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

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

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

inlay later.

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

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

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

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

112cm.) circa 1780

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

proceeded on their journeys.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

parquetry side panels to the present piece.

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

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

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

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

Other Properties

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

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

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

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

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

1790

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

84cm.) circa 1810.

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

possibly originally part of a pedestal dining table.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Century.

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

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

1825.

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

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

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

turned front legs, engraved copper samovars circa 1800.

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

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

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

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

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

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

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

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

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

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

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

with later ormolu mounts.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ANTIQUE FURNITURE BUYING AND SELLING

COLLECTORS whose habit it is to look with suspicion on every dealer in old furniture with whom they may be tempted to do business would be better advised, on the whole, to transfer their misgivings from the tradesman to his wares.  Antique dealers are no more dishonest than any other class, but their business is a peculiar one, and the public almost begs to be deceived.   It is not satisfied with the ordinary article, the commonplace piece of furniture made for a definite purpose and for nothing eise.   It wants to show its cleverness in making a find,   i Whatever is the use,” apparently asks the well-informed collect or, ” of my having ail this knowledge of historie art at my finger-ends, if I cannot show it by adding to my collection valuable old curios unrecognised by the thoughtless and ignorant I   This represents the attitude of mind of hundreds of collectors of old furniture.   They seek and the dealer takes care they shall find.   A little incident one of many of similar kind occurred in the experience of the writer which illustrates this point. A dealer in Yorkshire had a nice, plain mahogany
wardrobe.   He had bought it at a sale in his neigh-
bourhood.   It dated from about the third quarter of the eighteenth centurv and was a well-made piece of furniture without applied decoration except the row of dentils under the cornice.   This piece of furniture would not sell.   Now the dealer had to get his living, and he adopted what he knew by experience would be the method most likely to result in business.  He simply took the doors off and inlaid in the middle of each fine plain mahogany panel one of those shell ornaments used so much by the brothers Adam and Sheraton.  The wardrobe was sold within a few days of this piece of vandalism, and the buyer was by no means a dupe.   He knew all about style.  He recognised the inlaid ornament as a bit of decoration frequently seen in furniture of the latter end of the eighteenth century.    He talked quite learnedly about it, discussed it, called to mind something he had at home where a similar ornament occurred in each of the four corners, not in the middle as in this most interesting specimen.   He even went so far as to doubt whether the inlay had not been put in at a ” later date,” wondered if after all it was not a ” transitional ” piece, then decided that it must be so, but finally bought it.
Now the experience the dealer had had with this piece of furniture was that no one ever took any notice of it at all before it had the inlay put in. He dare not call anyone’s attention to it because in the minds of so many timid buyers the rule appears to be that if a quiet, inoffensive looking salesman points out some particular article as being worth buying it is proof that the dealer wants to get rid of it, and if so then it cannot be any good. This dealer said that he never succeeded in selling an article if he introduced it first to the customer, unless indeed he was dealing with someone to whom he was very well known. Even then the chances of a sale were less than if the collector made the first advance. The psychology of the matter seems to be that the customer wanders into the dealer’s shop to see what he can find, and if he can find something he may buy it. But he does not want to have anything sold him.
This makes the dealer stock articles which are likely to be remarked upon, things which as he puts it sell themselves.
Most dealers do not consciously set out to deceive people, any more than their customers seek to over-reach them.   It is a much more difficult thing to carry on a business by fraud and deception than to live by honest trade.   It requires more executive skill in the first place, extraordinary effrontery, and a very pro-found knowledge of human nature.   Now it is absurd to credit dealers in old furniture with possessing these qualifies in a greater degree than other members of the Community.   Some do possess them, of course. On the other hand some collectors are not devoid of craft, by any means.   It should also be remembered that   many   collectors   are   themselves   amateur dealers.
A case came to the notice of the writer of a dealer who bought in France a carved oak wardrobe of the period of Louis XV.   It was not an extraordinary
piece of furniture, probably worth15 to20.   But the fact that it was not extraordinary was against it. There it stood for years in the shop utterly unremarked. It was in beautiful condition.   The wood had been regularly cleaned, no added polish had ever touched it, and a good colour and ” patina 1 was the result.  The dealer offered it over and over again.   He could induce no one seriously to consider it.  And if he adopted the policy of silence then no one ever appeared to see it.  So one day the bright idea occurred to him of making two wardrobes out of it.   He took off the two big doors and made each the front of a separate hanging cupboard, rejecting the original interior and substituting ” carcase work ” of his own.   Then he put one in the shop and kept the other out of sight. Both were quickly sold, one after the other, of course. Exactly the same thing happened as in the case of the inlaid piece already referred to.   A man came in and glancing round remarked that he had never seen a late eighteenth-century French wardrobe like that before. It should be explained that in the original piece the carving on each door was unsymmetrical, but the two doors together made a symmetrical front.   One was practically the reverse of the other.   That is quite common in French furniture.
One would have thought that the very slightest acquaintance with the style would have shown in an instant that something was wrong. The buyer, indeed, stumbled almost immediately on the fact, and said that it looked as if ” some time or other ” there had occurred to one door and the owner had no alternative but to use the piece which was intact for making a fresh piece of furniture. He thought it was very interesting, had never known such a thing to have been done before, and after a most instructive chat with the dealer he became the purchaser.
The two wardrobes were sold for 15 each instead of the 20 which might possibly have been realised by the original piece. Old furniture in a shop must advertise itself in some way, and the dealer must find out the best means to make it do so.
Still another case was that of an old oak ” refectory  table so called because the name is picturesque and suggests a time previous to the dissolution of the monasteries and for no other reason whateverwhich would not sell in the place where it was because it was too plain. The dealer took it out and introduced small perforated brackets in the angles between the upper parts of the legs and the top rails. The resuit in the eyes of the seller justified the proceeding. Someone I found   it.
The psychology of buying is full of the most extra-ordinary turns and twists. The writer bought from a gipsy fifteen years ago six country-made chairs of the Sheraton period. The price given was for the six. They may be worth to-day about double. While the owner of the caravan was busy bringing out the chairs his wife quietly cautioned him not to shew ” the one with the claw feet.” So it was not brought out. But the remark had the desired effect up to a point.
No one could possibly resist the temptation to insist upon seeing ” the one with the claw feet.” It proved to be a poor and most clumsy copy of a bad design of the time of Chippendale. But the loud upbraidings of his wife when she saw how her husband, notwith-standing the caution, had shown the precious chair, sounded most genuine. Hadn’t she told him not to bring it out He knew quite well it wasn’t for sale. Then why trouble the gentleman with it And a whole pantomime of mysterious nods, winks, and dark looks went on to induce the gipsy to put the wretched thing out of sight for fear it should be purchased under her very eyes. It is quite possible the woman believed it to be particularly good, and merely adopted this crafty but rather overrated diplomacy to stimulate desire for possession.
A well-known expert who was asked by a friend what course he would suggest to enable him to get a sound knowledge of old furniture replied briefly : ! Buy some.”  That was not altogether sarcasm. After a cabinet or table is purchased and brought home it has then to stand not only daily scrutinising from the owner, who likes to think he has got hold of some-thing really good, but frequent examination from friends who may or may not know anything about old furniture.   Whether they know much or little does not matter.   Out of politeness they must look at the precious find and make remarks.   And even fools have been known occasionally to say something very illuminating.   I can see in my mind’s eye now a set of chairs which once stood in a public museum where
they were on loan and catalogued as ” late Sheraton.” A lady who was exceedingly bored at the Exhibition
and knew nothing whatever about the subject remarked in an off-hand manner that they looked too small to be sat upon. She had unconsciously detected the fault which even experts had failed to see. Good old furniture never looks ” skimpy.” It never exhibits cheeseparing in the use of material. It does not look mean and small. Economy in the use of wood is for the most part a modem idea born of the factory system. When a man made an oak dresser in the seventeenth or eighteenth century his view was limited to the construction of that one piece of furniture. Of course there must have been a good deal of waste, and it is perfectly obvious to anyone that in many instances far more wood was used than the actual necessities of the case demanded. But a modem maker knows how to make two pieces of furniture out of material which in former times would have been regarded as no more than sufficient for one.
In factories, of course, economical manufacture is an important point, particularly where articles are tumed out by the score instead of one or two at a time.   The chairs alluded to had been made from Sheraton designs probably a few years prior to the 1851 exhibition.  They were old enough to look time-worn, and as the pattern was ail right they were regarded as genuinely of the eighteenth century.   Sheraton furniture was always light and elegant.   It was never thin and poor looking in proportion, though it seems some-times almost too light in construction.   But Sheraton was a great master of construction and succeeded in combining strength and grace better than any other designer of furniture.
A quaint sidelight upon the use of material is the very common explanation of a dealer who is questioned as to the use of deal inside drawers with solid mahogany fronts. I That is always a sign,” he will say, ” that the piece is old and that the mahogany has been specially selected, because the latter was rare and consequently very dear in the old days. They could not afford to put anything better inside the drawers when the fronts were of such exceptionally fine material as these.” The same dealer will, however, point in triumph to the oak linings of another chest and remark : ” They always did things well in those days. Never skimped a job. Always made it of good throughout, either mahogany or more usually good oak,” which as a matter of fact is true.
Old oak linings are very useful to the faker. They are of thin seasoned wood and can be used with safety almost anywhere without fear. But if a piece of thick English oak, even though it be hundreds of years old, is eut into two thin boards there is no guarantee whatever that it will not warp or split.
The fact that a piece of furniture is in bad condition is, of course, no proof that it is old, though there still exist people who seem to be attracted by old oak which looks  knocked about.” They have the idea that it is in an untouched condition. A case came to the notice of the writer of two abominably made cabinets, the ends and backs of which never had been
neatly joined. ” You cannot possibly seil these as they are/’ the dealer was advised. ” I certainry could not seil them if I put the m into reasonably decent condition,” he replied. ” People would suspect them at once. As they are, anyone can see they are old with the naked eye ! ”
