 1800’s the hinged rectangular top opening to reveal a fitted writing interior with a rising case of six drawers, portuguese eighteen century furniture and a leather-lined panel

folding forward to turn into a sloping surface and revealing inkpots and compartments, antique drop leaf dining room table with spindle legs the frieze with a dummy drawer and four short drawers below, english tea caddy 19thc. joinery raised on a U-shaped double

scroll support centered by an anthemion on four leaf-carved scroll legs, pierce automatic rubis 25 the brass feet cast with fruit and anthemion, extra long antique dressers 2ft. high by 2ft. 7in. wide (89cm. by 79cm.) early 19th

Century, myott porcelian possibly American.
This is similar to models made in Boston, georgian spider leg table circa 1815.

A REGENCY ANTIQUE WRITING TABLE, 19th century reproduction boudoir table the rectangular molded top with outset rounded corners and inset with a gilt-tooled green leather panel, barker brothers antique with three frieze drawers at each

side, pillar bookcase on ring-turned tapering legs ending in castors, antique furniture uk 2ft. wide (77.5cm. by 153.5cm.) circa 1810.

A PAIR OF REGENCY BLACK JAPANNED CORNER CUPBOARDS, how spring-driven alarm clock works each with a pair of bowed doors, germany chest of drawers baroque one enclosing three adjustable shelves, antique furniture dallas texas the other with nine graduated drawers, antique glazed clay jugs for sale the three

front legs each with a brass paw foot, repair antique spring bottom chair decorated with gilt chino series on black, lille antique silver glass vase 2ft. 82in. high by 2ft. 6in. wide (82cm. by 76cm.) circa 1810.

A RARE ZEBRA-WOOD COACHING TABLE, furstenberg commedia figures the rectangular top with rounded corners and a folding X-frame support joined by turned stretchers, brass claw feet for duncan phyfe drop leaf table 3ft. wide (91cm.) first half of the 19th

Century.

A RARE GEORGE IV ANTIQUE SECRETAIRE CABINET, antique 3 legged side tables the galleried upper part with a paneled flap enclosing pigeon-holes and drawers, antique armchair the frieze drawer opening in conjunction with a

slide with leather-lined slides, royal worcester (rose, pink) gold antique book support and writing compartments above a pair of paneled cupboard doors flanked by receded corbel pilasters, bedside pillar tables 3ft. (116cm. by 108cm.) circa

1825.

A PARCEL-GILT ROSEWOOD AND SCAGLIOLA CENTRE TABLE, little 17 century iron chest the circular top painted with two young men seated near a stream beside a wood and some ruins within a border interlaced

acorns and oak leaves, value of mid-victorian chairs on three term supports with paw feet joined by a concave-sided stretcher, pales spanish porcelain 2ft. diameter (79cm. by 88cm.) circa 1810.

A PAIR OF LATE GEORGE III ANTIQUE ARMCHAIRS with turned top rails above a panel and ogee trellis crossbar, antique finder bill cotton country chairs october 1973 the arms on elegant baluster supports and the bowed caned seats on

turned front legs, engraved copper samovars circa 1800.

A PAIR OF REGENCY OCCASIONAL TRIPOD TABLES, antique sheridan style sidetable the square cube parquetry tops in various exotic woods, art deco chest of drawers cedar lined on grained rosewood and parcel-gilt baluster supports, italian cabinet handles hipped saber and

parcel-gilt legs, tortoise shell antiques 2ft. 4in. 3in. wide (72cm. by 38cm.) circa 1810.

A FINE PAIR OF LATE GEORGE III GILTWOOD EAGLE WALL BRACKETS each with a bowed rectangular platform with petal-carved edge supported on the outstretched wings of a well carved

eagle with chains of gilt balls held in its beak, edwardian satinwood and crossbanded kidney pedestal desk antique on semi-circular receded bases crisply carved with leaves3in. high by wide (38cm. by 32cm.) circa 1800.

A SET OF SIX LATE GEORGE III PAINTED CHAIRS, bristol 18th century the topsails with ribbon-tied sprays of palm leaves and wheat, style armchair short chaise type upholstered the X-frame crossbars painted with pearls, antique furniture elkhart indiana with caned seats and

turned legs, pembroke spindle leg table all on a simulated rosewood ground, antique scrolled half brass curtain rails early 19th Century.

A REGENCY ANTIQUE CYLINDER BUREAU BOOKCASE, coalport colbalt blue batwing the molded top carved with arches, english 16th century furniture with a pair of astragal glazed doors enclosing three adjustable shelves and flanked and divided

by cluster columns, flat sided antique silver jug the flap enclosing a fitted interior with a sliding leather-lined adjustable surface with three drawers below, wanted masons ironstone regency pattern on short molded feet, staffordshire porcelain, turquoise, gilding 7ft high by 3ft.

8in.wide by 9in. deep (215cm. by 112cm. by 53cm.)circa 1810.

A REGENCY ANTIQUE SOFA AND GAMES TABLE, french black pear wood chiffonier the rectangular top with rounded corners and two hinged flaps cross-banded with a sliding centre section opening to reveal a backgammon

well and reversing to reveal a chess board with two drawers in the frieze raised on a bulbous turned column and four saber legs, antique clock square black gold case 4ft. 9in. wide (142cm.) circa 1815, antique victorian upholstered scroll back armchairs the legs

with later ormolu mounts.

A REGENCY ROSEWOOD SIDE CABINET, card table 17th century the galleried superstructure with brass scroll supports and a mirrored back, antique armchair in french the lower part with a brass-inlaid frieze above a pair of doors

with brass anthemion corners and flanked by free-standing columns, worcester parian 3ft by 3ft. 2in. wide (119cm. by 97cm.) circa 1810, antique settee bed the doors faced with pleated green silk.

A REGENCY ANTIQUE AND PARCEL-GILT FOOTSTOOL, french veneer antique childrens furniture painted the rectangular upholstered seat on X-shaped legs carved with lion masks, antique bookcase cabinet foliage and acanthus leaves and with brass flower head

and anthemion mounts joined by a turned and leaf-carved gilded stretcher, round antique mahogany, leather card table on gilt lion-paw feet, oak roll top desk uk (47cm. by 57cm.) circa 1810.

A RARE ANGLO-INDIAN ROSEWOOD LOW TABLE in the Chippendale style with pierced fret gallery, escapement anchor big ben pierced apron, articulated iron meiji and pierced square tapering legs ending in block feet. 63Ain. high by

3ft. 3in. wide (47cm. by 99cm.) first half of 19th Century.
This table was reputedly made for Jam shied Behrman Wades (1756-1821), cots made of silk oak timber a member of the famous Indian shipbuilding family and an ancestor of the present owner. It was made in the

early 19th Century copying an English silver table of circa 1760 which belonged to a member of the East India Company. The present piece was made for the Wada home, antique carved tea card table Lowie

Castle, myott son and company pottery england, platter Meagan, cigarette lighter paris s.g.d. Bombay. There is a portrait of Jam shied Wada by Nash in the National Maritime Museum, how to make plaster picture frames Greenwich. Amongst other ships that he built was the “Minden” on which

Francis Scott-Key composed The star-spangled banner while he was imprisoned aboard during the bombardment of Fort McHenry in Baltimore Harbor. It was completed on Tuesday 19th

June 1810 and launched under the auspices of the Hon. The Governor of Bombay, french regence chair leg Jonathan Dunces. The Minden was in its day one of the most famous ships in the Royal Navy, cherrry valley stickley chairs and to

quote Basil Lubbock from his book Blackwell Frigates. . . “The world has seen many great ship building families and by no means the least of these were the Wades”. The oldest

sailing ship in the world still afloat and now used as a Naval Cadet Training Ship.

QUEEN ANNE Mirror, bun foot chest of drawers CHARLES II CABINET STAND, coalport colbalt blue batwing WILLIAM AND MARY OYSTER-VENEERED WALNUT CHEST ON STAND, round inlaid tilt table QUEEN ANNE WALNUT SECRETAIRE CABINET

A FINE PAIR OF GEORGE III SATINWOOD CUTLERY BOXES, meissen figural candelabrs each sloping lid inlaid with a shell patter, lion paintings antique the breakfront lower parts each with a handle with silver back plate and a silver lock plate and shield engraved with a cross, antique pinecone dishes on bracket feet, ironstone tea cups 3in. high by 9in. wide (38cm. by 23cm.) circa 1785, slovakian china makers one with lock plate missing, table chairs oak sideboard tudor the interiors now lined with camphorwood and fitted for stationery.

A GEORGE III SATINWOOD CUTLERY URN en suite with the preceding pair and sanitary inlaid with an arrowhead banding and with a turned finial and soles, inlaid wood bookcase with molded rectangular base, small anique gateleg table on bracket feet, antique furniture bellingham washington 28in. high (71cm.) circa 1785

A FINE PAIR OF GEORGE III GILT-METAL WINE COOLERS each with an averted frieze cast with palm leaves above a subsidiary frieze of fruiting vines mounted with three brachia masks, american art deco chair the urn-shaped bodies each supported by three displayed eagles standing on molded circular bases engraved with coats of arms, antique gate leg table (31cm.) early 19th Century

The arms of those of Anson impaling Coke for Thomas, small bentwood chair 1st Viscount Anson (1767-1818) created Viscount Anson, empire revival buffet co. Stafford and Baron Sober ton of Sober ton, 6-legged antique dining table co. Southampton on 17th February, simple antique bookcase 1806. Lord Anson married Anne Margaret, gateleg table with scallopped edge daughter of Thomas William Coke of Hookah Hall, high mahogany 4 post tester bed co. Norfolk, carlton table afterwards Earl of Leicester Rundle, antique provincial canadian armoire Bridge and Rundle are known to have made pieces of this quality in ormolu as well as silver in the early to mid-19th Century.

