Antique Sideboard

FLEMISH OAK SIDE CHAIRS - WALNUT COMMODE - DUTCH MAHOGANY AND MARQUETRY WALL DISPLAY CUPBOARD - DUTCH EAST INDIES HARDWOOD SOFA - WALNUT PARQUETRY COMMODE

Two SIMILAR FLEMISH OAK SIDE CHAIRS with
rectangular open backs and solid moulded panelled
seats, the turned legs joined by a turned H-stretcher, late
17th Century.

A GERMAN PARQUETRY POUDREUSE, the sliding top with a central panel of burr-elm inlaid with a star with an ash border and purpleheart crossbanding and enclosing hinged

compartments each with a well and drawers, on tapering hexagonal burr-elm legs joined by plain stretchers and with bail feet, 2ft. 7in. high by 3ft. 2in. wide (79cm. by 96cm.)

circa 1730, restored.

AN EBONISED STRONG BOX, the exterior with gilt-brass strapwork Unes, with hinged lid and the front with a deep well and two drawers, lft 2in. by 2ft. wide (36cm. by 61cm.) late

17th Century, probably Flemish.

A WALNUT COMMODE, the inverted serpentine
front with three long drawers, on bracket feet, 2ft. 63Uin.
high by 2ft. lVMn. wide (78cm. by 90cm.) circa 1740,
probably German.

A PAIR OF SPANISH ELMWOOD ARMCHAIRS with
leather-covered backs and seats, flat scrolled arms,
shaped front legs with carved front stretchers, late
17th/early 18th Century.

A GERMAN WALNUT COMMODE, the moulded top
with a broad crossbanding and with three long strongly-
figured drawers in the serpentine front, on bun feet, 2ft.
7V2in. high by 3ft. 6′/2in. wide (80cm. by 108cm.) circa
1740, restored and bun feet later.

A DUTCH EAST INDIES HARDWOOD SOFA, the back with a serpentine toprail above a row of spiral-twist spindles and elaborately carved with peonies and trailing leaves, the arms

and seatrail carved similarly on turned supports, six spiral-twist legs and stretchers, 7ft. 7V2in. wide (232cm.) late 17th Century/early 18th Century.

A SMALL INDO-PORTUGUESE EBONISED SOFA, the
low, shaped back carved with flowers and leaves above a
row of spiral-twist spindles, the arms and seatrail
similarly carved, with a drop-in seat and simple spiral-
twist legs and stretchers, 3ft. lOin. wide (117cm.) late 17th
Century.

A   DUTCH   MAHOGANY  AND  MARQUETRY   WALL
DISPLAY CUPBOARD with moulded serpentine cornice, the conforming door with six glazed panels enclosing shelves and with glazed canted corners, 2ft. lO’Mn. by 3ft. 3in. wide

(88cm. by 99cm.) mid-18th Century, restored.

A DUTCH WALNUT AND MARQUETRY BUREAU BOOKCASE, the shaped moulded cornice centred by a carved cartouche, the pair of glazed doors with shaped upper parts enclosing three shelves

and with glazed sides, the lower part with burr-walnut on the front, the flap enclosing a fitted interior with a well above two short and two long drawers, on square feet, 7ft.

lin. high by 3ft. 6in. wide (231cm. by 107cm.) lower part mid-18th Century, upper part and marquetry later.

A DUTCH MAHOGANY AND MARQUETRY CORNER
DISPLAY CABINET, the moulded serpentine comice with a carved leaf-scroll above a conforming glazed door enclosing shelves, the projecting lower part with a breakfront centre

section with an inlaid door, 6ft. 5V2in. high by 2ft. 8in. wide (197cm. by 91cm.) 19th Century.

A GERMAN LOOKING GLASS with serpentine-
topped plate, the moulded frame with shell and leaf-
carved apron and cresting, 3ft. 8V2tn. high by lft. Hin.
wide (113cm. by 58cm.) circa 1740, now painted white,
mirror plate replaced.

A  VlENNESE  WHITE AND  GILT  FAUTEUIL,  with
moulded frame, scroll-carved cartouche-shaped back,
padded arms, serpentine-fronted seat and cabriole legs,
circa 1750.