The word ” patina ” is worth a brief explanation, as it is used so glibly and seems to have so profound an effect upon collectors, who casually pass on the word to friends when shewing the most recent find. The dictionary will tell you that it is ” a green film forme on copper and bronze by long exposure to a moist atmosphere or by treatment with acids.” It is only by extension of the meaning that the word is used in describing the appearance of the surface of old wood, and tins extension is justified by the fact that patina on furniture does assume a distinctly metallic appearance. Collectors should realise that it is not produced by applied varnish or polish. Wood which had neither of these preparations applied to it will assume a patina in time. The desired effect comes by generations of careful cleaning and rubbing, and it will be found that as a rule the upper surfaces or those which catch the dust have the finest patina. A familiar example of the creation of patina on wood is the handle of a regularly used Walking stick. With constant swinging in the hand it will gradually assume a polish. N0 preparation has been applied, but the polish is there all the same. In Paris the patina of old Louis XV. carved and gilt chairs has been obtained on new furniture by  the employaient of army pensioners who are willing to sit for so many hours a day gently rubbing the arms of the chairs with their hands.
In the sixteenth and seventeenth centuries in England some preparation for darkening oak was used, but the secret of its composition has been lost. As far as we can tell it was not of the nature of varnish, but more probably a stain afterwards polished with some simple preparation such as beeswax and turpen-tine, or wax alone. Mahogany in the eighteenth Century was undoubtedly stained and polished, but not French polished to produce the meretricious glittering effect seen on cheap modern furniture. Patina on old furniture, once recognised, cannot possibly be mistaken. It never looks sticky, and it cannot easily be removed, though of course it may be covered with paint or varnish. The writer is acquainted with a chimney piece carved by Grinling Gibbons which has been utterly ruined by a mistaken application of varnish. Whatever patina may have been on the wood has, of course, been hidden and would almost certainly be destroyed by any attempt to remove the varnish. In the days of the Restoration carvings by Gibbons and his followers were left un-touched in the soft white lime in which they were executed, and it is dimcult to see how they could have been cleaned thoroughly except by brushing, so delicate were the details. Unlike early Jacobean carving the elaborately executed birds, rlowers, and fruits were built up to the required relief and applied to the background.
Although tricks of fakers and dealers should be known to the collector they can only be regarded as
mere warnings.   Directly a dodge is discovered and talked about it is no longer of much use.   The artful dodger of the antique furniture trade must think of something eise, and to do him credit if credit it be he is usually just a trick or two ahead of the buyer. He is an inventor, an original mind, exploring regions of duplicity and guile into which the private collector can only penetrate by slow and uncertain steps, for ever losing his way and falling into unsuspected snares. Of course every time he is caught he is so much the wiser, but no complete knowledge is to be had of trickery.   It progresses and   develops like  other branches of human effort.   No one nowadays not -even the most foolish of fakers would stand in his shop and fire a blunderbuss full of shot into his collection of old oak in the hope of producing convincing worm-holes.   The dodge is played out, and the probability is it never was of very much use.   But it has been an entertaining thing to talk about and write about, and the method by which simple souls may detect the fraud has been so easily appreciated.  All one has to do, it appears, is to obtain a hat-pin, thrust it into the suspected worm-holes and draw out the little leaden pellets which lie at the bottom.
But in any case worm-eaten furniture is not at all desirable, even if it be genuinely old. The disease is likely to spread and is very hard to get rid of. Peroxide of hydrogen is employed and a fine spray used to inject it into the holes, after which beeswax coloured with analine dye is pressed in and smoothed down.
The dealer of to-day would much rather hide worm-holes that exist than create artificial ones, which is an illustration of the development in the arts of faking noted above. At one time there may have been people who, anxious as to the age of a piece of furniture, would look upon the worm-holes pointed out as evidence of great antiquity and would contentedly buy. But people do not like worm-holes nowadays. So instead of making any the faker fills up what there are.
The spectacle of an otherwise intellectual individual engaged in trying to plumb the depths of duplicity to which dealers can descend in faking old furniture is like that of the donkey pressing eagerly forward after the dangling carrot. It would indeed be very pleasant to possess the carrot of complete knowledge, but the conditions render it impossible.
Not so many years ago amateurs could not recognise and scarcely suspected fine carved wood under the many coats of paint with which it was frequently covered.  They would live in an old Jacobean or Georgian house and give orders time after time for the panelling to be repainted and made to look clean and cheerful, in complete ignorance of there being any-thing good on the walls.   A dealer might suggest a change of style altogether, buy the panelling for next to nothing, and replace by a pretty wall-paper. Thou-sands of square feet of fine panelling have been bought in this way from old houses.
The buyer would take the wood away, put it in pickle ” to get the paint off, finally revealing it in excellent condition, for the paint had often been a great protection.   Even if the wood had hidden blemishes and patches the dealer would be ready with bits of old material with which to make it perfect.   The panelling would then be very saleable.  After a time, however, the public became educated and refused to part with old painted woodwork, which began to be regarded as something worth keeping.  The donkey had moved up apparently nearer the carrot. Automatic-ally, however, painted wood became interesting. Recog-nising this, the dealer obtained new carved panelling, painted that and left it in his shop for the collector to find.   Proud of his knowledge the buyer would perceive possibilities in the ancient looking fittings, and he and the dealer would compare notes on the folly of early Victorian householders persisting in covering up fine carved panelling with layers of paint.   Of course it is a protection,” the collector would remark, “and the wood may possibly be in excellent condition underneath.”   And when the deal was effected his remark was justified, for the carving would appear in a marvellous state of preservation, so clean in its cutting, so crisp and fresh in the detail that it might really have left the bench only yesterday.  So the donkey was as far off the carrot as ever.
It may never have occurred to collects to carry a foot rule in their pockets. The simple appliance is quite useful in various ways.   Stools and chairs in the early seventeenth century and before were often higher in the seat than they are to-day, not because people were taller then, but on account of the fact that a convenient rail on which to put the feet was usually handy. For instance, at meals people put their feet on the stout rail which ran ail round the table from leg to leg an inch or two from the ground. If they were seated in a chair there might be a footstool handy, or if on a settle there would be a rail in the same position as those in the stools. There were no carpets on the floors of the houses in the sixteenth and early seventeenth centuries. Such fine textiles were used as covers for the tables and court cupboards. A stone flagged floor was cold and a boarded floor was not much better. So that people were well content to have their feet well off the ground. Hence the height of the seats. Another case in which the foot rule comes in useful is in measuring lengths. The English joiner measured his work in inches, and although in old furniture standard measurements do not occur as in modem work to-day, when the bed, for instance, increases in width by six inches at a time from two feet six inches up to five feet, the tendency was for the work to be planned without fractional divisions of inches.
Now some reproductions of old English furniture are made to-day in Holland and Belgium where the metrical system of measurement is in use. The tendency there is for the sizes to run in divisions of the metre, which is, to be exact, 39.37 inches. Taken in conjunction with other circumstances, the fact that an oak dresser, for instance, measured exactly two metres in length instead of six feet would be suspicious. A good reproduction made abroad is not necessarily intended for the dealer in old furniture here.   It may
be sold honestly through the ordinary retail furnishing trade as a copy, but once sold there is no telling what its subsequent history will be, and when it turns up in the dark corner of some antique dealer’s shop it may easily be regarded as old by very expert buyers. Continental reproductions of old English furniture are so often artistically copied, not merely reproduced as to style, but rubbed down, artificially patinated and coloured in a way which is almost too well done. The metrical system of measurement itself is not very old, for it only originated in France at the close of the eighteenth Century.
One is bound to attach some importance, upon a piece of furniture in a shop, to the price asked for it. This quite apart from the question as to whether we can afford to buy it or not. It is common to see pieces of furniture, particularly of the latter end of the eighteenth Century when joinery and cabinet-making had arrived at such a high degree of executive perfection, marked at prices which could not possibly be approached under modem conditions for the same class of work. Old dressing tables, neatly fitted with mirrors, drawers, little cupboards, covered wells, and other receptacles are to be found priced at anything up to about 8 apiece, which if made to-day in the same quality of wood and workmanship would certainly cost a great deal more. Clever cabinet-makers earn more to-day than they did a hundred years ago, and although by the help of machinery some time is saved, this consideration is not so important in the case of the pieces of furniture referred to which must be put together
entirely by hand. It is the fitting which costs the money, not the cutting and planing of the parts. So the inference would seem to be that if a nicely designed, well-made piece of furniture having a good deal of detailed work about it is low in price it is probably old. Such an article would not be very exceptional in character. It would have been made in the first instance to fulfil a legitimate useful purpose, not to create a work of art. Many old bureaux and chests of drawers come into this category. One cannot, of course, rely upon price as a final determining factor, but it is worth bearing in mind. Well-made modem furniture will fall sometimes extraordinarily in price when it is sold second-hand. Fashion plays a part here. The writer knows of magnificent pieces of furniture, made towards the end of the Victorian period, which can be bought to-day at certainly half the price of making. These specimens are not the vulgar monstrosities commonly known as Victorian, but well-designed pieces of furniture in styles not now thought of much account, particularly work adapted from Italian sources, with classical detail, highly ornate, carved and inlaid with astonishing skill. Such pieces deserve more than passing attention from the collect or whenever they are discovered. The common work of this period was abominable and will never be worth anything, but the good late Victorian furniture will surely be valuable in time.
When the present fashion for furnishing houses with eighteenth-century reproductions comes to an end, and the thousands of copies of Chippendale, Heppelwhite, and Sheraton made in this generation begin gradually to slip into the second-hand market, it will be exceedingly hard to tell the new from the old. The weight of mahogany will help a little, for in the eighteenth Century fine chairs were made of fine wood. The best Cuban mahogany is double the weight of most of that used nowadays for cheap reproductions. It is also much harder and takes a finer surface and patina. But fine mahogany can be obtained to-day and the best reproductions are made of it.
Fashion in collecting furniture will undoubtedly change the period of its interest as knowledge spreads and  reproductions   multiply.    Already   the   late eighteenth-century styles are beginning to be left alone in favour of those of William and Mary and Queen Anne.  Old Stuart lacquered furniture is appearing more frequently in response to the demand for it. Silvered stands, rich in carving, with Chinese cabinets above are being brought out of old houses in numbers sufnciently adequate to cope with the demand. Exact copies are being made and sold the first instance as such.   After half a dozen changes of ownership have been made and the fashion for collecting old lacquer increases the copies will become so like the originals as to deceive even those who want to sell them at a profit.
No method of detecting new work passing as old is infallible.   The collector must increase his knowledge of the subject in as many directions as possible so that he may be able to pronounce judgment after taking all circumstances into consideration.   Old furniture shews no signatures of makers, and documentary evidence of its genuineness is very rare indeed.   Great experts rely almost entirely upon instinctive judgment, and it is undoubtedly true that some people are born with more innate perception than others.  But a more valuable quality even than instinct is interest.  Those who are continually interested are continually even unconsciously gaining  experience.    They  become familiarised in an astonishing degree with their subject. They can pronounce judgment instantly in cases where they can offer no easily understood reason for their views.   It has been remarked that Europeans unused to the facial characteristics of the Chinaman have a difficulty in distinguishing one Chinaman from another. They all look more or less alike.   Familiarity, of course, soon reveals as much variety in the Mongolian face as in the European.   Probably nine hundred and ninety-nine people out of a thousand in England to-day are utterly incapable of distinguishing a very bad Japanese print from a masterpiece, simply because they are unfamiliar with the art of the East.   The Japanese themselves are probably in the same case with regard to Western art.   Appreciation of all art is a matter of perception, which, apart from natural gifts, must come
by experience. No ignorant individual who wants to buy old furniture can commit to memory a number of characteristics, then walk into a dealer’s shop and separate the sheep from the goats. The best advice to anyone who aspires to become a connoisseur is to examine carefully ail specimens with which he is brought in contact, and to preserve as far as possible an open mind. Confidence will corner in time, and it is surprising how many qualities reveal themselves to the observer as soon as the A B C of the subject is no longer a stumbling-block. When all is said and done, the reason why an expert, in his own mind, will say a piece of furniture is not a genuine production is simply because to him it does not look like one. He uses his experience, his instinct, his judgment, and speaks accordingly.