A GEORGE III MAHOGANY PEAT BUCKET with a circular lid above a brass handle
and a heavily ringed slightly tapering brass-banded body, 20th century circular display cabinets .

A GOOD GEORGE III MAHOGANY SPINNING WHEEL with the label made by John Plantar, semi circle table with leather inlay at Fullness, 1930s highboy cupboard near Leeds, chairs britsh the table stand with a drawer and splayed square legs joined by stretchers, antique pair of 19 th century glazed pottery british figurines early 19th Century

Similar Spinning Wheels by Plant are to be found at the Victoria and Albert Museum (W89-1911) Temple Newsman House, antique punch bowl iris flowers Leeds, vintage lantern clock Cannon Hall, antique bronze boy & girl lamp near Brantley, victorian satin birch bedside and the Manchester City Art Galleries (1902-1342)
This whole group is illustrated and discussed by Christopher Gilbert, antique chest with bowed top drawer “John Plant of Fullness, iron wooden leg bed antique Yorkshire.

A GOOD CHARLES II WALNUT MIRROR, edwin flinn allasley r co 18861 pocket watch in the manner of Grin ling Gibbons, importing antique furniture from france to japan the rectangular frame vigorously carved with fruit, antique draw leaf table french scrolling leaves and flower heads, pedestal walnut with two cherubs 9tn. high by 2ft. wide (84cm. by 61cm.) circa 1680.

A RARE William and Mary Overmatch. Glass, carved flowers antique walnut twin beds the triple-divided plate with a scalloped mirror-glass border mounted with dark bines glass pane, italian swag 18th century 2ft.. high by 6ft. wide (77cm. by 183cm.) late 17th Camay, vintage kidney-shaped small desk some glass replaced (pieces loose).

A QUEEN ANNE Mirror, english silver christening mugs from 1820 the arched and bedded plate within a gilt frame with black painted decoration and bodied bolder glasses, bessarabian carpet high by 2ft. 33Ain. wide (166.05cm. by 70.05cm.)area 1719.

A QUEEN ANNE OVERMANTEL MIRROR with a serpentine top, vintage hand painted glazed toreen with with red flowers and yellow signed the shaped beveled centre plate flanked by two engraved plates and surrounded by beveled border glasses, value staffordshire flatbacks 2ft. high by 3ft. 84in. wide (61cm. by 112.05cm.)circa 1710.

A CHARLES II CABINET STAND, austrian carved 18th century chairs the rectangular top over a deep pierced and leaf-caned frieze centered by a classical figure, made in germany chamber pot inside eye on carved cabriole legs with cherub supports, sheraton bonnet chest . high by 3ft. 8in. wide (82.05cm. by 112cm.) circa 1660, william and mary small tilt top table now converted to a side table by the addition of a marble top.

A WILLIAM AND MARY WALNUT CHEST ON STAND with two small and three long drawers, antique cherry wood table worth the stand with a long drawer and onion-turned legs joined by stretchers raised on bun feet, antique chest hasp 4ft. 8in. high by 3ft. wide (142cm. by 92cm.) circa 1690, french louis xv coffee central tables on ebay extensively restored.

A WILLIAM AND MARY OYSTER-VENEERED WALNUT CABINET ON STAND with a cushion frieze drawer and a pair of doors veneered with lobed circles and quadrant spandrels enclosing an arrangement of eleven drawers and a cupboard, slotted antique bed rails the stand with a drawer, 1865 english occasional table on spiral-twist legs joined by a laburnum-veneered X-stretcher, e ingraham clock december 1816 4ft.. high by 3ft. 2in. wide (143cm. by 97cm.) circa 1695, mirror frames inlaid with shell stand restored.

A WILLIAM AND MARY WALNUT CANDLE STAND with octagonal top, grand regency sideboard on turned and faceted stem and tripod scroll feet, sideboard art nouveau 3ft. 3in. high (99cm.) late 17th Century.

A WILLIAM AND MARY BURR-WALNUT CANDLE STAND, antique venetian mirror the lobed molded top above a baluster-turned and octagonal tapering stem, arch case watch with two dials the tripod stand with heavy scroll legs, antique card table folding pedestal 2ft. high by Whim, cabriole leg antique footstools diameter (89cm. by 27cm.) circa 1695.

ANOTHER CANDLE STAND similar, lion claw pendant 3ft. 2in. high diameter (97cm. by 28cm.) stem and top circa 1695, english rockingham wares now with cabriole legs carved with leaves at the knees.

A WILLIAM AND MARY MARQUETRY SECRETAIRE, 18th century wooden pier tables with a cushion drawer above a fall front inlaid with a central reserve of a basket of summer flowers in various stained woods and ivory, gothic style panel linenfold within a cross banded border and four conforming sections enclosing a fitted interior of eleven short drawers and a single cupboard door, antique gateleg side the pigeonholes now fitted with lead-lined compartments for tea, edwardian bookcase the sides inlaid with a parrot seated on a branch; the lower part with two short and two long drawers each with oval panels of summer flowers and leaves, walnut inlay corner hutch now on bracket feet, antique oak wall cupboard 5ft. 32in. high by 3ft. 103Ain. wide 7in. deep (161cm. by 118.5cm. by 48cm.) circa 1695.

A WILLIAM AND MARY OYSTER-VENEERED WALNUT CHEST ON STAND in well-¦gored wood with burr-wood stringing and banding, upholstered sideboard the top with concentric circles and who quadrant spandrels, brandt and hepplewhite-style demilune console card table with two short and three long drawers, antique mahogany roll top desk the stand with a drawer, antique side sewing table with tiered hinged mm spirally twist legs joined by waved stretchers, high point bending antique chairs 3ft. high by 3ft. 4′hin. wide 019cm. by 103cm.) circa 1695, antique furniture bridgeport connecticut base restored.

A QUEEN ANNE BLACK JAPANNED COFFER with a rectangular molded lid, light table free wordpress theme plain frieze and sides decorated over all with landscapes and river scenes with Chinese figures and pagodas in red and gilt on a black ground, price of japanned 18c highboy with engraved brass escutcheon and clasps, antique bed end table attached englis on bun feet, yew wood parts windsor chairs the sides with carrying handles, american gateleg console 2ft. 7in. high by 5ft. Sin. wide (79cm. by 160cm.) circa 1710.

A WILLIAM AND MARY WALNUT SECRETAIRE, royal ivory porcelain wheat sheaf the burr-veneered front with a cushion frieze drawer, antique table with extendable leg the cross-banded flap with a four-tumbler lock, art deco dining furniture of the 1920’s an arrangement of drawers and removable pigeon-holes round a cupboard, anglo indian cabinet with two short and two long drawers and bun feet, zenith neuchatel clock bracket 5ft. Sin. by 3ft. 82in. wide (165cm. by 113cm.) circa 1690.

A QUEEN ANNE WALNUT SECRETAIRE CABINET, antique buffet victorian ock 1860 the molded top with a cavetto : with a mirrored door enclosing four drawers, tea caddy en grisaille the lower part with a fitted secretary r, silver plated kettle pot stand and three drawers below, antique german silver beaker with carrying handles, antique 3 leg empire table on later bun feet, antique gilded porcelain fairy vase with handles 6ft. 6in.

A GEORGE I GILT-GESSO TABLE, 18th century reproduction chest serpentine distressed the rectangular top with indented corners and carved with strap work and foliage on a stamped ground, neo classic design table for top the frieze and projecting apron carved with stylized leaves and raised on chamfered legs ending in pad feet, antique silver bowl with star marking 2ft. 42in. high by 2ft. wide (73cm. by 88cm.) circa 1720, pear-shaped coffee pot silver back legs repaired.

GEORGE I GILT GESSO CENTRE TABLE, photos antique half round vertical chest QUEEN ANNE WALNUT SETTEE, jug and bowl 18th century REGENCY BURR-ELM LIBRARY TABLE, the value of a 1900’s settee with chairs ORMOLU-MOUNTED COMMODE

A FINE GEORGE I GILT GESSO CENTRE TABLE, huge 1880 eastlake antique double mirrored wardrobe the rectangular top with projecting nodded corners and carved with leaves and strap work on a stamped ground, roger capron herbarium with leaf-orbed frieze and turned leaf-carved legs headed by well modeled Indian masks and IWIIIL in leaf-carved pad feet, maltese silver marks 3ft. 10in. wide (117cm.) circa 1720, antique indian carved table gate leg now cut in half to form a pair of console tables.
McGuire, egyptian book case The Age of Mahogany, 1807 fusee pocket watch page 30, antique scottish punch bowl figure 26, seventeenth century english stools illustrates a table in the collection of the Duke of Devonshire at Chatsworth with similar Indian masks on the legs.
Another similar table in the collection of Lord Plunder, antique coffee table inlaid tray nudes legs G.B.E., gentlemen wardrobe is illustrated in R. W. Symonds, victorian table lacquered black mother pearl Masterpieces of English Furniture and Clocks, antiques ladle with pearl hand page 70.

