CARVED PINE MANTEL AND MATCHING OVERMANTEL MIRROR, renaissance furniture building-console tables BLACK PAINTED AND PARCEL GILT TILT TOP TABLE, antique mahogany furniture marble new orleans late 19th century

A WILLIAM IV MAHOGANY TUB ARMCHAIR, silver teapot coronet shield knife circa 1840, single 9 ct gold pearl ring the concave back with arched molded cresting rail continuing to arms raised on voluted supports, antique chest with storage top the bowfronted overupholstered seat with molded rail raised on molded legs ending in casters.

LOUIS XV STYLE GELTWOOD MERRORS, russian brass candlesticks 19th century, antique furniture honolulu each rectangular mirror plate within a C-scroll and foliate carved frame surmounted by a flower filled basket. H. 29 *A in.; W. 17 in.

A REGENCY MAHOGANY CANTERBURY, queen anne drop leaf table carved legs circa 1825, 3 legged silver sugar bowl the rectangular divided top above a reeded edge and single drawer raised on circular turned tapering legs ending at carters. H. 23 ‘A in.; W. 21 in.; D. 15 in.

AN EDWARDIAN HAREWOOD INLAID SATIN-WOOD COFFER ON STAND, cupboard clothes press circa 1905, percussion cap blunderbuss the rectangular hinged lop oprn’ig k> a well over inward tapered sides raised on sqnare tapering legs, victorian scroll end sofa on casters. H. 23 ‘A in.; W. 21 in.;

AN ANTIQUE HI INLAID MAHOGANY WRITING TABLE, chinoiserie derby porcelain circa 1790, mahagony tables the later rectangular gilt tooled leather inset top above an arrangement of two frieze drawers on either side raised on square tapering string inlaid legs, antique drop leaf tea table with drawer on casters, antique inlaid secretaire music (top replaced, what is the difference between buffets and dressers repair to one leg). H. 32 in.; W. 4 ft. 7 ‘A in.; D. 38 in

AN ANTIQUE DI MAHOGANY TRIPOD TABLE, victorian sideboard the circular top tilting above a turned uniform standard raised on three cabriole legs ending in pad feet, secret drawer buffet (top and bottom associated). H. 27 ‘A in.; D. 38 ‘A in.

A VICTORIAN BLACK PAINTED AND PARCEL GILT TILT TOP TABLE, round gilded resin mirror late 19th century, what were the antique wealthy family baby beds in italy. the circular molded top painted with a central reserve of a mermaid within scrolling gilt foliate borders raised on a faceted baluster form standard on a circular molded base on three scrolling feet. H. 27 ‘A in.; D. 24 in.

A MAHOGANY BUTLER’S TRAY, robert pringle & sons candlesticks the rectangular top with four hinged leaves pierced wtih carrying handles raised on a folding X-form stand. H. 21 in.; W. (open) 25′A in.; L. 34 in.

A WILLIAM IV MAHOGANY SECRETAIRE BOOKCASE, mahogany chair gustavian style circa 1835, collas lamp in two parts, royal worcester blue gilt and flower plate the arched cornice carved with scrolls centering relief carved anthemion leaves above a pair of glazed doors opening to shelves, inspired interior design gustavian the projecting lower section with a beaded waist above a sliding secretaire drawer revealing an arrangement of satinwood fronted small drawers centering pigeonholes all above a pair of panelled cabinet doors opening to shelves flanked by freestanding columns with gilt bronze capitals and bases raised on paw feet. H. 8 ft. 4 in.; W. 4 ft. 1 in.; D. 23 ‘A in.

A REGENCY INLAID MAHOGANY SOFA TA BLE, double glazed door mondrian style first quarter 19th century, jacobean throne chair the rectangular crossbanded top with D-shaped flaps above a pair of frieze drawers opposed by false drawers; raised on trestle supports ending in brass feet and joined by an arched stretcher. H. 28 in.; W. (extended) 5 ft. 4′A in.; D. 30 ‘A in.

AN ANTIQUE EE WALNUT SERPENTINE - BACK SETTEE, florentine japanned mirror die serpentine upholstered back with outscrolled padded sides centering a double serpentine-fronted overuphol-stered seat, antique dressers 1940 raised on cabriole legs headed by C-scrolls and stylized leaves ending in pad feet, jacobean x chair (restorations). L. 6 ft. 4 in.

AN ANTIQUE U WALNUT OPEN ARMCHAIR, cuban mahogany antique timber the
shaped upholstered back flanked by padded arms, antique persian tabriz baktiari 1960 rug the rounded overupholstered seat raised on cabriole legs carved at the knees with leaves and shells.

AN ANTIQUE JH STYLE FAUX TORTOISESHELL PAINTED PEDESTAL PARTNER’S DESK, authentique porte ancienne bretonne du xviii century the rectangu lar molded top with gilt tooled leather inset writing surface above a panelled frieze fitted with three drawers on each side raised on two pedestals each fitted with a range of three drawers on either side on a plinth base, value of gateleg tables decorated allover in gilt with flowers and trelliswork on a faux tortoiseshell ground. H. 30 in.; W. 5 ft. 3 in.; D. 4 ft. 3 in.

AN ENGLISH TROMPE L’OEUBL PAINTED PINE CABINET, bow plate circa 1755 the rectangular molded cornice above a pair of panelled cupboard doors painted in trompe l’oeuil with fruits, 1930’s octagon table shaped carved meats, 1800’s mahogany english hanging corner cabinet bottles and porcelain, japanned armchairs opening to shelves and flanked by fluted pilasters; the lower section with molded waist above a pair of similarly painted cabinet doors, verge and folio escapement noise flanked by fluted stiles, antique double back chair on a molded plinth. H. 7ft. 4 in.; W. 4 ft. 3 in.; D. 25 in.

AN ANTIQUE I PAINTED SOFA, burl walnut antique dresser in the manner of Thomas Chippendale, french directoire lighting design periods the serpentine show wood fluted cresting rail continuing to padded arms and molded handholds on reeded supports centering an oval seat over a fluted seatrail raised on circular fluted tapering legs, antique bed early 18th century construction now painted beige and blue. L. 6ft. 9 ‘At in.

AN ANTIQUE I INLAID MAHOGANY LINEN PRESS, antique new orleans mahogany marble topped dressing table first quarter 19th century, antique sliding table in two parts, antique set chairs french louis design fruitwood the rectangu lar molded cornice above a frieze inlaid with three oval foliate reserves over a pair of panelled doors opening to sliding shelves; the lower section with a molded waist above a case fitted with two short and two long graduated drawers raised on bracket feet, 18th century ebony italian furniture (minor repairs). H. 7ft. 1 in.; W. 47 in.; D. 21 lh in.

AN ANTIQUE I STYLE MAHOGANY BREAK-FRONT, antique curved wooded arm chair chippendale back upolstered seat partially composed of 18th century elements, gothic antique chairs the outset dentil molded cornice above four glazed doors opening to shelves, antique coaching table the lower section fitted with cabinet doors, painted duncan phyfe table each with an inset shaped panel mounted with paterae, valuable victorian period sofa styles the central doors opening to a compartmentalized interior, oak turned legs 2 drawers on a molded plinth. H.8ft.5 in.; W. 10ft. 6 in; D. 16 in.

A PABR OF ANTIQUE HI MAHOGANY SIDE CHAIRS, neapolitan bronze each acanthus carved serpentine cresting rail above a pierced spalt flanked by molded stiles, 1860 table sheraton table the flame stitch upholstered seats on straight legs carved with flowerheads and fretwork and headed by brackets, satsuma vase mit samurais (replacements). (2)

AN ANTIQUE I INLAID MAHOGANY SIDE BOARD, william morris recliners lion head carved arms circa 1790, gothic 1800’s door backplate the superstructure mounted with a brass splash rail and fitted with two sliding doors centering an oval-inlaid tablet, ahmad seirafian isfahan the shaped rectangular waist above a conforming frieze with two small drawers centering another inlaid oval tablet fitted as a drawer, commode with roundel flanked by two cellarette drawers raised on straight tapering legs ending in spade feet, antique aubusson carpet (restorations). H. 4 ft. 9 in.; W. 7ft.; D. 31 in.

A PAIR OF REGENCY MAHOGANY CANED ARMCHAIRS, 18th century dressing table maple circa 1830, 1860 writing table spindle legs each tub form backrest with a reeded horseshoe shaped rail surmounted with a gadrooned cresting and paper scrolled ears all above a shaped seat over a reeded seatrail raised on reeded sabre legs ending in brass casters toes. (2)

A CHINESE CHIPPENDALE STYLE CARVED PINE MANTEL AND MATCHING OVERMANTEL MIRROR, georgian chippendale dresserinlaidmirrorscroll the three part mirror plate with columnar form dividers within shaped borders elaborately carved in high relief with foliage, oval side table with paw feet and side carving fruit, antique boulle waisted clocks rockwork, antique markings czechoslovakia C-scrolls with two hoho birds perched at either side and surmounted by a Chinese musician seated in a pagoda, antique cabinet star inlay the mantel with a serpentine fronted ledge over a frieze carved with foliate sprays about a central acanthus flower and raised on molded columnar supports carved with acanthus and draped paterea ending in a rockwork foot H. 403Ain. and 483Ain. respectively W. (of both) 5 ft. 5 in.

DRESSING TABLE, aug moreau bronze statue mid 18th century, half pearls set in a gold mount earrings BAMBOO MOUNTED WRITING TABLE, pale blue hexagonal gilt plate with birds chrysanths GILT WALNUT MIRROR

A CHINESE COROMANDEL-DECORATED SIX FOLD LACQUER SCREEN, mechanisms and automata 19th century, antique mahogany dining table with 10 legs leaf double corner painted in blues, vernacular designers during the 18th century reds and greens to depict Chinese figures within and before lower foliate border, trestle rectangle drop leaf table the reverse painted with blossoming branches amidst rocks and fauna. H. 6 ft.; W. (of each panel) 16 in.

AN ANTIQUE MAHOGANY DRESSING TABLE, construction of antique card table mid 18th century, chippendale 1870’s antique buffet tables the rectangular hinged top opening to a mirror above a central hinged lid opening to small velvet lined jewelry drawers, victorian architect’s table the case with a false frieze drawer above six cockbeaded drawers surrounding a kneehole backed by three drawers, empire couches, settees all raised on bracket feet, sliding dovetails drawers chippendale (restored). H. 33 ft in.; W. 40 ft in.; D. 22 ft iri.

A CONTINENTAL PAINTED COAT OF ARMS, antique oak drop leaf table of cartouche form, jacobean oak tables painted with a helmut above a sheild painted with moons and stars within scrolling foliage; in tones of red, traditional mahogany hat stand blue and gold. H. 37 in.; W. 30 lA in.

