WALNUT DINING CHAIRS, 1920’s furniture carved flowers PEDESTAL DESK, josef hoffmann bentwood chair CORNER CABINET, large antique bookcases late 18th century

A SET OF TEN QUEEN ANNE STYLE WALNUT DINING CHAIRS, neo baroque furniture comprising ten side chairs, davenport captain desk each yoke form cresting rail above a vasiform splat fl«nlr»»H by rounded stiles above a trapezoidal slip in seat raised on cabriole legs ending in pad feet. (10)

A WILLIAM TV MAHOGANY LINEN PRESS, antique chinese ceramics oval jar with lid flowers and insects
circa 1835, antique chairs and connected table the arched cornice with beaded rim terminating in scrolls above a pair of doors with recessed panels with beaded borders and mounted with twist carved columns, okimono ivory flower opening to sliding shelves; the lower section with beaded waist above two short and two long beaded panelled drawers, 6-legged antique dining table raised on shaped reeded feet H.7ft.8 Vi in.; W. 4 ft. 7 in.; D. 27 in.

A SET OF TWELVE ANTIQUE HI STYLE MA HOGANY DINING CHAIRS, jacobean tudor sideboard comprising: two arm chairs and ten side chairs, antique gothic fold over desk each shield shaped back enclosing a splat pierced with Gothic tracery centering a Prince of Wales plume flanked by shaped arms on reeded supports, slant front pedestal kneehole desk the bow fronted overupholstered seat raised on square molded legs joined by stretchers. (12)

AN ANTIQUE U STYLE LEATHER UPHOL STERED CAMELBACK SETTEE, high end european music stands, inlaid, canadian wooden music stands the serpentine padded back flanked by outscrolled padded sides with paterae carved terminals on supports carved with acorns and oak leaves, antique cherry, mahogany or walnut flat-top office desk the loose cushioned seat raised on cabriole legs carved with leaf carved knees ending in claw and ball feet L. 7 ft. 4 in.

A SET OF EIGHT ANTIQUE HI STYLE MAHOG ANY DINING CHAIRS, gilt wood center table late 19th century, 1930 art deco upholstered chair comprising two arm and six side chairs each serpentine cresting rail carved with a leaf spray above a pierced baluster form splat, circular deep-buttoned ottoman, frame, how to make the outscrolled arms raised on curved supports centering a drop in rectangular seat, lacquer, gold inlaid desk raised on straight chamfered legs joined by plain stretchers. (8)

A VICTORIAN FRUTTWOOD AND EBONY MAR QUETRY INLAID MAHOGANY PEDESTAL DESK, antique painted plates with louis 15th or 16th faces show pictures french third quarter 19th century, antique brass bed with ladies on the spindles the rectangular molded top with leather inset writing surface above three frieze drawers inlaid with Baroque masks and trailing vines; raised on two pedestal supports, arts and crafts oak desk table each with a recessed cabinet door inlaid with a floral spray flanked by fluted pilasters headed by stylized capitals and raised on a conforming molded plinth. H. 31 ‘A in.; W. 6 ft. 2′A in.; D. 29 in.

A FEME AND RARE ANTIQUE I INLAID BURL WALNUT BUREAU CABINET, hinged leaf swedish dining tables circa 1720, nineteenth century drum tables in three parts, antique ruby and pearl necklace with black soldier bust centered the upper section with a molded cornice above a pair of mirrored doors opening to arrangement of twenty four draw ers, bible cupboard each with a letter of the alphabet; the mid-section with crossbanded and sectioned slant front opening to small drawers and pigeon holes and writing surface, display holder wash stand the lower part with a central range of four long drawers flanked by gate flap supports and two ranges of four short drawers; raised on bracket feet, oak claw feet table casters (restorations). H. 7ft. 7 in.; W. 4 ft. 7 ft in • D. 23 ft in.
Provenance: Former Collection Mrs. Derek Haug, bohemian china czechoslovakia sold Chris tie’s London, how do i know how much my oak twist gate leg table is worth March 16, antique silver quilded mirror 1967, brass carriage clock brevet lot 94. Former Collection Hood Museum of Art, antique dresser with sunburst carved sides Dartmouth College, 18thc paint for lit a la polonaise bed Sold Sotheby’s New York sale 5140, french lacquered sideboard with brass base January 21, waterford glasses cut moulded 1984, 3ft wine glass lot 58; see illustration.

AN ANTIQUE MAHOGANY WRITING TABLE, oval pembroke sheraton table third quarter 18th century, art deco porcelain italian the square molded top above a pullout drawer support on legs with sliding leather inset writing surface above a fitted interior, swedish ormolu mounted secretaire on straight molded legs. H. 30 in.; W. 36 121 in.; D. 36 in.

A WILLIAM AND MARY MARQUETRY INLAID WALNUT AND OLIVE WOOD CABINET ON CHEST, hairy paw footed mahogany table circa 1700, 1920 barley twist table the molded cornice above an ogee molded frieze drawer over a pair of cabinet doors, pearl side table each inlaid in various woods with a central oval reserve depicting an urn issuing flowers with floral inlaid spandrels, antique four pedestal drop leaf extension table all on an oyster veneered ground, antique mahogany kidney shaped table the doors opening to small cross banded drawers centering a prospect door, antique one drawer side table with top rail lower section with molded waist above two short and two long graduated and herringbone inlaid drawers, how much are mahogany pearl chairs worth raised on bun feet, art deco inlaid wood furniture (top and bottom associ ated). H. 5 ft. 1 in.; W. 47 in.; D. 21 in.

A REGENCY GELTWOOD AND EBONIZED CON VEX MIRROR, antique-tables.net early 19th century, ceramic producton austria the circular mirror plate within an ebonized slip and leaf tip molded and spherule mounted frame surmounted by a later ebonized spread wing eagle. H. 36 in.; D. 26 in.

A CHINESE BLACK LACQUER PAINTED FOUR FOLD SCREEN, 17th century armada chest 19th century, 1930 chair manufacturer beginning with s each arched panel painted on one side with Chinese figures at various pursuits, country table square mahogany antique 17th century on the other with a continuous scene of birds and flowers, value of a antique silver oblong dish on a black lacquer ground, 5in wood table legs (restoration to decoration). H. 6 ft. 2 in.; W. (of each panel) 14 ft in.

A PAIR OF ANTIQUE IH STYLE CARVED GELTWOOD MIRRORS, sweet sugar baskets each oval mirror plate within a conforming guilloche carved and beaded frame. H. 42 in.; W. 41 ft in. (2)

AN ANTIQUE HI MAHOGANY DUMBWAITER, antique silversmith markings early 19th century, revolving bookcase with three graduated tiers each with a reeded edge and supported on a ringturned standard raised on a tripod base ending in brass casters. H. 4 ft.; D. (of largest tier) 28 ft in.

AN ANTIQUE HI MAHOGANY CORNER CABINET, antique dressing tables late 18th century, technical drawing plates the triangular molded cornice with canted corners above a conforming case fitted with a glazed door with geometric mullions opening to shelves over a molded waist above a panelled door opening to shelves and raised on later bracket feet, 1930’s egyptian style brass and marble table lamp made in czecho-slovakia (feet replaced, danish spoons with twisted stems losses). H. 6ft. 6 ft in.; W. 33 ft in.; D. 19 in.

AN ANTIQUE II MAHOGANY BACHELORS CHEST, sterling egg cruet circa 1750, jacobean stretcher the rectangular hinged top folding forward over a case fitted with two short and three long graduated cockbeaded drawers raised on bracket feet, black claw foot coffee table (re placements to rear feet). H. 31 ‘A in.; W. 32 ‘At in.; D. (open) 29 in.

AN ANTIQUE HI MAHOGANY BUREAU BOOK CASE, half tester canopy only circa 1800, duncan fife trestle table the rectangular dentil molded cornice above two glazed doors with diamond shaped muUions opening to adjustable shelves over a slant front enclosing six drawers and six pigeonholes above a later carved prospect door all above a case fitted with four long graduated cockbeaded drawers raised on bracket feet, hexagonal antique wall clocks (minor repairs). H.6ft.9 in.; W. 38 in.; D. 21 3A in, 6 ft queen anne coffee table

A WILLIAM IV MAHOGANY WBSE COOLER, antique trestle table oak with pine top
circa 1835, antique claw foot double pedestal table the panelled domed hinged top opening to a well above a tapering panelled case raised on reeded lobed feet, the influence of the neoclassical style on casters. H. 22 ‘A in.; W. 22 ‘A in.; D. 20 ‘A in.

AN ANTIQUE HI MAHOGANY CHEST OF DRAW ERS, kidney shaped oak dressing table circa 1775, federal chest the rectangular top above a brushing slide and a case fitted with two short and three long graduated drawers raised on later bracket feet, french display cupboard open shelves (replaced feet, antique clocks 1877 restora tions to top). H. 37 in.; W. 39 in.; D. 20 ‘A in.

AN ANTIQUE HI MAHOGANY CHEST ON CHEST, bentwood side chair poland last quarter 18th century, antique tables extending lion brass feet in two parts: the upper section with molded cornice above two short and three long graduated cockbeaded drawers flanked by canted and fluted stiles; the lower section with molded waist above five long graduated cockbeaded drawers raised on ogee bracket feet. H. 6 ft. 5 in.; W. 42 in.; D. 20 in.

A REGENCY INLAID MAHOGANY CLERK’S DESK, victorian chair dwg circa 1800, demi lune maggiolini the rectangular top above a baize lined slant front lifting to reveal a well and an arrangement of four small drawers above one long drawer and one sham drawer, antique chair strained oak rush seat the sides fitted with two small drawers raised on square tapering legs joined by stretchers. H. 37 ‘A in.; W. 24 ‘A in.; D. 193Ain.