A QUEEN ANNE WALNUT KNEE-HOLE SECRETAIRE WRITING TABLE with a molded cross-banded top, round antique dumb waiter the cross-banded front with a fitted secretaries drawer, antique pewter spoon hl with three drawers either side of a recessed knee-hole cupboard, antique chinese porcelain serving tray on bracket feet, values of walnut/marble antique dressers 2ft. 5in. high by 2ft. Bin. wide (74cm. by 76cm.) circa 1710, antique tudor gate leg tables secretaries drawer later, ogden longcase clock bracket feet replaced.

A QUEEN ANNE MINIATURE WALNUT CABINET with a molded cornice, amreican art moderne sideboards the door veneered with a pair of chevron-and cross-banded panels and enclosing pigeon-holes high Bin. wide (39cm. by 46cm.) circa 1710, desk kem weber on a modern walnut-veneered stand with four square chamfered legs, finchenhagen norway left. 9in. high (53cm.).

AN UNUSUAL QUEEN ANNE YEW-WOOD TABLE of rectangular form with cut corners inlaid with boxwood and ebony stringing and cross banded in walnut, spiral leg antique oak table on slightly cabriole legs ending in pointed pad feet, capitonee decoration 2ft. 4in. high by 2ft. 7in. wide (71cm. by 79cm.) circa 1705.

A GEORGE I WALNUT STOOL with a rectangular drop-in seat, antique scandinavian carved chair with face on cabriole legs ending in pointed and scrolling pad feet, antique cupboard on astand 9in. wide (53cm. by 45cm.) area 1720.

A GEORGE I GILTWOOD MIRROR with a swan-neck cresting centered by a leaf-carved cartouche, william & mary elm gateleg table for sale the rectangular plate surrounded by a molded acanthus-carved frame with shaped apron, 1920’s louis the fifthtenth 3ft. 6in. high (107cm.) circa 1720.

A FINE QUEEN ANNE WALNUT SETTEE with a stuffed rectangular back, french antique half tester outset stuffed over scrolled arms and squab cushion covered in contemporary wool and silk petit point worked on a brown ground and with eight octagonal polychrome panels of figures including a huntsman, ancient mirror with 2 birds a lady with a lute and a hog, a george 2 ash upholstered wing armchair figures dancing and a man with a trumpet and a horse, armchair carving bobbin with three cabriole front legs ending in pad feet, antique beds gothic with turned stretchers and back legs, trestle gateleg butterfly 6ft. 8in. wide (203cm.) circa 1710, antique italian neoclasical urns pottery and porcelain the needlework probably composed from cushions circa 1730.

A GEORGE I WALNUT CHEST of two short and three graduated long drawers, caudle cup high by 3ft. wide (104cm. by 100cm.) circa 1725, collinson & lock catalog probably originally the part of a tallboy or chest on stand, antique silver water urn with stand later top and bracket feet.

A GEORGE I WALNUT BUREAU, 1850s antique bed with trundle the sloping front enclosing a fitted interior awarding a well with two short and two graduated long drawers below, antique karabakh carpet flowers on bracket feet 4m. high by 2ft. 83Ain. wide (102cm. by 83cm.) circa 1725, b. g. inlay work germany extensively restored.

AN EARLY GEORGE II MAHOGANY TRIPLE-TOP GAMES TABLE, louis boulle flat desks the rectangular top with projecting corners and opening to reveal a polished interior, caned bergere chair a leather-lined interior with money wells and candle stand corners, antique furniture importer reproduction and a third interior inlaid for chess and backgammon with a well below and a small swing drawer on one side fitted for writing implements, cuban mahogany wood grain on turned legs ending in small pad feet, metal chest with desk antique 2ft. 7in. high by 2ft. wide (78cm. by 85cm.) circa 1730, italian commode, ivory inlay, 17th century, concave feet replaced.

A SET OF SEVEN GEORGE I WALNUT DINING CHAIRS including an Armchair, value of a small decorative vase/made in brazil in 1924 the molded wasted backs with vase-shaped splats carved with leaves, swedish armchair 1700s with out curved arms carved with acanthus and down curved supports, regency style caned seat, back, sides chair within and petit point needlework seats and cabriole legs carved with acanthus at the knees and ending in ball and claw feet, ancient authentic middle ages gothic furniture circa 1725.

A GEORGE II MAHOGANY DROP-LEAF TABLE with an oval molded top and a frieze drawer, rvlc furniture on cabriole legs carved with C-scrolls and leaves at the knee and ending in hoof feet, william and mary antique cabinet 2ft. Sin. high by 3ft. wide (74cm. by 121cm.) circa 1740.

A GOOD EARLY GEORGE II GILT OVERMANTEL with a rectangular beveled glass within a border of mirror-glass, bristol hard paste the cresting centered by the arms of Stewart, 18th century coat stand Earl of Darnley, antique tables collectors Earl and Duke of Lennox supported by wolves, rococolegs furniture (crest probably missing), royal dux retriever the plate flanked by chains of fruit and flowers including peas and grapes, victorian breakfast table inlaid paws 4ft. 9in. high by 3ft. Bin. wide (145cm. by 107cm.) circa 1725.

A GEORGE II GILTWOOD LOOKING GLASS, savonnerie carpets the rectangular beveled mirror plate within an egg and dart molded frame, duncan phyfe dressing table the apron cantered by a shell and flanked by brass candle holders, antique clock movement swings right to left the architectural broken pediment with a heraldic cartouche, fluted oriental scene delft 5ft. 3in. high by 2ft. wide (160cm. by 79.5cm.) circa 1730.

A MAHOGANY “MANX” TRIPOD TABLE, french directoire lighting design periods the circular hinged top on a “birdcage” support, what were clocks in the 19th century made of plain pillar and cabriole legs each carved in the form of a man’s leg with breeches and buckled shoe 2ft. 4in. high by 2ft. 8in. diameter (71cm. by 81cm.) mid-18th Century .

A PAIR OF GEORGE II MAHOGANY MIRRORS, self adhesive black velvet the beveled mirror-plate within an egg and dart-carved molded frame scrolled at the base and carved with acanthus-leaf and bead decoration, hepplewhite furniture drawings 3ft. 72in. high by 2ft. 52in. wide (100cm. by 75cm.) circa 1740.

A FINE REGENCY BURR-ELM LIBRARY TABLE, barnard bros silver condiment pot the rectangular top banded in pierced brass and rosewood panels, walnut bead making desk over two frieze drawers with star brass handles, antique clocks dealer lund and blockley the end standards formed of a double scroll mounted with parterre and palmate above a concave molded base with brass-inlaid decoration on leaf-scrolled brass feet, antique library table with claw legs and medalion columns 2ft. 53kin. high by 4ft. 2in. wide (75.05cm. by 127cm.) circa 1820.

A HIGHLY IMPORTANT GEORGE III ORMOLU-MOUNTED COMMODE, draw a small leaf attributed to

Pierre Lang Lois. The serpentine top with concave ends veneered in rosewood and cantered by an inlaid flower-filled urn in various stained and colored woods within a rosewood cross banding enclosed in a flush ormolu rim above an egg and dart molding; the two bow-front drawers cantered by ormolu flower head escutcheons, renaissance furniture building-console tables with ormolu handles and corner mounts above a shaped apron and flanked by vigorously scrolled sides, glass sided short buffet antique ormolu-mounted and with scrolling toes, marks on biscui of sevres the concave ends with ormolu-mounted panels, coulin verge 2ft. 9in. high by 5ft.. wide by 2ft. deep (84cm. by 180cm. by 65cm.) circa 1760, antique new hall plate locks removed Literature: This commode is illustrated in Pierre Lang Lois, antique bentwood rush rocker Ebonize, mahogany victorian sideboard with mirror chiffonier by P. Thornton and W. Raeder, single antique mahogany pedestal tables with drawers The Connoisseur, louis xv light brass appliques 1971/2, antique gold brooches with bull head part 3, old antique birch wood secretary door fig. 23 (March 1972). The pair to this commode is in the Henry E. Huntingdon Library and Art Gallery, lowboy compass marquetry San Marino, louis xvi marquetry sidboard U.S.A., 1940 french provincial drawer handles and illustrated by Thornton and Raeder figures 21/22. An almost identical set of four, sennin with mushroom netsuke the tops inlaid with brass, pink antique chinese rugs is in the Royal Collection at Buckingham Palace and Windsor Castle; See Thornton and Raeder, antique porcelain, markings, louis xiv. part 3, antique asymmetric back upholstered chair figures 19/20; also the Furniture of Windsor Castle by Guy Francis Lacing, drop in seat chair damaged london M.V.O., dining table against wall S.F.A., dutch antique chair 1690 plate 15; also Chippendale Furniture by Anthony Coleridge.

A GEORGE III MAHOGANY COMMODE, borghese gladiator bronze antique in the manner of John Cobb, 18th century new hall porcelain the serpentine front with slide above three long drawers with shaped front and split feet, antique picture frame rectangular wall mirror 2ft. 8in. high by 3ft. 42in. wide (81cm. by 102cm.) circa 1770.
Compare with a very similar commode in the Victoria and Albert Museum, top and bottom married tallboy highboy W.55-1937, antique french money collectors and illustrated in Maurice Tomlin, antique yellow three pronged dish Catalogue of Adam Period Furniture.
Another example, antique silver flower vase sconces with ormolu mounts, antique shaped apron tapered leg table is illustrated in Antiques Preview, value of older dining table porcelian wheels June/ August 1951.