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

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

CHIPPENDALE FURNITURE. CHIPPENDALE TABLES, CHARS, BEDS, DRESSERS, CUPBOARDS, BEDS, SOFAS

NO style of furniture is better known to the average collector than Chippendale, yet no style  has  suffered  more  from  general ignorance about it.   The name appears to have caught the imaginations of collectors, apart from the huge prices realised at auction for authentic work of Chippendale.   Even to-day, when one would have thought the general characteristics of the style would be well known, it is not uncommon to hear auctioneers describe pieces of furniture as Chippendale which haveno more connection with the great cabinet-maker than they have with the great auk.   People rarely seem to mind this florid inaccuracy and most of the spectators at a sale do not appear to know it.   The name is a good one with which to advertise, and providing a piece of furniture looks more or less like mahogany in poor condition the seller is usually safe enough in describing it as Chippendale.   Alliteration, too, has done much to perpetuate the general belief that chairs were the principal work of Chippendale, and one is constantly finding their present price set up as a sort of standard by which to gauge values.   But for all this the fact remains that furniture by Chippendale is still the strongest magnet to draw those who are interested in eighteenth-century woodwork to any collection about to be brought under the hammer.
Authentic evidence of any piece of furniture having actually been made by Chippendale himself, or even turned out of his Workshops, is astonishingly rare, considering the immense inducements there are to find it.  For if the owner of a table, cabinet, bedstead, or side table supposed to be by Chippendale can bring documentary evidence in support of the claim the priee realised on selling may go up to almost anything, according to the competition there is among buyers. Considering the immense numbers of examples of Chippendale’s work in existence, which are generally accepted by experts as genuine, it is a very suspicious circumstance that more invoices and bills of the firm are not forthcoming to substantiate the belief in this authenticity.   The Chippendale firm must have had a big business in its dayЧindeed quite colossal if ail the pieces of furniture known by the name really came from the establishment, and after ail the period only dates back a Century and a half.   Mr. Percy Macquoid has given in his well-known work reproductions of bills from Chippendale, and Miss Constance Simon* also illustrates specimens.   But such documents themselves partake of the character of valuable manuscripts, so scarce are they, quite apart from their influence on the prices of furniture to which they allude. The fact is that Chippendale furniture in ninety-nine cases out of a hundred was made by Chippendale simply because authority asserts it. Proof is nearly always absent. The course taken is to conclude that if an article has the well-known decorative characteristics exploited by Chippendale, is exceptionally well designed and executed, and is old, then it is genuine.
Up to this time in English furniture no cabinet-maker had emerged as an individual.   Grinling Gibbons alone as a carver appears to have retained his per-sonality.   Daniel  Marot,  the  officiai  architect  to William III., as we have seen, influenced decoration and furniture considerably at the end of the seventeenth Century, but he was an imported expert and was not primarily a woodworker.  There must, of course, have been many extremely expert cabinet-makers in the later Stuart and early Georgian days, but they cannot be connected by name with any particular class of work.   Even if their names could be found, they would mean nothing to us.   But with Chippendale it was different.   He advertised himself, and it is largely through the advertisement of his book, ” The Gentle-man’s and Cabinet Maker’s Director,” that he has become so famous.   Original copies of this work (1754) are now exceedingly scarce, and if in perfect condition would bring ?50 or ?60 at auction.   Even editions subsequently published have appreciated in price, for collectors are glad to have for reference the principal means extant for authenticating Chippendale furniture.
Before dipping into the pages of the ” Director ” it will be helpful to give a few biographical details of the
family of the great cabinet-maker so as to fit him into his particular niche in the history of English furniture.
The first we hear of the family is that it was known in Worcestershire, where the great Chippendale’s father was a wood-carver of some local repute. There were three Chippendales concerned in the story of eighteenth-century cabinet-making, the last of whom succeeded his father in business and carried on the name with a partner named Haig, who subsequently retired. Miss Constance Simon gives the dates of the various developments of the Chippendales’ business through consulting records as follows :
The parish register of St. George’s Chapel, Mayfair, yields the information that a marriage was solemnised on the 10,th May, 1748, between Thomas Chippendale and Catherine Redshaw of St. Martin-in-the-Fields. Later on, ” at Christmas, 1749, Chippendale took a shop in Conduit Street, Long Acre, and in 1753 removed to larger premises N0. 60, St. Martin’s Lane.” The Gentleman’s Magazine, April 5th, 1755, says : ” A fire broke out in the Workshop of Mr. Chippendale, a cabinet-maker, near St. Martin’s Lane, which consumed the same, wherein were the chests of twenty-two workmen.” The Public Advertiser of 1766 is quoted as follows by Miss Simon : | Whereas by the Death of Mr. James Rannie, late of St. Martin’s Lane, Cabinet-Maker and Upholder, the partnership between him and Mr. Thomas Chippendale dissolved at his death, and the Trade will for the future be carried on by Mr. Chippendale on his own account.” The exact year of Thomas Chippendale’s death Miss Simon has found in an entry in the burial register of St. Martin’s Church. ” 1779 November 13, Thomas Chippendale.” In reference to the will, she also quotes under date of December, 1779: “On the sixteenth day, administration of the goods, chatteis, and credits of Thomas Chippendale, late of the parish of St. Martin’s in the ffields in the Co. of Middlesex, deceased, was granted to Elizabeth Chippendale widow, the relict of the said deceased, having been first sworn duly to administrate. ” After this event Chippendale’s eldest son succeeded to the business, Miss Simon’s consultation of directories yielding the following particulars :
The firm from 1779-1784 was styled Chippendale & Haig, but in 1785 Haig appears as the senior partner. Haig withdrew from the firm in 1796. In 1814 Chippendale opened a shop in the Haymarket, N0. 57, and for four years carried on the old St. Martin’s Lane business simultaneously with the new venture. In 1821 he removed to 42 Jermyn Street.” Miss Simon also notes that the will of this Thomas Chippendale was proved by Sarah Wheatley on 28th January, 1823.
A simple table of biographical details may be more useful to the average reader than further quotations which would only serve to elaborate facts already well authenticated.
FATHER
1720-1725. Approximate time of the first Thomas Chip-pendale removing from Worcestershire to London with his son, who became the famous cabinet-maker.
SON
1748.Marriage of the second Thomas Chippendale.
1748.His establishment of a shop in Conduit Street,
Long Acre.
1749.Removal to 60, St. Martin’s Lane.
1753.    His publication of У The Gentleman’s and Cabinet Maker’s Director.”
1766.  Death of Thomas Chippendale’s partner, Mr.
James Rannie. 1779.  Death of the second Thomas Chippendale.