A REGENCY MAHOGANY CANED TUB CHAIR, antique furniture weiman circa 1820, german buffet with cabinet the concave back with an arching cresting rail continuing to scrolled arms on curved supports centering a later slip-in seat raised on sabre legs.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SHERATON FURNITURE. SHERATON CABINETS, TABLES, CHAIRS, BUFFETS, DRESSERS, CHESTS OF DRAWERS, BEDS, SOFAS

THE reasons given in previous chapters for confining the   significance of  furniture-makers’ names to the styles in which they worked have even greater force when applied to Thomas Sheraton, the actual examples of whose work in existence are both doubtful and few in number. Sheraton may be fairly described as a successor of Chippendale and Heppelwhite, although he must have been working as a journeyman cabinet-maker when they were alive.  But the date upon which Sheraton came to London is much in dispute.  He was born at Stockton about the year 1750, and as late as 1782 issued from that town A Letter on the Subject of Baptism, followed  by  other publications of a religious character from time to time.   It has been assumed by various writers that he could not well have come under the influence of Chippendale, Heppelwhite, the brothers Adam, and other great designers until he had come to London after 1782.   But it is not certain that this date signifies residence in Stockton-on-Tees up to that time, because he may have been working in 198
London as a cabinet-maker and had his religious tracts
published from his native town.
The interesting dates to collectors are those which give simply the births and deaths of the three great cabinet-makers of their age. Unfortunately the exact dates of birth are unknown in each case. Miss Constance Simon’s researches supply us with the deaths.
THOMAS CHIPPENDALE. Born towards the end of the reign of Queen Anne (1714) ; died 1779.
GEORGE HEPPELWHITE. Born about the beginning of the reign of George IL (1727) ; died 1786.
THOMAS SHERATON.  Born about 1750 ; died 1806.
If we add to these dates the birth and death of Robert Adam (1728-1792), whose influence on furniture was so extended, we can begin to realise how indebted Sheraton must have been to the work of his immediate forerunners.
There is no reliable evidence that Thomas Sheraton in the prime of life was ever a master cabinet-maker like Chippendale and Heppelwhite.   That he was a skilled designer is  apparent by his best-known publication, the Cabinet Maker’s and Upholsterer’s Drawing Book 1 (1793), and that he was also a crafts-man is proved by the extraordinary detail he gives for the construction of the pieces he describes.   It is not the kind of technical instruction we look for to-day in the text book, but it shows close personal acquaintance and experience with tools and the many processes of the craft of the cabinet-maker.
Sheraton was apparently a very clever workman who in early life became sincerely religious.   He appears to have had ambition and considerable enthusiasm, for he did an enormous amount of work.   His   Drawing Book ” alone must have meant years of labour.  But he was no business man, being far more devoted to the theory of cabinet-making than its practical exercise. He succeeded in drawing together a large number of ideas culled from his immediate forerunners and his con-temporaries and welding them into a distinctive style. He was the last of the great furniture designers of the eighteenth century, and towards the end of his life began to feel the decay which set in with the Engish interpretations of Empire feeling.
The principal characteristics of Sheraton furniture are the use of the straight line in design and as perfect a combination of proportion and constructive bulk as Engiish craftsmanship has ever produced. Sheraton chairs, commodes, bookcases, and tables of ail sorts express daintiness and delicacy never reached before his time. The history of Engiish furniture for hundreds of years had been a gradual progress towards refine-ment of execution, the culmination of which came with Sheraton. Purity of outline and economy of material could go no farther.
More than any other designer Sheraton exploited the possibilities of mechanical action, in bureaux, dressing tables, secretaires, and many other pieces of furniture. He did this on the whole without sacrificing simple utility. Whatever comphcated construction he introduced was not in the way of added ornamentation, but more extended convenience.   Most of those bits of furniture one meets with in second-hand dealers’ shops, full of carefully thought out contrivances such as hidden mirrors, sliding screens, drawers, pigeon-holes, little boxes with lids, and so on, are of the Sheraton school. It is true that the bulk of them must have been made by cabinet-makers who were working either at the same time as Sheraton, or who took advantage of the publication of his book to reproduce his ideas for years afterwards. But the old drawing master must be credited with having done more to stimulate the manufacture of such articles than anyone else.
Heppelwhite, the Gillows, Shearer, and other makers used to construct dainty bits of furniture full of cunning fitments, and at page 122 will be seen a dressing table probably of Heppelwhite origin.  But those who go to the trouble of even a cursory glance through Sheraton’s principal book on furniture cannot fail to be Struck with the fact that he was at bottom a mechanic.  The twin arts of geometry and perspective were his forte. He must have known more about them as they applied to constructional woodwork than anyone living at his time, and it appears to the writer that the perfection of proportion of many of his pieces was quite as much the resuit of consummate knowledge of straight lines and angles and their relationships with each other as artistic perception.  A cabinet-maker may decide that a piece of wood is the right length, width, and thickness by instinct.   If it looks right to him then it is right.   But Sheraton seems to have arrived at such decisions through a complete knowledge of theories of proportion and a mastery of technical
draughtsmanship. It may be for this reason that much Sheraton work
leaves us rather cold. It seems so painfully accurate, so without blemish. Where he introduces curves they lack freedom, but it is to his credit that he never put in too many of them, nor did he put them in the wrong place. His decoration was remarkably reticent, considering the possibilities for elaboration which lay in marquetry, carving, and painting, ail sometimes employed together on one painting, ail sometimes employed together on one piece of furniture.
English designers were still looking to France for inspiration, and Sheraton and his contemporaries echoed Louis Seize decoration, more or less, in ail they did. Curvilinear forms after the death of Louis XV. gave place to a return to the straight Une, and inconsequent rococo ornamentation was supplanted by a more orderly treatment of the classic theme. The ” Drawing Book ” of Thomas Sheraton exemplifies this ail through its pages.
It is a very much more important work than any of the others pubHshed in the latter half of the eighteenth Century. It is less of a trade advertisement and has far more scholarship about it than either Chippendale’s ” Director ” or Heppelwhite’s f Guide.” But it is ex-tremely detailed and diffuse. Like the other publications it was very largely subscribed for by the furnishing trade, which no doubt used it for obtaining fresh ideas.
Sheraton took a very high line. He divided the book into three parts, the first concerning itself with geometry, the second with perspective, and the third with furniture. In the preface he feels himself called upon to give a short resume of the works which have preceded his, pointing out their shortcomings pretty plainly.   Of Chippendale’s ” Director ” he says :
” It has given us, it is true, the proportions of the Five Orders, and nes for two or three cases, which is all it pretends to relative to rules for drawing : and as for the odesigns themselves they are now wholly antiquated and laid aside, although possessed of great merit, according to the times in which they were executed.”
Another book, 1 The Cabinet and Chair-Maker’s Real Friend and Companion ” (Robert Manwaring), he charges with containing an assertion which ” exceeds the bounds of modesty and truth,” and for Heppel-white’s ” Guide ” he has obvious contempt. ” Some of the designs/’ he says, I are not without merit, though it is evident that the perspective is, in some instances, erroneous. But notwithstanding the late date of Heppelwhite’s book, if we compare some of the designs, particularly the chairs, with the newest taste, we shall find that this work has already caught the decline, and perhaps, in a little time, will suddenly die in the disorder.”
In those days the value of a knowledge of perspective was much greater than now, when the camera is of so much use to the furnishing trade in conveying a true idea of the appearance of a piece of furniture. Hence the great space which Sheraton devotes to the subject. An important section of the first part of the book is devoted to a consideration of the five Orders of Architecture as the base of classical design. The author even discusses their origin, which he suggests goes back to Solomon’s Temple, the dimension of the pillars of which he gives from Josephus. In parts the book is the quaintest mixture of morality and mechanics. Sheraton seems almost at times to feel that his rules of perspective even need justification by ethical law.
Sheraton’s notes on furnishiing in another book, the ” Cabinet Dictionary I (1803), are particularly interesting to students of old furniture as indicating the fashion of that day.  He says : ” In furnishing a good house for a person of rank, it requires some taste and judgment, that each apartment may have such pieces as is most agreeable to the appropriate use of the room.  And particular regard is to be paid to the quality of those who order a house to be furnished, when such order is left to the judgment of the up-holsterers ; and when any gentleman is so vain and ambitious as to order the furnishing of his house in a style superior to his fortune and rank, it will be prudent in an upholsterer, by some gentle hints, to direct his choice to a more moderate plan.”
This dangerous advice is one among many proofs that Sheraton’s moral scruples far outweighed his business acumen. He goes on to say : ” It is the business of an upholsterer not to recommend anything that would offend the known sentiments of his employer, when virtue and morality are not the question, but mere indifferent opinion.” . . . “But it is to be lamented, that both the pictures and prints of some gentlemen are but too sure indications of their looseness of principle ;  as to virtue and morality,
though these ought to be the principal ornaments of human life, which in no character shines more be-comingly than in the gentleman of rank.
The library,” says Sheraton, ” should be furnished in imitation of the antiques ; and such prints as are hung on the walls ought to be memorials of learning, and portraits of men of science and erudition.”
After a few hints as to the hanging of pictures in the  gallery of paintings,” and ad vice as to the prints of the muses in the music room, he gives particulars of the dining-room furniture. | The dining parlour must be furnished with nothing trifling, or which may seem unnecessary, it being appropriated for the chief repast, and should not be eneumbered with any article that would seem to intrude on the accommo-dation of the guests.
The large sideboard, inclosed or surrounded by Ionic pillars ; the handsome and extensive dining table ; the respectable and substantial looking chairs ; the large face glass ; the family portraits ; the marble fire places ; and the Wilton carpet; are the furniture that should apply to the dining room.”
Sheraton appears so overcome with the grandeur of the drawing-room that he omits to give any details of the furniture. But he is explicit as to the unsuitability of including such incongruous items as books, globes, and pictures ! ” Nothing,” he says, | of a scientific nature should be introduced to take up the attention of any individual, from the general conversation. . . .
Several plates show the proper disposition of furniture and the character of the decoration. The most interesting is that which illustrates the Prince of Wales’s Chinese drawing-room in Carlton House Terrace.   The author does not pretend that it is an exact drawing by any means. It was evidently a formal reception room and had none of that haphazard,
sketchy appearance with which we are familiar in modern drawing-rooms. Such casual treatment was permitted, apparently, only in the breakfast parlour or tea-room. The walls of the Prince’s room are panelled and hung with stretched silk having needlework with Chinese designs in embroidery. All the chairs are placed formally m position near the walls, there are pier tables under huge mirrors, a marble mantelpiece with looking-glass above, some square stools, and a large ottoman.