A LATE GEORGE II GILTWOOD PIER GLASS, bobbin turned chairs the shaped central mirror plate surrounded by several small mirrors and surmounted by one large mirror, french dining chairs made in italy all contained in frames boldly carved with leaves, chairs 1840-1900 recall C-and S-scrolls and with three perched eagles, antique bed side tables the apron with a central rococo cartouche, 1940 mahogany pedestal claw foot dining table 8ft high by 5ft. 2in. wide (212cm. by 157cm.) circa 1755, 1920,s pilaster style french cabinets possibly Irish, prices of 17th and 18th century period tables de gibier one eagle missing
Provenance: Viscount Gore Castle, bentwood chair with carved seat Co. Galway

A GOOD PAIR OF EARLY GEORGE III MAHOGANY ARMCHAIRS, antique carved sideboard with side cupboards and shield mirror each serpentine top rail carved with flame motifs and bells, valton bronze fairy with an elaborate pierced interlaced strap work splat, antique furniture warehouses the arms with unusual ribbed supports and the stuffed serpentine fronted seats on square legs pierced with fretwork and with pierced fret H-stretchers, antique furniture orange county circa 1765.
A set of twelve chairs with very similar splats was sold in these rooms, galleried ballister tripid table 22nd June, antique card tables with claw feet 1979.

GEORGE II MAHOGANY SERPENTINE-FRONTED CHEST OF DRAWERS, GEORGE II WALNUT LIBRARY ARMCHAIR, PEMBROKE TABLE

A FINE PAIR OF GEORGE III MAHOGANY ARMCHAIRS, the www.french candleabra molded scrolling top rails cantered by acanthus leaf, with pierced scrolling Gothic splats, the large brass casters for tables out curved arms with shapedmounded supports, the bergman spelter camel stuffed seats on cabriole legs carved with acanthus and with French scroll toes, circa 1765.
M. Harris and Sons, The English Chair, page 121, plate XLIXA, illustrates an almost identical chair.

A GOOD LATE GEORGE II MAHOGANY SERPENTINE-FRONTED CHEST OF DRAWERS,
the top with an egg and dart edge, with four graduated drawers flanked by blind fretwork, on gadrooned ogee bracket feet, 3ft. 42in. deep (103cm. by 116cm. by 59cm.) circa 1755.

A GEORGE II MAHOGANY TRIPOD TABLE, the antique walnut gateleg table circular hinged top with waved border, on fluted stem with leaf-carved base, the slovakian gold and flower decorated dark blue glass vases legs headed by leaves and continuing into well carved scrolled feet, 2ft. 3in. high by 2ft. wide (68cm. by 62cm.) circa 1750.

AN EARLY GEORGE III MAHOGANY TRIPOD STAND, the www.antique toilet paper roll holder toilet requisite co. london.com octagonal top with a pierced trellis and flower gallery on a columnar support with tapering scroll feet carved with flower heads and acanthus leaves, on later bun feet, 2ft. 4in. high by 2ft. wide (72cm. by 61cm.) circa 1760.

A SET OF THREE LATE GEORGE II MAHOGANY CHAIRS, each with a serpentine top rail above a vase splat pierced with vigorous Gothic strap work with mounded uprights, stuffed serpentine fronted seats and square chamfered legs, carved with blind Gothic fret, circa 1760.

A LATE GEORGE II MAHOGANY CARD TABLE, the chineese chippendale coffee table rectangular leather-lined top carved with a Gothic molding at the fluted half-round column wood mahogany images edge, the walnut bureau secret desk 1740 frieze and square legs carved with blind Gothic fret and with gutters feet, the george iii, chippendale value two back legs opening with concertina action, 2ft. Sin

A GEORGE II MAHOGANY SOFA with triple-arched back, over scrolled arms and loose-cushioned seat, covered in contemporary needlework with a vase and bunches of flowers on a beige ground within blue wavy borders also worked with vases and bunches of flowers, with molded chamfered legs, 6ft. 9in. wide (206cm.) circa 1755.

A GOOD EARLY GEORGE III MAHOGANY TRIPOD SILVER TABLE, the french antique cherrywood round dropleaf table circular top with a waved spindle gallery inlaid with a brass line, the silver punch ladle king pattern or mark bird-cage support on a fluted and twist-turned baluster, on cabriole legs carved with acanthus and ending in claw-and-ball feet, 2ft. 5in. high by 2ft. 2in. diameter (74cm. by 66cm.) circa 1760.

A GEORGE III MAHOGANY CIRCULAR TRIPOD TABLE with a pie-crust top, on a stop-fluted stem and tripod legs, carved at the emblem on silverware knees with shells and acanthus leaves, on claw-and-ball feet. high by 3in. wide (56cm. by 39cm.) circa 1760, top and bottom not originally together, carving later.
From the 19th century furniture makers in liverpool Percival Griffiths Collection. Sold at Christie’s, May 10th 1939.

A GOOD GEORGE II MAHOGANY LIBRARY ARMCHAIR with a stuffed serpentine top, padded arms on leaf-carved supports, a stuffed serpentine-fronted seat on cabriole legs and inscrolled feet carved with stylized leaves, circa 1755, back broken.

A LATE GEORGE II MAHOGANY ARMCHAIR with an almost square back, padded arms on plain down curved supports and the victorian draw leaf table stuffed seat on chamfered legs, circa 1755.

A GOOD GEORGE II WALNUT LIBRARY ARMCHAIR, the 17th century english antique settle stuffed back, padded arms and seat covered in contemporary solo tapestry of urns, flowers and birds on a green beige ground, the 19th century teapot identification molded arm supports carved with leaves, the 1840 armchairs cabriole legs carved with cabochons and stylized foliage and ending in pad feet, circa 1750.

A LARGE GEORGE II MAHOGANY OVAL DROP-LEAF TABLE in well figured wood with a broad banding and narrow cross banding, on four turned legs with pad feet, 5ft. Bin. high by 5ft.wide (168cm. by 180cm.) circa 1740, later banding and some feet replaced.

A RARE GEORGE II PADOUKWOOD KNEE-HOLE WRITING TABLE, the antique 17th century tables rectangular molded top set with a leather writing surface, with a long drawer in the 18c pine dresser frieze, a recessed cupboard flanked by three drawers, on bracket feet with castors, 2ft. by 2ft.. wide (75cm. by 91cm.) circa 1745.

AN OAK BOOK CABINET, with a molded and dentil cornice above a pair of glazed doors interrupted by shallow fluted pilasters, with a pair of cupboards below and with two shallow cupboards at each end, 7ft. 7in. high by 5ft. 6in. wide (231cm. by 168cm.) circa 1740.

A GEORGE II MAHOGANY ARMCHAIR with a stuffed serpentine top back, padded incurved arms with molded supports and the royal worcester with acorns stuffed seat on cabriole front legs carved with leaves and ending in paw feet, circa 1750, covered in modern wool needlework.

A GEORGE II RED WALNUT ARMCHAIR, the carved oak charles ii cane chair rectangular stuffed back with a shaped top with stuffed arms on acanthus-carved supports, stuffed seat, cabriole legs carved with acanthus and ending in claw-and-ball feet, circa 1755, covered in gross-point needlework.

A GEORGE III MAHOGANY PEMBROKE TABLE with rectangular top with two flaps with a drawer in the antique silver toilet box frieze and chamfered legs joined by stretchers and ending in gutted feet, 2ft. 8in. wide (82cm.) circa 1765
Formerly in the afshar rugs antique collection of Nelson Rockefeller.

A GEORGE III MAHOGANY CARD TABLE, the calendar clock manufacturers 1876 serpentine top with a fluted border and opening on a concertina action frame, the antique lawyers cabinet fluted frieze centered by a carved roundel and raised on molded cabriole legs ending with inscrolled feet, 3ft. wide (91cm.) circa 1765
An identical card table is illustrated in R. W. Symonds, Furniture Making in 17th and 18th Century England, figures 174 and 175.

A FINE AND RARE GEORGE II MAHOGANY TWO-PEDESTAL Dining TABLE each rounded end section with a spirally-turned column and tripod molded legs carved with leaves and ending in leaf-scroll feet, with one extra leaf, 5ft. 6in. long (168cm.) circa 1760, possibly Irish.

A GEORGE III MAHOGANY SMALL COLLECTOR’S CABINET, the writing desk with lock rectangular molded top above a fall front veneered to resemble a flap and a drawer and enclosing four graduated drawers, with brass loop carrying handles at the want to buy old leather mahogany tables sides, on bracket feet, 42in. wide (20cm. by 42cm.) circa 1790.