A TUSCAN WALNUT PARQUETRY COMMODE, the
serpentine front with three long drawers, on cabriole
legs, 3ft. 3V2in. high by 4ft. 7in. wide (101cm. by 139cm.)
mid-18th Century.

A RARE SWISS POLYCHROME PAINTED BUREAU, the
flap painted with the name Sangodinen 1750 and enclosing a fitted interior, with a frieze drawer above a panelled cupboard door the whole framed with scenes from The Old

Testament within foliate floral and cherub-painted frames, 2ft. 8in. high by 2ft. lin. wide (81cm. by 63.5cm.) mid-18th Century, on later bun feet.

A PAIR OF VENETIAN MIRRORS, each serpentine-topped plate engraved with maie figures from the Commedia deU’Arte, the moulded walnut frames with inner and outer parcel-gilt

mouldings, lft. 7′/2in. high by lVhin. wide (49cm. by 29cm.) mid-18th Century.

A LOUIS XV PROVINCIAL OAK BUREAU, the sloping
front enclosing a fitted interior, with three long drawers
below and cabriole feet, 3ft. 6in. high by 3ft. 5V2in. wide
(107cm. by 106cm.) circa 1760.

AN UNUSUAL WALNUT BOMBE COMMODE with a
hinged superstructure enclosing a compartment above a
pair of ogee fronted deep long drawers, with a shaped
apron on splayed bracket feet and brass sabots, 3ft. 2in.
high by 2ft. Hin. wide (96cm. by 89cm.) circa 1760,
possibly Genoese.

A GERMAN PARQUETRY WRITING TABLE, the rec-
tangular projecting top with rounded corners and a
walnut basket-weave border, each side set with a large
panel of figured walnut, the centre inlaid with a
diamond pattern and sliding forward to reveal a well and
drawers, on cabriole legs of square section, 2ft. 61hin.
high by 3ft. 8lhin. wide (78cm. by 113cm.) third quarter
18th Century.

A MARBLE-TOPPED KINGWOOD-VENEERED SERPENTINE SMALL COMMODE with moulded top, shaped sides and a drawer, on shaped legs, 2ft. 6in. high by 2ft. 3in. wide (76cm. by 69cm.), circa

1760, probably German

NORTH ITALIAN PAINTED CHAIRS - DUTCH MAHOGANY COMMODE - PAINTED DISPLAY TABLE - ELM CHEST OF DRAWERS - WALNUT SECRETAIRE A ABATTANT - EXPORT LACQUER WORK TABLE

A PAIR OF NORTH ITALIAN PAINTED CHAIRS, the moulded cartouche-shaped backs with pierced splats, the stuffed seats on moulded cabriole legs, circa 1765.

AN ITALIAN KINGWOOD- AND PARQUETRY-VENEERED
COMMODE, the serpentine front containing three drawers
with brass swan’s neck handles and pierced backplates,
the shaped apron raised on short cabriole legs, 3ft. 3′/2in.
high by 3ft. lOin. wide (100cm. by 117cm.) circa 1770,
marble top missing, later mounts.

A DUTCH WALNUT CHEST, the arc-shaped front containing four long drawers, 2ft. 5in. high by 3ft. 2in. wide (74cm. by 97cm.) mid-18th Century, later feet.

A DUTCH MAHOGANY COMMODE of slightly bombe
form, with mottled pink marble top above three long
drawers on splayed bracket feet, 2ft. 8in. high by 3ft. 3in.
wide (81cm. by 99cm.) circa 1770, originally with a
wooden top, mounts replaced.

A LOMBARD WALNUT TABLE, the top crossbanded in tulipwood, the frieze inset with panels of kingwood, and raised on square tapering legs, 2ft. 5in. high by 3ft. 7in. wide (74cm.

by 109cm.) circa 1780, with restoration.

AN ITALIAN ARTE-POVERA BEDSIDE CUPBOARD, with hinged top and square tapering legs decorated with peasant figures in an antique landscape on a cream ground with mottled blue

scrollwork outlined in gilt, 2ft. bin. high by 2ft. wide (74cm. by 60.5cm.) late 18th Century, originally fitted with a pot, decoration restored.