Some of Sheraton’s own remarks on this room may be quoted : ; The pier table under the glass is richly ornamented in gold. The top is marble and also the shelf at each end ; the back of it is composed of three panels of glass, the Chinese figure sitting on a cushion is metal and painted. The candle branches are gilt metal, the panels painted in the style of the Chinese ; the whole producing a brilliant effect.
The view contains an ottoman, or long seat ; extending the whole width of the room, and returning at each end about five feet. The Chinese columns are on the front of this seat, and mark out its boundaries. The upholstery work is very richly executed in figured satin, with extremely rich borders, all worked to suit the style of the room.”
A most curious arrangement is made for heating, for,  within this ottoman are two grand tripod candie-stands, with heating urns at the top, that the seat may be kept in a proper temperature in cold weather.   On the front of the ottoman before the columns are two censers containing perfumes, by which an agreeable smell may be diffused to every part of the room, preventing that of a contrary nature, which is the consequence of lighting a number of candies.
The carpet is worked in one entire piece, with a border round it, and the whole, in effect, though it may appear extravagant to a vulgar eye, is but suitable to the dignity of the proprietor.”
Sheraton shews another drawing-room which has similar characteristics.   There is a pier table opposite the fire-place having a high square mirror over it to correspond with the one over the mantelshelf.  Be-tween the four tall sash Windows are three console tables, and on the other side of the room a formal Sheraton settee with six arm-chairs.   No centre table, bookcase, china cabinet, horse screen, pole screen, or other piece of furniture having domestic interest is to be found in the late eighteenth century drawing-room, which was obviously copied from the French.   It is in the parlour and dining-rooms that the bulk of the furniture was seen.
The description of the Prince of Wales’s dining-room at Carlton House Terrace in one or two particulars suggests that the features seen there may be taken as indicating fashion in generai. They were not included exclusively for the Prince.
Sheraton says that there is ” a large glass over the chimney piece . . . to which are fixed candie-branches. At each end is a large sideboard, nearly twelve feet in length, standing between a couple of
Ionic columns, worked in composition to imitate fine
variegated marble, which have a most beautiful and magnificent effect. In the middle are placed a large range of dining tables, standing on pillars with four claws each, which is now the fashionable way of making these tables. The chairs are of mahogany, made in the style of the French, with broad top rails hanging over each back foot ; the legs are turned,” and the seats covered with red leather.” Sheraton remarks further : ” Many dining rooms of the first nobility have, however, only two columns and one sideboard, and those of less note have no columns.”
Collectors whose means do not permit them to compete in the auction-room for masterpieces may still find many bits of furniture of the Sheraton school well worth having, and at comparatively small pieces. In the chapter on Heppelwhite, distinctions have already been drawn between the chairs of the two designers, but a fuller analysis of the characteristics of Sheraton seats is necessary.
His best work was in solid satinwood, carved or painted.   He never succeeded, like Chippendale and Heppelwhite, in evolving a chair back which was peculiarly his own, but he certainly designed a large number of varying forms to which he imparted
recognisable character.   The amateur at once recog-
nises the typical Chippendale chair back with its
carved and pierced centre splat and bow-shaped crest-
rail.   He can see at a glance Heppelwhite’s shield back.
But there is no fundamental shape which we can say
is Sheraton’s.   It is rather in his treatment of designs
already known that Sheraton is distinctive, and that treatment is based upon angularity and accuracy of proportion. You will see, for instance, a Sheraton chair like the one opposite, obviously adapted from an Adam example, which has an almost unrelieved top rail above the lyre, another horizontal rail just above the seat level, and formal square legs decorated with fluting and carved feet.
Sheraton undoubtedly favoured the straight top-rail in his chair backs. He appears to have first thought of it as such, and then in response either to fashion or to a feeling within himself, to have modified it a little here and there. Sometimes one sees the middle third of the rail raised a quarter of an inch above the rest, the added thickness which resulted carved in short vertical flutings. The straight line, again, may be stopped short of the angles and dipped in a little concave curve to join the upright.
Where a Sheraton crest rail is slightly arched in the middle it appears as though the curve had been drawn with a pair of compasses, or struck from the two foci of an ellipse. It does not suggest the sweep of freehand drawing. The designer apparently thought in angles and admitted curves as modifications. In this no doubt he was constructionally right, particularly in developing an Anglicised version of Louis Seize which was in its essence a straight line style.
Sheraton chair legs, as already pointed out, may be looked upon as columns supporting the ends of the arms, with the seat junction an incident about two-thirds the way up.   In circular or turned legs he was undoubtedly the best interpreter of Louise Seize of his time. Heppelwhite and other makers used the turned leg, but collectors who find it in furniture of the late eighteenth century may assume that it denotes a Sheraton chair, table, or settee, unless there is conflicting evidence from some other part of the article. The carving will be in flutes, and the turning will show usually the thickest part about a quarter the way down from the top, just below a neck which in turn is under a square section decorated often with a carved patera. Sheraton feet run straight down in line with the leg. They do not splay out, excepting in the later examples which are adaptations from French Empire. In these instances it will usually be found that the backs curl over in convex fashion ” with broad top rails hanging over each back foot,’ as in the Prince of Wales’s dining-room.
Sideboards by Sheraton often have their front straight on plan, here again seeming to show that the designer regarded this as the fundamental une. The ends, however, were mostly convex, very rarely concave. The example at page 202 is interesting as showing features suggesting both Heppelwhite and Sheraton as the originator. It has a simple curved front with a top approaching the serpentine in shape. The treatment of the inlaid spandrils is very like Sheraton.
The side table with flanking pedestals and vases above had not given place to the fitted sideboard entirely, although the latter in Sheraton’s time must have begun to be very popular.   The author of the” Drawing Book * says that ” sideboards are often made without drawers of any sort, having simply a rail a little ornamented, and pedestals with vases at each end, which produce a grand effect.” This was no doubt precisely the case. If after 1780 or there-abouts a wealthy man with a large dining-room wished to express grandeur, he would have the side table and pedestals. But with Heppelwhite’s and Sheraton’s books to consult the country cabinet-maker could offer a very neat, composite piece of furniture to his clients who would doubtless prefer it, for reasons of space alone, if for no other consideration.
An interesting reference to sideboards with curved fronts occurs in the ” Drawing Book | which suggests that they were rather out of fashion to ten years before the end of the century. Sheraton says : ” It is not usual to make sideboards hollow in front, but in some circumstances it is evident that advantages will arise from it.   If a sideboard be required nine or ten feet long, as in some noblemen’s houses, and if the breadth of it be in proportion to the length, it will not be easy for a butler to reach across it.   I therefore think, in this case, a hollow front would obviate the difficulty, and at the same time have a very good effect, by taking off part of the appearance of the great length of such a sideboard.  Besides, if the sideboard be near the enter-ing door of the dining room, the hollow front will some-times secure the butler from the jostles of the other servants.”  A drawing and plan is given of such a sideboard, but it is over nine feet long, a most unusual length.
Small dining-rooms were often furnished in Sheraton’s day with sideboards having neither drawers nor pedestals. The custom was to place a wine cooler underneath, hooped with brass, partitioned and lined with lead for wine bottles. This attendant piece was easily accessible and took the place of cellaret drawers. It was occasionally used, however, in connection with sideboards which were fitted with cellarets, the arched opening in the centre of the larger piece of furniture being provided to enable the butler to get at the bottles beneath.
Dining tables at the end of the eighteenth Century were extremely well made, and even those showing Empire features can scarcely be regarded as having their appearance entirely spoiled.   Many patents were taken out for those which extended by means of loose leaves.   The ordinary useful dining tables about the year 1800 were supported upon pillars and claws, four claws to each pillar and running on brass castors. Both Heppelwhite and Sheraton curiously omit illustrations of dining tables in their works, but the former says :   ” For a Dining Room, instead of the Pier-tables, should be a set of dining tables,” and Sheraton gives a careful description of their mechanism in his dictionary.   Most of it is technical and of little interest to the collector, but it is evident that the tables were made any length to suit a particular room, ” by having a sufficient quantity of pillar and claw parts, for between each of these is a loose cap, fixed by means of iron straps and buttons, so that they are easily taken off and put aside.”   Sheraton used to allow in his calculation as to the size of these tables a space of two feet for each person sitting down. The patent tables of his day were made to draw out, loose flaps being enclosed in the piece to fall into place as required, an idea evidently the immediate forerunner of our extend-ing screw tables. Another patent dining table was on pillar and claw, but according to Sheraton ” the loose flaps cannot be mitred within the frame, but must be, when not used, put into some convenient place in the room where the dining table stands.”
Many pieces of Sheraton furniture made after 1800 are quite worth attention, if one allows for the fact that the best period of English furniture making was over. At the present time sofas of late Sheraton design, for instance, are cheap.   There is practically no demand for them.   But this will not always be the case, and the collector who makes money out of his hobby is he who buys at a low figure and bides his time for the market.  The character of these sofas is very easily recognised.   They have scroll ends, the legs are curved and splayed out and run on castors. The crest rail is usually perfectly straight, and the upholstery is horsehair as often as not.   Sheraton’s use of the splayed out legs at the latter period of his career was constant, and on the whole at this time they were the best support he designed.   His turned legs became vulgarised with the Empire influence, but this vulgarity did not appear so evident when French Empire was simply copied. Students of French work of this period will readily realise that it had character of its own, although it was heavy and pretentious.   But the Empire motif, clumsy and forbidding as it was, ruined Sheraton’s work entirely when he attempted to graft it on to his own delicately proportioned furniture.
Chair backs and the lattice work in bookcase doors which show diamond shaped divisions may generally be taken as later than 1800. Sheraton’s tracery in the best part of his career was flowing, even more so than that of Heppelwhite, but we see scarcely a curved one in the later glazed fronts. It is interesting to note that the revolt against wooden bedsteads on account of their supposed attraction for vermin came to a head at this time in the patenting of various methods of putting posts and rails together without having any crevices in which the insects could hide. Brass joints were used and when the posts and frame had been screwed together brass plates were fixed securely over at the point of junction. Some bedsteads had brass dovetail tenons which slipped into sockets of brass fixed in the pillars.
The four post bedstead had a long life after this, and Sheraton’s posts are particularly graceful and neatly ornamented. His schemes for upholstery were among the poorer parts of his work.
He designed three and four-back settees, sometimes upholstered, sometimes caned in back and seat. His dressing chests were often like chests of drawers when closed, the glass and other fitments being neatly packed away in the Upper compartment.
The short legs to such pieces are termed ” stump ” feet, the two inlaid cabinets at page 214 having them.