ANTIQUE FURNITURE INTERIORS

From such an advertisement one may pretty clearly visualise the interior of the house, which would have been that of fairly well-to-do people.   But there is no evidence that the furniture was considered exceptional in any way, and apart from its age the same furniture now would not be much out of the common.  Judging from the date of the sale and the description of the different pieces it is probable that the bulk of the effects were notable that the only wood mentioned is mahogany, but considering the ingratiating ways of auctioneers, one concludes that in this case mahogany was merely selected for distinction as being more likdy to be appealing to prospective buyers than other woods.   The advertisement as a document has, of course, no special interest, for hundreds of others of like character are easily to be found. Taken together, they afford a peep into ordinary middle-class homes of the time, and help one to realise what an enormous quantity of furniture must have been made in the country by utterly unknown makers.
Three great names always occur to us as representatives of the art of the cabinet-maker, and as far as style is concerned they do represent certain fairly well defined characteristics.   But to credit furniture of the class under discussion with the authorship of Chippendale, Heppelwhite, or Sheraton is absurd.   If a visit be paid to the nearest second-hand dealer’s shop it is almost certain that bits of furniture will be found quite palpably of eighteenth Century make, which cannot be identified as belonging to any one of the three styles mentioned.   I have seen many pieces of furniture, particularly chairs, which possess features characteristic of ail three makers’ work.  They might have been made anywhere and by anyone.   Considered as fine specimens of Chippendale, Heppelwhite, or Sheraton they are, of course, worthless, but as genuine old examples of the craft of the cabinet-maker they are interesting and often in very sound condition.   One cannot date them, for their design affords no assistance whatever, being impure and sometimes very naive in treatment.   Attempts have been made to group and classify such furniture, but it is almost impossible, though occasionally a little local character will crop out enabling one to say in what part of the country the maker lived.
An earlier advertisement of similar character, this time from the London General Advertiser of 1751 (which contains, by the way, some publishers’ announce-ments of the issue of the well-known works on architecture by William Halfpenny) runs :
The foregoing was from a fashionable town house. The French elbow chairs mentioned were not imported examples, but were made in what was then called the French style. Another sale advertisement from the same journal later on in the year describes these chairs better :  six fine French chairs, carved knees, elbows and Lion claws, stuffed backs and seats.” Most dealers and collee tors would call them Chippen-dale nowadays, and no doubt the great maker must have produced numbers of them.   The word furniture in these advertisements, and in the trade catalogues of the time, is often used to denote curtains, metal handles, escutcheons and other applied details to woodwork, as well as the constructed articles them-selves. Thus we have 1 a mahogany Bedstead with check Furniture,” and in the sale of the effects of one John Thompion, ” window curtains in Mohair, printed cotton, check and other Furniture.” The same custom obtains with regard to some Uttings in the trade to-day.
It is usual and in fact correct to date the decay in English furniture-making from about 1800 or possibly a Kttle before, but as the country cabinet-maker had been slow in taking up new fashions as they appeared so was he slow to discard them when he had become familiar with their features.   The result is that a good deal of furniture was made well into the nineteenth Century, of the utilitarian kind, which had little about it of the debased Empire feeling characteristic of later Sheraton work.   As time went on it became worse through lack of good example from fashionable sources and through the increasing interest taken in mechanical means of production.   But the writer has seen chairs, tables, sideboards, settees, corner cupboards and other pieces of furniture in country places, of quite pleasing design and of Georgian character which most certainly were not made before the nineteenth Century. Country-made mahogany (or more probably beech), ladder-back chairs, and corner or lozenge shaped chairs, chests of drawers (the latter rather given away by the mechanical turning of the feet), tables with large rectangular flaps, wardrobes with trays in the upper part, bureau book-cases, sofas, and other pieces are quite commonly met with which have a good deal of late eighteenth century character yet were made probably in the reign of
George IV. or even later.
Sofas quickly responded to the Empire feeling, but some examples are quite pleasant to look upon and are nothing like so vulgar and ornate as they became nearer the 1851 Exhibition. There are many round centre tables and rectangular sofa tables, both having spreading feet on castors, and usually spoken of as Georgian, which were in ail probability made long after George III., at any rate, was dead and buried. In the sense that much of such furniture was made before the last of the Georges departed this life, it may be said to be Georgian, but usually implies the eighteenth century before French influence in the time of Napoleon had made itself felt.
The following from an auctioneer’s advertisement in Gore’s General Advertiser, Liverpool, 1823, illustrates furniture which is stated specifically to be ” recently new.”   After commencing with the conventional ” That ” and  enumerating various household articles of no particular interest, the advertisement refers to  a set of dining tables with elliptical ends  which would be put down as not a bit later than 1790 by most judges of furniture to-day.   There is a curious reference to “an excellent Pedal Harp ” by Erard, and an assortent of ” Loo, Pembroke, Card, Snap and Dressing Tables   Auctioneers’ phraseology then, as now, was conventional, and advertisements of  the contents of different houses resemble one another sometimes too closely to be of much value to the student of old furniture. It is only when the run of the wording is broken by obvious attempts to describe some particular thing that one can visualise the article.
The York Courant for 178g contains several para-graphs of local colour.  One John Jameson advertises that he has been conducting his business of ” cabinet, Turnery and Toy Manufactory ” for twenty years and has ” supplied the First Families in England and Scotland, particularly in the articles of German and other Spinning Wheels.”  This reference to eighteenth-century spinning wheelsand late ones at that should be carefully remembered by those who imagine that an oak one with plenty of picturesque turnery about it must of necessity be Jacobean at least.  There are hundreds of spinning wheels in the possession of people who would be horrified at the mere suggestion that they could be a bit later than Charles II.   Yet they mostly date from the third quarter of the eighteenth century, when more wheels were required than ever before, and when the spinning jenny invented in 1764 had not as yet driven out the occupation of the domestic spinster.   Spinning wheels were, of course,made by a turner, not a cabinet-maker.
The York Courant for the same year also contains an advertisement of a sale of furniture which the auctioneer in a footnote says ” has been little more than a year in use.” It may be quoted in full as a record of the contents of a Yorkshire house of about 1797.
” Ail the elegant and modem Household Furniture
of William Barnett, Esq., of Abberford, consisting of Bedsteads with Mahogany posts, beautiful chintz, Dimity, and other Hangings, and Window curtains ; excellent bordered Feather Beds, Mattresses, Blankets Quilts, and Counterpanes ; Mahogany chairs, Dining, Card, Tea and Pembroke Tables ; single and double chests of Drawers, Basin Stands, Dressing Tables, etc ; two sophas, cushions and covers ; neat painted and stained chairs, two mahogany side-Board Tables and cellaret ; Pier and Dressing glasses in gilt and other frames ;  Floor, Staircase and Bed carpets ; two Passage Lamps and Floor Cloth ; Handsome Fire Irons ; a mangle, cloths and tables ; Kitchen requisite, Brewing Vessels and other efiects.”
The term ” basin-stand ” is interesting, and in ail probability refers to those of mahogany with round holes eut out for the reception of the various pieces of toilet ware. There are three-legged or tripod basin-stands made of mahogany which are usually credited to Chippendale. In second-hand dealers* parlance they are often known as  wig-stands.” The ” side-board tables and cellaret  indicate the development of the sideboard, which was first a table to stand near the wall, being afterwards supplied with side drawers and a centre drawer, a form which has never since been improved upon.
Other phrases which occur in eighteenth century auctioneers’ advertisements are : ” Six neat cabriole Drawing Room chairs and two elbow ditto, two neat mahogany knife cases, with table and desert knives and forks complete, Black handles, hooped and tipped with silver ; and three Shagreen Knife cases.” The Bristol Gazette for 1786 refers to ” Fluted Four Post, Field and other Bedsteads ” and Gore’s General Advertiser also refers to ” Field ” bedsteads and a “Press” bedstead.The London General Advertiser, 1751, enumerates amongst the furniture of a Hackney gentleman,  a travelling Field Bed ” …” a Bureau Bedstead, and a neat Settee ditto.”
The term ” field-bed  refers to a folding bed, but subsequently its meaning became extended. Murray’s Oxford dictionary gives the meaning to be ” A portable or folding bed chiefly for use in the field,” and supports the interpretation by the following quotations among others. 1590 : “A fair field-bed with a canopy.” 1709 : ” The Spanyard made his brags that he had turned the English ensigns into Spanish field-beds.” A second meaning is given as “a camp or trestle bedstead,” the illustrations being, 1592 : ” This field-bed is to cold for me to sleepe.” 1645 : ” The night is fled, and Dayes best Chorister kickes his field-bed with Scorne.” A further illustration dated 1754 suggests that field-beds were then commonly used in houses.
Heppelwhite’s ” Cabinet-maker’s and Upholsterer’s Guide,” dated 1788, also shews that they were used for household purposes, being simply tent bedsteads, the principal feature of which were the ” sweep ” tops to carry the drapery forming the tent. Two drawings of them are given in the book. They had four turned posts of quite simple and unimportant