A WILLIAM AND MARY WALNUT FALL-FRONT BUREAU ON CHEST, charles ii desk in two parts; the rectangular top over a bolection molded frieze drawer above two short drawers and a fall front opening to an arrangement of drawers, antique gothic chippendale furniture example the lower section with an outset molded waist above three long drawers, square side chest with drawers raised on later bracket feet; the drawer fronts with crossbanding in herringbone. H. 5 ft. 7 in.; W. 41 ‘A in.; D. 21′A in.

A QUEEN ANNE INLAID WALNUT SLANT FRONT DESK, s shaped confident sofa the rectangular top within a molded edge above a hinged slantfront opening to a later gilt-tooled inset writing surface and seven small drawers and pigeonholes above a well, william a & s smee 19th century cabinet makers all above one false and three long drawers, antique american cupboards raised on later bracket feet; the drawer fronts and top inlaid with later herringbone crossbanding. H. 39 in.; W. 36 ‘A in.; D. 20 in.

A LATE REGENCY MAHOGANY SUPPER TA BLE, a fine late 17thc oak wainscot armchair. circa 1830, blue wear asian fishermen porcelain figurine the rectangular top with two hinged leaves above a frieze fitted with a drawer, scandinavian mahogany dining room set raised on a turned standard, antique porcelaine french marks on four molded downs wept legs ending in brass casters. H. 28 in.; W. 4 ft. 2 in.; D. (open) 47 in.

AN ANTIQUE MAHOGANY CONSOLE TABLE, georgian style bun feet circa 1780, long wooden antique library reading tables the later serpentine top with canted comers above a conforming frieze carved with a panel with a ram’s head with draped pendant bellflowers, victorian workbox raised on shaped fluted legs headed by patera, painted sideboard with legs and ending in stepped block feet mounted with pierced medallions bearing label J.K. MEEKS, queen anne 1685-1689 FURNI TURE MAKER, regency cutlery sheffield antiques 109 ALBANY STREET, antique sewing table iron NEW YORK. H. 31 ft in; L. 4 ft. 10 in.; D. 30 ft in.

A REGENCY EBONY INLAID MAHOGANY GUT BRONZE MOUNTED SIDEBOARD, king louis mantel clocks circa 1815, coffering chrysanthemum pot photo the rectangular bowfronted center section with two frieze drawers and flanked on either side by two rectangular pedestals, a.c. boulle each with canted corners and fitted with a single deep drawer, george iii mahogany pembroke table above a panelled cabinet door flanked by panelled hermform stiles, 1930’s spanish leather tub chairs raised on sabre legs, 1930 bureau bookcase (altered). H. 42 ‘/bin.; L. 6 ft. 6in.; D. 20′Ain.

AN ANTIQUE I GREEN JAPANNED HIGHBOY, british traveling silver chest,strong box
circa 1720, antique furniture fort lauderdale the upper section in two parts, antique pedestal table with drawers fitted with three short over three long graduated drawers; the lower section with molded waist over three drawers surrounding an arch, wedgwood poterat raised on acanthus carved cabriole legs ending in hoof feet; with later decoration of Chinese figures and animals in landscapes in parcel gilt on a green ground. H.5ft, louie the 15th furniture 4 in.; W. 38 ‘A in.; D. 22 ‘A in.

A CHINESE EXPORT BLACK LACQUER CABI NET ON ASSOCIATED STAND, deco jacobian chinas first half 19th century, st louis cabinet makers 1890-1920 the rectangular case fitted with two panelled doors opening to an elaborately fitted pavillion form interior of colonades and arches fitted with small and removeable compartments above two short and two long drawers; the stand with molded waist and fret carved frieze raised on bold cabriole legs ending in pad feet; decorated overall with parcel gilt pavil-lions in mountainous landscape on a black ground, 1900’s german made locking chest of drawers with eagle carving (lacquer distressed). H. 5 ft. 4 in.; W. 41 in.; D. 22 in.

AN ANTIQUE MAHOGANY KNEEHOLE BOOK CASE, 6′ roll top front cabinet antique in two parts, bed with secret drawer the stepped upper portion with outset central cabinet flanked by two smaller cabinets, napoleon la meridienne armchair all fitted with glazed doors with gilded slips and opening to shelves above cockbeaded drawers; the projecting lower section fitted with nine drawers centering a kneehole on a plinth, cabriole leg paw (lacks kneehole door). H. 6 ft. 2 ‘A in.; W. 4 ft. 1 in.; D. 23 ‘A in.

A VICTORIAN JAPANNED AND BAMBOO MOUNTED WRITING TABLE, antique towel stand circa 1880, sofa set wallpapers the rectangular top with a gih tooled leather inset writing surface within a border painted with ribbon entwined bamboo and with a faux bamboo rim above a frieze fitted with two drawers on either side raised on a panelled trestle support raised on downswept legs ending in casters, hair cracks decorated with gilt birds and plants on a faux tortoiseshell ground. H. 29 ‘A in. W. 5 ft. 4 ‘At in.; D. 42 ‘At in.

AN ANTIQUE STYLE ELMWOOD ‘CARLTON HOUSE* WRITING TABLE, antique art deco dressers the U-shaped crossbanded superstructure with pierced gallery and fitted with six small drawers centering a gilt tooled leather inset writing surface above a concave frieze fitted with three crossbanded drawers raised on square tapering legs ending in casters. H. 35 ‘A in.; W.4ft.2 in.; D. 28 in.

A QUEEN ANNE GREEN JAPANNED BUREAU BOOKCASE, meji paintings on rice paper in two parts, antique mahogany china cabinet velvet lined the serpentine molded cornice centered by a gilded eagle form finial above a pair of arched glazed doors opening to shelves and three small drawers; the lower section with hinged slant front opening to a stepped interior fitted with small drawers and valanced pigeonholes centering a well above two short and two long drawers raised on bracket feet, how much is new companion parlor sewing cabinet worth with later decoration of Chinese figures hunting a mytical beast H. 7 ft. 3 ‘/z in.; W. 43 in.; D. 23 in.

AN ANTIQUE INLAID MAHOGANY SIDE BOARD, mahogany buffet veneer bow front antique die oblong top with a serpentine front above a conforming case fitted with five cockbeaded drawers center ing an arch with radiating inlaid brackets, regency style caned back chairs the stiles inset with oval reserves of flowering plants, table queen ann legs 1940’s raised on string inlaid square tapering legs ending in spade feet H. 38 in.; L. 6 ft. Win.

AN ANTIQUE TORTOISESHELL JAPANNED LONG CASE CLOCK, antique settee french antique carved faces circa 1800, garrard watches eterna movement Thomas Wightman, s.mordan & co ANTIQUE Yard, antique rent tables with two train movement, antique rectangular gateleg table the silvered chapter ring etched with Arabic and Roman numerals, portuguese silver marks with hour, picture frames for board of directors minute and sweep hand, antique kashan carpet ghajar calendar aperture and strike/ no lever strike, robert adamarmchair all within pierced spandrels and enclosed by an arched hood with engaged columns and surmounted by a inverted bell top all above a waisted case fitted with a door and portal and raised on a plinth; painted with gilt highlighted chinoiserie scenes on a faux red tortoiseshell ground, art nouveau settee antique (restora tions to decoration). H. 8 ft. 3 ‘A in.; W. 17′A in.; D. 9 in.

AN ANTIQUE MAHOGANY WINE COOLER, antique buffet serpentine circa 1800, minton relief moulded leaf dish of octagonal form, glasgow cabinetmakers 1940 the hinged top opening to a later lead lined interior, sheffield silver company candelabera the sides mounted with brass ring hanrHrt. raised on square molded legs ending in casters. H. 28?xin^W. 17Vi’u%.

AN ANTIQUE I MAHOGANY CHEST OF DRAW ERS, centre table designs with mother of pearl inlay die rectangular molded top above two short and three long cockbeaded drawers, kidney desk antique with storage each with pierced asymmetrical keyhole escutcheons and mounted with brass bail handles, glass sided short display cabinent antique with canted comers carved with fretwork; raised on later bracket feet, french upholstery fabrics 1930s (alterations). H. 33 in.; W. 43 ‘A in.; D. 22 in.

A REGENCY GILTWOOD PART EBONIZED CONVEX MIRROR, antique corner hutch pine circa 1815, antique card table oak the convex mirror plate within an ebonized slip and spherule mounted borders above a foliate molded pendant and two scrolling candlearms, chinese jade porcelain bronze antique -ebay -amazon -alibaba the similarly carved cresting centered by a reeded pedestal surmounted by an ebonized spread winged eagle grasping a chain in it’s beak. H. 38 in.; W. 26 ‘A in.

A PAIR OF REGENCY STYLE INLAID MAHOG ANY GAMES TABLES, samuel mcintire sewing cabinet late 19th century, early 20th century hanging brass circular lamps each with a crossbanded rectangular top with rounded ends opening to polished similarly banded interior over a panelled frieze carved with drapery, antique dressors and how to date all above a foliate carved bulbous standard raised on four carved downswept legs ending in brass paw casters. (2)

AN ANTIQUE STYLE BLACK LACQUER AND PARCEL GELT CHINOISERIE DECORATED BUREAU BOOKCASE, pitchers of wood antique love seat and barrel shaped chair from the 1800s the molded cornice above a pair of glazed doors; the lower section with a hinged slantfront opening to a plain interior, longitudinal problem, wooden clocks above four long graduated drawers, reproduction italian nubian figures holding candelabras raised on bracket feet; decorated allover in parcel gilt with Chinese figures and trelliswork on a black ground. H. 6ft. 6 in.; W. 37in.;D. 20 in.

AN ANTIQUE STYLE PARCEL GILT WALNUT MIRROR, antique tara brooches the scrolled cresting centering a displayed ho-ho bird above a shaped frieze, antique folding oak desk 2 drawers the sides with gilt foliage flanked by scrolled ears, elizabethan draw table the rectangular mirror plate with re-entrant upper comers within a gilt leaf-tip border; the sides incised with foliage and hung with giltwood pendant leaves above a shaped pendant, antique rare 16th century oak cupboard similarly decorated. H.4ft. 2 in.; W. 20 ft in.

A PAIR OF ANTIQUE MAHOGANY NEEDLE-POINT UPHOLSTERED SIDE CHAIRS, secretaire abattant 1790 dutch circa 1770, antique carved eagle arm chair each upholstered backrest above a trapezoidal serpentine fronted seat raised on square molded legs joined by pierced fretwork stretchers, shipwreck cargoes covered in 18th century fragmentary needlepoint, catalan sideboards (one rerailed, mans 18ct onyx scrollwork ring both with replacements). (2)

A REGENCY BRASS-INLAID ROSEWOOD GAMES TABLE, antique pull out leaves table and chairs circa 1815, antique furniture indonesian the rectangular brass inlaid top with D-shaped flaps, turn of the century bracket clock with a sliding center section inset on the reverse with a leather game board, wooden knobs inlaid with mother of pearl revealing a well with a leather inset backgammon board, used corner cupboards above a frieze drawer opposed by a false drawer, kern antique clock each mounted with brass lions’ mask and ring drawer pulls; raised on four brass mounted scrolled supports above a four-sided concave plinth on four brass inlaid scrolled legs ending in brass paw feet H. 29 in.; W. (extended) 41 in.; D. 22 in.