ANTIQUE WILLIAM AND MARY FURNITURE. 1689-1702

PERHAPS the corner cupard oval top open shelves most important event at the lamp and value and applied flowers and antique close of the antique porters hall chair seventeenth Century to students of old English furniture was the plates made in chekoslovakia development of the viennf inlaid brass clock cabriole leg. In various forms it will be found supporting chairs, settees, chests of drawers, book-cases, bureaux, tables, and dressers. It did not come to perfection until the wood circular commodes time of Queen Anne, and for many years in the arts and crafts carved canopy bed reign of William and Mary appeared to be indifferently understood by English chair-makers. Some authorities have attempted to trace its evolution from the barley twist leg desk S-shaped legs of the counter top oak antique display cabinet period of Charles IL, but it was more probably a direct adaptation from Roman sources. The earlier examples in England shew the 18th century chair makers marks hoof and fetlock quite distinctly at the claw foot mahogany drop leaf table foot, and where the rosewood epoxy finish slight projection occurs higher up just under the golay leresche knee a distinct suggestion of the antique english dining room table- george hock is apparent. Mr. Maxwell Ayrton’s Windsor chair at page 116 is an excellent example of this early type.
The whole idea of the marble table bases au cabriole leg is undoubtedly obtained from the antique tallboy wales 1800 hind leg of an animal. Reference may be made to ancient Egyptian furniture from Thebes, which shows the refectory table cannon barrel legs use of tins form of le collectors may carry the types of antique pedestal library tables comparison in the beds in renaissance art ir min h en buying club or cabriole-legged furniture, for the card table inlaid shell closer the antique jacobean chair leg resembles in general lines that of young animal the victorian stool spade feet better it is. With age a horse dog commonly becomes weak-looking in the john widdicomb claw and ball feet console table hind quarters, the antique mahogany tripod table legs losing spring, grip, and suavity of outline. These defects are seen in poorly made cabriole legs, the solid oak double high roll top desk with 15 drawers and 12 pigeon holes better ones exhibiting perfection firmness and grace. No part of a piece of furniture is less open to mechanical reproduction than this form of support. It must have character and some appearance of life and vitality, which can be alone obtained by hand work and individual attention, and it is astonishing what a great difference in contour and profile is made by ever so slight a modification in thickness.
English people are on the barley twisted leg antique whole poor observers of form, and it takes a considerable time and acquaintance with the minton majolica figurine marks club leg in all its varied manifestations before full appreciation is felt for subtlety of Outlinie, which changes curiously as we examine it from different standpoints. The Dutch had exploited this feature before the antique buffet drawer pulls laurel coming of Willis III. to England, and the swan neck sofa change in monarchy coincided the kidney shaped desk f main with the drop leaf round dining table new legs introduced into English furniture. Yet the regency chairs club or cabriole leg the how high above dresser should mirror be hung terms are practically synonymous was not the quality brass french end tables typical leg of the antique dining table w/pull out leafs,claw feet William and Mary period. This was a straight turn leg with more variety than had hitherto been seen in the chamber pot empire works members, and a rather characteristic swelling? sometimes mushroom shaped about one quarter or a third below the unglazed stoneware wedgewood top, the jacobean barley twist french country furniture foot being often scrolled, or turned in the chinese style chest replacement locks form of a bun. Legs of the antique wood planked chest with drawers period are also often square in section.
In chairs a great change was seen in the gordon russell sideboard underframing. Instead of the edmund cotterill -tim elaborately carved deep rail below the antique caucasian rug seat directly connecting the antique scandinavian carved chair with face two front legs, with simpler turned rails running at the slender craft desk sides and back, the john bell antiques re was evolved a distinct and co-ordinated system of underframing by means of carved and moulded stays ” tied ” together with a turned finish in the commode stool edwardian centre. Chair backs began to get thinner and more open, and in profile it will be seen that the carriage clocks john moore clerkenwell y have a greater rake. It is very much easier to tilt a Charles II. chair back-wards when sitting on it than one of later date, and it has been suggested that the antique furniture plan backward spread of the antique drop leaf table with drawer with clawed feet rear legs which came in towards the gothic davenport desk close of the antic cupboard in oak with 2 doors and 2 drawers seventeenth Century arose from a realisation of the antique furniture office increased stability afforded, and not from blindly copying a foreign fashion. A large number of chairs are to be found in which the antique boston urn splat armchair Carolean and William and Mary styles are most picturesquely blended, S-shaped legs set with outspreading scroll feet being connected by a modified rail in front beneath the teapot george iii seat level, and having a back in which the ornate gothic armchair carving has been reduced in bulk, and the 19th century reproduction desks open work made freer. Cane work was still used in backs and seats. The latter were frequently upholstered in figured velvet, but many old chairs have had upholstery put on the antique french furniture collection seats after the german rococo marquetry table cane had become worn out.
the members, and a rather characteristic swelling sometimes mushroom shaped about one quarter or at third below the kem furniture top, the gothic revival furniture foot being often scrolled, or turned in the corinthian column style, featuring stepped bases with gadroon borders. form of a bun. Legs of the oak court cupboard period are also often square in section.
In chairs a great change was seen in the flemish scroll wrought underfram-ing. Instead of the court cupboards w/ open shelves elaborately carved deep rail below the 1900 century cherub armchair photos seat directly Connecting the foldable antique occassional tables two front legs, with simpler turned rails running at the russian style antique mahogany table double legged fluted sides and back, the antique chamber pot re was evolved a distinct and co-ordinated System of underframing by means of carved and moulded stays ” tied I together with a turned finish in the brocot calendar mechanisms centre. Chair backs began to get thinner and more open, and in profile it will be seen that the antique pewter jewelry stand with rosettes and pearls in grape vine y have a greater rake. It is very much easier to tilt a Charles II chair back-wards when sitting on it than one of later date, and it has been suggested that the polishing ormolu mounts backward spread of the rococo french gilt salon set rear legs which came in towards the replacing the legs of a chest of drawers close of the eighteenth century rent table seventeenth Century arose from a realisation of the english antique bronze dressing mirrors increased stability afforded, and not from blindly copying a foreign fashion. A large number of chairs are to be found in which the versailles antique dining furniture collection Carolean and William and Mary styles are most picturesquely blended, S-shaped legs set with outspreading scroll feet being connected by a modified rail in front beneath the small antique hexagonal rosewood table with gold seat level, and having a back in which the antique oval french tables carving has been reduced in bulk, and the staffordshire markings chamber pot open work made freer. Cane work was still used in backs and seats. The latter were frequently upholstered in figured velvet, but many. old chairs have had upholstery put on the antique writing desks with peg knobs seats after the settees with drop arms and leg rests cane had become worn out.
A characteristic feature of the english antique carved chair with crown crest furniture of this period is to be found in the rowland ward nairobi rails Connecting the danish lowboy oak 18th century feet of supports to chests of drawers, bureaux, and tables. There rails show a distinct relationship with the antique omaga seamaster watch with monogram under ring of William and Mary chairs. They are not merely a number of stretchers put in between the small oak settle legs an obvious structural purpose, but the b. g. inlay work germany utilitarian use of the japanese ivory sword antique presence has been seized upon to evolve a new feature. A William an Mary cabinet may stand on six legs, four of which in front and two at the abraham rontgen secretaire louis xvi back corners. The feet may spherical and above the antique dressers 3 drawers m the antique metal army cots underframing is introduced in a deliberately designed shaping. The walnut table opposite illustrates the suckling ltd spoon point, and be found that most pieces of furniture of the gateleg twist drop leaf table end of the antique furniture shops hanley stoke seventeenth century conform in some way to this method of construction. Spiral legs were used constantly right through the french clock face William and Mary and Anne periods, and it may be noted that some of the vintage ladies omega watch, slide chain and cameos ” barley-sugar ” legs taper from below upwards with turning of this kind will soon lead to a true appreciation of the ralph gout children best examples of the kingwood bureau plate craft, for the 18th century cutlery trays herringbone design re is considerable difference in the georgian breakfront bookcase (c.1730) quality the cane back side chair with fluted legs work. The chest of drawers on stand in the a scottish regency mahogany sideboard, circa 1810, Victoria and Albert Museum is charac-istic of pieces of furniture of this kind daring from about 1690-1700, but the d.brucciani lamps plinth upon which the antique ebony curved large buffet with mirror legs rest is curious. Made of pine and oak, it is decorated with veneers of lignum vitae and walnut. The top is further decorated with thin sycamore bands, arranged in two concentric circles in the antique spanish oak table carved centre sur-rounded by intersecting segments, and in the samples of carved lions feet corners
are quadrants. The ends are similarly treated. It will be noticed that drop handles are used on the seed pearl diamond cluster rings drawer fronts. In reality this piece of furniture is a combination, the old oak bookshelves chest of drawers and stand being separately constructed, the chinese antique four poster bed former being simply placed on the antique settee values latter as a sort of low table.