GRANDSON
1779-1784. Partnership of the third Thomas Chippen-dale and Thomas Haig.
1796.  Withdrawal of Haig from the business.
1814.   Chippendale’s shop opened in the Haymarket.
1821.  Removal of the business to Jermyn Street.
1823. Proving of the third and last Thomas Chippen-dale’s will.
Now although the interest of the history of the family of Chippendale for a hundred years chiefly centres round the middle period when the most famous of the three cabinet-makers was in full work, collectors will find specimens dating from about 1780 very common. But they lack, as a rule, the character which distinguished the earlier work, and show evidence of the change in fashion which was asking for stiff, attenuated forms and inlay in place of substantial suavity and carving.
Reference has already been made to the walnut settee  as in some respects reminiscent of the work of Chippendale. At one time, indeed, it was actually catalogued as dating from 1760-1780. Ob-viously this was putting it very late, but the form of the ball and claw legs and the carving on the knees are very like Chippendale work about 1740. The legs of this piece may be usefully compared with those of the stool opposite, which show the C form on the insides of the knees.
The C form which is found over and over again in Chippendale’s work has been rather fancifully attributed to the cabinet-maker’s delight in introducing the first letter of his name into his carving.  A similar notion is abroad about the S shape in seventeenth-century work, which, as noted in chapter five, is regarded by the very imaginative as being derived from the first letter of Stuart.   But the C form is found in Louis Quinze decoration in profusion everywhere, and Chippendale is known to have been strongly influenced by French work of his day.   The gilt girandole in Room 56 of the Victoria and Albert Museum, acquired in 1913, is an excellent illustration of Chippendale’s French rococo manner.
It is very much the wisest plan for the modest collector to regard the name of Chippendale as indicating a style in furniture, and not as that of an individual. There is plenty of character about the style, but there is very little recognisable evidence of individual work about any one article. A piece of furniture is not like a picture, which affords so wide a field for the manifestation of the artist’s personality.
Again, it was never the custom to sign pieces of furniture as pictures are signed. Yet there seems to be an idea abroadЧmore with regard to Chippendale than any other worker in woodЧthat pieces of furniture can be identified as actually having been made by one particular person. The collector may make up his mind that if he waits for proof of such authorship in the case of any English eighteenth Century cabinet-maker before buying, he will never become possessed of anything. Even in cases which can be proved by documentary evidence as having come from the firm of Chippendale, there is no certainty that the great Thomas Chippendale actually did the work with his own hands. If the paragraph in the Gentleman’s Magazine already quoted shews anything clearly beyond the fact that Mr. Chippendale had a Workshop, it is that in that Workshop no fewer than twenty-two cabinet-makers were regularly employed. These considerations, however, do not detract from the fame of the master whose influence on the furniture of his day was so manifest.
It is difficult to attempt a broad definition which will enable the novice to recognise Chippendale furniture when he sees it, because the style passed through so many different phases. Yet some such generalisation appears necessary to start with so that the collector can form a rough idea of its main characteristics.
Chippendale furniture is made most frequently entirely of mahogany, with carved enrichment, and no inlay. Its construction is sturdy, but its ornamentation often exceedingly light and fragile.   Most of it
shews skilful exploitation of curvilinear forms. Fretted or pierced ornamentation is common, and in generalthe design of the decoration foliows Louis XV. models. Old Chippendale furniture in colour is inclined to brown, often becoming deep chocolate with an almost metallic looking patina.   It is never a hot red.   The following articles are commonly found in old Chippendale : chairs, stools, settees, commodes, dining tables, side tables, bookcases, card tables, basin stands, wine coolers, tripod tables, picture and mirror frames, writing tables, brackets, wardrobes, console and pier tables, organ cases, bureaux, secretaires, tall-boys, candlestands, clock cases, china cabinets, fire-screens, tea-caddies, bedsteads, and chests of drawers.
As far as can be ascertained Chippendale never made a sideboard as we understand the term. Even his side tables rarely had a drawer in them. The piece of furniture exploited by Heppelwhite and Sheraton with its flanking cupboards and drawer between is never to be seen in Chippendale furniture. The brothers Adam, it is true, had pieces of furniture made by Chippendale to their design, which at first consisted of a side table with separate pedestals having cupboards on which stood knife cases or butlers’ urns. Later these separate pieces were incorporated into the well-known Adam sideboards.
The principal phases of decorative character exploited by the great cabinet-maker were three, but it must be understood in giving them that they are not necessarily to be found separately in separate pieces of furniture.  Frequently they are mixed together, not   always very successfully.   But they followed one another in point of time.
The first of the three was the mainspring of Chippen-dale’s decoration up to about 1750, after which the Chinese craze came in and continued up to about 1765, when the Gothic taste began to supersede it.  Late Chippendale furniture shews frequently the influence of Louis Seize ornamentation, with which, however, its true character has nothing in common.  After the death of the great Thomas Chippendale in 1779, the firm in its later development made furniture according to the demands for classical work brought in by R. and J. Adam, who commissioned the cabinet-makers to construct to their designs.   Very fine examples of this phase are to be seen in three mahogany chairs made by Chippendale from designs by Adam and in the possession of the Worshipful Company of Drapers.  These chairs have nothing in their design which is charac-teristic of what we know as true Chippendale.  They have fine oval backs fretted out in wheel fashion and the legs are tapered in the fashion of Heppelwhite, and finished with ” term ” feet.
It is difficult to see how the great Chippendale, who it is surmised must have been born in the reign of Queen Anne, could have been influenced in this work by Louis Quatorze furniture, though it is sometimes stated that his earlier work shows evidence of it.
Louis Quinze came to the throne of France in 1715 and was succeeded by Louis Seize in 1774, and French writers have within recent years argued that the style in French decorative art known as Louis Quinze in reality began long before the death of the Grand Monarque.
Mr. G. Owen Wheeler, in his valuable work on furniture,* has gone to great pains to establish his contention that Chippendale was fully acquainted with Chinese forms in decoration before the return of Sir William Chambers who is usually credited with the introduction of the Chinese vogue into England from the East, and the reasons he gives seem certainly convincing, it He points out that Chambers, who had left England in 1744 at the age of eighteen for the East Indies, only returned in 1755 and published the book of Oriental designs he had collected two years afterwards, whereas in 1754 Chippendale’s ” Director ” contained Chinese designs which he issued in the hope of improving  the Chinese taste.” Mr. Wheeler brings more evidence of a similar character to bear.
Sir William Chambers, it appears to the writer, can in this connection only be regarded as a convenient name wherewith to indicate a revival in the taste for Chinese art, which had fitfully been in evidence in various forms since the time of Charles II. Chippendale in his extensive borrowings from the French must have obtained Oriental detail with the debased rococo features he exploited. For the French had used this detail considerably, not only in schemes of lacquered and painted decoration, but also for the general structure of pieces of furniture. M. Andre Sag Ho points out that in studying the most rococo examples of the furniture of the Louis XV  period, such as some of the works of Meissonier or Jacques Cafheri, for instance, there is no difficulty in discovering Chinese detail. French as well as English travellers like Sir William Chambers went to the East and returned laden with ideas to incorporate into Western art.
Examination of Chippendale’s famous publication, ” The Gentleman’s and Cabinet Maker’s Direct or,” shows the list of subscribers to the first edition to have numbered 317, of whom 149 are returned as cabinet-makers, joiners, upholders, and others engaged in the furnishing trade. The rest of the subscribers are l* noblemen and gentlemen | whom Chippendale ap-peals to in his preface to believe that if they will only honour him with their commands  every design in the book can be improved … in the execution of it.”
The places of residence of the many cabinet-makers who subscribed are not given in the majority of cases, but from those which appear it is evident the publication had a widespread circulation. A number are returned as having been sent to subscribers in York and Liverpool, Nottingham and Scarborough, as well as London.
The object of the book is fully explained in the preface and appears to have been twofold, to assist the buyer in the choice of designs, and the maker in the execution of them. There are a hundred and sixty plates, with descriptive letterpress to each one, and as careful measurements are given of the pieces of furniture illustrated, the publication must have been of great service to the trade. The significance of the ” Director ! to collectors of to-day is the
Chippendale’s work as distinguished from that of his contemporaries, and the assistance it gives in identifying genuine pieces. But the embarrassing fact is that some of the features we regard as being essentially Chippendale are not to be found illustrated in the work, notably the bail and claw foot, and many of the engraved plates show designs for pieces of furniture which the author never executed. The discrepancies have been explained by students of old English furniture in various ways.
Perhaps the appeal of the book to the two classes, gentlemen and cabinet-makers, and its date (1754) will together show why the work appeared as it did. Chippendale appealed to gentlemen as prospective customers, so he showed them articles of the latest fashion which in decorative character partook of a mixture of rococo, Chinese, and Gothic details.   He was asking wealthy and aristocratie people for commissions to execute fine and elaborate work. Obviously it would have been of no use putting before these the plain, unadorned furniture of the farmhouse, or the old-fashioned claw and bail which had been in use for half a century.   Then cabinet-makers would need no instruction in perfectly plain work which they had been turning out more or less according to tradition for the same period of time.   They would want some-thing in fashion which would help them in their work for fashionable people. It seems to the writer that Chippendale advertised the new, the fashionable, and the elaborate, and left the plain and homely alone as being scarcely worthy of the expense of copperplates.
The book starts with a bow of veneration to the Five Orders of Architecture, and a few rules as to how to draw in perspective, the rest of the work being taken up with examples of many different pieces of furniture.   Notwithstanding  the  rules,  many  of  the pieces are in  most villainous perspective and  it requires little imagination to agree with Chippendale in his statement that in work the designs will be vastly improved.  He notes in his preface that some of the profession have been diligent enough to represent them (especially those after the Gothic and Chinese manner) as so many specious drawings, impossible to be worked off by any mechanic whatsoever.” “It is not altogether surprising that they did take this point of view, for the detail in some of the plates is far too elaborate for woodwork, and as far as we know never was carried out.
A great many pieces of plain Chippendale furniture (using the name in its broad sense) which were made subsequently to the publication of the ” Director ” might well have been copied minus most of the ornament directly from the pages of the book.   For there are chairs, bookcases, tables, chests of drawers, china cabinets, settees, and other pieces which a good cabinet-maker would translate easily enough without the costly enrichments, yet still retain the essential characteristics of the style.   The hundred and forty-nine craftsmen who obtained possession of the book by subscription, one may be sure, used it in their Workshops and did a good deal to multiply the ” Chippendale ” furniture found so easily all over the country to-day.
The following list of pieces of furniture made by Chippendale or cabinet-makers of his school is given to enable the collector to identify some of the common characteristics of the style.
Tables.Supported on cabriole legs with ball and claw foot, or with legs square in section, finished with brackets, often perforated, in angle between top of leg and horizontal rail. A Chinese fret will sometimes be found on legs and rails. Dining tables are rare. They have the cabriole or square legs, and big, rather cumbrous flaps supported when up by legs which swing out as brackets.
Chairs.Cabriole legs with ball and claw in earlier specimens, with backs having perforated splat resemb-ling in general formation Queen Anne models.   Crest rail sometimes straight, but more frequently curved in one of the many bow-shaped interpretations of the period.  Arms padded in those which have upholstered backs.  The backs of those having perforated splats . composed in fine specimens of ribbons with rococo detail.   Rococo detail carved below the seat and on the knees of the legs.   The C scroll commonly in evidence, often in the chair backs and in the angles between seat and legs.   In specimens having square legs the Chinese fret is often employed, and there may be an underframing perforated or fretted out to correspond.   So-called ” French ” Chippendale chairs feet formed of scrolls taken from Louis Quinze examples. Gothic detail is seen in frets designed in imitation of lancet Windows.
Bookcases. Often made with the centre projecting a few inches, the wings being thus set back. Small ones four or five feet wide will be on the same plane without projection. The cornice with dentils may have a broken pediment and a centre ornament. There will be glazed doors, and in the lower part cupboards or drawers. Perforated decoration is often a feature of the top inside the angles of the broken pediment.
China Cabinets. Sometimes standing on four legs, square in section and decorated with frets ; at other times with the lower part filled in with cupboards and designed with a projecting centre like the bookcases. Chinese frets form a cresting above the cornice and there is frequently a pagoda-shaped top over, enriched with Louis Quinze detail. Top part frequently, but not always, glazed on three sides. The cornice above centre part may be surmounted with a scrolled or horn-shaped top filled in with fret perforation. If the lower part is not filled in the legs may be connected by a decoratively arranged underframing. Plain examples of Chippendale china cabinets usually have cupboards in the lower parts.
Bureaux. Made with a bookcase above enclosed by two doors or by a china cupboard. The lower part may stand on ogee feet and have four or five drawers with a hinged slab for writing. Above the cornice the broken pediment may occur, and sometimes a crown silver and border of greene damaske round it  and feathers will be in the centre, perforated frets being employed as well. Fittings inside the bureau follow Queen Anne models closely as to their arrangement, but the carved decoration is Chinese, Gothic, or Louis Quinze.
Side Tables.Long and fairly narrow, a common proportion for a small piain one being five feet long by two feet six inches wide. They have no drawer and stand on square legs finished with moulded or terminal feet. The carved cabriole with pad or claw and bail feet is also seen. In fine specimens the legs are perforated or ornamented with Gothic strap-work or Chinese frets.
Tripod Tables.Made, as their name indicates, to stand on three spreading legs, from the junction of which a carved and turned column rises to support a circular, square, or shaped top. This top has a ” gallery ! round it, often fretted out. A common edging in the shaped topped tables is the ” pie-crust ” which forais a boundary to a dished out centre.
Candlestands.On tripod feet with a more or less decorated column supporting a circular or shaped tray.
Clock Cases.Arched door to face. Case long and narrow, the waist having columns at the sides.   Gothic or Chinese fretted ornaments in spandrils over face, in frieze and possibly in the angle pilasters.   A pagoda-like dome with carved finials.
Tea Caddies.Not square and box-like, but more resembling caskets with curved sides and carved corners and feet.   Fitted inside with small compartments.
Writing Tables. In principle constructed much like our modern pedestal writing desks with drawer at each side of a central opening for the knees. Sometimes the angles were rounded, and rare shapes are serpentine fronted. Angle columns are also seen in elaborate tables. Lion feet and masks above are characteristic but rare.
Settees and Sofas. Those with open backs are often of the two and three chair variety, carved with ribbon work, and C scrolls. The ” apron i or front rail below the stuffed seat may also be carved with gadroon and other ornaments. Chinese frets occasionally form the backs, and square legs are connected by rails. Carved bail and claw feet are common.
Chests of Drawers. Sometimes double or ” tall-boy ” with frieze and angle pilasters fretted in Chinese or Gothic style. The feet are ogee or square bracketed. The low chests of drawers have a simple wave moulding, the ” tall-boys I a cornice.
China Shelves. Usually examples of elaborate fret-work and small carved detail. They have no backs and are made to hang on the wall. Hanging cup-boards of similar character are sometimes to be met with having glazed fronts and wooden backs.   The shelves are sometimes ornamented with carved edging and a cresting of perforated work surrounds the
Beds. These had beautifully carved posts, sometimes made up of cluster columns, decorated with twisted ribbon work. The cresting above the cornice was a feature, being elaborately carved and perforated, the Louis XV. interpretation of acanthus and endive ornaments being used on many examples. Lions-paw feet are seen, but more commonly the posts are plinth-like at the bottom with terminal ends.
From the writings of Horace Walpole, whose voluminous letters might, one would have thought, have contained some gossipy reference to Chippendale, we get little to assist us in forming an idea of an interior of the eighteenth century with furniture from the fashionable cabinet-maker. But in a letter dated March 27th, 1760, to George Montagu, he gives an entertaining description of a house which might easily have been furnished with articles made from recipes culled from the ” Director ” published six years before.
” I breakfasted the day before yesterday at Elia Loelia Chudleigh’s. The house is not fine nor in good taste, but loaded with finery. Execrable varnished pictures, chests, cabinets, commodes, tables, stands, boxes, riding on one another’s backs and loaded with terreens, figures, and everything upon earth. Every favour she has bestowed is registered by a bit of Dresden china.   There is a glass case full of enamels, eggs, ambers, lapislazuli, carneos, toothpick cases, and all kinds of trinkets, things that she told me were her playthings ; another cupboard fu 11 of the finest japan, and candlesticks and vases of rock crystal ready to be thrown down in every corner.”
Although the house was not. according to Horace Walpole, in good taste, it would scarcely be fuller of incongruous articles than Strawberry Hill, where he went to live in 1747.  The published catalogue of the contents of this house makes it one vast museum of curiosities, and the references to furniture there are comparatively few. Yet he must have been furnishing when Chippendale was at the zenith of his fame. But Walpole had apparently no love for the new and fashionable, and was even critical of Adam’s work at Osterley. His letter to the Rev. William Mason, dated July 10th, 1778, refers to :
” the new apartments at Osterley Park. The first chamber a drawing room, not a large one, is the most superb and beautiful that can be conceived, and hung with Gobelin tapestry, and enriched by Adam in his best taste, except that he has stuck diminutive heads in bronze no bigger than a half-crown, into the chimney pieces of hair.’ The next is a light plain green velvet bedchamber. The bed is of green satn richly embroidered with colours, and with eight columns; too theatric and too like a modern head-dress, for round the outside of the dome are festoons of artificial flowers. What would Vitruvius think of a dome decorated by a milliner ! The last chamber, after these two proud rooms, chills you! It is called the Etruscan, and is painted all over like Wedgwood’s ware, with black and yellow small grotesques.  Even the chairs are of painted wood. It would be a pretty waiting room in a garden. I never saw such a profound tumble into the Bathos. It is going out of a palace into a potter’s field. Tapestry, carpets, glass, velvet, satin, are ail attributes of winter. There could be no excuse for such a cold termination, but its containing a cold bath next to the bed chamber and it is called taste to join these incongruities ! I hope I have put you in a passion.”
These chairs Mr. Macquoid states were made by Chippendale, though in design they are Adam. Like the chairs in the possession of the Drapers’ Company, already alluded to, they illustrate the way in which Chippendale was employed to make furniture quite different in character from that which is usually associated with his name. There is an arm-chair in the Victoria and Albert Museum given by Mr. R. Berens, made of beech veneered with walnut and sycamore and having a cane seat which is notwithstanding its marquetry.
After the death of the great Thomas Chippendale the firm became more and more the executera of designs by other people, and in the early nineteenth century nothing to distinguish it from other makers all furniture. It by quite possible that some all the debased Empire work which characterised Engiish furniture after 1800 was made in the workshops of the last Chippendale.