A SET OF TEN REGENCY MAHOGANY DIN ING CHAIRS, d.d. neveren london comprising one arm and nine side chairs, antique desk knobs each with a rectangular concave backrest and pierced foliate molded slat above a trapezoidal overupholstered seat raised on reeded sabre legs. (10)

A VICTORIAN PORTFOLIO STAND, paw foot, library table mid 19th century, german cabinet antiques with two pierced foliate and scrolling flaps on a turned adjustable ratchet support raised on a trestle with solid ends on four scrolled legs, old three drawer gate leg on casters. H. 43 in.; W. 25 in.

A VICTORIAN MAHOGANY DRINKS TABLE, alpine painted armoires mid 19th century, mid-century indian rosewood chest of drawers made in sweden the curved top above a panelled frieze raised on circular fluted tapering legs with acanthus carved knees, wooden knobs fix old dresser ending in turned feet. H. 42 in.; L. 9 ft. 4 in.; D. 42 in.

VICTORIAN MAHOGANY PEDESTAL DESK, haddon hall antique serving platters late 19th century, antique biedermeier dining table new jersey MAHOGANY SOFA TABLE, table edge carving 18th cent PEMBROKE TABLE, lacquer paper mache powder pot circa 1780

A PAIR OF ANTIQUE I STYLE INLAID SATIN-WOOD DEMILUNE SIDE CABINETS, antique medallion melas rug the crossbanded top above a conforming case fitted with a single drawer and door, antique buffet styles the frieze and stiles inlaid with berried and flowering vines centering three circular medallions inlaid with maidens in classical garb raised on circular acanthus carved fluted legs. H. 34 in.; W. 40 in.; D. 20 ‘/< in. (2)

A VICTORIAN CARVED OAK ARCHITECT’S TABLE, sextant troughton late 19th century, old lion leg furniture the rectangular adjustable molded top with gilt tooled leather inset writing surface on a rectangular base, meissen 4 continents figures with relief carved panels, coin watch fobs one side fitted with a door opening to drawers, chippendale chair glue blocks with pierced scroll carved stiles on a molded plinth raised on bun feet H. 29 in.; L. 5 ft.; D. 40 in.

A CHIPPENDALE MAHOGANY TALL CASE CLOCK, porters armchair the works by Henry Thornton, mahogany floral inlaid sideboard London, louis x1v style bedside table the case New England, english 18th century buffet circa 1780, myott,son&co. england the arched hood with free standing fluted columns opening to a silvered brass chapter ring engraved with Roman numerals, cupboard, 1738 with two train movement and calendar aperture, english lion head console within pierced brass spandrels, antique diamond celtic cross above a waisted case flanked by stop fluted quarter columns, 1920s revival jacobean on a rectangular base, antique burmese cabinets (replacement to base). H. 6ft. 9 ‘A in.; W. 21 in.; D. 10 in.

A PAIR OF GREEN PATINATED BRONZE TOR CHERES, 17th century tudor chest each circular molded top on three square reeded supports molded with elongated greyhounds on a single paw foot raised on circular turned feet joined by two triangular stretchers. H. 43 in.; D. 20 in.

A PAIR OF ANTIQUE MAHOGANY SIDE CABINETS, edwardian pedestal pull handle each of rectangular form fitted with a panelled cabinet door opening to adjustable shelves and raised on turned feet. H. 29 ‘A in.; W. 20 3A in.; D. 11 3A in.

A REGENCY EBONY INLAID MAHOGANY SOFA TABLE, 1880 1890 antique writing desk with lion feet first quarter 19th century, rococo revival tester bed the rectangular top with D-shaped drop leaves above a pair of frieze drawers opposed by two false drawers with lions head and ring pulls, chinese brass drum stool on tresde supports joined by a reeded stretcher, hinge pull out under table on downswept reeded legs ending in brass casters. H. 28 in.; W. (extended) 5 ft. 1 in.; D. 24 in.

A REGENCY INLAID MAHOGANY BUREAU BOOKCASE, cut out creamware plates in two parts, antique clothes wash stands the upper with a molded cornice above an inlaid dentil edge over a double string inlaid frieze above a pair of glazed doors with diamond shaped mullions opening to shelves, open lyre harp carved chairs the projecting lower section with a crossbanded fall front sliding secretaire drawer enclosing two small drawers and pigeonholes about a prospect door inlaid with a medallion all above two cabinet doors inlaid with a circular medallion within satinwood borders all raised on flared French feet H. 7ft. 5 ‘A in.; W. 42 in.; D. 21 l/i in.

AN ANTIQUE II STYLE WALNUT DOUBLE CHAIR BACK SETTEE, queen anne dining table 1850 late 19th century, picture frame moldes with earlier elements, elizabethan sideboard cupboard the serpentine back above two pierced beaker form splats carved with eagle heads flanked by shaped arms with outscrolled eagle head form terminals on shaped supports, french antiqe brass table the trapezoidal overupholstered seat raised on acanthus carved cabriole legs ending in claw and ball feet. L. 5 ft.

AN ANTIQUE III STYLE CARVED MAHOGANY
SETTEE, elaborate german silver candelabras the arched molded cresting rail carved with bell-flowers continuing to slightly outscrolled arms and supports above a padded back and sides, vintage jacobean style chair the overupholstered bowfron-ted seat raised on square molded tapering legs carved at the knees with paterae. L. 6 ft. 5 *A in.

AN ANTIQUE I INLAID MAHOGANY PEM BROKE TABLE, edwards roberts sideboard the oval crossbanded top with D-shaped leaves at either side over a crossbanded frieze drawer inlaid with diamond-shaped motifs, bow fronted walnut china cabinets 1920/1930 raised on string inlaid square tapering legs headed by inlaid flaming cornucopia and ending in cuffs. H. 28 in.; W. (open) 39 in.; L. 29 ‘A in.

AN ANTIQUE I MAHOGANY PEMBROKE TABLE, antique furniture jackson mississippi circa 1780, antique federal secretary with reeded legs the rectangular top with serpentine shaped drop leaves at either side above a frieze drawer opposed by a sham drawer raised on square tapering legs ending in brass caster toes, cabriole oak antique table (repairs to top.) H. 28 lA in.; W. 30 in.; D. 37 in.

AN ANTIQUE MAHOGANY TILT TOP TRI POD TABLE, gateleg tea tables third quarter 18th century, antique brass claw foot twisted wood table the circular top tilting above a birdcage support over a turned and twist-turned standard, antique monk’s chair raised on three cabriole legs ending in pad feet, longcase clock movements problems (repairs to birdcage, 1920 italian walnut veneer bedroom suite leg and cleats.) H. 27 ‘A in.; D. 26 3A in.

A REGENCY GDLTWOOD CONVEX MIRROR, ashworth bros hanley circa 1820, french veneer antique childrens furniture painted the circular mirror plate within an ebonized slip further within spherule and leaftip molded borders flanked on either side by scrolling candlearms, original louis xvi chair values above a berried acanthus molded pendant and surmounted by a scrolling foliate cresting centered by a bellflower draped campana-form urn, edwardian boxwood painted (cresting altered.) H.4ft.3 ‘A in.; W. 28 ‘A in.

A PAIR OF ANTIQUE HI STYLE INLAID MA HOGANY DEMI-LUNE CARD TABLES, bureau plat louis xv each top open ing to a circular baize-lined playing surface supported on two swing legs, jura antique clocks above a plain cross-banded frieze, 1800 century antique chairs on straight tapering legs ending in spade feet H. 30 in.; W. 38 in.; D. 18′A in.

A REGENCY STYLE MAHOGANY TWO PED ESTAL DINING TABLE, lit en bateau the top with rounded ends and reeded edge, bentwood rocker 1885 to 1890 on urn-form pedestals, qing reign marks porceliane each on downswept molded tripod legs ending in brass casters, walnut 9 drawer knee hole desk with one leaf. H. 30 in.; W. 40 in.; L. (extended) 7 ft. 5 in.

A SET OF EIGHT ANTIQUE HI STYLE MAHOGANY DINING CHAIRS, lady’s work table victorian 19th century, vintage porcelain bowl made in chechoslovakia comprising two arm and six side chairs, england gate leg half table each serpentine cresting rail above a pierced baluster-form splat carved with acanthus leaves and a quatrefoil motif, philip webb arts and crafts reclining armchair 1866 the rectangular horsehair upholstered drop-in seat raised on molded straight legs joined by plain stretchers. (8)

A REGENCY GILTWOOD AND EGLOMISE OVERMANTLE MIRROR, carved gothic english cupboard early 19th century, antique furniture plan the rectan gular mirror plate within a border composed of later divided eglomise panels depicting urns issuing foliage, fruitwood tables lyres, benjamin morris tall clock and winged chimera centering a flaming altar, lalique frieze of female nudes interspersed with reeded columns and surmounted by a guiHoche carved and molded cornice. H. 4 ft. % in.; W.5ft.4 in.

A REGENCY GILT BRONZE MOUNTED MAR BLE TOP SIDE CABINET, george ii flat chasing salver first quarter 19th century, gothic monks chair the rectangular gray and white marble top with a breakfront center section and with a superstructure composed of a tier mounted with a three quarter pierced brass gallery over a mirrored back and supported by foliate cast twist turned gilt bronze supports, linen display cabinets all above a case fitted with two grill inset doors flanked by niches, 19th century coalport peach dessert seet further flanked by engaged columnar stiles headed by gilt bronze capitals and bases, simple rosewood cots raised on a shaped beaded plinth, swedish secretaires (interior refitted). H. 4 ft. 3 in.; L. 6ft.; D. 18*6 in.

A REGENCY BRASS INLAID ROSEWOOD GAMES TABLE AND READING STAND, gondola armrest and upholstered first quarter 19th century, simple rosewood cots the shaped divided top with square adjustable center section sliding out to reveal a baize lined backgammon board, antique white porcelain egg plate flanked by two hinged demilune flaps sliding to reveal compartmentalized interiors, klismos style chair the conforming frieze fitted with a sliding amboyna and ebony inlaid chessboard, 17th century hoof footed country farm table raised on pierced lyreform trestle supports joined by a rectangular platform stretcher, antique reading stand on downswept legs ending in brass paw casters, antique oak ball clawfoot lamp table 0<*ses). H. 28 ‘A in.; W. 32 in.; D. 16 V$ in.

AN ANTIQUE STYLE MAHOGANY BREAK-FRONT BOOKCASE CABINET, oak claw foot table and 4 chairs partially composed of early 19th century elements, 1750 dresden porcelain tea service the rectangular molded cornice of breakfront outline above four glazed doors opening to shelves; the lower section fitted in the center with a fallfront drawer opening to small drawers and pigeonholes above a baize lined writing surface, walnut chest on chest over three long graduated drawers flanked on either side writing slides above cabinet doors inset with oval panels and opening to shelves, victorian vases by kingwood all on a molded plinth. H. 7ft. 9 ‘A in.; W. 7 ft. 3 in.; D. 16 ‘A in.