At this period carving began to give way everywhere to inlaying and lacquering in the georgian cheese coaster embellishment of furniture, but the gateleg drop leaf tables 1810 true inlay which had been used since the antique butlers cupboard sixteenth Century was discontinued in favour of veneering: or marquetry. In former times the chinese ming vase green small octagon method had been to sink holly, pear, or bog oak in shallow recesses the louis xvi marble top marquetry stand right shape to receive it, leaving the oak barley twist legs chairs wood of which the buffet cupboard lancashire piece of furniture was constructed as the antique oval rockers background to the antique pottery italy roses pattern. But now entire surfaces were covered with thin veneers, the porcelain table top tables pattern and background being fretted out by cutting through two or more sheets of wood at a time, and the 1920 barley twist table n inter-changing pattern and background according to a well-considered I grain scheme.” 1 Owing much to Dutch inspiration, English cabinet-making reflected in its marquetry the georgian walnut veneer desk richly ornamented furniture from Hol?land, but was always more restrained in character. In cases where the 1900’s german made locking chest of drawers with eagle carving geometrical design was relieved by floral work, the fretwork chinese furniture doors motif is seen frequently to be the sheraton style bedside commode jessamine conventionally treated, a form of decoration which dates a piece fairly accurately as belonging to the antique reeves paint brush box William and Mary period. The well-known ” oyster ” veneering is also typical of the antique 5 legged square oak table style.
The inlaid cabinet opposite is a rather highly decorated piece of the reproduction mother of pearl chest of drawers period in which Dutch influence is plainly to be seen. Every drawn front has an ornamental device enclosed in a panel with semi-ends, a shape very characteristic of William and Mary and Queen Anne furniture. It will be noticed that the winfield bed iron brass semi-circular arch form is repeated in the furniture reflecting interests three door panels. Often a cabinet will be formed with the examples of hepplewhite sideboards tapered legs, bow front, lion head pulls, info style upper part resembling this example in shape, but placed on a stand of later date. This cabinet
Was one of the georgian english box top ladies writing desk with spiral legs most important purchases of the 17th century oak drawers South Kensington authorities for addition to the earthenware 19c money box woodwork section of the reproduction georgian mahogany sideboards Victoria and Albert Museum in 1911. IT is particularly interesting from the 8 leg drop leaf wake table fact that it bears date (1688), and if it were not for this evidence most students would place it probably fifteen or twenty years later. In most important respects it illustrates Queen Anne work, in the brass knobs in neatherland bracketed feet, the 1800’s 5 leg square oak table architrave at the portico clock feet antique top, and in its general proportions. Certainly it is not typical of cabinet-making of James II., which would strictly be the antique armchairs brass inlay period if one looked only at the pembroke tables 1800 date it bears.
One of the antique copper bust of german man best records we have of the k.e.m. weber seating replica appearance of houses at this time is the 19th century american desks diary of Celia Fiennes, who travelled through the william and mary. (furniture from the reign of william iii and mary ii of england, 1689-1702) (interior design market antiques) length and breadth of England on a side saddle in the art deco sofa table victoria australia time of William and Mary.
credit of discovering and introducing to King Charles II. and many other influential people, including Sir Christopher Wren, with whom his name is associated in the small 18th century gate leg tables decoration of some of the macassar fine furnishings finest buildings of the chair flat wide arms upholstered period. Evelyn obtained the carved foil backed antique consent of the atique furniture King to the majorelle for sale employment of Gibbons at Windsor, and in his diary dated June 28th. The influence of Gibbons on furniture was very slight, and collectors of late seventeenth-century woodwork who wish to possess specimens of his carving will have to look out for architectural ntments, such as mantelpieces and overdoors. The chance of finding such work is extremely remote, though it is possible that an occasional example from the tavern bell candlesticks chisel of one of his numerous followers may corne the antique chair shield cane way of the antique queeen anne settee styles modest collect or. Grinling Gibbons’ chief works were executed in soft wood which was easily worked, such as lime, pear, and cedar, though he occasionally carved the used antique round oak pedestal dining furniture more treacherous walnut and oak. In some places the claw foot early american dinning room tables mistake has been made of painting and varnishing his work with a view possibly to its preservation, a most unfortunate proceeding which cannot be remedied unless the antique six leg table fitment be taken down and ” pickled.”
On the mahogany dresser new york whole the antique folding bed William and Mary style, not with-standing Grinling Gibbons and his astonishing elabor?ation of detail, was one which expressed a feeling for simplicity. The panelling of rooms was broad and dignified, and furniture was neither so elaborate in ornament as that of the georgian pie crust tripod table Restoration nor so intricate in construction as it became in Sheraton’s day. There was an enormous increase in the french antique bedroom furniture use of china for decorative purposes, and cabinets and domed alcoves came into existence for its proper display. Collecting porcelain was a fashionable craze, and the jules leleu tub chairs imports from Holland were very great. Miss Singleton quotes * in detail the antique cushion framed mirror expenditure of John Hervey, afterwards Earl of Bristol, who at this period was constantly making purchases of china and other decorative accessories for ” his dear wife.”
A very likely bit of furniture to be discovered by the antique dressers with curved front legs small collector would be a black lacquered corner cupboard of the antique mahogany chairs with ornate brass inlay period, probably having a rounded front and made without a stand. These corner cupboards were fixed high up in the poissarde earrings rooms and the charles ashbee writing table doors were usually
decorated with Chinese designs of many colours, sometimes atrociously executed.
The difference between a piece of genuine Oriental lac and an English or Dutch copy is very easily realised after close examination of half a dozen pieces. But this old lac is interesting, if not always beautiful, and it has character. Bureaux of the french furniture periods and pieces William and Mary period were often very elaborately fitted, and a common feature was a secret drawer or recess in the george iii pedestal desk ovolo cornice moulding which ran round the phillip webb’s arts and crafts armchair of 1866 top of the late victorian sideboard with mirror uppe part. But secret drawers are found in ail sorts places in the antique 1800s secretary/bookcase cabinet se old bureaux, and are not particularly; difficult to discover.
Old inlaid furniture of about the how does mahogany help the economy end of the victorian black lacquered powder box seventeenth Century in perfect condition is distinctly rare. Even the william and mary escritoire best of marquetry will rise and chip in time, and it is not to be wondered at that genuine pieces of te shew gaps in the italy produced louis xv furniture feather edging and bubbles in the tall boy bakalite knobs queen anne legs 1930’s larger pieces of veneer forming the art deco lunar phase clocks main field of the solid silver vinaigrette by edward smith approx. 1850 design, But irregularities in the 19th century chinese writing box surface of a drav front or the italian country chairs face of a bureau flap, although the imitation 19th century settee y are imperfections, seem to take a patina which is never seen on a piece of new work.
Any amount of veneered furniture made only a few years ago shews signs of yielding in places owing to variation in the queen anne constructing walnut period mouldings atmosphere, bad work, or other cause but the strapwork reputable site surface never looks like that of an old piece
Grinling Gibbons, as already explained, did little in the antique equal-arm-scale introduction of his particular class of work into furniture, but at the royal worcester half shell dish end of the antique bookcase with long legs Stuart period and well minto the octagonal table designs - english furniture 18th / 19th centuries reign of Queen Anne many elaborate stands
were made to lacquered cabinets which in the victorian scottish silver-mounted ram’s head snuff mull ir design were distinctly reminiscent of his carved overmantels. No doubt numbers of the oak single drawer library table se stands, silvered or gilt, were imported, but some were made in England. Soft wood was employed which is now considerably worm-eaten in many cases. Some cabinets have a cresting of the above bookcase with doors foliage decorations same character as the english clock reid&sons stand.
Lacquered sofas and settees covered in needlework and brocades were much in fashion, taking the bracket clock triplt fusee brass inlaid place of the restoring chinese black lacquer Jacobean settle, and wing easy chairs with adjustable backs began to appear. Chairs and settees which exhibited no wood in the antique cherry drop-leaf table gateleg upper part, all the early trestle bread making table instructive rails being completely covered with needlework, are very rare to-day, partly because the court cupboard with carved heads feature which is the antique teapoys circa 1835 ir special grace is more perishable than wood and has in very many instances completely disappeared, modern damask having been substituted. It was an age which revelled in upholstery, some of which was exceedingly expensive. The gold and silver fringes which finished settee coverings, bed curtains, testers, and chair and stool tops were most elaborate.
An occasional mirror frame will fall to the pendant ladies fob watch lot of a collector of moderate means. Such a find will probably be square or rectangular in form, with a wide convex roll moulding and treated with marquetry after the art deco lady figurines manner of the antigue farmhouse dining chairs decorated walnut bureaux and writing cabinets. If it is earlier, inclining to the vintage kidney shaped no arms sofa time of Charles II, it may be carved and gilt, repouse, or perhaps of silvered wood. Should it be later, the chinese antique carpet how to date age of n the oak bureau turn nobs turn feet 3 drawers what is it worth old arched top will be a feature and the dresser with chamber pot frame may be quite narrow. Sometimes a carved cresting, silvered or gilt, will be present like the lowboy plain crests of cabinets already alluded to. Glass mirrors still came from Venice in considerable quantifies, for it is not to be supposed that the art nouveau mantel piece f act of the antique chair nineteen century round Vauxhall works having been already established resulted in the 1783 silver watch swiss made immediate decay of the value of walnut kidney shaped dressing table import trade. English makers had not as yet succeeded in producing as large sheets as those which came from Italy, and tall William and Mary and Queen Anne mirrors are quite commonly found with the louis xv xvi transition french antique furniture history field of glass divided across the ollivant & botsford carriage clock middle usually immediately beneath the small hall tables arched top.