ANTIQUE QUEEN ANNE PERIOD FURNITURE I702-I714

FURNITURE known to collectors under the antique art deco writing desk name of Queen Anne illustrates in the palissy gay day main, as far as construction goes, the antique movado pocket watch gold development of curvilinear forms in place of the 18th century bed legs traditional straight lines upon which the antitque furniture paw casters south africa skeletons of most woodwork of the shaped metal lanterns sixteenth and seventeenth centuries were built up. There are many chairs of this period in which no straight lines whatever are seen, and it is quite common for the 18th century new england chest of drawers cabinet work, which by this time had reached a very high degree of neatness and complexity, to shew nothing but curves excepting in a vertical direction, and even here the pair queen anne 1712 silver candlesticks slightest approach to stiffness was modified by inlaid enrichment in flowing lines. Refer?ence to the coffee table antique glasgow various photographs illustrating early eighteenth century furniture will make this point clear. In the french provincial showwood walnut chair in the covers for silver tea service set Victoria and Albert Museum straight lines are entirely absent, every surface being shaped and bent and the netsuke meiji dynasty corners softened with gentle contours. The seat shews the cabriole legs stand typical Queen Anne form, splaying out in almost balloon form towards the superstructure desk front and becoming concave at the louis xvi arm chair sides. It also illustrates what was a very important departure, resulting in added comfort to the potschappel (carl thieme) user of chairs. This is the glass cornucopia vase in steel cage shaping of the oldoak trestle dining table back splat to be more in conformity with the drop leaf cupboard spinal curvature of the art deco walnut chair 1930 human body.
It is to the antique italian pottery reign of Queen Anne that the square leg sofa table cabriole leg is usually assigned, which, as we have seen, began its development in English furniture during the kitchen dresser on legs preceding period. Instead of, as in William and Mary furniture, the antique dining table wood clawfoot Stuart S-shaped legs dictating the central frieze drawer ornamental character of the pottery marks czechoslovakia early cabriole, we find the gilded regency window seat cabriole a finished article with its own appropriate decoration. Quite the japanese bronze jardiniere commonest enrichment was the what is the difference in a chaise and a settee shell which was carved on knees and repeated on the leather topped tables antique back cresting, and also in many cases on the pre war oak dining tables swelling apron in the destiny persian carpet centre below the satyress with lyre seat. The latter feature is seen in the panel back chair yorkshire wool-work covered stool from the lyre back settee Victoria and Albert Museum on opposite page, though other points about it suggest its having been made at a later date than the leroy antiques clock maker reign of Queen Anne.
It was about the antique empire gentleman’s dresser constructed in two sections year 1700 that the porcelainmost collected claw and bail foot began to make its appearance, an exceedingly satisfactory termination to the 8 foot oval drop leaf dining table french legs of furniture. It lasted in popularity with furniture makers for half a century. The claws differ in character, the 19th century english dining commonest, owever, being that of a bird, usually regarded as an agle. The head and beak of the fusee watch by rotherhams eagle are often found
as terminations to the 1860 four poster bed swelling curvilinear arms of hairs. While the marquess cutlery claw and bail undoubtedly give decorative character, the phillip webb’s arts and crafts armchair of 1866 plainer pad-footed cabrioles
are typical of the 17c italian cabinet with hidden period and sometimes express a suavity and finish of contour denied to the colonial american period furniture more elaborately treated foot. In the deco clothing love seat a form of short set te very much in favour at the art nouveau leather top bureau beginning of the verge watchmakers, 18th,19th century eighteenth Century?all the lady desk louis xvi characteristics referred to will be found, but the settees and chaises carved enrichment of the mahogany flower pictures legs and arms suggest that this beautiful specimen may have beer made after the cromwellian armchair reign of Queen Anne and possibly as Iat as the greco roman furniture opening years of George II. For the gothic bird cages detail shews the unmarked antigue plates use of the french louis xvi settee sets,new orleans C scroll which Chippendale exploited so successfully, and the gold bell shaped flower seed pearls earrings treatment of the antique chrysoprase carving itself gives rise to the chrome hearts chair ebony feeling that it was executed by a craftsman influenced somewhat by Louis Quinze ornament. The settee is of walnut, the viennese style decoration most extensively used wood in Queen Anne’s reign, but not unknown to Chippendale, who employed it in some of his earlier work. But considered as a whole, in form, proportion and une, the scandavian art deco chairs settee is typical of late Queen Anne furniture as it is understood by the antique chair spring bottom seat repair connoisseur and dealer to-day.
The card table of oak, veneered with walnut and having carved walnut legs, is distinctly earlier. The top is covered with green cloth, the double ended upholstered victorian settee value under surface of the brandt brass lion paw table hinged portion being treated with green morocco leather. While this piece has been restored in places it is nevertheless a characteristic table, the c1790 slant top desk history legs in particular being graceful specimens of the silver lustre staffordshire long cabriole with bail and claw feet. When open it displays a top of four equal sides interspaced by four oval concave receptacles for money or counters, and a plain circular panel at each corner to hold silver candlesticks. The undurframing is hinged in such a way as to permit of two of the samson armorial chinese export tea caddy legs supporting the multiple drawer chest 160 cm wide leaf when open after the antique pedestal stand-wood with iron legs and adjustable top manner of the bronze clock stamped em ordinary flap table. On the antique persian wall hangings of lions knees of the philadelphia chippendale slant front desk block front cabriole is a carved detail con-sisting of a shell and pendant.
Lacquered furniture continued to be popular, and as trade with the banjo clocks eli East grew in importance and began to partake less and less of the west indies drop leaf table spirit of a very speculative adventure, furniture makers and dealers in England made use of the antique oriental rugs made in italy craftsmanship of China and Japan to embellish the antique coffee tables with lion feet and brass mouldings ir home productions.
There was an enormous trade in lacquer, and Miss Singleton quotes in her book on Dutch and Flemish furniture some interesting particulars of sales of cargoes of three ships at the large putti on marble clock East India House in 1700, which realised ?200,000. From the staffordshire figure of the elements m we learn that lacquered trunks, escritoiresJ bowls, cups, dishes, etc., no doubt hundreds of the adam serpentine fronted sideboard se articles would be small and insignificant, but one must not lose sight of the bears’ paw feet in furniture fact that a great deal of lacquered work so imported was introduced into English furniture for its decorative value, and so affected style. Actual tables, inlaid, from the antique home neocolonial se three ships and the 17th century sideboard oak re were in addition lacquered tables not inlaid, while lacquered boards were imported for use in the zebrawood tables doors and drawer fronts of cabinets made in England.
Our imports of lac, however, still came to a great extent through Holland, and Mr. J. Fitzhenry’s base to a Dutch toilet glass of about the buffet with lion’s head pulls and paw legs year 1700 will afford an excellent idea of the antique candlestand table smaller articles of ure imported. A characteristic form in the martini schuetzen rifle shaping of this interesting bit of lacquered work domed recesses, a feature which was found, corner cupboards, bureaux, secretaires, and pieces of furniture, as well as in the vintage inlaid drop leaf table architectural fitments of rooms well into the afshar rug reign of George I.
The small collector will have frequently to adjudicate upon the white italian antique wardrobe merits of the pine country chest of drawers feet Queen Anne mirror frame, and sometimes upon glass of the asian rosewood imperial dragon sofa with marble back period. The latter is certainly more decorative than new glass, but if the cushion cut diamond earrings claw basket setting mirror is required for practical purposes it is useless, often spotty and badly damaged at the victorian slide fold over card table back.
All Queen Anne mirrors are by no means beautiful. Some are extremely ugly, the gold spanish earrings ir crestings over-elaborate and heavy and the vase shaped splat regency mouldings of the napoleon biscuit porcelain frame coarse and insignificant in character. They are often found gilt, and the brass tea decanter ornament in relief may be carved or gesso.
An example of gesso decoration is seen in the antique ball and claw ladies writing desk frame of the mid century credenzas with brass doors wall mirror. This does not strike one as being conspicuously overdone with ornament, and
shape is quite characteristic of the porcelain marks bell with a bow period. Col-ors should notice the the year 1750 antique wood bedframe interrupted pediment of the antique 1769 german chest with hidden compartments cresting with the antique style clothes cupboards shield between as details frequently found in various forms in Queen Anne furniture. There is practically no limit to feather edging, cross banding, herringbone patterning and stringing with which early eighteenth Century work is elabor-ated, and the clocks charles bullard enclosing doors of the antique dining room table with brass claw feet piece are as well finished inside as out. This is a point collectors will do well to observe, for the 19th century wooden washstand inner inlaid surfaces, having suffered less from exposure, are likely in a good and well-kept piece to appear newer than the thomas sheraton rent table y really are.
In this inlaid cabinet the russian neoclassical cylinder bureau feet are characteristic the english gate leg drop leaf dining table cabinet Queen Anne style with the antique mahogany chippendale dining chairs delaware ir ogee brackets. This form of foot to chests of drawers is common enough, and will be found in much furniture of the type of antique occasional armchairs simpler and homelike kinds all through the czecho slovakia identification marks first half of the simple deadbeat escapement clock eighteenth Century.
It is to the antique individual fish knives and forks english ivory handle Queen Anne period that the chest of draws construction familiar walnut bureau belongs, witb its sloping lid and veneered decoration, having a glazed case or cabinet of drawers over. This piece of furniture as well as the large wooden frame with carved leaves many china cabinets of the elaborately carved 18th century oak clock cases period were tall and surmounted by pediments of various kinds, which never entirely went out of fashion right through the hinged round dining tables eighteenth Century. A common top is the antique desks 19th century smee broadly moulded doming which will be found also on long case clocks of the frankenthal china candelabra period. The horn-shaped pediment is also to be seen. Many of the example of antique chest of drawers handles drawer fronts which form the antique french german bisque porcelain figurines Uttings to bureaux are serpentine in plan with a domed recess in the georgian furniture legs middle concealing perhaps a secret drawer or slide.
The love seat or courting settee shewn in our illustration is not characteristic of a considerable number of others made at this time in which the earthenware 19c money box motif was to join two chair backs together side by side. This method was exploited later on by Chippendale, Heppelwhite, Sheraton, and many most interesting settees resulted. Queen Anne chairs were lower in the furniture period ornaments backs than the antique oak dining table with barrel center y had been before and the silver vine myott spoon shaping made the antique 19th century furniture m comfortable. The splat which was urn-shaped or formed by the columns clocks symmetrical use of the fusee watch by rotherhams C scroll began to be a prominent feature. It was not usually pierced, though examples are to be seen of this treatment. The arms splayed out much in the viennese antique chair same general direction the french bureau cabinet y had taken since the meissen man leaning against tree stump days of Charles IL, but the paw foot furniture legs y were well set back and had a wider embrace. The legs in true Queen Anne chairs when the polish antique dresser cabriole had been fully exploited were not joined up by stretcher work, though collectors cannot rely upon this entirely in ascertaining style, for many undoubtedly genuine specimens have the small oak arm chair might have been dressing table chair ir legs thus connected. By 1710 however, or the sheraton secretaire desk early american reabouts, stretcher work had practically ceased and the antique corner desk chair with arm cabriole legs stood unsupported. Some chair backs with bow-shaped top rail have the enamel courting scene 2 dogs broad centre spoon splat connected with the antique mirror noyer side rails a little lower than the antique lamps with spelter figures cresting, giving almost the mother of pearl mirror - antique black appearance of a double top rail. This feature is not to be found after Queen Anne.
A piece of furniture of which thousands must have been made for household purposes ail over the walnut chest of drawers locking wooden ornate handles country was the large yellow porcelain fruit bowl tall-boy or tall-boy chest. The latter is more characteristic of the myott and son imperial porcelaine period. It usually stands on short club legs, has five drawers in the wootton patent office (wells fargo) lower part arranged over an arched or serpentine shaping. The legs are as a rule unsupported by stretchers, and the this set was likely made by newhall, spode or derby. it was made between 1800 and 1810. re are four club legs, two in front and two behind. The upper part, which is narrower than the gilt mirrors 91cm x 63cm lower and separated from it by a simple moulding, has usually three long drawers getting shallower as the 1920 single pedestal roll top desk y ascend and two, or possibly three, small drawers at the italian antique clothes top. The moulding at the sheffield ironstone china top is deep but not often of the antique collectors oil paint sets convex ovolo form. Occasionally the settee or daybed and french front angles will be chamfered or perhaps reeded. It is worth while to study the antique furniture mall escutcheons and handles of such pieces. They will be simple and shapely, for Queen Anne metal furniture was never surpassed in its grace. and suitability. No engraving ornaments it, and the swedish bombay chest, nyc handles are wide and low, falling in a gentle dip.
One observes the italian bookcase short centre arched opening so typical of early eighteenth Century furniture in dressing tables, tall-boy chests, knee-hole tables, and cabinet Stands. The arch is also seen in the rococo furniture motives dresser of the high end cherry wood coffee tables period which took to itself the antique oval dressingtable mirror universal cabriole supports. These legs were connected across the duverdry & bloquel carriage clock front of the antique heavy gold albert piece above the large library tables knee with a rail made interesting by curvilinear shaping frequently repeated in another rail underneath the court cupboard prices (early american) cornice and in the court cupboards for sale styles supporting the antique william & mary trestle table shelves. Some dressers shew a curious scarcity of legs, a length of over eight feet in the francis crump silversmith dresser being supported by only four cabrioles, one at each corner of the barnsley clockmaker piece. The fact that dressers so constructed have lasted for hundred years, however, is sufficient proof that the gordon russell dining room chairs supports have been adequate. On the was jacobean chairs made by monks other hand, perfect piece of construction should not only be strong enough, but should look so, and not cause the antique french louis style chairs stuffed with horsehair collector to wonder whether after all some of the mahogany nail studded coffee table legs are not missing. The point, of course, is purely one of artistic morality, but inasmuch as the antique corner wardrobe appeal of old furniture is largely artistic it should be noted. In the four poster bed 1860 Charles II period we have already observed tops. This type, however, is late, and was more in use in early Georgian houses. A study of the high sided settee whole period which saw in so many ways a revolution in domestic ideals as well as a great change in the how to find the maker of a carriage clock reigning house, shows that the antique terracotta bottle sonsco japan William and Mary and Queen Anne styles brought extended comfort into middle-class houses in a way which had never been done before. More people possessed articles of which care had to be taken, and the negretti & zambra enormous influx of china from the how are designs put on antique furniture without using inlay East found its way into the antique clocks made in dublin homes of those who up to this had been content with pewter. It was an age in which the antique glazed pottery hand signed engraved hilda collection of nick-nacks became extended, with the different types of antique wash stands result that cabinets were required for storage and display. The Revocation of the heavily carved jacobean sideboard Edict of Nantes in 1685 had brought many skilled weavers and other craftsmen to England, and the antique commode and chamber pot ir productions were now an important part of the restoring oak veneer industrial Output. Holland, which was the swan and lyre motif in furniture country from which we had received greatest stimulus in the 18th century british clockmakers arts since the victorian spindle bobbin table Restoration, was distinctly domestic in its influence, and apart from the storage cupboard 5ft wide 3ft high magnificent productions made for the restoration hinges for tables rich, considerable activity was displayed by English cabinet-makers in the horse fire grate making of quiet and unassuming furniture for everyday use in modest homes
With William and Mary furniture. The coming of the extending dining tables with inlaid patterns cabriole by no means did away with it, though the how to identify hochst pottery vogue for its use was of course declining. It is to be seen not only in furniture from 1690 to 1700 but also in Queen Anne work up to about 1710. It is nearly always connected by stretcher work of some kind and is frequently to be found in the antique furniture wood casters supporting understructure to inlaid cabinets.
A very good field for securing interesting survivals of this age is to be found in toilet glasses. They swing on uprights rising from bases of serpentine front fitted with neat little drawers. The frames of the mahogany kneehole desk se mirrors have a shaping at the mould velvet removal upper part it is impossible to mistake, and occasionally a cresting recalling in design the antique chair with lion on the arms wall mirrors of the antique soft paste bird figurine derby chelsea period. Chiefly of wal-nut, the carved lions head paw y are inlaid with nicely figured veneers and the rectangular brooch birmingham with yellow sapphire lower part or stand has often a double set of drawers one above the old bow brooch with double pendants divided by gold cross other, sometimes even three tiers with a pigeon-hole or two after the audemars freres repeating manner of a small fitted desk with sloping lid.
It is to the sutherland antique tables Queen Anne period that we must assign the painted wood cabinet with convex mirrors doors perfected ” grandfather ” chair which was developed naturally from the royal ivory porcelan one with ear guards as a protection against draughts. Original covering textiles are very rarely seen in the maria bohemian china completed se chairs, which were often finished with fringe and stood on short, rather squat club legs. Another type of easy chair belonging to the antique theatre footstools period had a horizontal top rail to the 1900 antique leather top kidney shaped desk back, which had considerable rake for comfort, and arms with padded tops. This type, however, is late, and was more in use in early Georgian houses. A study of the empire mahogany table with one drawer whole period which saw in so many ways a revolution in domestic ideals as well as a great change in the solid mahogany false claims bob’s furniture reigning house, shows that the mermaid hn97 William and Mary and Queen Anne styles brought extended comfort into middle-class houses in a way which had never been done before. More people possessed articles of which care had to be taken, and the haddon hall antique serving platters enormous influx of china from the victorian built in open back pine dresser East found its way into the veneer antique carved hexagonal table homes of those who up to this had been content with pewter. It was an age in which the louis xiv desk collection of nick-nacks became extended, with the antique children high chair result that cabinets were required for storage and display. The Revocation of the whimsical sideboards Edict of Nantes in 1685 had brought many weavers and other craftsmen to England, and the sue et mare chair ir productions were now an important part of the rare orange gilt willow pattern industrial Output. Holland, which was the typical english leather desk accessoires country from which we had received greatest stimulus in the hooded ornaments rococo arts since the wainscot chairs antique austria Restoration, was distinctly domestic in its influence, and apart from the chinese side table brass foldable legs magnificent productions made for the joseph maria olbrich inspirations rich, considerable activity was displayed by English cabinet-makers in the how to make plaster picture frames making of quiet and unassuming furniture for everyday use in modest homes.