character to support a light framework above, which was variously shaped, sometimes hooped, sometimes like a roof with sloping sides and a fiat top.   It was the form of this framework, stretched over with dimity or other material, and the curtains suspended from it, which combined to give the bed its character. The author has frequently seen them in old farmhouse and cottage bedrooms, but the term neld-bed appears to have  now become obsolete.   No particular value attaches to these old-fashioned beds, which were made well into the nineteenth century, but they have the interest of old association and are getting rapidly scarcer.
An amusing reference to tent bedsteads which could readily be taken to pieces and transported with the higgage when visits were paid by important people to houses at a distance is to be found in a letter written in 1779 by Dr. Thomas Eyre to Lord Herbert (after-wards Earl of Pembroke) who was in Vienna. It describes the visit of the King and Queen to Wilton House.
To accommodate their majesties with a good bed,” he writes,  I made interest with Mr. Skill, Mr. Beck-ford’s steward, to lend us his superb state bed, which was brought to Wilton, slung on the carriage of a wagon, without the least damage, at no small ex-pense ; but what signifies money when we want to entertain the princes of the land ; . . . when we had bustled our hearts out of a week before the time, lo and behold, when they arrived they brought a snug double tent bed, had it put up in the Colonade room where the state bed was already placed, in a crack, (sic) and slept, for anything I know to the contrary,
extremely quiet and well directly under Lord and Lady Pembroke’s and your honour’s picture by Sir Joshua Reynolds.”
A very careful description is given of a field-bed in Thomas Sheraton’s ” Cabinet Dictionary ” (1803), in which its connection with the camp bedstead is made clear. The author also gives a drawing which is much more detailed than the one in Heppelwhite’s book and illustrates the exact construction of the bed. Sheraton’s interpretation is a four post bedstead built so that the parts are easily separated and folded up. The posts, rails, and tester laths are each hinged in two or three places and when ail are taken down will pack into a case three feet eight inches long and nfteen inches square. He says in his notes on neld-beds, however, that they  may be considered for domestic use, and suit for low rooms, either for servants or children to sleep upon ; and they receive this name on account of their being similar in size and shape to those really used in camps.” N0 doubt the name ” field-bed  was applied indiscriminately for long after Sheraton’s time to indicate tent-beds of ail sorts, even though they may not have been made to fold up.
The press-bed referred to in the foregoing advertise-ment was simply the eighteenth-century interpretation of that very unsatisfactory arrangement by which a bed folds up to look like a wardrobe in the daytime. Heppelwhite gives no drawing of them, explaining the omission by saying : ” Of these we have purposely omitted to give any designs, their generai appearance varying so little from Wardrobes, which piece of furniture they are intended to represent, that designs
for them are not necessary.” Attention is called to the engraving of a wardrobe in the book which is described as having ” ail the appearance of a Press-Bed ; in which case the Upper drawers would be only sham, and form part of the door which may be made to turn up all in one piece, and form a tester, or may open in the middle and swing on each side ; the under drawer is useful to hold parts of the bed furniture ; may be 5 feet 6 inches high and 4 feet
long.”
Georgian furniture of the merely useful type was made in considerable quantities in the American colonies and has distinct character, mostly arising, however, from lack of means to interpret very correctly the features of English styles already developed, or from no particular desire being shewn to do more than adapt the main lines of the designs in the construction of articles of Utility. There are chairs made in America on the Windsor chair principle, and the American development of the rocker from the ladder back English and Dutch chairs is an interesting phase of the history of furniture.
Plenty of furniture was exported, but apparently for private individuals. The shipping records shew instances, but they are the barest possible notes, and are very rarely illuminating.
the omission by saying : ” Of these we have purposely omitted to give any designs, their generai appearance varying so little from Wardrobes, which piece of furniture they are intended to represent, that designs for them are not necessary.” Attention is called to the engraving of a wardrobe in the book which is described as having g ail the appearance of a Press-Bed ; in which case the upper drawers would be only sham, and form part of the door which may be made to turn up all in one piece, and form a tester, or may open in the middle and swing on each side ; the under drawer is useful to hold parts of the bed furniture ; may be 5 feet 6 inches high and 4 feet long.”
Georgian furniture of the merely useful type was made in considerable quantities in the American colonies and has distinct character, mostly arising, however, from lack of means to interpret very correctly the features of English styles already developed, or from no particular desire being shewn to do more than adapt the main lines of the designs in the construction of articles of utility. There are chairs made in America on the Windsor chair principle, and the American development of the rocker from the ladder back English and Dutch chairs is an interesting phase of the history of furniture.
Plenty of furniture was exported, but apparently for private individuals. The shipping records shew in-stances, but they are the barest possible notes, and are very rarely illuminating. From the V Liverpool Trade List” for 1798 one sees at a glance tliat woven and printed goods were the principal exports to the lately formed United States.   Thousands of yards of dimity, Irish linen, checked linen, printed calico, muslin, blankets, gingham, quilting and other materials for household purposes used to go out every week, but the furniture which would be an indispensable corollary of ail these fabrics must in the main have been con-structed in America, where wood was plentiful and cheap, for it only occasionally figures in the returns. To Jamaica, for instance, on one occasion, ” cabinet ware of the value of 50 ” was sent, to Virginia10 worth, to Maryland 80, to South Carolina 50, and Martinique 27.   Sometimes this is given as ” household furniture I and only in the cases of clocks, watches, and looking-glasses are the items separately enum-erated.   To Martinique by one boat from Liverpool in 1798 went forty-eight looking-glasses, to Jamaica two pier glasses, and to Tortola on one occasion six dozen time-glasses.   It is interesting to note in these lists of exports constantly recurring items such as I 20 carnage guns, 30 swivels, 4 carronades, 50 sword blades, 174 fowling pieces, and 14 pairs of pistols,M going for the most part to the Southern States, where Royalist sympathies in the War of Independence were strongest.
Windsor chairs are among these humble pieces of furniture of mere utility, and have been considered sufhciently interesting to justify a chapter to them-selves. But there are dressing tables, small corner washstands, with holes to take basin and dishes, little cupboards, sometimes inlaid with stringing or band appreciate to some extent. The small collector to whom the search for old things is as interesting as possession will still find local types if he applies himself with patience and assiduity in parts of the country which remained longest in rural simplicity after the Coming of the railway.  Parts of Yorkshire, Derbyshire, Lancashire, Wales and East Anglia, are still not denuded of old furniture, though the finest pieces have in most cases already found their way into big private collections.   There is a kind of round table with three legs used in farmhouses and cottages all over England which sometimes shows features of unusual interest. It may be made of ash or oak and is known in the home cou nties as a ” cricket ” table, some say because of the three legs suggesting the three stumps of the wicket. This is a very doubt reason for the name, and the writer has seen little wooden fireside stools in Derby-sbire, localy termed crickets, which had four legs and so met i mes only two ends connected by a tenoned rail somewhat after the fashion of Jacobean joined stools. So me ti mes these three-legged tables are connected by an underframing  shaped fashion im-mediately beneath the circular top, and many of them have no lower rails whatever and no arrangement for letting. They are simply tables made on the prindple of three-legged stools, are usually ex-ceedingly strong and very suitable for inclusion in the rurnisbing of a country cottage.  The legs are mostly square and tapering from top to bottom, splaying out to give stability. Some of these tables are more nearly related to the seventeenth-century gate-leg variety, though they have no gate. One picturesque form has a circular top which turns on a central pivot to permit of three flaps falling down, thus Converting the shape of the top into a triangle at will. There are lower rails to this table and the legs are often very neatly turned.
The country-made dresser is an attractive piece of furniture to the collector of modest means.  Nearly always the backing to the upper part has been added though the shelves may be original.  A quaint reference to the eighteenth Century dresser is found in the 1744 edition of Thomas Tusser’s  Five Hundred Points of Husbandry,” where, in commenting upon the author’s conclusions on hair being found in the cheese, the Editor says :   ” Wenches when they can get a Looking Glass, will be running into Places where they are least suspected and be combing and tricking themselves up ; and therefore it is not without reason, some neat House wifes cannot endure a Looking Glass to hang over a Dresser.”   This clearly pictures the old dresser as a necessary piece of household furniture at which domestic work was done, the shelves being used as convenient places on which to stand pots and pans needed while operations were in progress.  The dresser was not used principally in the eighteenth Century as a sideboard, and whatever decorative character the upper shelves had must have come from the pride of neat arrangement exhibited by house mistresses who liked to have the crockery with which they worked clean, tidy, and handy on hooks. An eighteenth-century dresser will have come from a kitchen, not from a parlour, which as we have seen was furnished with side tables and sideboards.

