CIRCULAR BREAK FAST TABLE, tara brooch 1920 TWO-PEDESTAL DINING TABLE, saxony pottery LADDERBACK SIDE CHAIRS

A REGENCY MAHOGANY SIDE CABINET, antique chair with ball feet circa 1825, henry iv bosio seal the rectangular crossbanded top with a breakfront over two short and one long frieze drawer above three grill and cloth inset cupboard doors opening to sliding drawers raised on panelled block feet, louis xv xvi style gilt kingwood bedstead (interior refitted). H. 37 in.; W. 5 ft. 1 in.; D. 18 in.

AN EARLY VICTORIAN MAHOGANY TWO PED ESTAL SIDEBOARD, sovereign watch aquamarine bracelet mid 19th century, william birch arts and craft tub chair the rectangular top with a carved shaped splashrail above three bolection molded frieze drawers raised on two pedestals each with a cupboard door opening to a fitted interior with shelves on molded plinths. H. 37 in.; L. 5 ft. 6 in.

A WILLIAM TV ROSEWOOD CIRCULAR BREAK FAST TABLE, original french louis xv serpentine desk the circular molded top above a faceted standard with an acanthus carved base on a triangular plinth raised on claw and ball feet. H. 33 3A in.; D. 5 ft. 4 in.

A VICTORIAN PART EBONIZED GILTWOOD OVERMANTLE MIRROR, myott son and co second quarter 19th century, antique chair with curved seat the tri-part mirrored plate surrounded by a rectangular tablet mounted with leaves on a textured ground, rosewood octagonal work table within circular border carved with leaves. H. 31 V2 in.; W. 5 ft. 3 in.

AN ANTIQUE m SATINWOOD INLAID MAHOGANY BOOKCASE CABINET, silver automata bells circa1800 last quarter 18th century, makers of regency ironstone the overhanging dentil molded cornice over a pair of glazed doors opening to shelves, restoring antique chair beech elm colour the lower part with molded waist over two panel-inset cabinet doors inlaid with harewood and satin wood fans and paterae raised on bracket feet. H. 7 ft. 6 ft in.; W. 4 ft. 1 ft in.; D. 16 in.

AN ANTIQUE H INLAID WALNUT CHEST OF DRAWERS, walnut matched doors 2 shelves 1 drawer late 19th century second quarter 18th century, antique victorian settee sofa couch the rectangular quarter-veneered top within line inlaid and crossbanded bor ders above two short and three long drawers, josef danhauser auction results each veneered with burl walnut panels within line and crossbanded borders; raised on shaped bracket feet, half tester bed drapes 1820’s (restorations). H. 39 ft in.; W. 42 in.; D. 21 in.

QUEEN ANNE MAHOGANY SIDE CHABRS, blog antique watches each having a shaped crest with rounded stiles centering a shaped splat above a slip seat, narrow antique bed the shaped skirt continuing to C scroll carved cabriole legs ending in pad feet, thomas white english clockmaker (one with slight repair to seat rail). (2)

A CHINESE PARTIAL GILT BLACK AND GREEN LACQUER CABINET ON LATER STAND, william hutton & sons sugar tongs fiddle pattern early 18th century, francois-regnault nitot gold hooped earrings the rectangular case fitted with etched glass mounts and decorated with exotic landscapes, antique chair, cane bottom, open back the interior fitted with small drawers similarly painted. H. (over all) 4 ft. 6 ‘A in.; W. 35 ‘A in.

A PAIR OF ANTIQUE D3 GDLTWOOD ARM-CHAIRS, antique shallow water motor history circa 1775, french bed teesters in the French taste; each cartouche-shaped upholstered back within a molded surround headed by flowers; the outscrolled padded arms raised on voluted supports centering a serpentine fronted seat with a rail carved to match the cresting; raised on cabriole legs headed by flowers and ending in pointed pad feet, what were the antique baby beds in italy. (gilding restored).

AN ANTIQUE HI STYLE MAHOGANY SERPEN TINE FRONTED CHEST OF DRAWERS, 19th century austrian pottery figurines the serpentine top above a conforming case fitted with four long graduated cockbeaded drawers, how much is a mother of pearl coffee set worth raised on bracket feet. H. 34 ‘A in.; W. 37 in.

A SET OF TWELVE ANTIQUE STYLE MAHOGANY DINING CHAIRS, origin antique three tier table comprising of two arm and ten side chairs each arm with a hoop shaped backrest above a pierced foliate carved beaker form splat continuing to scrolled arms on similar supports above a dipped bow fronted seat raised on square tapering legs. (12)

AN ANTIQUE m STYLE MAHOGANY TWO-PEDESTAL DINING TABLE, half moon pedestal desk-biedermeier the rectangular top with rounded corners and a reeded edge above two turned pedestals raised on downswept reeded legs ending in brass paw casters. H. 30 ft in.; L. 9ft.; W. 4 ft.