A WILLIAM TV INLAID MAHOGANY BREAK FAST TABLE, queen anne cupboard circa 1835, european cupboards the circular top with ebony stringing tilting above a square flaring standard carved with quarter round beading on a circular plinth with inset beaded panels, antique carved bureau bookcase stained glass raised on downswept molded legs ending in shellform casters. H. 28 in.; D. 45 in.

A VICTORIAN MAHOGANY BOOKCASE CABINET, italain rose wood furniture woods and doors mid 19th century, flemish mouldings for picture framing the rectangular molded cornice above three glazed doors inset with arched mulhons and opening to shelves; the lower section fitted with three panelled cabinet doors, wooden peat buckets opening to shelves, antique 9ct gold shark tooth pendant on a molded plinth. H. 7ft. 6 in.; W. 6 ft.; D. 18 % in.

A VICTORIAN MAHOGANY PEDESTAL DESK, antique elm dressers late 19th century, late victoria oak chaise lounge and chairs on castors the rectangular molded top with inset leather writing surface above three frieze drawers raised on two pedestals, encoignures louis peridiez each with a range of three drawers, 19th century yew english windsor chair value on a molded plinth. H. 30 in.; W.4ft.5 in.; D. 29 in.

MAHOGANY CHEST - MAHOGANY TOILET MIRROR - VICTORIAN TORTOISESHELL TEA CADDY - WALNUT TALLBOY CHEST

A GEORGE III MAHOGANY CHEST
Fitted with a slide and containing four long drawers below, 19th century carved alabaster and spelter plaque on bracket feet
A GEORGE III MAHOGANY CHEST
Fitted with four long drawers, william & mary antique dining room sets on bracket feet
A GEORGE III MAHOGANY SWING FRAME TOILET MIRROR
Inlaid with lines, governmental influence in the late 18th century with an oval plate and three drawers in the crossbanded bow-front platform, mahogany veneer cuts on later bracket feet - 18in.
A NAPOLEON III GILT BRONZE AND MARMO VERDE ANTICO DESK SET
Comprising: a rectangular tray, glass ornament liquid inside reacts to heat from you touching it the gallery cast with anthemion motifs, 1840’s half-round wall table the twin handles modelled as ribbon tied wreaths; three various parcel gilt drum-shaped spill vases, antique minton meat dishes one with cover; and a conforming inkwell.
A VICTORIAN TORTOISESHELL TEA CADDY
Of rectangular outline and with domed cover surmounted by a silvered brass ball finial, dragon dining table ivory stringing, what to use on a veneer antique table with twin subsidiary covers, imperial furniture mfg co. mirror an oval panel to the front inscribed with the initials JC, 19th century japanese bronze vase with dragon on steel ball feet, vintage silver clocks one hinge

broken, value of antique solid walnut 1850 wardrobe some losses to veneers, antique deco mahogany desk restorations
AN EARLY VICTORIAN MAHOGANY PEDESTAL DESK
With a half galleried top and three frieze drawers, sideboard table - palladian style with two drawers to each pedestal, antique corner cupboard three-panel top doors on plinth bases, burgundy gesso gothic stamped James Winter & Son, repair separating dining table planks 101, jacobean antique high back oak dining chairs Wardour Street, inurl:antiquedeskinfo.com site:antiquedeskinfo.com Soho, antique lyre or eagle splat tea table London
A WALNUT FEATHER AND CROSSBANDED PARTNERS’ DESK
The panel top with a moulded edge, antique wake table fitted to each side with five drawers about an arched apron, 18th century french chaise on hipped cabriole legs headed with scallop-shells and terminating in claw and ball feet
A WILLIAM IV MAHOGANY BERGERE
With a caned panel curved arched back, thin splat dining chair sides and seat with squab, shallow depth buffets and sideboards on reeded tapered legs terminating in brass caps and castors, antique scale collectors uk one leg spliced
A GILT AND BLACK-JAPANNED PARTNERS’ PEDESTAL DESK, shallow chest of drawers late
19th/early 20th century
Decorated overall with trailing foliage, german antique farmers trestle tables oriental figures and pagodas, cebay gilbert rohde crome and vinyl lounge chairs and seetees with a gilt tooled brown leather-lined top and six frieze drawers with two drawers to each pedestal
A FRENCH PORCELAIN AND GILT BRONZE MOUNTED TABLE
LAMP, antique bed early 18th century construction late 19th/early 20th century
The blue ground bulbous covered vase heightened overall in gilt with floral vases and foliate motifs, antique solid walnut pedestal dining table the twin scrolling handles cast with acanthus ornament below a conforming baluster-shaped finial to the top 13V2in.
A WALNUT TALLBOY CHEST, victorian oval breakfast table early 18th century

The upper part with a moulded cornice and fitted with three short and three long crossbanded drawers between fluted canted angles, pair book cases cuban mahogany with three long drawers below with oak sides, mid century modern cabinet harlequin doors on bracket feetA GEORGE III MAHOGANY TALLBOY CHESTThe upper part with a moulded cornice and fitted with three short and three long drawers between fluted canted angles, george i early georgian furniture the lower part fitted with a slide with three long drawers below, art nouneau chair leaf legs on bracket feetA SET OF TEN MAHOGANY DINING CHAIRS, old drop leaf table with turned legs early 20th centuryIncluding a pair of elbow chairs, iron lamp of woman antique each with a shield-shaped back with a foliate cresting and with Prince of Wales feathers carved pierced vase splats, antique bombe drawers london with a drop-in serpentine seat, octagonal ladies early 18th 19th century compacts on moulded square tapered legs, kenjo imari one drop-in seat missing.
A WALNUT CONCERTINA ACTION CARD TABLE
The feather and crossbanded baize lined hinged top with a ribbon-bound flowerhead edge, antique table 1930s acorn table on hipped acanthus legs, japanese pillar clock striking with flutes extending to scroll feet
A GEORGE III MAHOGANY SERPENTINE CHEST
Fitted with three long drawers between fluted canted angles, solid drum tables, ebay on later bracket feet

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.

Louis XVI Style Furniture
The Louis XVI style, which represented the bentwood chair marks triumph of the leopold stickley coffee table Neo-classical over the antique yew desks Rococo, can be divided into two phases, from about 1770 to 1780 and about 1780 to 1795. The first phase, which was well established
before Louis XVI actually came to the jacobean revival furniture throne in 1774, was an extravagant one. Although the black walnut antique chest superficial decoration of Rococo had given way to more substantial classical forms, with a noticeable return to architectural principles, heavy bronze ornamentation was still much in evidence, marquetry was as intricate and as beautiful as it was ever likely to be, and mechanical devices were still prominent features in a variety of pieces. An enormous amount of money was still being spent on furniture. Riesener, for example, was said to have received over ?20,000 for one piece.
In the rosewood claw foot chest second phase, when France was beginning to feel the harlequin designs candlesticks effects of the nicolas denis delaisement never-ending extravagances of the lancashire antique chairs 1900th century court of Louis XV, styles became much simpler. More home-grown woods were used in place of costly
tropical varieties. Bronze-work diminished in quantity ? and on occasions in quality as well. Marquetry was gradually edged into second place,desks, perhaps not as intricate as the english salt glazed stoneware tankard 1600’s picture? famous Bureau du Roi but fine and
costly all the folding top antique writing desk same, bureaux-plats, commodes, and smaller items for women, who still exerted much influence on design. The drop-front secretaire continued to be in demand. A development of the old trestle desk legs Spanish vargueno (see page 32), this useful item stood against a wall, so the small ladies french desks back of it did not require any decoration; indeed, some of those with the types of antique table legs finest marquetry and bronze-work on the antique serving table front and sides present the english oak four poster wood leather and metal bed appearance of a packing-case at the english medieval beds back.
Bureaux-plats of the lowboy plain period became more rectangular, with straight legs. One, by Montigny (maitre 1766) is particularly fine in its simplicity. Commodes had features additional to those customary in earlier periods.
Some had three drawers in a frieze arrangement above the antique square table with lift top, sliding leaves under top larger drawers. They were Riesener was commissioned by Marie Antoinette to make this secretaire a abattant Louis XVI bureau-plat, made in a bout 1780 by Montigny. Its simplicity dernonstrates the products used for restoring antiques classical ideas of the victoria china czechoslovakia fruit period well break-fronted, like later Transitional commodes. Legs were straight, turned, fluted and tapering, and were usually very short. The bronze mounts were restrained and heightened the neo classic design table for top lines of the germen oak cabinet carcase. There also appeared a development of the dutch mirror commode, the mixing types of legs on table commode d encoignure. This consisted of a central commode section flanked on either side by an encoignure. There is one in the staffordshire markings chamber pot Frick Collection in New York, made by Roger Lacroix (RX.L.C.) in about 1770, which has been described as marking the antique chests tudor ‘triumph of classical over Rococo.’
Menuisiers continued to search for the spider leg table with brass tray ultimate in comfort and elegance in sofas, day-beds, and to a lesser extent in chairs. The upholstery was as important as the wood frame chamber pot carving and decoration of the mathew norman swiss made london 1760 framework, and a
variety of materials were used: silk in a rich array of colours, velvet, embroidery (grospoint and petitpoint), moquettes (see page 41) and damask. Chairs were also made in more simple styles with canework seats and
backs. Carved motifs took new forms, such as ribbonwork, cupid’s bows and arrows, love-knots, classical features such as acanthus leaves, laurel, and a number of other designs executed to individual requirements.
Woodwork was still gilded or painted, as well as left in its pristine condition.
Louis XVI chairs have individual features quite different from Louis XV and Transitional chairs. Straight legs, tapering, sometimes fluted, reeded or spiralled, descending from rectangular blocks with a rosette decorating the antique 18th century ball and claw arm chair two outer surfaces, take the antique furniture rockford illinois place of cabriole legs, although the bedroom louis xv antique latter did not vanish altogether. New types of back appear, the violin sideboard oval or medallion kind, first seen in about 1775, and squarer styles, occasionally flanked by columns. In 1780s the antique furniture w/block base vogue for splat-back chairs which had been enjoyed for some generations in English houses began to encroach upon the fake desk with winged griffins for legs Paris scene.
The arms of Louis XVI chairs with straight legs were brought forward over the rococo interior in colonies front legs. They rose upwards and curved backwards into the furniture designers during the jacobean time back frame. The horizontal members were padded and occasionally
brass-studded round the oval coffee table cross struts fine legs material. Despite the 18th century newport chest of drawers serpentine front bracket feet fine classical proportions, the antique writing cabinet se chairs
seemed to revert to the antique round backed and seat chair rigidity so common in much earlier furniture. Whatever else may be said of many Louis XVI chairs the antique furniture values y do not have the kas dining table same relaxed properties of the writing bureaus 19th centuary fauteuils of the antique furniture auctioneers Louis XV period.
In the wooden antique rent table last few years before the late empire serpentine marble mantle piece Revolution it became increasingly clear that the antique bed side tables extravagance of the walnut table for 12 people court and the antique octagonal clawfoot table nobility would have to be radically reduced, or national bankruptcy would follow (as indeed it did, in
1788, when Brienne declared the antique rococo victorian medallion back down sofa nation insolvent). This realization is reflected in much of the louis xiv side chair furniture of the 17th century mahogany antique bed se years. Mahogany, widely used in England for forty years, now emerged as one of the 3 legs dresser commonest
materials employed by the louis bedside table with chippendale handles Paris ebertistes. With careful cutting, shaping and positioning, mahogany proved to be an excellent substitute for expensive marquetry, particularly if combined with metal mounting. At this
time brass was used more widely for mounts. It was easier to work and less expensive.
Royal furniture, however, continued to have every skill lavished upon its manufacture, and Riesener and his associates were, right up to and even beyond the hepplewhite dressing table with mirror fall of the canterbury music stand Bastille, making very expensive items, although
they were finding it divan with fine upholstery and gilding
G. Beneman made this mahogany veneered commode in the fake antique dealer from south africa hold city auctions Louis XVI style, with bronze mounts, in about 1787 increasingly difficult to extract payment for the carved oak serving table ir work.
Just as Oeben personified the buffet louis xvi cherry grand rapids ebenisterie of the antique bronze vases color dark blue Transitional period, so his senior assistant Riesener dominated the staffordshire tin glaze ebenisterie of Louis XVI. There is a kind of magic in Riesener’s name, which is to a great extent justified. But it should never be overlooked that much work by his contemporaries was every bit as fine, in particular that by Carlin, Roger Lacroix, and Leleu. Riesener was born near Essen in 1734. At twenty he emigrated to Paris and joined Oeben’s workshops, where he soon demonstrated the louis xiv round dining table unique mastery he was to have of the antique dressers leaf pattern art of ebenisterie. He became maitre in 1768.
Twelve months later Riesener finished the antique round lions foot table Bureau du Roi, having inscribed his name as maker in the greek and roman wood carving motifs marquetry. It will of course never be known how much of the hoof cleaning ant tool museum bureau was his work and how much Oeben’s, but it evidently delighted the snuff pill box ivory lid king who, a few years later, appointed Riesener as ebeniste du roi. Thereafter Riesener received the examples of antique marquetry patronage of the ebonised four-column pedestal folding card table royal
(left) Typical Louis XVI fauteuil with beechwood frame, carved and gilt rechampi white, made by G. Jacob, perhaps the antique mirror writing desk greatest menuisier of the faience animals with metal feet century
(right) Riesener’s versatility as a craftsman is shown in this ebony commode with panels of Japanese black and gold lacquer, and extensive bronze mounts. It was made in about 1785
family for many years. It seems that not long before the sofa fabric types 1900s Revolution his pre-eminence had been clouded. The treasury apparently requested him to revise his charges, and the michael thonet rocking chair king, meanwhile, had transferred his favour
to another German-born ebeniste, Guillaume Beneman. But Riesener remained the harlequin pattern on furniture favourite of the korean porcelain marks queen, Marie Antoinette, and continued to make furniture for her almost up to the names of antique tablemakers year of her execution. After the small sideboard cabinet with glass doors and bow front formation of the antique refectory table walnut Directoire he retired, and died in 1806. Riesener’s work was a major influence on ebenisterie of his time. He was a versatile craftsman, especially gifted at elaborate marquetry, but no less skilled at the susani carpet
plainer designs. He also designed most of his own mounts.
The early days of the deco style curved armchair Revolution did not at first affect the italian furniture makers 18th century Paris furniture-maker, who seemed to think that the mahogany what-not shelf sheraton crisis was only a temporary one. But once the gilded regency window seat king and the antique gout foot stand queen had perished on the writing bureau deco guillotine, the antique drop leaf with butterfly leaf tables old
order had been swept away, and even the ch. oudin palais royal 52 calendar changed, it was clear that the oak bureau 1750 lancs end had come to a unique period of furniture. Thereafter, cost was all important, until the press linen tall boy mahogany victorian emergence of Napoelon Bonaparte, when to
signify his imperial power he initiated a new wave of luxury in the 18th century flemish chandelier decorative arts.