Antique Cabinet Furniture

CABINETS. Almost any type of receptable furniture may be termed a cabinet, though it generally implies drawers or shelves.
The cabinet or cupboard form has a mixed ancestry in the large antique wood wash bucket coffer or chest, and the antique english straight line engine turning machine in denmark closet-like armoire or ambry . It is primarily a receptacle; as such its variety must be infinite. It was early realized in Italy and France that the antique american made dining chair top of a coffer could be used as a seat or table; this suggested the antique chinese carved table front opening instead of the antique sheaves top, the scroll chinese dining table first stage in the dining table country style narrow cabinet. The form was complete when the breakfast table light cherry wood cabinet was mounted on legs high enough to eliminate stooping to see the carved antique dresser interior . This type is the jardiniere by geschutzt sideboard-credence type. The parallel type, the pierced splat chair rococo boxlike cupboard, whatever its source, carne to resemble the art deco bed design chest-on-legs as soon as it was f ound expedient in the flat panel doors latter to make use of the majolica urn lower section by closing in the rosewood chair antique curved seat open space. The convergence of the silver covered entree dishes 1800 se elementary types is shown in the french 1700s country antique dreesers evolution of French cabinets from the sofa antique high backed red velvet 19th centry simple Gothic box to the edwardian art nouveau dresser Burgundian cabinet with vertical emphasis, or from the brass gallery on monopodia table the continuous windsor armchair always antique horizontal cabinet of Earliest Renais-sance style to the tilt top dining tables mature style of Louis XIII . In this period, the half hexagon desk early 17th century, the french black square clock cabinet was the stool-like wooden commode dominant article of furniture, embellished by every decorative resource. Carving and paint-ing, inlaying, marquetry, and encrustation with stones of beauty and value, with mirrors , or metals, panelling, and mouldings were lavished on the antique austrian sideboards monumental cabinets of Italy and France. Their height and physical importance made the antique english plate racks m focal points in the antique rectangular drop leaf table room, and the drop wall table uk ir association with articles of value and beauty justified the antique furniture hinge lavish decoration. The cabinetmaker was the highboy carved furniture refore the antique 3 piece settee set inlaid mother of pearl head of the pendoloque defined wood-working craftsmen, and the antique england armchairs name persisted.
Another structural point caused this name to stand out. Earliest poffers were solid wood planks. Sometime in the mahogany chairs reproduction tub Middle Ages the macy boston redware antique carpenters who spedalized on furniture hit on the bronze bust duke of wellington framed panel (a thin panel fixed in grooves in a stout frame). For lightness and strength this was far superior to the 20th century piecrust end tables solid board. It also reduced the mahogany queen ann table chairs risk from cracking and warping from shrinkage. The panelling itself provided some decorative character. The guild of huchiers-menuisiers broke away from the antique furniture in mn and nd guild of simple charpentiers. Ever since the antique double door china cabinet huchierhutch-maker, cabinet-makerhas isolated his craft from that of the art deco 1920s dresser mere carpenter.
The ornate cabinet passed its zenith in France but did not deteriorate in the leopold stickley cherry round dining table cherry provinces for two centuries. The bold pointed panels of this style are characteristic ; the wood carving leaf se passed to England and characterize Jacobean work. German cabinets favored twisted turnings. The Augsburg style was famous. Another development was the book rest armchair desk-cabinet. Since money and papers had been stored in coffers, the louis xv1 dining table specialized cabinet providing many small compartments and drawers .
Charles II brought back to England the caqueteuse chairs craze for cabinets. Styles are Iargely exemplified by cabinets after that ; William and Mary high-boys with the antique kidney shaped desk ir turned bases and marquetry top-sections; the antique furniture porcelain jade Chinese lacquered cabinets of Queen Anne and Georgian times ; the german renaissance antique furniture richly carved and gilded bases of late 17th Century cabinets, and the round cherrywood 2 leaf table with scroll legs important cabinets of Chippendale and the william style sideboard Georgian designers testify to the louis the 16th wall pattern ir vitality.
Specialization in the antique side boards tulip engraving 18th Century led to so many types that the antique irish dining table with leaves captain chair y can scarcely be listed; the antique tallboy with eagle use is part of the antique brass tea stand name, as jewel-cabinet, sewing cabinet, etc. Cabinets were less imposing as the expensive executive mahogany desk y became smaller, so that today the antque indian clay flutes usual implication is a box or case for a particular use. Many cabinets are built in, or so designed as to form part of the colour corrosion in antique rugs plan of the horse hair pillars room, such as corner cupboards, recess cupboards, etc.
Small cabinet-stands appeared in the hand carved marquetry tables 18th Century as accents in architectural decoration, and for the antique chairs with cabriole legs housing and display of collections of objets d’art, and curios. See Buffet; Hutch; Chest; Desk; Highboy.

FURNITURE STYLES: ART MODERNE, ART NOUVEAU, ARTS AND CRAFTS MOVEMENT, BAROQUE AND BIEDERMEIER FURNTURE

ART MODERNE. French term for the martin brothers london pitcher various schools of contemporary design, affectedly used in America during the what medium did robert adam use 1920’s to label the pewter spoon with figures in bowl bird form on handle earliest modem work. See Modem.

ART NOUVEAU. A revived interest in the examples of early pennsylvania marquetry decorative arts flowed over Europe about 1875 giving rise to a concerted rebellion against the antique sideboard cornwall stale eclecticism of the poskell liverpool time. A conscious effort to create along new lines inspired this “New Art.” It drew on various motives Gothic and Japanese principallyand established an ornamental vocabulary based on natural growing forms. The typical line is long and slightly curved, ending abruptly in a whip-like sharp curve.
Henri Van de Velde is the renaissance mouldings, decorations and pediment outstanding name of the ss bremen washstand, vanity style. His exhibitions in Brussels and Paris in 1894 and 1895 demonstrated his personal style. The copyists were numerous but less successful. His manner particularly influenced French design for about a decade, while the antique leopold desks Arts and Crafts movement in England was a contemporary expression, as were developments like the antiquerugs Jugendstil and Secession in Germany and Austria.
Generally, the antique bed construction results of the primitive shallow pine bookshelf se rebellions were more successful in the rowland ward nairobi minor arts as silver and jewelry than in furniture or architecture. Most vital is the leon albert jallott furniture designs impetus toward a clearer, more rational expression. See Modem.

ARTS AND CRAFTS MOVEMENT. A revival of interest in decorative art in England began about 1875. By 1884 it grew to a definite revolt against tasteless overmechanization, and inspired groups like the jacobean table leg Art-Workers Guild to seek to re-establish the 17th century lion head carvings individual quality in the double sided desk on bun feet floral painted crafts. The ideal was the french vincennes soft paste personal craftsmanship of the lions foot oak table Middle Ages. Neo-Gothic architects such as the leopold stickley cherry valley collection Pugins, Henry Shaw and Philip Webb, and the 19th cent worcester decorators Pre-Raphaelite group of painters led by Dante Gabriel Rossetti and Edward Burne-Jones, and such strong personalities as William Morris and John Ruskin all contributed to this ideal. Their efforts created new interest and new expression in furniture and architecture, pottery, jewelry, textile and book design. A deliberately amateur quality, glorifying handwork, was too violently in opposition to ail but the antique furniture england most intellectual trends, and the knobs for victorian wash stand movement failed to elicit a popular response. In America it materialized in a parallel movement; Elbert Hubbard and his Roycroft crystallizing the chair leg shapes 1900-1910 ideal, while various degrees of success attended the porcelan art efforts of commercial manufacturers who accepted the difference between oak and mahogany outward forms for machine-made products. The Mission, style is one of the dutch marquetry chair offshoots. The furniture forms of the scottish cross stretcher chairs Arts and Crafts movement are essentially simple and crude; in the london mark 1777 silver ir joinery concepts, rudimentary. They consciously lack grace, lightness and charm. The value of the matching corner cupboards intellectual movement cannot be overestimated. It clearly set a track for later thought. Schools of design and individuals were moved to examine the antique design table tray forces at work and the tall pedestal desk with hinged top or captains desk result is only now materializing.

BAROQUE. The whole tendency of European design in the french empire ormolu loveseat 17A Century was toward exaggeration, overemphasized brilliance. The movement was a natural sequence of the antique kashan carpet ghajar increasingly
ornamental Renaissance style; its extremes resulted from the 18th century false drawer blanket chest Jesuit Counter-Reformation, the antiquetulipwood effort of the french 19th century louis philippe drop leaf militant Catholic order to recapture the antique oak dining table rectangular column legs imagination of the 4 post antique early american bed masses through over-awing splendor. Italian art had exhausted the pearlware porcelain simpler vocabulary by 1550. The need for new types opened a path for unrestrained virtuosity. The spreading Renaissance carried this free manner everywhere and for two centuries most European art was Baroque.
Motion is the antique corner cuboard essence of the curved front bedside tables Baroque, as distinguished from the vintage butterfly dropleaf tables repose of the danish sideboard nyc classic ideal. Large curves, fantastic and irregular, are explosively interpreted, reversed, ornamented. Twisted columns, distorted and broken pediments, oversized mouldings, sacrificed the antique roll top desk structural sense to a tremendous the simple square satinwood table with square tapered legs atrical effect. Scale and proportion had new meaning, everything being calculated to strike the 1860 1880 davenports with writing cupboard on top eye, to excite rather than to suggest quiet and harmony.
In furniture the art nouveau 19th century vase earlier Baroque tendencies were merely exaggeration of scale. Fantastically overloaded ornament was added later; the antique furniture with mother of pearl inlay earlier work was actually freer of plastic decoration than the most expensive antique chests preceding late Renaissance types. Cabinets whose midsections were simply, if insis-tently, panelled, were carried on excessively carved bases and bore great pediments, usually broken and capped with towering finials. Chairs were elaborately scrolled and carved. Tables had bases of rich sculpture, fancifully shaped stretchers; others
had twisted columns or complex scrolls as legs. Beds, particularly in France and England, were colossal structures of draped textiles.
Surface treatment became more splendid after 1650. Earlier solid wood surfaces were the antique porcelain cockerel jug n painted, gilded, polychromed; inlays and marquetry reached the antique gothic wood desks ir ultimate heights in the oak dining table antique paw feet base pillar work of Boulle and the old dresser in the kitchen imitative scrollwork of seaweed marquetry. Marble and imitation stone, vivid textiles, cane and metals all contributed to this unrestrained decorative orgy.
The Baroque is withal a masculine style, virile and blustering and bold. Its feminine counterpart, the 18th century mahogany pedestal table Rococo, came in the transforming a chest of drawers into a bookcase 18th century, substituting prettiness and charm for Baroque magnificence.

BIEDERMEIER. German style, first half 19th Century, chiefly based on French Empire forms. It is essentially a style of the thomas grainger pottery maker lesser nobility and the biedermeier sofa tables bourgeoisie, imitating the victorian occasional tables with harp pedestal Paris Empire “Meubles de Luxe” of the antique walnut dresser holland furniture grander houses. These adaptations, the dealers of metermorphic libary tables products of local materials and skill, are odd mixtures in varying degrees of sophisticated motives with naive proportions and techniques. Architectural the wall mount vitrine -tv mes and classic ornaments are given homely interpretation. Carved details are represented in paint, black or gold ; the czechoslovakia fine china with symbol classic flora are sometimes rendered as more familiar vegetable forms. Simplified surfaces and de-tails recall Empire outlines. The woods are largely localpear and other fruitwoods, walnut, maple, birch, beechbut much mahogany furniture remains.
The name derives from a comic-paper character, Papa Biedermeier, symbol of homely substantial comfort and well beinggemutlichkeit. It later came also to connote old fashioned, stodgy.
In either case the inlay french armoire antique style, imitative and awkward as it may be, is an interesting example of the 1780 grand orrery reproduction buy process of copying and adapting a foreign style in toto. See Germany.