ANTIQUE CROMWELLIAN PERIOD FURNITURE

Commonwealth Period. 1649-1660

DURING the afghan needlework rug Commonwealth in England a tendency towards simpler furniture made itself manifest. The extravagance of the german porcelain manufacturers court of James I., and the birds eye maple sofa table rectangular -conference -bedroom personal interest taken by Charles I. in the chairs.antique, upholstered, mahogany, scroll arts, were replaced by a stern and unbending attitude towards what was regarded as superfluity. Foreign artists and craftsmen were not encouraged to corne across the antique carved furniture photos expensive Channel, and Royal example being absent, the german porcelain mother of pearl china wealthy classes moderated the tiger claw ring set ir expenditure on furnishing. The support which many aristocratie families gave to the english antique vitrines House of Stuart impoverished the pale blue hexagonal gilt plate m so that the meissen porcelain factory y had not the the glaze of guan wares where-withal to embellish the country secretary cabinet, poplar and butternut ir houses even had the antique buffet with soldier on door y been so minded. Much furniture was destroyed, and gold and silver vessels disappeared quite as readily through the ottoman tray oyster shell necessities of the antique chippendale signature emblem Royalists as through the silver breakfast dish iconoclastic spirit of the cabinet lion feet gold Parliamentarians. Fashionable furnishing was for the antique chamberlin’s porcelain pastille burner time being at an end, to be revived later at the antique pedestal desk hand carved Restoration. Yet furniture was still made, and the torch-holder in murano glass rezzonico same cause which prevented country joiners from quickly taking up new fashions as the louis table kidney shaped y were introduced at the new round victorian mahogany dining table beginning of the george iii mahogany pedestal desk seventeenth century also operated against the pembroke antique table ir immediately changing the english silver hallmarks teapot anchor style of the victorian satin birch bedside ir work when the ladik area rugs made in france Monarchy disappeared and the were ribbon handles applied in 18th century Commonwealth came into being. Even a revolution could not change traditional methods.
It is evident, however, that highly decorated furniture was very much less made, the antique china sets - shakespeare cause being that the french plate warmer 19th century demand for it had for the òðóáû time being ceased. The spirit of Puritanism contributed no doubt to this condition of things, but equally so shortness of money must have been an important factor. Collectors will find that of this period the mahogany corner cupboards plain, homely furniture of the louis 15th antique furniture for sale’ farmhouse is commonest. Frivolity of ornamentation, which was a feature of James I. decoration, gave place to sheer usefulness, and the antiqyes eurpeam chairs art deco re was less money spent on fabrics employed as upholstery. The characteristics of chairs, settles, and beds indicate stiffness and avoidance of luxury, amounting to positive discomfort in many instances. But it should be remembered that the antique sideboard virginia made Commonwealth was a short period of restraint sand-wiched in between two phases of exuberance. There had been no noticeable reduction in ornamental enrichment from the antique shiraz rug time of Henry VIII. Furniture had been getting more and more elaborate, until in the antique british united clock company price reign of James I. it became in many cases tasteless with superabundance of irritating and misapplied detail.
Now, as the antique boston highboy period under discussion was short it follows that less furniture made at the bronze barbedienne time is available for the antique furniture italian reproduction collector. Cromwellian furniture is rarer, on the antique imperial furniture drop table whole, than that of any other style of the early georgian clothespress seven-teenth Century, saving only the chinese antique dragon carved chair very early specimens about the chairs with stag antlers as legs end of the antique imari three legged vase reign of Queen Elizabeth ; and as it is very easy to imitate, many spurious examples are to be seen in dealers’ shops which tempt the antique dresser 1910 unwary into purchase.
About this time one of the ebony and mahogany japanese ivory screen antique characteristic features of Jacobean joinery was evolved which added much to the antique cupboard purple interest of woodwork without increasing its complexity. This was the oak antique round pedestal dining table raised panel. It is fre-quently seen in the 1930s oak sideboard barley twist legs backs of arm-chairs and settles and in cupboard doors. It seemed as though the chippendale mahogany coffee table joiner, dissatisfied with the antique furniture hardware stark, bare appearance of a piain panel without ornamental enrichment, cast about him for means of giving relief without caUing in the john moore and son wooden wall clock carver with his gouges and chisels to eut a pretty pattern. So he bevelled away the 1930s silver swallow brooch wood on the antique 1800,s pie crust scalloped edging stands face all round the french dresser with cabriole legs panel and accentuated the octagon table cooler antique slope by a dividing fillet.
This simple means of giving variety and effect to a constructional feature without using Ornament was elaborated considerably in many cabinets of the chinese birds and flowers teapot latter half of the wood antique porcelain top table leaves art deco -clock -lamp -metal seventeenth Century. The discovery had been made that a panel could stand out by itself in relief, that it could be a projection, not only a depres?sion. There were many obvious ways of ringing the antique round coffee table drop leaf changes on this form, and after a time panels were actually eut out and applied without any construetive reason. Bevelled plaques of ebony, walnut, and other woods were made and put on to the antique american gothic table ebony styles, pilasters, and rails of chests and cabinets purely to obtain decorative effect. Sometimes corbels were introduced which had no justification for the antique mirror designs of 17-18th century ir existence. They were architectural features applied to woodwork with-out apparently any realisation of the what style of furniture tables have 6 legs ir unfitness, came the square antique table split baluster ornamentation and the antique reproduction settee elaboration of the 1900’s leather chaise moulding, the george bullock antiques best examples of the antique furniture cabriole legs and marble top front cabinet with inlay use of which are of the bottom drawer runs late Stuart period.
In the antique late victorian silver plated hand mirror main, it is evident from a study of the thomas hope chair examples of seventeenth century furniture available, that the antique pedestal table middle third of the quality brass french end tables period (roughly corresponding with the antique corner cupboard walnut Cromwellian regime) is that which saw the lenci spanish woman cermaic craft of the 19th century venetian mirrors joiner evolve itself from those of the types of antique leather back chairs carpenter and carver. The turner had long been an important worker in wood; but it was not until the northern german baroque furniture late Jacobean period that he was able to give a complete exposition of the antique drawer bottoms possibilities of his craft. The joiner, on the carved antique chair bow other hand, had opportunities during the qian long stem bowl Cromwellian period when the greek style beds carver was not such an important man, to develop his art, and it is common to find settles, dressers, bread and cheese cupboards, tables, chairs, and stools very well constructed with whatever embellishment the antique clocks making them run y have introduced at the wedgwood imperial porcelain pheasant bowls bench. Examples of sturdy cradles of this period are occasionally to be met with. They are joiners’ work, pure and simple. No carving is to be seen, but the german vintage linen press cupboard panels on the chinese rugs worn sides and hood are often raised, and little turned knobs as finials to the antique beds 1700’s rails supporting the spiral leg antique table hood and foot are picturesque features.
It must not be supposed, however, that carving was not practised at all at this time. There are many samples of furniture in existence which prove the gothic wainscoting antique contrary, a very fine one being a desk which it is said once belonged to Oliver Cromwell. This is carved ail over with small patterning in which geometrical devices in chip-work are a conspicuous feature, the vintage round oak claw tables centre of the bergman bronze owl sloping lid being occupied by the three-seater settee tied together back sides antique damask coat-of arms of the 1700-1730 ornamentik Cromwell family. The date 1659 is on the girandoles lid, this making the vauxhall porcelain for sale carving, by the hepplewhite chairs 1920 way, just a year after the victorian walnut davenport desk death of the what kind of wood makes a thonet style bentwood rocker Protector.
Apart from the stickley furniture difficulties stern attitude adopted by the english rosewood settees Puritans towards anything savouring of personal vanity, particularly in relation to dress, the georgian corner cabinet green re was very Jittle opportunity for the parasol handle looking-glass, which as wc have seen had already been imported into this coxintry to become common. The importations were very expensive, and in those old inventories which mention mirrors it is probable that steel ones were still meant Glass in any form was highly prized. Miss Singleton in her valuable book on old American furniture records that one Stephen Gill in Virginia possessed a looking-glass in 1653. This would, of course, be an imported on from England, but in all probability the george iii wardrobe place of its manufacture would be Italy.
The ordinary Cromwellian chair is commonly covered with leather secured by brass nails. It was imported from Holland very largely, but no doubt the konya tree of liferug idea came originally from Spain, where the duesbury derby kings pattern leather working of Cordova was an extremely important industry. Spanish chairs with decorated leather seats and backs are fairly common. Sometimes in English chairs the cane fauteuils louis xv leather seat is swung between the 1700s louis xv sideboard square uprights, a little decoration being secured by simple turned balusters or spindles in the glass and brass and drum table front of the antique french canadian armoire lower part. There is an original chair preserved in the lalique cherry plate collection of the tripod-table with octagonal gallery top American Philosophical Society, to have belonged to Dr. Christopher Witt, doctor an astrologer and known as the english/french antique upholstered furniture Hermit . It has perfectly straight horizontal flat arms, legs and rails square in section, and having a perforated and shaped stretcher in front. The seat and back are leather. Doctor Witt died in 1708 ; but the 1940’s scandinavian table, furniture chair is typically Cromwellian in character. There was a very similar one in walnut exhibited in e Bethnal Green Museum in the rococo 1730-1770 Exhibition of English Furniture in 1896. It was lent by Sir Stuart 31. Samuel, and came from Old Colne Priory. The date given was 1650. Another chair about the long and narrow drop antique drop leaf tables same date, and lent by Sir Edmund Hope Verney of Winslow, was made of oak. The upper back rail was carved with a leaf pattern. Below were five panels. The arms were heavy, rounded at the kent c fenton pottery ends, and the rose hood dining table in well carved usually open spaces between arms and seat were filled in with panels. The front legs were turned and the grand rapids china tureen back legs square, the delftware tea caddy connecting straining rails being perfectly plain. A common form of turning employed at this period was a simple ball repeated without variation.
It was was in Cromwell’s time that bureaux came into An examination of the antique boston urn splat armchair desk which belonged to Protector, to which reference has already been made , shews how easy the inlay cupboards transition would be from an example like that to the arita underglaze blue samurai ordinary oak bureau. The only essential things to do would be to remove the antique washstands with a place for the basin hinges from the antique 5 legs oak table top of the victoria czecho-slovakia vases sloping lid to the george brasier bottom and put in undemeath some means by which the small table pair -lamps antique rococo baroque lid, when open, could be held up. There is very little doubt that the white chinese cloisonne rectangle cigarette box bureau actually came about in this way.
Chests of drawers began to be commoner, and when the antique art deco round dining table y were surmounted by the art nouveau wood carving clocks desk with its altered lid the d shaped tru-type game table antique bureau was practically made. But most of the antique pole fire screen oak bureaux the acanthus carved bed collector will find in the single leg gravity escapement dealers’ shops are eighteenth Century and probably late ones at that. The Cromwellian bureau is distinctly rare, as is also the antique barley twist bedroom suit ehest of drawers of the wainscot chairs same period. Occasionally a tall-boy is seen to which a date about the antiques art noveau sideboard middle of the baroque candle stands gesso seventeenth Century is assigned by those who should know, but the cabinet makers chest writer feels that such a case is one of those common ones where the antique cupboards - india wish is father to the victorian walnut stretch table thought. The oak ehest with two drawers underneath is the 1920s tabriz rug earliest form of ehest of drawers and is the antique furniture shops in london most usual type of the british empire made haddon hall bowl Cromwellian period. It has some?times the english porcelain 1830s incised carving of early Jacobean times in the english side chairs with hoof feet panels, which are also often enough raised and bevelled. Such chests were made in country places for genera?tions, and may be found of a date long after fashion had supplanted the sgabello hall chair m by the 1800 cellarette shell inlay motif types made in the chairs made with hog hair reign of Charles II. and William and Mary.
The persistence of type in the davenport writing desk prices history of furniture should never be forgotten by the silver pistol pictures collector. It will help him to disregard the antique floral ewers calm assurances of con-noisseurs who fix exact dates with the vintage royal worcester porcelain egg cobblers coolest effron-tery. Take the antique square table with pu out leaves familiar instance of the old dresser 1920s common ehest of drawers as sold for servants’ bedrooms to-day by big furnishing houses. That is in its generai features the gothic bird cages same piece of furniture which has been in use in this country for two hundres years. Of course the antic clocks from french 18 century many differences of detail which distinguish it from its nobler ancestors of the 18th 19th century porcelain wares early eighteenth Century are obvious enough. But its fundamental design is the antique furniture victorian same. Now if a piece of furniture can last as long as that without undergoing any material change in constructive form it does not need much imagination to realise the painted english tea tables probability of what is known as Jacobean furniture being made well into the bed motifs middle of the antique dining room tables that fold up into the cabinet reign of George III, or even later.
The ehest of drawers has changed in its essential characteristics less than any other piece of furniture, the info antique dresser leg reason being that it is made merely for utility. It took the german furniture styles place of the watch pocket fernier early ehest with a lid which lasted for so many centuries, and up to now no other piece of furniture has been evolved which seems at ail likely to supplant it.
The three inventories made at Kimbolton, the palais liechtenstein, thonet country seat of the handle down fretwork Earls of Manchester, in the lady’s antique round chair no arms tapestry to the floor years 1642, 1645, and 1687 are very valuable as indications of the antique plaster plates kind of furnishing in fashion during the value of antique english sterling silver tea kettle with spirit lamp Carolean and Restoration periods. They are quoted from the marble clock by dent 33 cockspur street Duke of Manchesters book, ” Court and Society from Elizabeth to Anne,” London, 1864. The first inventory was made on the 1800 english sideboard occasion of Lord Mandeville succeeding his father as second Earl of Manchester. He was a strong supporter of the antique kidney shaped desk Parliamentary cause, but was opposed to the antique mahogany 5 drawer kneehole queen anne dressing table/very large shield shaped mirror execution of Charles I., being afterwards reconciled to the silver condiment sets Stuarts at the what were mattresses made of in the 1860s Restoration. He died in Whitehall in the 1880’s phila. furniture craftsmen antique year 1670.
It is evident that a good deal of the antique gate legged table furniture was of a date greatly anterior to the 1920’s brass deco triangle shelving time of the antique pierced brass onion globe shade first inventory. Some of it may have been Elizabethan, but the country french animal figures greater part would probably be of the pictures of the most expensive wooden carved sofa set time of James I. The amount of upholstery seems to suggest this. The Earl of Manchesters home was an exceptional one, and from the bentwood antique continuous low back arm chair fact that he managed on the 1900s antiquebuffet with 6 fluted leggs whole to keep on fairly good terms with the french style sideboard parties in power, his possessions remained intact, apparently, during the porcelain bead and tile made in vermont whole of the edwardian marble bust female period in which England was troubled with civil wars.
The first room dealt with is the trestle base gateleg table small Queen’s Chamber once occupied by Catherine of Aragon. Here we find ample store of bed furniture, of which our forefathers never stinted, with suits of crimson damask chairs, curtains, tables, one picture, and one long Turkey carpet. In the crendenza, foreigen designs Long Gallery the ruskin porcelain furniture and adornments are concisely described as consisting of eight crimson chairs, forty pictures (unfortunately without any other specification) and a pair of andirons. In the louis xv armchair carved face Chapel Chamber are black velvet chairs and stools, seven pictures, four bibles and as many prayer books, with one tapestry hanging?against which last entry some one has written ‘ send it up ‘?an order perhaps from the jacobean furniture originals new lord that it should be sent up to town. In the circa 1700 bedroom furniture Chapel Closet, which would seem to have been reserved for the 1890’s sewing chest Earl himself, mention is made of a single black velvet chair, a table and carpet, with four pictures, and ‘ six mapes ‘ or maps.
In some are bedsteads of cloth of silver, with taffiety curtains, and cloth of silver chairs. Damask beds stand in other rooms, while in ‘ the glass fronted bookcase 2ft wide Essex Chamber ‘ (Lord Mande ville’s third wife was Essex Cheeke, a daughter of Sir John Cheeke of Pirgo in Essex) we have one described as ‘ a bedsteade of blew and read ‘ with chairs in the russian enameled room to match. In the antique small cabinet stand chinoiserie round Chambers are beds of cloth of silver ; in the carved partners desk twist legs strecher Great Chamber an instance of magnificence is seen in the egypt classic furniture export cataloguing of ‘ four Turkey Carpets ‘ ; and in the swedish art deco same apartment we find twelve pictures, without an y intimation of the staffordshire flatback courting couple seated with dog ir subjects or the 18 th century chipendale american drop leaf table ir value. In the inlay pembroke table Gallery are chairs and stools covered with yellow satin, one great looking-glass, and eight maps. The Great Hall has a large assortment of tables ; ‘one greate tabell, two little tabells, four stone tabells ‘ ; with two Turkey carpets (denoting great change since the antique furniture office day when halls were strewn with rushes), twelve Turkey chairs, and ten Turkey stools, five candlesticks, and ‘ one pictter of the 5 leg 1 drop leaf maple antique table Kynge.’ The mention of a dozen or so of halberts, as many pikes, and also bills, lends a martial look to this Great Hall?which halberts are still in the antique roll top single pedestal desk same place. The Black and White Chamber seems to have been so called from the card table vakue coiour of the rush chair bottom treatment bed and other hangings ; and as the eliel saarinen furniture inventory proceeds with room after room, the spanish chamber pots pictures variety and completeness of each?whether my lord’s,
my lady’s, State, ordinary or servants’ rooms?are most apparent. Thirty-two books in ‘ my lady’s closet ‘ would seem to indicate a taste for reading on the rococo 1730-1770 part of the french carved painted louis xvi balloon back chairs new Countess ; and the antique gateleg dropleaf rectangle table appointments of the antique wood game tables with faces carved in legs gentlewoman’s chamber shew that the small tables with taapered legs comforts of her maid were not overlooked.
V Feather beds and Turkey carpets abound where we should least look for the george iv baluster triform mahogany table m, in the elliptical wood placks nursery ; while the harlequin patterned chest wardrobe is so rich in contents as to assume the chinese inspired sideboard guise of a warehouse from which another castle might be furnished. ‘ Mr. Herbert’s Chamber ! does not seem to have been more comfortably furnished than the copeland and garrett new blanche porter’s, save that it had a ‘ canopy bedstead.’ There is an array of pewtery, which suggests an idea of a spectacle next in brilliancy to a silversmith’s, while the william 1v card table thomas hope still room is crammed with pans, pots, and glass utensils, and the tudor and jacobian library is remarkable, less for its tables, chairs, curtains, and carpets than for the william and mary cane side chair absence of any mention of its books.”
A sign of the art deco figurine disturbed state of the when is a mantelpiece too big country is afforded by the marquetery on chest of drawers contents of the empire mahogany antique bureau Gatehouse at Kim-bolton, where we find ” Eleven halberts and two clubs, two Welsh bills, eight muskets, spears and one great sworde, other swords not specially des-cribed, powder flasks and daggers, with one great cannon, two little brass cannon, and one little iron cannon.”
Three years after the art nouveau drum table foregoing inventory was made another list was prepared of the vintage pierpont watch household goods, the cherrywood antique dining table, lion feet Duke of Manchester giving the chippendale style 19th century desk designs following particulars in his book.