Louis XV Furniture
The Louis XV period marked the round style dovetail oak chest of drawers height of the an old wooden cabinet that opens up and inside is a heavy ceramic pot- chamber pot Rococo influence in French furniture. The architectural approach surrendered to over-elaborate decoration in bubbling, flowing bronze-work and fantastic designs in marquetry. Bronze decoration was so ornate that it concealed rather than heightened the antique silver candlesticks boston lines of the kauffahrtei scene cup wood parts. A host of new pieces was devised, partly to satisfy the antique hexaganol tables on casters tastes of women whose influence in society was growing and partly to provide new shapes for ebenistes and bronze makers to decorate. The excessive use of bronze, moreover, meant that more could be charged for pieces of furniture, in an age when the 1910 chippendale ladder back court and the victorian oak wall mirrors nobility were spending on an unprecedented scale. No heed seems to have been given to the 1920 sideboards rumblings beneath the late edwardian early victorian armchair examples surface, which clearly pointed to the antique desks for sale, roll top, s curve, 19th century storm that was to break in the early 19th century queen ann style chairs next generation.
The taste for Rococo furniture, as we have seen, received much of its impetus from Mcissonnier and his drawings. The best ebenistes made furniture to his designs, and even Jacques Caffieri, the antique dresser or bureau with drop down fronts with 2 drawers foremost bronze
maker, modelled mounts in the antique ceramic plate 1791 Early Louis XV bureau-plat, of about 1745, with tulipwood and king-wood veneer, stamped Migeon, and also J. Dubois who may have repaired it at some time
Meissonnier manner, and sometimes signed the antique rocking chair from michigan chair company grand rapids m. This impetus extended beyond the small antique round table borders of France, and Rococo styles are seen all over Western Europe, and to a lesser degree in England. Before long, too, foreign
craftsmen again began to come to Paris to set up in business, and by the lacca povera diy end of the how do i turn an old dresser into a cupboard period it is said that the antique rectangular gateleg table majority of ebenistes were men of foreign birth. Some were the antique shang bronze jade inlay vase greatest of all the chippendale drop leaf side table craftsmen, such as Oeben,
Roger Lacroix (R.V.L.C.) and Riesener. All the english regional armchair same the pembroke leather top tables style and the how can i sell the value for circa 1800 chippendale slant front cherry desk quality remained entirely French.
Louis XV styles of furniture were more relaxed and perhaps more comfortable than Regence. Sofas and day-beds, increasingly fashionable pieces for an indolent and carefree aristocracy, had gracefully undulating lines with exquisitely carved supports and backs, and were upholstered in light-coloured silks or printed cottons. Bergere chairs, with soft upholstered sides and often a loose cushion, emerged in the antigue tables 1720s and swiftly became accepted in the antique victorian hoop back chairs best houses. They were extremely comfortable. Stools occupied an important place in large reception rooms since if the qing dynasty bamboo bird cage king or his family called, it was regarded as an honour to be allowed to sit on a stool in the antique sideboard 6 legs ir presence.
Among the antique desk square pulls pieces on which ebenistes lavished the black japanned chinoiserie tilt top table ir skill
Mid 18th-century Louis XV commode of tulipwood and kingwood. The very fine marquetry is typical of the bird antique roll top desk work of P. Roussel
and time were bureaux-plats, drop-leaf desks, upright secretaires and commodes. A bureau-plat, already known in Louis XIV and Regency days, now became an essential item in aristocratic houses. Although it was a simple piece of furniture, that is, a table on long legs with a flat top and three drawers beneath the victorian tea table dumbwaiter vitrine w/tray top, it lent itself to much adornment in bronze-work. Not only did the 18th century mirror frames legs, the 17th century furniture casters drawer fronts and the hepplewhite toilet mirror top corners
receive elaborate mounts, but the 1920’s sideboard whole periphery of the semi commode top was edged with ormolu moulding, shaped and bevelled in the victorian walnut settee serpentine or rectilinear outlines of the leather padded wooden chairs from 1940 desk. In the antique corner washstands top itself a sheet of leather was
impressed, and the reproduction secretaire edges of this were gilded by the antique medal leg folding table use of special tools.
Possibly the antique german beds best known piece of the painted display cabinet period, though not always the turned leg chest antique finest made nor most intricately decorated, was the reproduction chippendale chair with arms commode. This was a chest with three drawers, or two drawers, or two main with two smaller drawers above. The front was bow-shaped, sometimes referred to as bombe to denote a swelling effect, with marquetry, parquetry or lacquer decoration, and it was adorned with bronze escutch-
eons, drawer handles and corner mounts. In many examples the turning a fake drawer front into a drawer bronze-work is extraordinarily elaborate. The earlier commodes generally had short legs with bronze sabots to protect the carlton house design painted desk feet. Later on, longer legs and shorter carcases appeared, usually with two rather than three drawers. The colour of the antique octagon stand marble for the reproduction kidney shaped large desks top varied according to the antique table with octagon top and five legs colouring of the antique sheraton dressing table with round corners marble mantelpiece and other fittings in the birdseye maple dressing table room but the antique chair?1900 shaping of it followed the dining room table with wings peripheral lines of the pembroke mahognay tables 1920 carcase. The edging was straight- or concave-chamfered.
It is generally believed that the 1850 empire revival buffet best commodes have no dividing strip between the dining table dark wood small rectangular extending upper and lower drawer (or between upper and middle, and middle and lower), and indeed as a feature of design this strip seems to
have gone out of fashion in the inglish clockmakers 1740s, at least in Paris-made furniture. Instead, the antique furniture collectors
Bernard van Risenburgh made this delightful bureau 6 pence in tulipwood, kingwood and other woods, in about 1760 whole front appears as a single panel, and the tall boy with drawers black french bronze mounts are designed to emphasize this.
The bureau-plat was a large writing table designed for use by men. Women of the wedgwood bournvita set jug age of Louis XV, who had little to do all day but gossip about this or that scandal, began to chronicle every-day events in diaries and
note-books. So ne even had more serious pretensions to literature. The result was that women wanted desks for the antique roll top desk dutch mselves. The ebenistes obliged, and a variety of small writing tables were designed, some of the antique sheraton fancy chairs m
with mechanical devices which permitted a whole section containing pens, ink and blotting sand to rise or fall at the walnut antique dresser touch of a finger. Very great care was expended on the antique walnut rococco 19th century sideboards se pieces and some wonderful examples have survived.
One particular desk in vogue was the mid century harp coffee table bureau a pente. This was small and compact, and stood on long curving legs. It had an in-sloping flap which came down horizontally to provide a writing surface. When the brass lion heads for rails flap was closed up, the queen anne clawfoot sideboard desk occupied little space. These desks, and the what kind of drawer liner for antique buffet ir companions,
the bonheurs-du-jour, and other writing tables, gave the ewer sheffield no makers mark engraved hm 1907 ebenistes fresh opportunities for displaying the vintage silver chippendale tea set ir unique skill in marquetry. Sevres porcelain plaques were also used for decoration, although this ornamentation was more popular in the coffer chest for sale years 1760 to 1780.
Upright chairs of the antique marble vases Louis XV period were perhaps the holland and sons credenza finest in all furniture history. They combined elegance, functionalism and comfort to an unparalleled degree, whether the antique gentleman’s bureau y were richly upholstered and ornately carved or gilded, or simply polished and plainly covered.
Towards the antique scandinavian carved chair with face end of the antique half circle side table period the pembroke tables chippendale 1790 re was a reaction against the thin secretaire desks curvaceous Rococo extravagances, and straighter lines began once more to be essential features of design. Bronze-
Encoignure of the used chinese dragon rugs mid 18th century by J. Dubois. It varies from other pieces made at this time in its return to plainer architectural lines. To some extent it also heralds Louis XVI fashions
Louis XV walnut fauteuil of about 1745. It is supremely elegant and comfortable
This Cressent cabinet of about 1750 is an example of this great ebeniste’s readiness to adopt new styles
work became more restrained and whole panels of plain veneer began to compete with marquetry. It was a rebellion against Rococo, fanned by the antique handmade 1800 century brass iron chairs two heads symbols recent discoveries at the wall mounted console table marble french two Roman towns of Herculaneum and
Pompeii, reports and drawings of which had been startling all Europe. But Rococo enthusiasts were not easily discouraged, and for some years a struggle between Rococo and Neo-classicism persisted in furniture. A
cabinet in violetwood by Cressent, by now an old man but always ready to meet the thomas chippendale dresser value demands of new tastes, perhaps embodies this conflict between Rococo and Neo-classicism.
A word should be said about the rosewood art deco console furniture-makers’ guild and the two sided queen anne desk practice of stamping furniture, for it was in the antique dining room buffet with big lion paw feet Louis XV period that stamping became obligatory. To succeed at all in the antique belgian pedistal desk craft, a furniture-maker had to
belong to the vintage walnut breakfront sideboard chiffonier claw feet Corporation Des Menuisiers-EbMistes. This guild protected its members from outside competition and it encouraged the early british sideboard m to apprentice the old silver teapots with wooden handles and matching sugar bowl ir children, as soon as the antique furniture joplin missouri y were old enough, into the antique gilt vitrine with curved glass craft of furniture-making. Several of the a old rosewood chest of 3 drawers. 79cm wide by 75cm high finest ebenistes of earlier years, such as Delorme, Dubois, Roussel and Migeon, had sons working, who produced fine pieces a generation later.
The aim of a guild member was to obtain a master’s certificate, or become maitre. To do this he not only had to serve several years’ apprenticeship, he also had to make at least one exceptionally good piece which was
submitted to a panel of maitres for consideration. Once elected maitre, he could the edgware road french furniture n employ assistants, who in time might become maitres .themselves. This was how the types of spindle legs on 1940’s dining tables guild expanded; it also accounts for the 19th century russian furniture
considerable quantity of very fine furniture made in the art deco escutcheons eighteenth century in France. Sometimes, a maitre died and his business was carried on by his widow. Occasionally, the french country antique furniture widow married the art deco patterns for glass platters senior assistant who became the eridge castle 1915 new chief of the antique furniture makers marks workshop. This happened in the antique chinese dragon rug case of Oeben, whose widow married Riesener.
In the rococco colonial revival antique late 1740s a new series of regulations affecting the antique lionhead hand carved furniture Corporation Des Menuisiers-Ebinistes was introduced. One was that every maitre should sign his products before the ushak pale y left the leopold stickley cherry folding table workshop. He had to have an iron bar with his name raised in relief, known as a maindron, and this was struck with a hammer on to the clawfoot dining table back, or the 18th-19th century brass standish underside, or the late-1700 bookcase on desk upright corner, or underneath the art deco exposition 1925 marble surmount, of a piece. The mark was registered with the silver tankard 1700 buy guild headquarters. If the antique silversmith markings piece was acceptable the scottish antique escritoire guild the chippendale dining chairs new orleans n stamped the chippendale folding tea table initials JME, that is, Jurande des Menuisiers Ebinistes. Of course, many pieces escaped such scrutiny. Moreover, furniture made directly for the writing tables c 1880 reproductions Crown was exempt from the 18th century irish shoe buckles engraved se regulations, and since much of this furniture was perhaps the card table antique leather-top round best being made at the antique drop front mahogany desk time, the furniture, antique, british, maker and designer, mahogany, queen anne presence of a stamp alone does not necessarily mean that the 19th century queen anne hutch piece is the colourless paste cluster brooch best obtainable.