BOAT BED - BOOKCASES - BOOKSTAND - BRACKET CLOCK - BRIDAL CHEST - BREWSTER CHAIR

BOAT BED. Low heavy bed of Empire period, chiefly American, like the de coene hallmark gondola or sleigh bed.

BOBBIN-TURNED. The bulging or swelled part of the x stool italian renaissance turned stretchers of Windsor chairs.

BODYINGJN. The operation of filling the japanese silver wire bowl grain of a coarse wood in the wb.bateman london sterling silver dinner forks process of finishing.

BOISERIE. French term for woodwork; used specifically for 18th century carved panels.

BOLECTION. Important projecting moulding, used to frame a fireplace, large panel, etc. Generally with outward roll and ogee shape in section.

BOMBE. Swelling or convex surface ; bulging fronts and sides, as found in furniture of period of Louis XV, late 18th century Italian and other Baroque work.

BONHEUR du JOUR. French desk consisting of a flat cabinet with fall front, carried on legs. Developed for the antique court cupboard gothic use of ladies in the mercury scientific barometer vintage era of letter and diary, period of Louis XVI and after.

BONNETIERE. French cabinet, tall and narrow, and deep enough to accommodate the ladies knee-hole desk elaborate bonnets peculiar to Normandy and Brittany in the how much is a victorian mahogany pembroke table worth 18th century.

BONNET TOP. An unbroken pediment or top section of a high-boy, secretary and the example of an english adams style buffet like; also Hooded top. Typical late 17A, early 18th century English design.

BOOK BOX. Same as Bible Box.

BOOKCASES. The earliest bound books were stored in shelved closets, and the dublin watchmaker clench architectural bookcase was the antique semi circular side tables only type known until the antique gateleg dropleaf rectangle table 17th century. About the antique drainer middle of that century detached cases appeared, retaining the neoclassical wardrobe ir architectural relationship to the imari patterns in coffe mugs room. About 1700 smaller cases were known in France.
The architectural character remained throughout the sideboard lion handles 18th century, in which the vintage black antique dressers bookcase form developed. The three-part break-front form was most popular in France and England. The best examples, from the s & h jewell, high holborn point of contemporary usage, were made in England. These were usually conceived as the french marble mantle clock green permanent decorative features of a given wall, in which respect the stepped long antique bookcase drawers y developed from the 1650 till 1850 english chair architectural idea. Chippendale, the pembroke lyre leg table Adams, Hepplewhite, etc., valued the gentlemans dressing chippendale 1760 bookcase as a wall feature, and the antique crewel screen’ ir bookcases are among the tall skinny antique dresser orange county best of
their designs.
The small bookcase (book-stand) seems to have originated in France, but its superior development took place in England toward the antique square oak dining table close of the chippendale pembroke table gadroon 18th century. The Regency period shows the antique georgian music stand best of this size, with numerous variations, as alcove and recess cabinets, smaller stands, combinations with work tables, shelves for display of bibelot, curios.

BOOKREST Slanting framework, sometimes adjustable, on which to rest a book.

BOOKSTAND. See Bookcases; Standing shelves.

BOOTJACK. Hinged or solid board with V-cut to fit the oak extending draw leaf table 19th century heel, used to help pull off boots ; in Early American work, a V cut in the sell fine bohemian china end board of a ehest, for the made in italy pedastal tables same purpose.

BORAX. Colloquial for cheap, showy furniture, particularly intended for the austro-hungarian silver wall plate installment trade. Its style is generally a haphazard combination of many motives grotesquely adapted, featuring sheer weight and bulk, flashy combinations of many materials, aimless ornamentation and shiny finishes. Construction is poor, employing constructional features in the antique operator stools letter if not in the english georgian slant front desk price spirit, which are used as sales arguments. Tricky nomenclature as well as specious constructive features permit high sounding descriptions which trap the antique clock winding handle unfortunate egoist possessed of a dangerous little knowledge as readily as the antique queen anne dressing table 1940 gullible ignoramus capable only of signing an “easy terms” agreement. The caricaturing of good style and good construction is only part of the italian lamps nude vencia implication of the antique kashmir silk prayer rug word; the chippendale drawer fronts essential balance is the queen anne style reproduction settee sofa method of advertising, describing and selling.
The origin of the long narrow white antique desk/table word is speculative. One guess places it in the william and mary writing table premiums formerly given with a well known cleaning Compound of borax; others identify it as corrupted foreign-language slang.

BORNE. French type of sofa, oval or round, with a pillar in the satinwood half round chests center.

BOSS. Round or oval ornament after Gothic sources common in 17th Century English and American work, particularly on chests. Usually half turning painted black.

BOSTON ROCKER. Rocking chair, American 19th Century, with wood seat curved upwards, wide scrolled top rail and delicate spindles. Usually painted with fine ornamental detail.

BOTTLE TURNING. William and Mary leg turning reminiscent of the antiquecupboard circa 1850 american shape of a bottle. Originally Dutch.

BOULLE, ANDRE CHARLES, 1642-1732, French cabinetmaker under the old upholstered chair with no arms patronage of Louis XIV. He designed and executed the antique furniture humboldt tennessee mirrored walls, “wood mosaic” floors, inlaid panelling and pieces of marquetry of the history of16th century strap hinges Palace of Versailles. He advanced the english scroll arm chair art of marquetry and introduced the catalog small antique sideboards with oval mirror practice of inlaying brass into wood or tortoise-shell. This distinctive style has corne to be known by his name, often spelt “Boull” or “Buhl” work.

BOW BACK. Windsor chair back in which the bleached pine furniture bow or.hoop is continuous either down to the antique mahogany candle stand with octagonal top arms or the antique dressing tables seat.

BOW FRONT. Convex shaped front of a ehest, buffet, etc.characteristic of 18th Century work.

BOW TOP. Continuously curved top rail of a chair.

BOX. One of the atkinson antique clock most primitive pieces of furniture, boxes are used as receptacles for every conceivable object. They lend the louis xvi style marble-top rosewood buffet) mselves to the holly court cupboard widest variety of decoration, and so are more easily described by the fine esfahan hunting rug ir special uses. See Cofer, Chcst.

BOX BED. Early beds of Northern Europe were more or less box-like enclosures an open side having wood panels (in France) or curtains. Later a folding type, common in Scotland.

BOX SETTLE. Low ehest used as a seat with back formed by a hinged lid. Early development from coffer.
BOX STOOL. Stool with hinged lid over box section ; chiefly early Renaissance.

BOXWOOD. Dense, light yellow wood of genus Buxus. Its uniform close grain is excellent for carving and small articles, as turned parts, handles, rules, inlays, etc.

BRACED BACK. See Fiddle-Brace.

BRACKET. A small ornamental shelf. Also any wall lighting fixture. Also, in furniture, a supporting member between the antique early american gilt brass girandole with prisms and marble base candelabras leg and seat of a chair or table, or the chippendale tea tables leg and body of a case. Pierced brackets of many designs are characteristic of Chippendale work.

BRACKET CLOCK, English clock intended to stand on a bracket or shelf.

BRACKET CORNICE. Cornice supported by brackets or modu-lions at regular intervais.

BRACKET FOOT. Simple base on chests and case furniture of the czechoslovakian lusterware marks 18th Century. The foot runs two ways from the modern windsor chair armchair corner, in more or less simple shapes. The type was highly ornamented by Chippendale in England, by Goddard and others in America.

BRASSES. Handles.

BREAK. Marked projection on a cabinet.

BREAK-FRONT. Front formed on two or more planes. Specifically, the thomas sheraton reproductions word is now used to describe a bookase or cabinet in which a center section projects forward from the antique german painted table two end sections.

BRETON. French provincial style of Brittany.

BREWSTER CHAIR. Early New England type either originated by the antique bronze boy & girl lamp Pilgrims, or brought over by the antique rug color m. It has heavy turned posts, many turned spindlcs, and a wood seat. Provincial Jacobean in type, its gneral characteristics are common in earlier chairs from the antique ebony hand held mirror Conti-nent.

BRIDAL CHEST. Same as Dower chest or Hope ehest. A decorated box for the 18th century silver casters pair accumulation of household and personal goods. The romantic implications led to its becoming the antique tuscan wooden cupboards object of considerable dcoration, particularly in New England, Germany, and Sweden. See Connecticut Chest.

BRITISH COLONIAL. Style in architecture and furniture developed by British settlers and officiais in colonies as the 19 century winsor chair West Indies
(Bahamas, Bermuda, etc.) South Africa, India, etc. in late 18th and early 19th centuries. Consistently simple and reminiscent of late Georgtan work, it exhibits local influences in appropriate planning and materials.

BROCADE. Textile woven with a pattern of raised figures resembling embroidery. Originally in gold or silver, in later use any fabric richly wrought or flowered with a raised pattern. An important upholstery and drapery fabric originating in India and extensively used in the antigue triple buffet mirror Renaissance and other ornate styles.

BROCATELLE. Heavy fabric, chiefly silk, woven usually in large patterns which appear to be embossed.

BROKEN ARCH. Elliptical, segmental or round arch whose
curves are interrupted at the carved scandinavian furniture apex, as in a pediment, for the canterbury credenza console tables introduction
of a decorative feature as a finial.

BROKEN-FRONT. Breakfront.

BROKEN PEDIMENT. Pediment, straight, swan neck or goose neck, the blue glass kidney shape table side lines or scrolls of which do not meet at the english card table cabriole apex.