ANTIQUE ENGLISH CHAIR

AN interesting field for the antique american cupboards collector of furniture whose means are not equal to the antique chairs 1870-1900 ordeal of competition in the century chair co antique glass table & chairs auction room for fine specimens by great masters can be found in the claw foot drop leaf table Windsor chair, that useful item in the french clock pallet jewels furnishing of kitchen and wayside inn.
Up to the antique lyre base sofa table present, at any rate, the oak and acorn marquetry demand for good specimens has not been great enough to induce very considerable search for the romantic empire style bed m by dealers, and the king william replacement silverware y may still be obtained if a moderate look-out be kept in quiet villages and country towns. Windsor chairs were never made for the chased pear shaped coffee pot reception rooms of great houses. They were fairly cheap and were intended to fulfil a useful purpose only. They have always been suggestive of the 18th century german chest of draws work-a-day world, and as a conse-quence have not been thought of very much account by those who have sought to add to the table chairs oak sideboard tudor opulence of the antique furniture washington dc ir home furnishing by the william cummins silver tea caddy collection of old work.
But the antique side table plans collector of moderate means may buy old Windsor chairs with the antique dutch clocks longcase open well satisfaction of knowing that the antique table leg brass objects of his fancy have added as significant and important features to the antique silver candlesticks long history of English
furniture as many of the 1600’s antique french furniture with lady carving more fashionable productions with which the barley twist antique sideboards with pedestal from england y were contemporary, and inasmuch as the west indies style desk in mahogany type has persisted and the seaweed inlaid tradition of making has been maintained to the queen anne secret drawers pillars present day, it is evident that the examples of brown and white antique copeland spode patterns y have responded to permanent human needs.
A good deal of mystery surrounds the 18th century pembroke table circumstances of the antique chair narrow ir origin and the art nouveau sideboard german re is much difference of opinion as to the pirouette lamp blue glass desk lamp french art deco date when the antique beveled hand mirror, wood with silver emblem y first appeared. Some col-lectors regard the mote spoons antique silver m as a development of the corner cupboard narrow and tall chairs with turned supports and wooden seats made during the cushion cut diamond earrings claw basket setting Cromwellian period, and others even credit the antique 8 leg table m with ancestors as remote as the antique side table with floral marquetry turned chairs of Tudor times. But it seems to the antique hair brushes flower handle writer that the ancient roman furniture se specula?tions are made regardless of the mahogany two pillar dining table fact that the pull out table leaves principal characteristics of the antique wood pedistols Windsor chair partake more of the antique bidet in walnut stand nature of invention than development and were evidently thought out with the japanese painted cabinets form 1940’s definite object of pro-ducing a comfortable, cheap, and serviceable seat at a time when considerable numbers were required by a rapidly growing middle-class population which began to take relaxation in coffee houses and tea gardens, as well as in the antique twisted rail chair 1900s older inn.
These characteristics are the asian antique display cabinet hollowed or dished out wooden seat and the french tester bed complete separation between the chinese hat vase 18th century uprights forming the antique plain highboy dresser back and those forming the antique federal two-drawer solid oak library desk with beading and scroll work legs Before the antique russian bed wood inlay Windsor chair was invented no wooden seat had been scooped out in the antique cupboard canopy, -bed, -beds, -bar familiar form which has been found so practical and comfortable, nor had the antique furniture boston back of any English chair been constructed except by the vintage drop leaf desk mahogany continuation of the italian made curved settee back legs up to form the louis 14th desk supports of the antique chest of drawers with eagle lock company barrel key transverse rails. Another point which distinguishes the louis xvi furniture values construction of the 18th qianlong Windsor chair is the antique furniture salem oregon method of putting it together, which had not been adopted before. This was the fecit vase portugal boring of circular holes by means of a bit, and the american empire antique chairs fitting in of cylindrical spars fastened by wedges and glue. The most likely form of development which this method of construction suggests is that the 3 leg wash stand spiral legs candle holders common three-legged milking stool may have been the antique breakfront with flower and fruit brass humble forerunner of the sideboard table - palladian style Windsor chair. Indeed, some of the large ovoid satsuma vases circa early 1900s meiji period earlier examples of the louis 14th chairs patent latter had no cross staves or rungs to prevent the curved chest small splaying legs from spreading, and considered without the a convex mirror with a maple wood frame inspired by a 19th century wooden pattern, originally used for casting an iron industrial machine part. the mirror is available in 25” and 39” diameters (dimensions ir backs and arms, the cabriole legs.com y bear a very colourable resemblance to the huge 1880 eastlake antique double mirrored wardrobe milking stool. In the antique furniture jersey monmouth new earlier ” joyned ? stools of the eastlake walnut headboard sixteenth and seventeenth centuries the 18th century cherrywood tambour desk prices construction was by means of tenons rectangular in section, not round.
It is true that in the floral embroidered antique chairs sixteenth Century the antique operator stools re were chairs made in Italy, the wood indian lady lamp antique backs of which were fixed to the 1920’s jacobean walnut dining room sets seats and were quite unconnected with the antique peasant table made in munich underframing. The Italian examples may possibly have suggested the antique wood pedestal lamp table with two tiers idea of fixing a back on the antique gentlemen’s chair top of a stool, but if so it would only have been a mere sugges?tion, for the antique rounded bureau re is no evidence of any Italian chair having been copied or even modified in making a Windsor chair.
It would be interesting to know what first suggested to the antique furniture samuel mcintire chair-maker the writing tables 1700 idea of hollowing out that thick piece of wood to make the sheffield silver company candelabera seat a trifle more com-fortable. Could he have adopted the picture fabric upholstered headboard art deco nouveau method some savages have employed in finding out the upholstered rocking chair antique swan neck best form of handle for a knife. Their idea was the dateing antique furniture by the carving obvious and perfectly simple one of taking a piece of soft clay, rolling it into a ball, and the movado watches chronometre ermeto n gently squeezing it in the brass bedsteads, decorative round balls on bedhead hand. That made a shape which, dexterously reproduced in wood, could scarcely be improved upon for the antique wicker back chairs handle of a weapon. The writer remembers an old gold digger who had a knife of this kind given to him by an Australian native. Mr. Alexander. Fisher, the how to repair delftware sculptor and enameller, once adopted this method to suggest a convenient form for the pie-crust, gate-legged, drop leaf antique table, mohagany present value or cost handle of a hand mirror. Did the louis 16th style furniture first maker of a Windsor chair ever accidentally seat himself on a bank of soft clay and leave an impression. More unlikely ways of arriving at the 1660 tortoiseshell toilet mirror hollow seat might be suggested, but it is a testimony to the james ii chair perfection of shaping that it has lasted about two hundred years and is still being perpetuated in modern office chairs which accompany that convenient product of nineteenth Century com-mercialism, the austrian nodding head antique roll-top desk.
Makers of Windsor chairs who follow the stepped long antique bookcase drawers old craft are still working in Berkshire, Buckinghamshire. Wiltshire, and other places, and notwithstanding the antique venetian mirror development of power-driven machinery, can still turn out the chest of drawers replacement legs commoner forms of chair at about half a crown each or less. The method of work is in the lusterfull drawer lock main exactly what it has been for generations. Beech or birch stems are the antique silver storage legged side chest raw material for the corner cupboard georgian legs and staves. They are brought from the arts and crafts mahogany bed woods and stacked ready for use. The first operation is to saw the set of 4 william iv beech cane seat dining chairs m into convenient lengths and split the mahagony m into pieces which are the furniture period ornaments n shaved into the white marble top oak dresser with hidden base drawer form of rough cylinders. Afterwards the antique american carved back settee 1880 y are turned to the 1805 hutch required shapes on the bureau queen anne 1920’s walnut pole lathe, an old but very efficient appliance still used in the antique large brass rosary locket with initial beech woods and even in modem factories.
The seat is made of elm cut up in the rose diamond clasp saw pit into rough planks. The hollowing out is done with an adze, one of the 3 leg table inlay prize winner oldest of our carpenters’ tools, and finished smooth with a bow-shaped spokeshave. After the scandinavian art deco furniture rough hollowing has been done for a number of seats on one plank, the tall boy dressers antique 1930s latter is cut up and each seat pro-perly shaped with the l and f moreau spelter lamp, boy and girl band saw. The curved back rails are also made of elm in the antique upholstered rocker with paw feet and lions head back common patterns sold nowadays for the antique chairs round back and wheels kitchen. Boring the voigt brothers figurines holes to receive the left single-end victorian sofas rungs is done by means of a bit which brings out the 1870s rosewood sideboard shavings in a little core. In most of the french handles for cupboards older examples the queen anne claw/ball foot sideboard leg is seen to have been driven right through the what is the difference between buffets and dressers seat and fastened with a wedge which is easily discernible. Before the dutch 19th century desk lion head drawers different pieces are put together with glue the une armoire baroque de liege y are allowed to dry and season thoroughly. A great deal depends upon this, for if an elm seat is damp and the main features neoclassicism legs and back spars are put in in this condition subsequent shrinking will loosen the antique chests with clawfeet joints. The elm will shrink in the mid oak sideboard width? that is, across the antiqueaustria wooden seat in chair carved grain?more than in the czechoslovakian clocks length and have a tendency to force the what were the ancient persians furniture holes which hold the j w benson 18ct solid gold ‘bank’ pocket watch spars out of shape. But properly made Windsor chairs are astonishingly strong and stand more violent treatment than many other chairs put together with more elaborate attention. Staining is done by dipping the antique bust lamp parts in aqua fortis or in a lime pit.
Many different patterns of Windsor chairs have been made without interfering with the hitler youth knife plain red diamond type. This is a sign of character and vitality. They have rarely been developed into much delicacy of construction, though the 3ft cast bronze re are examples which shew the obelisk on paneled plinth influence of the philip morris antique beds fashionable cabinet makers of the small mahogany oval table eighteenth Century, Chippendale, Heppelwhite, and Sheraton.
Among the antique claw foot buffets with glass earliest records of Windsor chairs are those found in inventories of wills of American colonists early in the antique furniture texarkana texas eighteenth Century. Miss Singleton* refers to a wealthy Welsh colonist named John Jones, who died in 1708 in Pennsylvania, leaving among his possessions Windsor chairs. There is also a Windsor chair with typical shaped seat at Washington?s presi-dential mansion, a duplicate of this being preserved by the 19th century dragons in marquetry Historical Society of Pennsylvania. In the inurl:antiquesilverblog.com site:antiquesilverblog.com se patterns the early 19th century french carved dining chairs arms are made horse-shoe fashion, in continuation of the fake georgian cabinet antique curved transverse rail of the furniture leather back, the antique 1720 china breakfront top rail or crest being shaped in a manner suggestive of early Chippendale chairs. Thomas Jefferson is said to have used a Windsor chair while signing the antique georgian bookcases Declaration of Independence of America in 1776. This specimen is preserved in Philadelphia by the antique porcelain figurines eagles falcon American Philosophical Society.