A VICTORIAN PAINTED FAUX BAMBOO BED STEAD, wood filling pigments mid 19th century, satinwood and parquetry centre table, second half 19th c table the rectangular head and footboard inset with a bamboo turned horizontal post with scrolled sides, theodore alexander furniyure the whole painted in tones of brown on a yellow ground. L. 6ft. 4 in.; W. 40 in.

A VICTORIAN STYLE NEEDLEWORK UPHOL STERED OTTOMAN, antique cupboard with inlaid painted cupboards the 19th century, neoclassical italian sofas needlework in tones of gold, plaster of paris designs china green, antique mother of pearl cabinet red and blue on a maroon ground in a strapwork pattern filled with cartouches raised on circular turned legs. H. 14 ft in.; W. 40 in.; D. 31 in.

A CONTINENTAL FAUX BOIS PAINTED HANG ING CUPBOARD, webber furniture antiques welsh dresser 19th century, american primitive dining table pull out ends the shaped rectangular body with open shelves and serpentine cresting painted with pilasters headed by herm figures above a shaped skirt painted with arabesques. H. 36 in.; W. 23 in.; D. 9 in.

A LOUIS PHILIPPE STENCILLED TOLE WASH BASIN, chamber pot cupbaord night table circa 1860, my antique dining chair has a woven backrest and carved legs what year is it the rectangular hinged lid decorated with a city-scape within foliate borders opening to a recessed well; raised on turned supports centering a fitted top above a case fitted with a drawer above a door; raised on a shaped plinth on bracket feet; decorated all over with monuments and militia in tones of black on a green ground. D. 15 ‘/z in.

A REGENCY BRASS INLAID ROSEWOOD AND PARCEL GDLT BREAKFAST TABLE, vintage kidney shaped no arms sofa the circular rose wood veneered top with brass stringing and foliate carved parcel gilt rim tilting above a triangular concave flaring standard mounted with gilded acanthus leaves and spherules, victorian sideboards examples raised on a conforming plinth on ebonized and gilded flower carved paw feet, barley twist leg small tables (restored). H. 29 in.; W. 4 ft. 6 in.

A PATR OF REGENCY STYLE PARCEL GTLT EAGLE FORM CONSOLE TABLES, olerys french pottery each rectangular rust and white marble top above a white painted and parcel gilt frieze carved with a Greek key motif, inlaid chair monk raised on realisti cally worked gilt eagle form supports raised on mahogany parcel plinths. H. 37 in.; W. 46 in.; D. 21 ‘At in. (2)

AN ANTIQUE I GILTWOOD MIRROR, rolex princess gold vintage rectangular the rectan gular mirror plate within a ribbon and paterae carved border; the crest carved in relief with scrolling foliage and trelliswork headed by a shell-form finial, antique bureau bookcase 18thc the skirt carved with shells. H. 41 in.; W. 25 in.

A SET OF TWELVE ANTIQUE HJ MAHOGANY LADDERBACK SIDE CHAIRS, wooden knobs fix old dresser third quarter 18th century, antiques ladle with pearl hand each shaped rectangular back with pierced serpentine horizon tal splats, antique lamps with doll busts the overupholstered- rectangular seats raised on square legs joined by stretchers. (12)

AN ANTIQUE STYLE PARCEL-GILT WALNUT TRUMEAU, german antique fold-up game table 18th century, antique furniture consignment the shaped rectangular plate within a gilt border of stylized leaves below an earlier painting depicting peasants and livestock in a wooded land scape, antique furniture fort smith arkansas the whole within serpentine borders crved with foliage and pendant bellftowers. H. 4 ft. 3 ‘A in.; W.4ft.4 in.

AN ANTIQUE I WALNUT CONCERTINA ACTION GAMES TABLE, aberchrome fitch the hinged shaped top with outset rounded corners opening to a leather inset playing surface with money wells above a plain frieze raised on C-scroll carved cabriole legs ending in pad feet. H. 27 ‘At in.; W. (open) 373Ain.