A DUTCH WALNUT AND MARQUETRY CARD TABLE,
the serpentine top inlaid with flowers, the polished
interior inlaid with a chessboard with a playing card at
each corner, the frieze with a drawer, raised on square
tapering legs, 2ft. 6in. wide (76cm.) circa 1780, top and
legs warped.

A PAINTED DISPLAY TABLE with hinged glazed lid and glazed frieze, raised on circular fluted tapering legs with leafy collars and feet, painted gilt and dark red, 2ft. 6in. high

by 2ft. Hin. wide (76cm. by 89cm.) late 18th Century, Italian, possibly altered from a centre table.

A MlLANESE MARQUETRY SMALL CHEST of three
drawers on square tapering legs, the top inlaid with a musical trophy, the front with figures, 2ft. 6in. high by Ift. 9in. wide (76cm. by 53cm.) late 18th Century.

A MARQUETRY COMMODE, with a rectangular top, three long drawers and square tapering legs, inlaid with panels of floral marquetry, 2ft. Hin. high by 4ft. 5in. wide (89cm. by

135cm.) circa 1790, Milanese or Sicilian.

A FRENCH PROVINCIAL ARMOIRE with a cavetto cornice, the frieze inlaid with flowerheads above a cup-board door with a shaped moulded panel above two short drawers and another

panelled cupboard door, with fluted sides and a shaped apron, on short cabriole feet, 7ft. high by 3ft. 8in. wide (210cm. by 112cm.) circa 1770.

A DUTCH POLLARD ELM TALLBOY, with a white
marble top, canted corners and six long drawers, on
tapering block feet, 5/t. l’Ain. high by 3ft. 4in. wide
(155.5cm. by 42cm.) early 19th Century.

A DUTCH POLLARD ELM CHEST OF DRAWERS, the top crossbanded in walnut, the bowed front with one shallow and three deep drawers, on bracket feet, 2ft. 9V2in. high by 2ft. 5in. wide

(85cm. by 73.5cm.) circa 1795.

A VIENNESE MAHOGANY DESK with a tambour above a bowed front containing a slide and a pair of tambour cupboards flanked by ebonised pillars, with gilt-metal mounts and tall,

giltwood, paw feet, 3ft. 4in. high by 2ft. 21hin. wide (101cm. by 68cm.) circa 1820.

A DUTCH SEMI-CIRCULAR MARQUETRY GAMES
TABLE, the interior inlaid with a chessboard and playing
cards, the front with a pair of tambours and raised on
four square, fluted, tapering legs, 2ft. lin. high (19cm.)
circa 1180, inlay 19th Century.

A STAINED BEECHWOOD ALCOVE BED, the slightly scrolled ends of equal height and faced with rosettes, raised on short circular tapering legs, the front two headed by diamond

panels, 5ft. Whin. wide by 2ft. 8in. high (119cm. by 81cm.) circa 1900, front-rail cracked.

MAHOGANY   AND   PARCEL-GILT   OVERMANTEL
GLASS, the rectangular plate framed within rounded
pilasters with gilt capitals, lft. 9in. high by 2ft. lOVzin.
wide (53cm. by 88cm.) circa 1825.

A BIEDERMEIER WALNUT SECRETAIRE A ABATTANT
with grey fossil marble top, the fall-front with a fitted
interior, one drawer above and three long drawers
below, flanked by projecting, split-baluster columns, on
bail feet, 4ft. lin. high by 3ft. 2′/2in. wide (140cm. by
98cm.) circa 1825.

A DUTCH MAHOGANY AND MARQUETRY BEDSIDE
CUPBOARD with a tambour door above a drawer, on
turned legs, 2ft. 3in. high by lft. lin. wide (69cm. by
48cm.) circa 1830, extensively restored.