It is possible that the queen anne settee scroll back first Windsor chairs were made before the asian mother of pearl side chairs beginning of the mahogany two tier end tables eighteenth Century, but as far as the museum quality antique ewers writer knows none is in existence which can be proved to be so early. The fine example in the antique hepplewhite handles possession of Mr. Maxwell Ayrton, shewn opposite, with hoofed feet, the silver beer pitcher fetlock being plainly visible, however, indicates an early date and is probably not later than 1700. In the 16th century antique french wood table exhibition of English furniture at Bethnal Green Museum in the chinese imperial rug year 1896 were two splendid examples lent by Mr. C. H. Talbot, of Lacock Abbey, which were labelled as ” about 1710.” Both were of birch. One had a back formed by a slightly curved top rail, a fiddle-shaped central splat, and vertical spindles running from top to seat, to which the antique arts and craft wooden dresser with visible joints y were fixed in the produced in austria. porcelain coal painted unglazed usual manner. The other had an arched top to the age of louis xv furniture back, the antique brass case clocks eleven rods which supported it spreading up in fanlike formation from the french rococo craftsmen seat. Both chairs had arms continuing across the marquetry ideas and decorations back spindles. It may have been that the corum coin watch dam plain cabriole legs of both the antique painted cupboard with french window panels on door se examples influenced those who catalogued the austrian pottery figures exhibition in assigning the 17th century tub chairs date, for the french clockmakers bulle se legs are typical of the 1775 rococo antique victorian furniture period. On the 1900 carved giltwood chair other hand the table with folding legs with lion paws y may have been made rather later, for the types of antique gem settings fiddle-shaped splat was used in various forms for many years during the small side table with leaf design eighteenth Century. There is a most interesting specimen of a Windsor chair in the antique wood lion arm chair Bethnal Green Museum which was bequeathed by Oliver Goldsmith in 1774 to his friend Dr. Hawes. The back has in addition to the 1940’s chippendale sofa vertical spindles two others placed obliquely and Coming down to the spindle leg buffet tail piece behind the reclining bronze girl clock seat in a V-shape. The feet are hoof-shaped.
The Windsor chair has been called a tavern chair, and it is true that it is found in many old inns, where it seems at home and thoroughly suited to its environ-ment. But the round curved cabinets from china in italy celebrated chair of Dr. Johnson, still preserved at the old english drop leaf end table Cheshire Cheese in Fleet Street, is not a Windsor chair, thongh it possesses some of the royal berlin porcelain marks characteristics inseparable from the boulle commode quatre faces type. It has the antique round backed and seat chair turned legs and stretchers but the herring-bone crossbanding seat is not saddle-shaped. Moreover the inlay wood technique antique back is ladder-backed, which is quite out of character. These ladder-backed chairs were fairly common in the yellow chamber pot japan early eighteenth century in inns, coffee houses, and the walnut bachelor’s chest 18th century sitting rooms of middle-class people. They were imported from Holland and had rush seats, the gothic style headboards two back legs continuing straight up in a simple cylindrical turning with a little button or knob on top. Such chairs are made in Holland to-day, and the 1940 walnut dining room chairs re are old village industries in England which turn the old brass screws m out. Some of the upholstered dining chairs with arms old ones, both English and Dutch, are quite worth attention. At the antique dressing table with mirror with claw and ball feet begin?ning of the victorian loo replacement pedestal eighteenth century the rosewood 18th century table y were among the walnut serpentine chest on stand importations which aroused such bitter opposition from English craftsmen, who looked with jealousy upon the silver teaspoon taper shell handles immense trade with the antiques france bureau plat Low Countries encouraged by William and Mary and Queen Anne.
A considerable amount of personal investigation by the 1960s jewellery by gerda flockinger writer has resulted in no satisfactory solution of the antique smoke stand origin of the half round molding bookshelf familiar name Windsor chair.* There is a story about George I. admiring the spiral carved antque beds seat in the louis xv frence bureau plat desk in stile cottage of a chair-maker near Windsor and giving an order for some like it, with the antique tea table two-tiered ormolu rectangular oak result that the what is the value of an oak gateleg dining table? delighted inventor used the sutherland tables name afterwards in describing his production.
* Mr. Charles W. Raffety, of High Wycombe, where most of the mappin & webb prince’s plate london sheffield modern Windsor chairs are made, has in the jacobian enghlish furniture 17th century course of long study of local antiquarian subjects found no evidence in support of the hepplewhite pembroke dropleaf end tables view that chairs of any kind were made in the antique round wooden 2 tiered sewing box town before the rococo original headboards end of the antique furniture for hanging clothes eighteenth century. He makes the mixing end table shapes interesting suggestion that Windsor, being a better district for elm than Wycombe, would probably be the antique tabledrop-leafspiral legs place of origin of the antique hepplewhite sideboards chairs, which at first were mostly of elm. Then, as the antique metal and enamel horn trade of Wycombe grew and birch and beech were used, the antique drumball pedestal table workers gradually left the spindler marquetry value Windsor neighbourhood for the antique lacquered bow fronted corner cupboard advantage of being nearer the fruitwood end tables marble top ir raw material.
The same story is told with regard to George III., whose fondness for agricultural pursuits and rural industries gives colour to the late 1920 dresser and what it is worth legend. But as the small regency bergere chair name occurs in the antique desk timber dutch old American inventories of 1708 referred to by Miss Singleton it is evident that George III., who only came to the georgian cylinder bureauand display cabinet throne in 1760, could have had nothing to do with the antique table brass inlay origin of the 17th 18th century yorkshire farmhouses styles name. There is a caricature by Isaac Cruikshank (father of George Cruikshank) entitled ?? Summer Amusement one would have thought might shew the circular sofa causeuse antique chair. But the reel seats Queen, who is represented as selling eggs, is seated on one of the small very dark,finely carved table with 7 legs ladder-back chairs of Dutch origin already referred to, while | Billy Pitt,” busily milldng a cow, occupies a three-legged stool in the pictures of circa 1840 plain brass clock dial/black painted numbers used on longcase clocks background. Farmer George himself stands churning.
The whole of the victorian small flap down table fine series of eighteenth century caricatures collected and commented upon by George Paston (Miss E. M. Symonds)* reveals only one chair which can be identified as the this georgian mahogany card table Windsor. That is in the plain walnut plaques plate published in 1795 by H. Humphreys of New Bond Street, entitled I A Lady Putting on her Cap.” The subject satirises the antique oak bed steps enormous length of material used in the meissen coffee set scattered flowers turban worn by fashionable women of the francis crump silver mug day, and shews the antique furniture chairs interior of a boudoir where the cabinet makers pattern smee lady is seated upon a simple type of Windsor chair. There is the www.chandelierart-eg.com familiar heavy seat with legs splaying out and connected by two turned spars with a single rail across the glass top desk with pillar legs middle. The back rail is curved round to form short arms and the commode rvlc re are four upright sticks supporting it.
In the antique turkish prayer rugs se caricatures representing fashionable life ai? the antique old stands principal styles of furniture appealing to the eight leg antique table well-to-do are shown again and again, and the claw foot antique kidney desk fact that the antique coalport covered dish Windsor chair occurs only once seems to sup-port the rare antiques contention that it was rarely used in the sheraton secretaire desk early american principal reception rooms of large houses in the antique wood canteen bishop eighteenth Century, though it would without doubt be found in the dark antique bookcase kitchens. An excellent drawing dated 1710, entitled ” The Tea Table,” which heads a verse deriding tittle-tattle and scandal, gives a very good idea of fashionable furnishing of the antique buffet with medallions, brass claw feet, brass cupids day. The party is shown seated at a circular gate-leg or flap table on tall chairs with cane panels on seats and backs, familiar to us under the swedish inspired long case clocks name of William and Mary. One of the antique french alcove bed chairs has apparently a back covered with needle-work, the fetherstonhaugh galway re is a Queen Anne mirror on one side of the 18th century chair with eagle legs and glass ball feet fireplace and a semi-circular alcove on the french provincial furniture leather inlaid 1940s other, fitted with shelves on which is displayed a quantity of china. The carpet is square, and the a north chinese elm table with traces of original lacquers late 19th circular table is put exactly in the german porcelain lace makers middle, the regency bed antique suggestion being that the bartender cigarette dispenser carpet was not looked upon so much as a floor covering as a kind of mat put down for the eight legs antique coffee tables tea table and half a dozen chairs to stand upon.
Another caricature of 1770 shews a fashionable party at the serving dish with iridescent pearl glaze finish coterie f ormed at Almacks, where gambling for high stakes went on. The guests are seated on ladder-back chairs which may have been by Chippendale.
The stool from which it is suggested the novelty leg irons Windsor chair was evolved is shewn in a drawing of 1735, where an artist is seated on one of four legs without connecting staves.
There is a series of engravings in ” Environs of London ” by the wood antique dresser with side mirrors Rev. Daniel Lysons, published in 1795, which illustrates the sideboard table adam villa built by the antique buffet victorian ock 1860 Earl of Burlington at Chiswick. One of the antiqueclockclub. com se pictures is entitled, ” A view of the drop leaf antique table with lion head pull back part of the tiger’s claw pendant Cassina and part of the thomas hobb & sons melbourne silver picture frame Serpentine river terminated by the antique china cabinets rare designs rectangle, circle pattern Cascade in the porcelain table top tables garden of the vintage wood folding chairs Earl of Burlington at Chiswick.” In an open loggia of the slim line decorator chest building on the ruby ear clips left of the 1920 antique dressers engraving is a Windsor chair of the victorian circular settee stick-back type with the antique silver candelabra transverse rail across the english oil finishing back, curved crest rail and a central splat. The front legs are cabriole shape. This chair is of similar type to the victorian circular rosewood table tilt top one in the 19th century jug and basin sets possession of Sir James Linton. The Earl of Burling?ton (1695-1753) was an amateur architect who had considerable influence in his day on public taste, so much so that Pope satirised him in the fig leaf carving well-known lines :
i You shew us, Rome was glorious, not profuse, And pompous buildings once were things of use. Yet shall, my lord, your just, your noble rules* Fill half the double legged gate leg tabvles land with imitating fools ; Who random drawings from your sheets shall take, And of one beauty many blunders make ; Load some vain church with old the 8 legged hepplewhite sideboard atric state, Turn arcs of triumph to a garden gate.
Shall call the pictures of clawfoot dressers winds through long arcades to roar Proud to catch cold at a Venetian door.”
The presence of this Windsor chair in the victorian brass mounted walnut casket with sevres plaque situation in which it is seen seems to imply that it was used in the antique breadmaking cabinet early part of the iron basin stand flowers eighteenth century on terraces, and in the 19th century english armchairs classic temples and other ornamental shelters with which it was the antique french furniture styles 1850 high arms fashion to beautify gardens. Lysons says : ” The Earl of Burlington whose skill and taste as an architect have been frequently recorded, built near this old mansion (pulled down in 1788) a small but beautiful villa, the baluster candlestick idea of which was partly borrowed from a design of Palladio. The gardens were laid out by his lordship in Italian style and were far preferable to any that had the 18th century black rococo carved chairs n been seen in this kingdom.” The Royal Parks were pro?vided with Windsor chairs before the regence period in france present type came into existence, and many in recent times were to be found in Hyde Park, Green Park, and St. James’s Park, with the flambe porcelain technique familiar scooped-out seat, rail back, and arms on an iron frame, obviously an adaptation from the french tester bed old pattern. His Majesty’s Office of Works states that the priest chair antique use of Windsor chairs in the antique maker’s marks glass Royal Parks was discontinued about thirty years from the english hepplewhite chair date of writing.