ANTIQUE 18TH CENTURY FURNITURE CABINET MAKERS AND ANTIQUE CABBET MAKERS AND FURNITURE BOOKS AND DRAWINGS

There are several references to painted furniture at Strawberry Hill which must, however, have met with the approval of the owner. In the inventory one reads of Welsh armed chairs, painted blue and white “… ” chairs, settees, and long stools on black and gold frames ” . . . ” chairs of Aubusson tapestry, the frames green and gold ” . . . ” six elbow chairs with white and gold frames,” and so on.
Many books were published about this time with the object of giving instructions for lacquering, and it may be mentioned that the craft is described also as ” vernishing ” and japanning. But the recrudescence of enterest in a pleasant and agreeable occupation for ladies had little in common with the painted furniture like that at Strawberry Hill, which was a distinct development of classic taste inaugurated by the Adam brothers.
In the main, collectors will find that the most useful point to remember in distinguishing this work is the character of the ornament, which was not Oriental but distinctly Western. Robert Adam brought from abroad Italian artists to paint the interior decorations of his buildings and to decorate the furniture he designed. The best known of these artists were Angelica Kaufrmann, Cipriani, Columbani, Zuchhi, and Pergolesi. A familiar form in which they exercised their most delightful art was in the decoration of painted plaques where classical figure subjects, groups of cupids, and pastoral scenes gave an intimate touch which had not hitherto been seen in furniture. Such medallions are usually oval or round and are seen on semi-circular satinwood commodes and cabinets designed by the Adam brothers or their imitators. Perhaps the finest existing specimen of this class of work is in the Victoria and Albert Museum. It is a toilet table of beautiful proportions designed by Sheraton and painted by Angelica Kaufrmann.
It is very unlikely, however, that the collector will find an unknown piece of this class of work, for it was not executed in the ordinary way of business, but specially commissioned for wealthy patrons. What is far more likely is that chairs, settees, Pembroke tables, card tables, bookcases, toilet glasses, bureaux and other pieces of furniture of the Heppelwhite or Sheraton school will be found here and probably in a damaged condition painted by journeymen in response to the fashion created by the brothers Adam and their Italian assistants. But the designs in all probability will not reflect the Italian taste of the day as much as the French, and instead of the figure plaques it will be found that the decoration consists more frequently of prettily executed wreaths of roses, festoons, twisted ribbon work, baskets of flowers, and attenuated acanthus ornament.
I Satinwood was the favourite material for pieces of furniture so decorated, but in many cases the wood does not show at all, being enamelled white all over, the painted decoration being applied over that. Coverings to chairs and settees of this kind were also painted, and those who have an opportunity of securing an example in which time and ill treatment have not destroyed the delicacy of the work may congratulate themselves on a very lucky find. Frequent cases are to be met with where a chair or settee, formerly enamelled and painted, has been cleaned entirely of its decoration, and renovated as a plain piece of furniture. Although this is, of course, regrettable, it is difficult to see what can be done with badly chipped enamel and half obliterated painted detail. They simply make the piece look a wreck, and no amount of restoration will ever bring it back to its original condition.
One must expect, however, ail old painted furniture to show signs of wear. It should also look mellow and soft. There should be no sharp edges and crudely contrasting colours. If the satinwood shows, there should be a distinct relationship between pattern and
background, difficult to describe but easily recognised after a few pieces have been examined. The patina should run right over the surface and the ornamentation
should suggest a sunken appearance. Old wood, particularly mahogany and satinwood, looks dull but transparent and deep in quality, like water in the shadows of a rocky pool. It was Sheraton whose painted furniture was executed with the satinwood shewing as a background, but Pergolesi resorted principally to treating the whole surface with enamel first.
In a chapter on English painted furniture reference should be made to the inventors of the varnish known as Vernis-Martin,” the most celebrated preparation of the eighteenth century for the execution of this class of work. It was a French discovery, and was known before 1730 when Simon Etienne Martin obtained from the French Government a monopoly of its use for twenty years. About 1750 there were several factories in Paris turning out Vernis-Martin. After that time the designs, which had at first followed Oriental models, became more purely French, and as English designers at this time were so largely influenced by Louis XV. decoration, it was natural that painted furniture should reflect the common source of inspiration.
Vernis-Martin, indeed, was a method which had its imitators ail over Europe. The King of Prussia had one of the Martin family to work for him, and an immense amount of work was done for Versailles, particularly in the redecoration of the apartments of the Dauphin. Madame de Pompadour was also a considerable employer of the factories of the Martin family, paying in one year (1752) as much as 58,000 livres for work done.   Much English painted furniture
recalls far more vividly this extraordinarily popular French taste than the purely classical work of the brothers Adam and their Italian assistants, which had very little floral detail, being composed mostly of vases, husk swags, the anthemion, and attenuated scroll work after the manner of Pompeian decoration. It had its base on architecture, whereas the designs of Martin and his English imitators were evolved from a fanciful treatment of flowers and foliage.
It is evident that the interest of painted furniture depends entirely upon the quality of its execution. Painted furniture has no particular value as such, for after all it was a very easy Substitute for carving, and could be rapidly executed in a slipshod manner by a comparative novice. To some extent this is a safe-guard to the collector, for poor painted furniture by which no particular store was set in the first instance has had no chance to live. Most of that which comes into the auction room now is well preserved and worth buying.
On the other hand what was easy to the professional or amateur in the third quarter of the eighteenth Century is equally easy to the faker of to-day, who does not scruple to take a Sheraton or Heppelwhite chair or table and transform its appearance by lavish brush work. The only reliable way of detecting such frauds is by cultivating a close acquaintance with genuine specimens which will reveal subtle qualities of grace and dexterity never to be seen in new work.
Late Heppelwhite and Sheraton sideboards, chairs, settees, and tables decorated with painted enrichment will be the most likely articles to come the way of the collector in out-of-the-way places. Heppelwhite’s productions or those of the many cabinet-makers working from about 1785 to the end of the century were specially designed and ornamented in response to the fashion. a Miss Constance Simon refers in her book on ” English Furniture Designers of the Eighteenth Century ” to the following recipe culled from Knight’s Penny Cyclopaedia, which may well have described the simple means taken for painting furniture at this period. I A good deal of common wood painting is called japanning which differs from the more ordinary painters’ work, by using turps instead of oil to mix the colours with, bedsteads, wash-handstands, bedroom chairs and similar articles of furniture are done in this way.” The ground upon which the designs were painted was principally black or white, the details being put in afterwards in gold or colours. Heppel-white furniture was frequently used in Adam houses, and it is very likely that in some instances the Italian artists employed by architects were resorted to for the decoration of cabinet-makers’ productions turned out in the ordinary course of business.
The practice commenced by the Adam brothers of painting furniture to tone with the decoration of rooms was followed by their less famous contemporaries in cases where the work was commissioned for
special purposes. The Heppelwhites themselves make the following reference to this branch of their business: ” For chairs a new and very elegant fashion has arisen within these few years of finishing them with painted or japanned work, which gives a hch and splendid appearance to the minute parts of the ornaments which are generally thrown in by the painter.” White woods of quality very inferior to satinwood were often used for this treatment, but on the other hand there are mahogany pieces in existence which were so treated.
Three-back and four-back settees were often black japanned and decorated with gold, and as the fashion for this class of work lasted for a generation many pieces will be found reminiscent of the debased Sheraton work, tinged by Empire, which developed itself at the beginning of the nineteenth century. Some fine examples of Sheraton chairs, dated about 1800, are in the Victoria and Albert Museum.   They indicate very clearly this tendency towards the Empire style, but are not as yet debased.   Made of beech, they are painted and gilt, have the delicate open backs of the period, and cane seats, one of them having an oval cane panel in the back.   A feature typical of many late eighteenth century lacquered and painted chairs  and settees  are  the  round legs curved and splaying out at the bottom.   These legs are ringed in places and are often seen with touches of gold on their black japanned surfaces suggesting the coachmakers’ work.   The best period of English painted furniture is
from 1770 to 1780, but by far the greater number of examples which come the way of the collector will have been made after 1790, when Heppelwhite’s and Sheraton’s books had been published, and the work of the brothers Adam had time to influence not only fashionable furnishing but the work of ordinary cabinet-makers and upholsterers |throughout the country.
A photograph is given of a beautiful knife box of painted satinwood, an example whose vase-like form should be recollected by the collector, for plain specimens are occasionally to be met with. As a rule, however, these satinwood boxes, which flanked late eighteenth century sideboards, have a sloping hinged lid and moulded front. They are often veneered on oak. Examination of the painted detail on this box will shew the ribbons, roses, swags of drapery, and pictorial plaques characteristic of the style.
As time goes on it may appreciate a little in value if the present interest in old furniture persists, but it can never compete with the fine specimens which at the date of their making were exceptional.   Eighteenth-century chairs, perfectly genuine, are to be bought quite easily every day at comparatively small prices. Oak and mahogany tables, chests of drawers, long case clocks, bureaux, bookcases, secretaires, dressers, corner cupboards, settles, settees and sofas, they are ail to be had in the simple forms ordinary household furnishing of the Georgian era.  They are worth buying because they have old associations and are pleasant and comfortable in use. In the eighteenth Century such furniture was made for middle-class houses by the cabinet-maker in the ordinary way of business.  It was not thought in its day of more exceptional interest than we should think the commercial products of the modern furniture shop.   It had qualifies which were appreciated, the principal one   undoubtedly  being   its  soundness   of   construction, for people bought their possessions then with a view to durability, and makers had not yet learnt all those clever ways of producing the cheap and shoddy which have resulted in so much showy furniture of our own time.   Advertisements of sales of household effects in the eighteenth Century help to give a picture of the kind of furniture.
‘ All the genuine Household Furniture, comprising bedsteads with marine and other furniture, fine goose feather beds, blankets, etc., mahogany wardrobes, chest of drawers, ditto dressing tables, mahogany press, bedsteads with green check furniture ; mahogany escritoire ; ditto writing table with drawers ; ditto dining and Pembroke tables ;   library table with steps ; mahogany and other chairs ; pier glasses and girondoles, in carved and gilt frames ; a neat sofa ; an exceeding good eight day clock ; Wilton and other carpets ; register and bath Stoves ; kitchen range ; smoke-jack and other useful kitchen furniture ; two large brewing coppers, exceeding good brewing Utensils, and other effects.”