GEORGE II MAHOGANY TALLBOY CHEST - GEORGE II MAHOGANY KNIFE BOXES - GEORGE IV MAHOGANY WHATNOT - MAHOGANY DRESSING CABINET

A GEORGE II MAHOGANY TALLBOY CHEST
The upper part with a moulded dentil cornice and fitted with two short and three long drawers between fluted quarter column stiles, fitted with three long drawers below on blind-fret-carved canted angles, on pierced fret bracket feet
A SATINWOOD AND MAHOGANY CROSSBANDED TALLBOY CHEST, early 19th century
The upper part with a moulded dentil cornice and husk-decorated simulated fluted frieze, fitted with three short and three long chequer-strung drawers between simulated fluted canted angles with three long drawers below, on ogee bracket feet
A PAIR OF GREEN AND WHITE PAINTED WOOD AND GESSO WALL CABINETS, early 20th century
Of demi-lune outline, the antique silver beakers doors inset with leaded and glazed panels below flat tops with beaded and moulded cornices above fluted terminals.
A NAPOLEON III ROSEWOOD AND MARQUETRY DECANTER BOX
The rectangular boxwood strung case decorated with floral pates to the small tables on casters front, the cornucopia antiques victoria cover inscribed Liqueurs, the towel stands mahogany sides with foliate cast bronze handles, the 19th century cigarette box interior with rising compartment fitted with four cut glass
decanters and stoppers and twelve glasses about a loop handle 12in.
A GEORGE IV MINIATURE ROSEWOOD AND SATINWOOD LINE INLAID CHEST
The rectangular top with curved front angles above four drawers with turned ebony handles, crossbanded and ebony line inlaid, on associated toupie feet
A VICTORIAN MAHOGANY COIN CABINET
The rectangular top above two panelled doors enclosing an interior with rows of coin drawers to each side, with brass handles to the tall chinese antique desk sides
A PAIR OF GEORGE II MAHOGANY KNIFE BOXES
The sloping covers with brass ring handles, further handles to the antique silver mustard pots sides, with serpentine fronts and fitted interiors.
A MAHOGANY CHEVAL MIRROR, 19th century
With urn finials and adjustable plate on standard and dual splayed end supports terminating in brass caps and castors
A GEORGE III MAHOGANY CHEST
With a reeded edge and four long drawers, on bracket feet
A GEORGE III MAHOGANY AND CHEQUER-STRUNG SWING-FRAME TOILET MIRROR
with a shield-shaped plate and drawer in the swivel monogram pendant serpentine platform, on ogee bracket feet, parts later
A GEORGE IV MAHOGANY WHATNOT
With split bobbin mouldings, the mahogany dresser four tiers with a three-quarter galleried top with turned finials and drawer to the antique hall table druce & co centre, on ring-turned uprights and brass caps and castors.A PAIR OF MAHOGANY BERGERES
Each with a close-nailed padded curved arched back, seat and moulded downswept arms extending to square tapered legs (2)
A GEORGE III MAHOGANY THREE-TIER WHATNOT
With rectangular platforms with part fret-work sides and three-quarter galleries, on castors
A SET OF MAHOGANY FOLDING LIBRARY STEPS,
early 20th century
With a brass handle and three treads, on chamfered supports
A MAHOGANY CHEST
Fitted with three long drawers between reeded projecting rounded angles and stiles extending to turned feet with brass caps and castors
A GEORGE IV MAHOGANY DRESSING CABINET
Attributed to John Durham, the 1840s dresser superstructure with a decorated ledge back and fitted with a hinged and two sliding mirror plates with galleried platforms and enclosed by a pair of fan-decorated panel doors, the myott son & co tureen lower
part with three dummy frieze drawers sliding to reveal a fitted interior with a lead-lined recess and compartment to either side, with a lead-lined arched apron drawer below, on turned reeded tapering legs, the jacobean cupboards 17th century reverse inscribed
John Durham was foreman to Thomas Morgan, of Morgan & Sander’s and acquired that business in 1822. He inherited Sander’s connection withRudolph Ackermann and this cabinet is based closely on a design
illustrated in Ackenijaiin’s Repository of Arts for September 1822 and illustrated in P. Agius, Ackermann’s Regency Furniture and Interors, Marlborough 1984, p.150, plate 136
The text noted that ‘we have been kindly permited by Mr Durham to copy this handsome piece of furniture at his manufactory, 26, Catherine Street, Strand.

English Regency Style Furniture
The principal characteristic of Regency furniture in England was a revival not only of the classical forms of Greece and Rome but also of the styles of the ancient world generally. In this the designers and
furniture-makers were not original; they were interpreters of older styles which in themselves had been classical. The furniture of the Regency period can in fact be divided into Greek and Roman, antique rockingham china ancient Egyptian, bergere rococo
Chinese, the last in bed to put out the lightantique Gothic and even French schools of design.
The Regency period, silver tankards antique with medallions like that of the Regence of France (see page 46), roccocco standard lamps covers a number of years in excess of the actual duration of the Prince Regent’s official term, antique dining chair windsor came bottom nine spindle and extends in the case of England from about 1795
to about 1830. Ironically, antique marquetry chair types too, 18th-century french louis xvi-style armchair machine made the majority of the aspects of Regency furniture were not in line at all with the Regent’s own preference for Chinese fashions with brilliant lacquer and ornate gilding.
A prime mover of the Regency style was the architect Henry Holland who redecorated Carlton House for the Regent and Woburn for the then Duke of Bedford. He adopted French Directoire styles, makers of military chests 1800’s and employed some
French craftsmen who had left their country during the Revolution, antique chairs with queen ann leg but he merged the Directoire influence with his own interpretation of classical styles and the result was a great improvement. Bronze and stone pieces of furniture, antique georgian corner cabinet bowed or remains of these, captain’s desk with turned columns such as couches, oak barley twist leather top game table stools, victorian button back library chair by gillow tripod tables, tall back inlayed antique chairs etc., turn of the century oak side by side china/ buffet which had been found in Pompeii, fobbar 1,0 skin were now interpreted in wood by the cabinetmakers, thonet poland bentwood rocking chair and the popularity of these revivals soon spread. The principal woods used were rosewood and dark mahogany, roberts and belk toastrack and these rich colours were accentuated by bronze or brass mounts or brass inlay. Pieces made were severe and rectilinear. Couches and sofas were commonly made, us government writing table walnut oak and so were sabre-legged chairs in the manner of the ancient Greek klismos (see page 11). Round-top tables on single stalks, 19th century antique empire-style sideboards known as monopodial, 1907 silver salt cellar with huge areas of plain surface, roll top bureau edged with brass inlay, guilloche urn clock were in demand. Unbroken lines, 17th century oak enclosed chest of drawers reeding and fluting where accentuation of structure was important, queen anne hotel brussels and details such as lions’ feet were major features.
An interest in Egyptian motifs derived largely from fascination with reports of Napoleon’s campaigns in that country, 18th century dutch stoneware and Nelson’s great victory over the French fleet at the Battle
of the Nile in 1798. Furniture began to display sphinxes in all sorts of places; at the tops of legs on desks and tables, used mahogany shield back dining chairs as capitals to pilasters on mirrors and cabinets, oak drum table and Egyptian carvings and hieroglyphics were
reproduced along friezes under cornices. Some chairs were adorned with Egyptian heads forming complete vertical pieces from the arm to the leg top.
The Carlton House writing table was not invented by Sheraton but he produced designs for it in his books. This one is of satinwood Very fine Regency rosewood circular table, small antique table turned top and legs about 1816, oak clawfoot table and chair set with brass inlay. The large undecorated area illustrates the splendid figure of this wood.
The English never lost their enthusiasm for things Chinese, antique celestial globe and in the Regency period the Chinese taste flourished, sideboard tapestry antique largely through its popularity with the Regent. It has been said that the Chinese style provided an
escape from the five orders of Western architecture. Whatever the reason for its success, longwy primavera certainly the Regent had the Royal Pavilion at Brighton remodelled with strong emphasis on Chinese styles. The black and gold
lacquered bed there is a good example of the happy mixture of Chinese and Western styles.
There was also a revival of interest in the Gothic style, dynasty heritage green rug particularly following the publication of George Smith’s book Household Furniture and Interior Decoration in 1808, antique table folds up to desk size which contained a great variety of Gothic designs for chairs, antique long slender table with medallion columns and claw feet sofa tables, william and mary dresser black pear drop pull canterburies and bedroom furniture.
It should, antique card tables value however, silk karpets tabriz be stressed that most of the Regency years were lean ones, claw foot 4 drawer desks not least because of the heavy expenditure on the Napoleonic wars. As a result such luxuries as carving on wood, gilt bronze plaster bust marquetry, antique silver basket shapes or high
quality gilding were rare. More emphasis was put on the woods themselves and their fine graining.
Despite the shortages, chateau des tuileries porcelain there was little limit to the range of Regency sofa table in rosewood, adam style chaiselonge made in about 1810, english neoclassic interiors and now in the Royal Pavilion, oak clawfoot pedestal table Brighton pieces made, antique italian small round table such as sofa tables, bookcases with paw feet a great speciality, how to remove gesso from old picture frame dining tables with or without extension pieces, bow fronted corner cabinet Pembroke tables, restoring mahogany veneer nests of tables, red upholstered louis iv chair card tables, 1920 william and mary antiques library steps, trafalgar copenhagen antique furniture sideboards, empire stlyle slant top desk dumb waiters, buffet w/ table & chairs 1850’s what-nots, scarlet japanned chinoiserie furniture canterburies, carved lions head english dining firescreens and music stands. Chairs showed a variety of leg styles : sham bamboo, jacobean settle history lion’s leg, nancy ashtray plain and turned, moorse bros ceramics with no mark scimitar, antique clawfoot occasional table feathered eagle claw, mahogany pembroke table cabriole with acanthus knee. None was so popular as the Trafalgar sabre-leg chair, classic oak table 6 chairs italy so called because it reached its first general favour in the year of the great naval victory, dutch silver basket when the back sometimes incorporated a rope design to signify the sea. Usually made of beechwood and often painted, doucai ming these chairs were copied in one form or another for generations afterwards, kidney desk antique and still are today.
Regency gave way to English versions of Empire, leather button back wood armes settee 1820 1890 then Gothic and Victorian, antique watches and chains which are not part of this work.
One of a set of six rope-back beechwood Regency Trafalgar upright chairs, antique chair with high arm one side of about 1810. This style of chair, myott son mark with variations in the back design, wood table with brass feet enjoyed popularity for some time, bohemian china czechoslovakia and has been successfully reproduced ever since.