A GOOD SlNHALESE TEAK AND EBONY CUPBOARD in
two parts, the upper part with a moulded cornice and a
pair of doors with panels outlined with ebony leaves
forming ovals and flanked by a pair of free-standing
turned pillars, the slightly projecting lower part with
three leaf-carved drawers above a pair of doors similar to
the upper part, on turned feet, 6ft. 2in. high by 4ft. wide
(188cm. by 122cm.) circa 1830.

AN EXPORT LACQUER WORK TABLE, the shaped slightly domed lid decorated in shades of gilt on black with figures and enclosing a removable tray of compart-ments, raised on pierced

lyre supports with claw feet, 2ft. 4in. high by 2ft. l’Ain, wide (70cm. by 65cm.) early 19th Century, originally with a work bag.

A SET OF THREE ANGLO-INDIAN ROSEWOOD ARM-CHAIRS with stuffed shield-shaped backs, the padded arms with leaf-carved handles and supports, the seatrials raised on circular,

tapering, reeded legs with leafy capitals and feet, circa 1820, backs probably altered.

A CIRCULAR EXTENDING DlNING TABLE SUpported
on a massive divided circular pedestal and concave plinth base, 2ft. 5in. high by 4ft. 5in. diameter closed (73.5cm. by 135cm.) circa 1830, probably German.

A PAIR OF COLONIAL HARDWOOD SMALL SETTEES
each with a double chair back, caned seat and square tapering legs, circa 1800, formed form one long settee.

AN UNUSUAL COLONIAL TEAK CUPBOARD, with a
pair of panelled doors and bun feet, 4ft. 7′Mn. high by
4ft. lin. wide (141cm. by 124cm.) circa 1800, probably
Chinese.

A   BIEDERMEIER   MAHOGANY   DECANTER   CASE
shaped like a miniature cylinder bureau, the hinged lid
opening to reveal six gilt-decorated glass bottles, W’Mn.
wide (27cm.) circa 1825.

A   WALNUT   BLACKAMOOR   LOW   TABLE  - A CARVED WALNUT JEWEL BOX - DOOR KNOCKER -  GILT-BRONZE  CANDELABRA - PAIR OF GILT-BRONZE AND PORCELAIN WALL SCONCES

A   WALNUT   BLACKAMOOR   LOW   TABLE
with a pierced top supported by a child lying on his back in a tree, 22+in; 57cm, Italian, mid 19th Century.

A CARVED WALNUT JEWEL BOX, the Hd
with a family of grouse above a locking fiap holding six pivoting drawers, 13fin; 35cm, Swiss, c. 1900.

A   PAINTED   WHITE   CLAY   BUST   OF   A
MOROCCAN WOMAN wearing a headscarf and a single large ear-ring, a string of beads around her head, stamped Koenig & Lengsfeld, Koelin, 24 in; 62cm, probably Austrian, c. 1900.

A WHITE MARBLE LAMP carved with a young woman standing semi-naked filling her vase from a rocky spring, a leafy tree growing around the rock fitted with a light, 24in; 61cm, probably Italian, late 19th Century.

A BRASS INLAID WALL MIRROR, the rect-
angular plate within a frame inlaid with trails of leaves within a chevron border, 25 by 23in; 63.5 by 58.5cm, probably Indian, late 19th Century.

AN UNUSUAL DOOR KNOCKER OR PAPER
WEIGHT cast with a single hand holding a bail, hinged at the wrist and cast with leaves, now on a marble plinth, 6 by 12in; 15 by 30cm, third quarter of the 19th century.

A ‘SWISS CHALET’ DECANTER CASE in the
form of a rustic chalet, the roof and facade hinged to reveal a decanter tray, 21 i by ; 54 by 65cm, c. 1900.

A PAIR OF GILTWOOD WALL MIRRORS, each
with a tapering frame and plate en-
graved with a figure, the whole sur-
mounted by a pierced leaf cresting,
20|in; 52cm, probably Italian, late 19th
century.

A GILT-BRONZE  CANDELABRA with five
scrolling candle-arms supported by a naked female figure on a pierced rococo base, 23fin; 59cm, c. 1880.

AFTER MORE AU. A Spelter Figure of the Chasseur D’Aigles, an eagle strapped to his shoulder, signed Louis Moreau and titled, 69cm, c. 1900.