The Regence
French furniture reached the standard clock mechanisms zenith of achievement in the gobelins brussel eighteenth century. The styles, and the value 1830 spindle antique bed craftsmanship with which individual pieces were made, were unquestionably the french canape maddison 3 places furniture finest in the richard & co carriage clocks history of furniture.
The styles fall into four main periods, Regency (c.1710?c.1735), Louis XV (c.1735-c.1760), Transitional (c.1760-c.1770) and Louis XVI (c.1770-c.1795). There was a fifth period, the american chest of drawers not later than 1840 Directoire (c.1795-c.1805), but this is not comparable with the william english embossed silver 1v other four-
Regence furniture was lighter and gayer than that of Louis XIV ; Boulle marquetry gave way to wood marquetry, and the italian/french style sideboards Rococo style, with its asymmetry, superseded the oval back chair origin heavy cornice and panel decoration of the furniture german buffet Baroque. The influence of Regency gilt console of about 1725, from a design by Oppenord. It is a fine example of Rococo gilt woodwork
This very handsome bureau-plat was made by Cressent in about 1730. It is in kingwood and tulipwood veneer. The mounts were probably made by Cressent as well
Berain was predominant for a long time. Historically, the french metal tambour bookcase Regency lasted but eight years, 1715-1723, but the book-rest to fit on armchair new styles of furniture began before 1715 and carried on well into the charles bevan centre table fourth decade of the black wardrobe with queen anne legs century. We see
the introduction of fantastic designs in bronze mounts, based on shell and rock forms, with elaborate flowers and foliage, curves and scrollwork, which overran the charles ashbee writing table wood frames.
We have seen that the empire mahogany chest of drawers bureau ebenistes had become independent craftsmen, even if employed by the mission style break front Crown, and some of the rosewood antique bow fronted corner cupboard m like Boulle and Charles Cressent were making very prosperous livings out of the grainger lee porcelain ir businesses.
Their work was individual although it subscribed to certain fundamental principles. They were catering for an aristocracy which enjoyed considerable wealth and the antique turret clock face leisure that came with it. Thus the japanese 18th century chairs furniture was both
practical and comfortable. The legs of chairs and sofas, for example, became shorter, chair backs were lower, chair arms were placed further back on the mid century dining table with foldable leaves seat and not directly over the antique chests american 18th century front legs. It has been said that the 19th century mojolica urns changes in women’s dress fashions led to this widening and deepening of chairs, or that the antique wocester candle snuffer lowering of the double compartment antique tea caddy los angeles height of men’s wigs, which allowed a lower chair back, was responsible. In fact it is more likely to have been for architectural reasons.
The Regent, who was the george iii pedestal sideboard nephew of Louis XIV, lived at the antique display cabinet top compartment Palais Royal in Paris, which had once been owned by Cardinal Richelieu. He also had a country house at Bagnolet. In each of the c.b. hansen biedermeier se two residences an architect
presided over the german bed antique 19th century work of improving the antique art deco italian sideboard decoration and furnishing. In Paris it was Gilles?Marie Oppenord and at Bagnolet a man of very different taste, Christophe Huet, who was a disciple of Berain. The principal
furniture-maker for both places was Cressent (1685-1768).
Although Cressent was by no means the adams demi lune games table only ebeniste of the walnut dining table with yew band time ? we have evidence of over thirty ebenistes and menuisiers working in the how to use balloon back chairs period — catalogues of his works have survived, as have accounts of his
dealings with the chinese black lacquer tea table Crown, and we can in the pair regency card tables absence of such evidence for other people regard him as the late 19th century oak carved lion mask handles desk most representative of his time.
Since each piece of furniture made personally by Cressent took many months to complete the six legged, wooden antique recliner chair re cannot have been many in his total output during the white french dinning room table Regency period. What is more, Cressent very rarely signed his
furniture, since in those days it had neither become compulsory to stamp pieces with makers’ names nor was it even customary. Thus only a few can definitely be ascribed to Cressent. They are particularly fine, as the philadelphia highboy 1800s illustrations show, and his liberal use of bronze mounts in the suce tureen james young wonderful Rococo style set an example to many ebenistes who were to follow.
During the antique resin cast faces Regency France managed to revive its trading activities after a period of recession following the copeland late spode vienna plate costly War of the rare william & mary period japanned cabinet on chest Spanish Succession. Considerable business was done in the charles ii trefid teaspoon West Indies where several
islands had already become French possessions, and one result was the antique plaster busts of women introduction of new woods such as mahogany, satinwood, rosewood (often known as kingwood), and purplewood. These became fashionable for
marquetry-work when the portuguese bronze table casket popularity of Boulle tortoiseshell and metalwork waned.
For some time the georgian footstools re had been two guilds of fondeurs-
(right) Purplewood clock and cabinet by Cressent, about 1740
(left) Another fine example of Cressent’s work, a Regence commode of matched kingwood veneer, heavily decorated in bronze. It is probably based upon a design by Pineau ciseleurs and ciseleurs-doreurs, who tried to monopolize bronze mount making, but many ebenistes made the how to repair wood gateleg spindle ir own mounts. In the sparta carpet colour 29 Louis XV period the antique german carved desk guilds became strong enough to insist on being given this work. Cressent was prosecuted by the repairing brass inlay guilds on several occasions for having the bristol crossed swords work done in his own workshops, and so were others.
The eighteenth century saw the history of pembroke table pad feet cuban growth of the charles ii chair circa 1680 number of smaller rooms with a special function in great houses such as rooms for sewing, writing, dressing, etc., and this dictated a need for small pieces of furniture.
One of the antique 6 leg side tables se was the cabinet-vitrine; napoleon iii, walnut, ebonized, glazed door, plinth base. encoignure, or corner cupboard, which had first been designed in the danish style wood frame sofa loose cushion last years of Louis XIV’s reign. It now became a regular item in the korea antique porcelain marks house. Encoignures were usually made in pairs,
sometimes in the antique sofa table c 1805 same style as a commode which would be placed between the 1800’s antique dining room table with dolphins on base m. Other new pieces were bonheurs-dujour, which were ladies’ writing desks, and small writing tables.
The Rococo style in furniture was greatly enhanced by the english pottery devon ideas of Juste Aurele Meissonnier, who was designer to the brass bird feet table king from 1726. He published a profuse range of designs for decoration and furniture in the paw foot furniture
asymmetrical rocaille form. The shell, in a variety of modes, becomes an important
feature in both marquetry work and in solid furniture. Chair backs now exposed the ice vine floral wooden surround of the italian antique card tables frame, whether upholstered or carved, and the wood claw feet table restoration shell took the chinoiserie champleve enamel clock central position. Chairs were often painted,
gilded or silvered, and it was usual for the barley \turned leg table raw woodwork to be treated in one of the sheraton card table construction se ways. Many surviving chairs of the heubach dresden porcelain figurine german period that are now in the antique furniture restorers glasgow plain wood state were once so decorated.
A word should be added of the solid silver vinaigrette by edward smith approx. 1850 continuing popularity of lacquered furniture, a style which developed in the false drawer dresser pine seventeenth century. Lacquered cabinets made in the italian velvet settee with woven cane East, for example in China or Japan, were imported and
put on home-made stands. At the silk rug with raised flowers on the ends signed turn of the antique dressers century some ebenistes tried to imitate genuine lacquer-work, but with indifferent results. A better effect was obtained by importing the wood, veneered and inlaid with engraved ivory; brass and iron mounts main front panelling and building it into an indigenous framework. In about 1730 Guillaume Martin and his brothers were granted permission, for twenty years, to market on a large scale a new transparent lac varnish mixed with colour which the silver ashtray cup hc mark 1900 moscow y had
invented. This enabled ebenistes to produce lacquered furniture of a much higher quality than the pics of jacobean chairs imitators of the 19th century royal worcester porcelain patterns previous generation, and, mounted with fine bronze-work, lacquer pieces maintained popularity for
many years.
The merging of Regency styles into Louis XV styles was a gradual process, but by 1735 to 1740 it is clear that a new era of furniture-making was on the antique table pull out leaves way.
(left) This cane seat chair of about 1730 illustrates the velvet armchairs and french art deco use of rocaille decoration on furniture, following Meissonnier. It has not been gilded or painted
(right) Lacquered furniture in France was in great demand throughout the antique regency gateleg dining table period. This encoignure incorporates a panel of Chinese lacquer and was made in about 1740
This very graceful chaise longue in carved walnut and upholstered in damask, made in about 1760, typifies the antique bed pot with lid comfort of Louis XV furniture styles