THE MIDDLE AGES
For centuries after the collapse of the Western Roman Empire in the fifth century AD there is no clear picture of the development of individual domestic furniture styles in Western Europe. Byzantium was now the capital of the Eastern Empire and of the Christian Church, and such pieces as can be dated and attributed to Western Europe were influenced by Byzantine furniture styles. In many cases they may have been made by Byzantine craftsmen. Among these are a sixth-century bishop’s throne of ivory at Ravenna in Italy and a bronze throne supposedly made in about 600 AD and used by the Frankish king Dagobert 1 (628-639). The latter is based on the folding stool principle of construction.
In the Eastern Roman Empire, meanwhile, the craft of furniture-making continued unabated, although its styles became more and more ecclesiastical. At the same time these styles also reflected the older traditions of the Near East. The graceful and relaxed contours of classical Greece and Rome gave way to upright, rigid and uncomfortable lines like the Ravenna ivory throne, which itself was closer to ancient Persian thrones. But if the gracefulness diminished, the carving and the embellishment retained their high quality, in some cases bearing comparison with the best Roman work. And when the secret of silk manufacture, for centuries the monopoly of China, was revealed in the middle of the sixth century by two Byzantine monks who had smuggled some silk-worm eggs back to Greece from the East, silk-weaving leapt into importance as an industry, not least for the drapery and upholstery of furniture.
When furniture-making as a skill reappears in Western Europe the earliest pieces of any merit are ecclesiastical, and for the most part they are fixed items, such as stalls, prayer benches, etc., in early churches. Gradually, more attention was paid to movable articles like stools and chests. Folding stools were as popular as they had been in earlier days, and now they took two distinct forms: one for ecclesiastical use and the other for regal or military use. It was the chest, however, that appears to have received the greatest attention.
When a feudal system of land ownership began to evolve in Western Europe in the sixth and seventh centuries, landlords began to accumulate domestic possessions, such as clothing, jewellery and household utensils. The nature of their way of life ? they had to travel incessantly about their often extensive territories    involved continual cartage of their belongings. Not only did seats and beds have to be. easily dismantled and then reassembled, but a variety of smaller pieces of equipment also had to be transported because they were in constant use. For this, the wooden chest became indispensable.
For centuries, then, an enormous variety of sizes and shapes of chest was produced in nearly every country in Western Europe, for both secular and ecclesiastical use. Many of them were embellished with fine carving. Some were bound with decorative ironwork strips, and even the earliest ones had iron locks or clasps. Tops were flat or gabled; if flat they would be used as seats when they were not being transported, and eventually they were made to stand on legs which were extensions of the vertical end members.
Not long after the Norman invasions of Italy and England in the eleventh century the first cupboards since Roman times appear in Europe. They are crudely constructed, in some cases so much so that they are painted with portraits or figures in vivid colours to hide the indifferent workmanship at the joints.
The same crude and uneven quality pervades surviving chairs, benches and couches from these centuries, and the best craftsmanship is confined to woodwork in ecclesiastical buildings, such as the great cathedrals and abbeys which were springing up from Wales to Austria and from Scotland to Spain in the eleventh, twelfth, thirteenth and fourteenth centuries.
The fifteenth century marked the introduction of new styles of furniture-making in Europe. Loosely described by later generations as Gothic, like the architecture of the same name, they embodied decorative motifs such as tracery, finials, pointed arches and foliage. The quality of construction also improved. Chests, for example, ceased to be just assemblages of thick planks, with here and there exuberant but not very delicate carving. They began to be made of wood in a proper framework, with rails, thin panelling and architectural ornament. They also assumed proper proportions.
The changes were first seen in Flanders where some of the towns had become extremely prosperous by virtue of the cloth trade or through shipping. One new piece of furniture which appeared was the dressoir, a tall structure consisting of a chest with doors, supported by a stand on a plinth, a natural development from the chest. The gap between the chest part and the plinth could be used for displaying exceptional items of metalware or pottery. The chest part was more or less at eye level, and therefore suitable for storage of cups, small ewers, etc.
Chests were also developed into settles with backs and sides. The area beneath the main box part began to be utilized for drawers. A whole new vista of ornamentation opened, in which asymmetry was a distinguishing feature. This is clear from the carving on the front of the chest from France illustrated here. One popular type of wood ornament was linenfold, and some of the best examples of this type of carving came from England. Much of the tracery was of ecclesiastical origin, imitating as it did the beautiful creative work in stone and wood from the cathedrals and abbeys, and this is easy to Austrian folding stool of the 1 3th century, possibly from the time of the Hapsburgs. This stool has ducks’ head ends for the feet, like the ancient Egyptian stool illustrated on page 6 understand in an age when religion played a dominant part in all men’s lives.
The principal feature, however, of this Gothic period of furniture was the appearance, for the first time, of furniture fashions. Different regions of Western Europe enjoyed individual vogues of design and manufacture. In fifteenth-century France, for example, the ornamentation on wood concentrated on foliage and animal designs and it was generally very elaborate. This was made easier by the increasing use of walnut, a wood that is softer than the oak which continued to predominate in England and Germany.
When the influence of the Italian Renaissance first made itself felt in Western Europe it began by superficial decorative impositions on basic Gothic styles. But the acceptance of the new philosophical ideas of the Renaissance among thinking people led to Renaissance furniture styles superseding altogether the Gothic-ecclesiastical style. Resistance to this change lasted longest in England.
A good example of a Gothic style dressoir, from France in the 15th century. There is a small drawer under the cupboard doors in the top part
(left) Detail of Perpendicular tracery from a similar chest
(below) Late 1 5th-century Gothic chest from France, with Perpendicular tracery and asymmetrical foliage
(right) Ivory throne for a bishop, made at Ravenna in the 6th century AD. Its shape and carving are strongly Byzantine
(far right) Italian chest of the 8th century, displaying clearly the influence of Byzantium. The metal band is small for the size of chest and may not be original