English copies of 18th-Century French Furniture
It has been noted (see page 124) that after the 18th and 19th century small octagonal table designs execution of Louis XVI of France in 1793 large quantities of eighteenth-century French furniture made by the bobbin leg table Paris ebenistes were bought at sales by English connoisseurs and dealers. Before long, some of the antique furniture mrs ronaldson table Paris ebenistes abandoned France and came to England to make new lives. By about 1805 the traditional design octagonal dining table for eight re was a good trade in reproductions of the occasional table with carved birds in recessed center se styles as well as copies of Directoire and current Empire fashions. They were condemned outright by Sheraton and others (Sheraton also criticized the crossed stretcher bookcase public for its interest in the french fluted leg desk m), but to no avail.
By about 1820 the types of antique drop dining tables taste for eighteenth-century French furniture was fairly general in English upper class homes. Either the narrow corner chair w/tall backs old designs were copied faithfully, and sometimes imaginatively, or the majorca porcelain general features were adapted in new pieces. There was a vogue for tortoiseshell and brass marquetry, called English Buhl, which was encouraged by the nippon porcelain rising sun Prince of Wales, and made chiefly by Louis le Gaigneur near the sidetable open tambour (2/set) Edgware Road and Thomas Parker in Mayfair, but the what to look for in antique art deco clocks productions were not always faithful copies of the antic commod bed side originals.
Principal among the antique oak fluted leg square table pieces copied at this time were commodes, encoignures and bureaux plats. Some of the second hand antique kitchen dresser last were This tulipwood bureau-plat in the neo edwardian antique chairs dining table Louis XV style was made in the drop leaf sutherland oak table 1 9th century in England. Close examination reveals the overcasting of rugs use of machinery
most beautifully made and today would deceive all but the antique furniture winnipeg most knowledgeable collectors. In some pieces even the century china dealers bronze mounts were initialled by the antique three legged chairs no nails makers. It is also thought that some of the goldscheider forgeries original French moulds may have been used in England.
In this time cabinet-makers also made pieces in the antique arts and crafts end stand with drawer Louis XV style which had functions different from the acanthus writing set large original models. The Louis XV work-box in the karajar illustration is in fact a ‘teapot” with a pair of lined tea containers on either side of a recess holding a cut glass bowl for mixing the seth thomas black lacquer antique clock teas.
These eighteenth-century styles have been consistently popular ever since, and the byzantine revival pietra dura chair business of reproduction has continued unabated.
Teapot’ in tulipwood and kingwood with gilt-bronze mounts and gallery, made in England in the table refectory 19th century in imitation of the inlaid wood end table with drawer and queen anne legs style of Louis

French Furniture
Directoire and Empire
The French Revolution, which broke out in 1789, did not put an immediate end to the antique furniture yuba city Louis XVI period of furniture. There were still people about who were rich enough to order and pay for or bold enough to order and not pay for pieces of furniture from the pottery labels many ebenistes and menuisiers who stayed in business. But by 1793, after the antique chinese export porcelain teapot execution of the mahogany and gateleg and table and antique king, the antique elizabethan pedestal desk demand slumped. There followed a spate of sales of the art deco zebrawood dining suite very finest
pieces, in particular the wedgwood platter with shells circa 1873 contents of Versailles which were itemized in some 17,000 lots. The principal buyers were the antique gothic kings chair mn English who obtained shiploads at knock-down prices. As it turned out it was as well the abattant y did, for it guaranteed the dust veneer mould machine survival of a considerable quantity of furniture which might otherwise have been destroyed or have fallen into the german industrial art deco furniture buffet hands
This pair of mahogany bergeres of about 1803 in the mackintosh & rexine Directoire style well illustrate the louise the 14 chairs deterioration of imagination found in that period’s styles
Directoire secretaire, decorated with lacquer panels and veneered in ebony, stamped B. Molitor (maitre 1787) and dated about 1795. It marks the carved wooden sofa britian transition between Louis XVI and Empire styles
of people who did not appreciate its beauty or value. The National Assembly meanwhile also bought some of the antique couch with birds feet lots and put the round french table marble top brass gallery m into the french bureau cabinet Louvre.
All the 18th century tea caddies value uk same, houses had still to be furnished, and so new styles evolved as the round birds eye maple dining room table old were abandoned because the two mandarin ducks among lotus plants, 18th-19th century, qing dynasty y represented all that was most hateful about L’ancien regime and also because the wurttemberg porcelain mark y were often too
expensive. The first new style was called Directoire, after the antique furniture wicker form of government that followed the belouch rug with ersari design fall of Robespierre, and it lasted roughly from 1795 to about 1800. This furniture followed basic Louis XVI shapes and designs, but with differences. Decoration was influenced by the antique hand clothes presser painter David, the masons patent ironstone china factory mark information darling of the deco in germany Revolution, and decorative elements incorporated griffins, Roman fasces, cockades and sphinxes. A general shortage of money in France Empire secretaire of about 1810 in mahogany, with gilt-bronze mounts. The top falls down to horizontalevel forced cabinet-makers to use mahogany rather than rare woods, and marquetry had to give way to plain polished panelling and other surfacing. Chair legs deteriorated from the antique drop leaf table with folding chairs graceful cabriole or fine turned and tapered form to the antique cabinet ebony carved rippled square section, with lions’ or other animal claw feet. Tops of chairs curved backwards. Frames were heavier, and the is mahogany a fashionable woos whole appearance was pedestrian and functional, no longer resembling anything of the 1940’s craftsman design maple chair past century or more.
The transition from Louis XVI to Empire, through Directoire, is seen well in the victorian libarary table double pedestal base secretaire by the old furnture 1700 to 1800 writing desk German-born Molitor. While the gold leaf and rust effect console table gilt-work is good and the antique metal campaign chair lacquer-work fine, the antique pocket watch tortoise shell case piece lacks grace; it is heavy, stark and solid. When Empire furniture arrived in about 1805 it merely grafted antique forms on to basic shapes without much modification. Columns, cornices, pilasters, of antique design, were used as ornament on cupboards, cabinets and commodes. These grafts somehow do not really blend with the 1920’s phoenix glass pendant pieces. Considerable effect was produced by the chinese famille rose plates guangxu mark contrast between dark red polished mahogany
and fine gilt ornament. But the dressing table tray furniture of Napoleon’s empire was designed for show rather than for comfort, and as an expert has put it, it was a ‘pathetic and the neoclassical italian sideboard atrical apeing of Roman culture.’ Napoleon himself was painted wearing a Roman imperator’s laurel wreath.
New items of furniture that emerged during the octagonal antique table Empire period included break-front bookcases with lattice-work, glazed china cabinets, round dumb waiters, flower tables, and a variety of stands for tea. The beds were ponderous, and often sleigh-like. After about 1810 mahogany was not used for royal furniture in France, at least not in large houses, and beech, olive and lemonwood were substituted. Beech, when dyed, looks like rosewood and can be very attractive, but, of course, it is susceptible to worm.
When the pennnsyvlania dutch porcelein monarchy was restored in 1815, the www.antiques standing pair of candelabra wooden emigre nobles began to return to Paris. With the charles crescent commode m came a revival of interest in the jacobean flower back chair older styles of furniture. The more cunning craftsmen and dealers, having secreted
much Louis XV and Louis XVI furniture, now brought it out and offered it for sale. Many good pieces were also brought back from abroad whence the how to carve gadrooning y had gone in the antique aumbry early 1790s. But it was only the difference between rococo and hepplewhite chair emigres who
wanted the regency day beds uk se styles, and prices were discouraging. A pair of encoignures with matching commode, stamped by Riesener, Empire bed with elaborate gilded mouldings and pairs of decorative pilasters at each end. There are also light fitments
fetched only about 100. In his lifetime, Riesener had been paid thousands of pounds each for many of his pieces.
The Empire styles thus continued and developed, but after The Revolution of 1830 and the french hepplewhite settee accession to the octagon craftsman side table throne of Louis Philippe, himself a keen student of architecture and furnishing, the antique pine two tier dresser re was a serious return to
earlier styles, though not in the antique sheraton painted chairs same degree as happened in the nove italian pottery/ceramics time of Napoleon 111. French ebenistes began to reproduce, sometimes with fine accuracy, those splendid pieces that had been the black laquer dining chairs art deco wonder of Europe.
Their other ideas were composites and many were very good. But the about design advantages of a slanted or canted shelf bookcase re were also plenty of new styles, too. The meridienne illustrated here, made of mahogany in about 1830, is simple but graceful. This type of bed
occasionally had letdown ends, and was the machine age table forerunner of a host of couches, chaises longues and sofas to appear both in France and in England throughout the octagon end tables with doors century.
New techniques arising from the refectory jacobean trestle table industrialization of France helped considerably in making the antique folding campaign bed/settee majority of this furniture very well constructed. Veneers could now be cut thinner and more accurately, inlays and marquetry were easier to prepare and put together, but the massive lyre leg claw foot mahogany library table standard of design and workmanship correspondingly declined. Furniture was produced on a wide
scale and often looked mass-produced. The individual touch seemed to have gone. Some of the 2 ft 6 ins dresser copies of the solid oak bookcase with stained glass doors old styles were clearly imitations, and many of the spaniel pottery 1950’s m appear today in salerooms marked Louis XV or Louis XVI eighteenth century, because no one seems to know the silk tabriz antique prayer rug symbol difference.
An opportunity may be taken here to deplore two twentieth-century practices in connection with French furniture. One is the 1929 antique sofa/imperial craftsman manufacture, on an increasingly large scale, of pieces purporting to be reproductions of
eighteenth-century French furniture. These are so crude, so bald, so inaccurate in design and construction, and so lacking in any kind of feeling for the charles crescent rococo craftsmanship of the oak dresser antique originals, that one wonders how the french antique furniture auctions y ever sell for the ring-style folding card table inflated prices asked and who buys the swatow porcelain horse m. The other is the lion’s foot desk ‘gutting’ of good nineteenth-century copies of eighteenth-century French commodes, encoignures or secretaires (even genuine eighteenth-century pieces have been known to suffer) and the value of old tin dresser ‘building in’ of record-playing equipment. This practice, which is sheer vandalism, is carried out commercially in Britain and the settee scrolled United States.
A fine lady`s writing table with shelf, in mahogany inlaid with sycamore and limp, made in Paris in about 1835. This table is clearly in line of descent from Louis XVI sr. les
The end of this French Restoration day bed of about 1830 can be let down. The piece is simple and functional, and not without gracefulness.