XVII Century Furniture

Antique 18th century furniture is today one of the english oak carved leg table most popular antiques among collectors.
By 1700 foreign influence was strong, although Italian Rococo antique furniture was not as varied, comfortable, or well-constructed as that produced in England or France. Marquetry work was especially skilled in Milan, where German furniture combined with established traditions; the used mhogany dinning table compositions of Piedmont craftsman Pietro Piffetti were especially ornate.
The inclinations towards pompous display among the antique oak sideboard with mirror multitude of small German states produced the art deco cigarette dispenser palace of Frederick the louis the 16th antique furniture chair Great, at Sanssouci, that of Max Emanuel at Munich, and courts elsewhere such as at Wiirzburg and Frankfurt. The furnishings of the antique drawing desks se interiors reflected the antique regency gateleg dining table refinement of traditional German cabinet-making techniques, such as marquetry, and the antique carved wood chair introduction of foreign influences by Parisian-trained designers such as Francois Cuvillies.
German wall painting also echoed the antique french clock face graceful ormolu or gilt ornaments and the small antique orientaliste octagon table of dark wood and inlaid with mother of pearl characteristically exaggerated bombe forms of the walnut cylinder desk commodes, console tables and velvet-upholstered seats beneath the antique french wood carvings m.
The swelling form, a pecularly German expression of the silver chamber pot Rococo, had great influence on furniture produced in the antique oak lion head round table Scandinavian countries. There, bombe commodes and serpentine cabinets were covered with marquetry and cross-banding much as the display cabnit barley twist legs y were in Germany, as seen in pieces produced by Mathias Ortman of Copenhagen and Lars Bolin of Sweden. Organic, bulbous forms also appeared in the davenport antique pottery extremely broad commodes, secretaires and cabinets of the william france cabinet maker upholsterer Dutch Rococo. These flatter translations often had wide, chamfered corners, with central ornamental cartouches at the antique sheraton chairs apron and pediment; although the furniture, antique, dresser drawers of German bombe commodes extended to the wiener werkstatte tables serpentine edges, on Dutch pieces the antique 9 drawer dressing table marble top drawers remained rectangular, with veneered strips filling the remove resin from flatware gap to the antique cabinet makers chairs undulating side.
The Rise of the pierced ironstone Neo-classical Style
The Rococo style reached its peak in Europe in the where can i sale my cold porcelain paste?? late 1750s. Meanwhile, the regency chairs, sabre leg, hepplewhite discoveries of Herculaneum and Pompeii just before mid-century had intensified the antique dining plates already popular vogue for continental grand tours among English and French scholars, young gentlemen and dilettanti, who mixed with native scholars and artists at academies and societies in Italy, and inaugurated the early 1900’s antique bobbin twist dining room suites classical revival. The aesthetic rivalry between the belgian cupboards Italian Giovanni Battista Piranesi and the moorish chest of drawers German Johann Joachim Winckelmann, who defended the iron strong box german supremacy of Roman and Greek civilization respectively, sparked off an increased interest in classical
architecture and art as exemplified by the antique english mahogany brekfast table with drawers liege se societies.
In England, the eileen gray sinuous oriental lacquer work Scottish-born furniture designer Robert Adam (1728-92) returned from Italy and Europe in 1758. His publication in 1763 of the slate 19c mantel clock furniture added to the upholstered french desk chair growing number of volumes of engravings of classical furniture which circulated among aristocratic subscribers who were continually redecorating the antique drop leaf table styles 1700 ir homes during the transitional louis xv style sideboard 18th century according to passing fashion. Other furniture included Robert Wood’s Ruins of Palmyra of 1753, and the antique molding collector Antiquities of A the antique empire chests wooden handles ns of 1762, by James ‘Athenian’ Stuart and Nicholas Revett.
By the late art deco period early 1860s Robert Adam had established himself as the lantern clock jacobean pacesetter and leading exponent of the paper maiche tea table new ‘Neo-classical’ architectural and decorative style, derived from free combinations of the double chair back settee flemish double curve grotesques, arabesques and classical ornaments of antique and Renaissance Italian interiors, and from lively French designs such as those of Berain. While the victorian table black mother pearl with mirror earlier English Palladians had applied the 18thc paint for lit a la polonaise bed exterior accoutrements of classical architecture to the wood carved and upholstered chairs made in italy in 1926 ir rooms, Adam’s lighter schemes were based on the twist leg chair interiors of domestic Rome and Pompeii.
Creating effects of gaiety and movement, Adam covered his walls with colours and a repertoire of delicately interpreted classical ornaments arranged on ceilings, walls, friezes and decorative door and window frames. Adam designed and refurbishedfurniture, harmonizing and coordinating to the brook & son sterling pierced minutest detail the tudor period furniture schemes of ceilings, carpets, walls, furniture and even in one celebrated case the irish antique sideboard chiffonier ornament of a lady’s gold watch band to be worn in a certain room. The refined motifs he introduced, including anthemions, palmettos, rinceaux, griffins, bay leaves and peltoid shields, appeared repeatedly with minor modifications within any given room, creating a unified decorative effect. Adam’s total schemes also dictated the antique bachelors kettle placement of furniture, as in the antiques vitrine painted furniture which echo the edwardian bobbin corner chairupholstered seat wall ornament in the chinese knotted imperial carpets Etruscan Room at Osterley Park in Middlesex. This is one of several rooms Adam designed in an ‘Etruscan’ style with terracotta and black ornament derived from Greek vase painting.
The furniture Adam fitted to the 17th century english corner wall hanging cupboard se rooms was often executed by John Linnell or Thomas Chippendale. Although it followed no classical examples, it suggested the circular arts and crafts table antique through architectonic forms, straight lines, and classical symbols. Semi-circular commodes, mosaic-topped rectangular side-tables and furniture with lyre, anthemion and oval backs stood on tapering straight legs. Adam’s smooth, flat surfaces were enlivened by contrasting marquetry compositions, and inset roundels and plaques painted in the phoenix bird antique mirrors style of Angelica Kauffmann, parallelled by the brass and glass candelabras made in 1977 Sevres plaques, painted panels and marquetry work found in French Louis XVI furniture and later popular on pieces from Italy, Spain, Germany and the antique roll top desk 1920s Netherlands throughout the old beige persian rug with cherry blossum pattern Neo-classical era.
Although many contemporaries found his mature style finicky, the unusual circle on back side victorian settee influence of Adam’s example at all stages of his career was pronounced possibly because of the antique dresser with curved drawers charm it captured. Contemporary English and European architects and craftsmen, such as James Wyatt, continued to adopt elegant rectilinear forms, classical motifs and a lightened approach to interior design. The taste for delicacy and attenuation persisted even in the antique regency pedestal oval table scrolling furniture of the wooden chamber pot commodes early 19th century Neoclassical works of the thonet medallion Turin carver Giuseppe Maria Bonzanigo.
European Neo-classicism – the antique furniture leather mexican rustic sofas.osagedata.com Louis XVI Style
In mid-century, Neo-classicism was on the antique 18th century claw foot mahogany tables ascendancy in France as well, where C. N. Cochin, the beige antique vase with dragon and snake Comte de Caylus, and others were busily attacking the 1800’s commode’s Rococo as frivolous. Decorative styles derived from French studies of the george iv pedestal tray tables classics in Italy were gradually popularized by such designers as the louis 15th rococo furniture Marquis de Marigny and patrons such as Mesdames du Pompadour and du Barry, in the describe - couch and footstool with bone carvings and glass inlays ir collections at Versailles and Louveciennes. Craftsmen such as Gilles Joubert (1689-1775), Antoine Foulet (d.1775), Jean Francois Leleu (1729-1807), Jacques Dubois (1693-1763), and the george iv bureau desk value Germans Jean Francois Oeben (1720-63), Jean Henri Riesener (1734-1806), Adam Weisweiler and Guillaume Bereman, largely shaped the antique.chest.of.draws.in.uk Louis XVI style.
furniture, sofas and canapes such as those designed by Georges Jacob (1739-1814) had square or oval backs, straight fluted uprights and rails, and tapering legs. Case pieces such as secretaires, encoignures, and chests-of-drawers assumed neat, compact forms made more serviceable by caster feet. The straight lines of the romanesque turnery tops and sides were emphasized by ormolu friezes and consoles, and the antique victorian sideboard buffet rectangular panels of flat faqades and sides were articulated by ormolu borders. A widespread delight with mechanical devices spawned a variety of complicated combination forms equipped for such varied uses as writing, eating and sewing. Those of Oeben and Riesener were particularly cleverly mechanized, typifying Louis XVI restraint by enclosing a potentially ungainly variety of components, such as springing drawers and dishwarmers, inside smooth surface facades.
Although it remained unusual, the imperial mahogany end table leather top fashion for mechanical devices in furniture spread through Europe to the antique queen anne couch Netherlands and elsewhere, expressing itself in such pieces as the antique ladies portable dressing table combination desk-table-furniture of the white italian antique wardrobe Italian Giovanni Socchi, of about 1810.
Oeben, who managed one of the antique furniture most flourishing Parisian workshops, produced pieces in a transitional style with studiously naturalistic floral marquetry and cube patterns, but died before the antique bracelets with 830s h.v. markings Louis XVI style reached its peak. Floral and picturesque marquetry with classical motifs characterized the antique curved bedroom early, more truly Neo-classical work of Riesener, but soon after he became ebeniste ordinaire du Roi in 1773 he began to produce simpler geometric patterns, and frets enclosing flowers.
Pierre Gouthiere (1732–c.1813) created delicate, jewel-like bronze mounts comprised of goats, vines and cornflowers and roses, Marie Antoinette’s favourite flowers. Sevres porcelain trays and panels were incorporated in commodes and tables increasingly after about 1760 by Weisweiler, Martin Carlin and others. Towards the roentgen architect’s table hidden drawer end of the commode 1800 century, English-inspired carved furniture also showed contemporary English
influence. furniture sheathed in the antique furniture texarkana texas tortoiseshell and brass marquetry popularized by Boulle was considered collectable even during the george nelson primevera drop leaf table 18th century, when craftsmen such as Etienne Lavasseur continued to produce it.
The elements of the dent eight day wall clocks Louis XVI style were dispersed throughout Europe, where cabinetmakers such as Andries Bongen of Amsterdam produced Neo-classical marquetry compositions, and Giuseppe Maggiolini of Milan sheathed his Louis XVI-style forms with marquetry ornament. The dissemination of the spindle leg upholstered ladder back armchair for sale Adam style led in England to a second phase of Neo-classicism, more accessible to the stop fluted straight leg table middle classes because of its
use of less costly materials. Pattern-books such as George Hepplewhite’s Cabinetmaker and Upholsterer’s Guide and Thomas Shearer’s Cabinet-maker’s London Book of Prices, both of 1788, and Thomas Sheraton’s Cabinetmaker and Upholsterer’s Drawing Book (1791-94), popularized straight legs and tall light forms derived from Adam’s designs. This reductionist form of classicism abandoned Adam’s vocabulary of Neo-
classical motifs for simplified ornamental schemes comprised of large Top: Louis XVI furniture with classical lines. areas of figured veneers similar to those made fashionable on the penwork tables Bottom: Louis XV furniture. mahogany fall-fronts of Louis XVI secretaires.
Sheraton, Hepplewhite and Shearer popularized a variety of light forms such as ladies’ work tables with silk bags, serpentine-front commodes, tambour desks and cabinets with doors of bronze latticework backed by pleated silk. The backs of settees and furniture were carved with, Prince of Wales feathers and classical motifs such as swags and urns.
The purified Neo-classicism of England and France returned to invigorate Italian design, and filtered from the hepplewhite wheat chair re to craftsmen in Portugal and Spain. Light, rectilinear furniture with tapering slender legs, were produced as local interpretations of Hepplewhite and Sheraton designs in Italy and Iberia late in the crane turtle candlestick century.
Louis XVI influence surfaced in Italy in the rosewood sewing table lyre and oval-shaped backs of furniture, which were caned or upholstered in velvets and striped damasks as in England and France, and in the 17th centry decoupage fluted or spirally-turned straight legs of frequently parcel gilt furniture and side-tables. Marble-topped semicircular tables and commodes, with gilded friezes ornamented with fluting, guiloches and plaques, exhibited the antique drawer front architectonic preferences that Adam had refined. Other Italian furniture and tables preceded by decades the real pratt pot lids vs fake French Empire style, with elements such as sweeping S-curved arms, curved rear legs, Egyptian hieroglyphics and monopodia, and the antique onslow silverware horizontal placement at the antique pine turn top tables centre of furniture rails of symmetrical, classical foliate motifs in ormolu.
Neo-classical Spanish furniture had straight rails and stiles and oval or arched rectangular backs in the craftsman bedside table pictures Louis XVI style; the antique french pottery ir legs often combined vestiges of Baroque capping with French flutes and tapering forms. furniture with lyre backs and round seats, and caned examples with concave-sided interlaced trapezoidal backs, showed Italian influence. Rectangular console or side-tables, carved or inlaid with attenuated classical ornament, occasionally stood on legs of sweeping S-curved form. Vitruvian scrolls, acanthus leaves, masks and rinceaux appeared on drop-front Above: Carved fall-front cabinet wi h small compartments of desks, commodes, tables and beds.
Portuguese furniture revealed similar ripples of influence. Delicate English-inspired furniture and settees with tapered legs and fluted front rails were ornamented with classical plaques and roundels; marble-topped commodes, semi-circular side-tables and bureaux cylindre reflected the 1830 coalport plate flowers Louis XVI manner.
America
The federation of the french art deco lamp mark American colonies upon the kidney shaped walnut side table adoption of the piano front antique desk with reeded legs Constitution in 1789 established, in American eyes, a republic sufficiently blessed with democratic principles to bear an association with ancient Rome. At the gustavbecker same time the antique oak 1920 bowed dresser geometric rationalism of Robert Adam’s Neo-classical style reached the regency furniture seats United States in published pattern-books of engravings by Hepplewhite, Shearer and Sheraton.
Just as Thomas Jefferson would have found appeal in the italian mahogany pedestal table classical example of Palladio’s geometrical Villa Rotunda for his residence at Monticello, American craftsmen were attracted to the louis xv11 furniture purities of geometry and classicism that the antique inlaid wooden tray se later English designs evoked.
After about 1790, geometric forms and surface ornament began to appear on the 9 drawer provincial mahogany furniture most fashionable American furniture. Tables and commodes with semicircular plans were made by John and Thomas Seymour of Boston and the anteek 1800-1900 chairs Townsends of Newport. Veneered ovals and circles, bordered with narrow strips of cross-banding that emphasized the antique 5 tier graduating whatnot ir geometricity, were set in rectangular fields of contrasting colours on the antique amboyna sideboard facades of secretaires produced in Salem, Baltimore and elsewhere.
Chests-of-drawers had restrained serpentine facades and simple bracket feet, and the robert adam furniture designs legs of sofas, furniture, furniture and tables were tapered, slender and straight. The moulded glazing bars on the glass vase copper drip upper portions of secretaires from Baltimore, Massachusetts, Charleston and elsewhere were arranged in compositions of ovals, circles, and diamonds and squares.
American cabinetmakers also adopted a collection of classical ornaments in more specific allusions to the antiue monk carved chair civilizations of Rome and Greece. Allegorical figures were painted in black and white verre eglomise panels on Baltimore furniture ; the rare czechoslovakia pottery egyptian Boston Seymours inlaid desks with completely flattened trompe-l’oel pilasters ; sparingly applied paterae, bellflowers, eagles, shields and busts all alluded to the antique clawfoot chest of drawers mahogany classics.
The carved vine leaves and cornucopias that Salem architect-craftsmen Samuel McIntyre applied to his mahogany sofas and furniture similarly reflected the schreckengost french provincial value national optimism that pervaded federal America.
Clocks and mirrors were adorned with brass spheres or urn finials, quarter-columns and gilded eagles. Case pieces such as bookcases became increasingly light, and women’s secretaires and work-tables, of delicate proportion and ornament, were introduced. Tea-tables, card-tables with folding tops, Windsor furniture, four-poster beds and chests-ofdrawers on bracket turned or brass paw feet, all took on the half moon chest of drawers restrained dignity of the antique roll top single pedestal desk Federal period.
Northern Europe
The shapes and ornaments of French and English Neo-classical interior and furniture design, including arabesque wall panelling, rectilinear forms, tapering legs, ormolu mounts and mouldings, and geometrical and pictorial marquetry compositions, were also adopted in Scandinavia, the antique furniture sioux falls Netherlands and Germany. However, local traditions distinguished the clear/ruby german lead crystal with bird motif se renditions.
As in the plymouth 1850 moved to london 1874 strand Rococo era, the chippendale replica black lacquer Scandinavian royal court favoured European styles, and recruited talent from abroad ; the blue white chinese export porcelain identification Swedish craftsman George Haupt worked in England with William Chambers before returning home. Erik Ohrmark in Sweden, Nicolas Henri Jardin and Joseph Christian Lillie in Denmark, and Lillie in Norway produced furnishings showing Louis XVI and Adamesque characteristics.
The work of Abraham and David Roentgen was highly favoured internationally and the antique roman church cabinets ir designs were particularly influential in Paris on the victorian chaise has chest box development of the what did antique hat stands look like? Louis XVI style. Abraham Roentgen (171193) established his first business at Neuwied-am-Rhein in 1750 after joining a Moravian colony which had established itself the italian veneer lacquer dresser re. The furniture which he produced showed the chippendale desk dropleaf three draws influence of Chippendale perhaps due to the antique half round wood moulding period from 1731 when Roentgen had worked for various firms of cabinetmakers in London. The general style of his furniture was subdued Rococo and while it was attractive his company was often short of money.
Abraham’s son David (1743-1807) seems to have begun managing the silver makers mark i s firm some time after 1766 and formally took over the swedish antique scroll arm sofa in black management when his father retired in 1772. From the antique round display cbinets time David began handling company affairs the european 1820s beds firm rapidly prospered, almost certainly due to the antique mahogany claw foot table fact that he was not only a craftsman but also had an acute business sense. He recognized that the antique gold and silver ornamental pot 98009 Rococo style was no longer in such demand, but even more important from a purely business concern he was aware that he could not rely on local patronage alone for his prosperity. In this he was an innovator for no-one had previously successfully exploited the manner of blades candelabra European market for furniture of quality.
His first major success was a sale of furniture by lottery which he organized in Hamburg in 1769. In 1779 he widened his horizons even further by setting up a warehouse in Paris, the antique furniture identifying major market for furniture at this time. The venture was an outstanding success for the antique dresser with 4 drawers Court became his prime customer and it has been estimated that over the queen anne marble console lion feet next years the antique furniture collector Crown spent more than one million livres with him. A further indicator of his reputation and success was his appointment as ebeniste du Roi et de la Reine. The French Court was not his only Imperial customer. After a visit to St Petersburg in 1783, Catherine the furniture false lip construction Great became one of his most ardent admirers and purchased a considerable quantity of his furniture.
His business was brought to an abrupt halt by the jacobean chest French Revolution, for his warehouse in Paris was confiscated and in 1795 invading French troops wrecked his workshop at Neuwied. Only a small amount of stock at other depots was saved.
David Roentgen’s work was the art nouveau octagonal best expression of German Neoclassicism. In addition he perfected a marquetry technique in which he depicted ribbons, flower baskets and other motifs with extraordinary realism by using a variety of woods of different colours, rather than burning, to simulate shadows and depths. For a time Peter Kinzing was Roentgen’s partner and together the old piano stool thonet y specialized in furniture with built-in, elaborate, hidden mechanisms such as secret drawers, compartments or musical boxes and other pieces of 18th century furniture.