A BRONZE FIGURE OF A YOUNG GIRL in
mid eighteenth century style, holding her apron in a coy pose, 8fin; 22.2cm, mid brown/black patination, mid 19th century.

A   BRONZE   GROUP   OF   TWO   CHILDREN
FIGHTING, one boy throwing his play-mate over his Shoulders, on a black marble socle, 4in; 12cm, brown patination, c. 1880.

A BRONZE FIGURE OF A BOY BEATING A
DRUM, standing naked, the drum at his feet, on a black marble socle, 5in; 13cm, brown patination, c. 1880.

A VENETIAN SMALL CASKET mid 18th
century style of serpentine bombe form with a fitted interior and a mirror, 14in; 35.5cm, 1900-1920.

AN   ALABASTER   FIGURE   OF   PEACE,   the
young woman Standing wearing a long skirt, her hair tied back, 15in; 38cm, c. 1870.

AN EBONY VENEERED BRASS INLAID LARGE
WRITING BOX, the lid with a hinged front enclosing two short drawers with a silk lined interior, the whole inlaid with mother-of-pearl and cut-brass foliage with red tortoiseshell strapwork, 22Jin; 56.5cm, c. 1870.

AFTER OMERTH. A Pair of Spelter
Figures entitled Sur la Plage and Bonne
Peche, one of a young woman holding a
lobster and a stick, the other of a young
man holding a fish and a fishing rod,
each signed G. Omerth, on plinths,
16in; 42cm and 17in; 43cm.

A GILT-BRONZE CHANDELIER, the central supports with a lambrequin with six scrolling candle-arms, each supporting four lights fitted for electricity, 41 by 42in; 104 by 107cm approximately, 1840-1860.

A PAIR OF GILT-BRONZE AND PORCELAIN
WALL SCONCES, each with a ‘Sevres’
plate painted with a central reserve of a
young courting couple, within a border
of flowers, the rims cast with a ribbon,
the base with a mask and two candle-
arms, 14in; 36cm, fitted for electricity,
c. 1880.

A CHAMPLEVE ENAMEL AND GILT-BRONZE
LETTER TRAY, the centre inlaid with two birds drinking from a pool within a border of scrolling leaves, the sides with carrying handles cast with masks, 12in; 32cm, c. 1870.

A COMPOSITE MARBLE COLUMN - A PAIR OF BARBEDIENNE GILT-BRONZE CANDLESTiCKS - BURR-CHESTNUT MUSICAL CIGARETTE BOX

A PAIR OF NEO-CLASSICAL REVIVAL URNS,
each of slender ovoid form cast in low relief with an aesthetic arrangement of blossom and insects, black slate socles, 18fin; 47.5cm, 1870’s.

A PATINATED LEAD FIGURE OF A SCOUT,
the young man standing with his arms raised holding a hat and a staff, on a wooden plinth, 16in; 41cm, early 20th century.

A SPELTER FIGURE OF A PUTTO, standing with one arm raised holding a vase, on a wooden socle, 27in; 68cm, c. 1870.

A PAIR OF SPELTER URNS AND COVERS,
each cast with cherubs at play, the
Covers with a single cherub holding a
cup of wine, the sides with vine-cast
handles, on ebonised socles, 15in;
38cm, c. 1880.

A COMPOSITE MARBLE COLUMN with a
turned body and base, 46 by 12in; 117 by 30.5cm, late 19th century.

A PAIR OF ROCOCO GILT-BRONZE CHENETS,
each with a bold acanthus scroll resting
on a corcelled pillar, 13in; 33cm wide,
second half of the 19th century.

A   PAIR   OF   BARBEDIENNE   GILT-BRONZE
CANDLESTiCKS, each tapering stem cast
with flowers, Hin; 28cm, signed with
founders’ mark F. Barbedienne and with
engraved erroneous date 1780, 1880-
1900.

A PAIR OF  BRONZE  CANDELABRA,  each
with a scroll-cast base cast with a seated figure of a Chinaman beside a three-branch candle-arm, 13in; 33cm, c. 1860.

A SIMULATED MARBLE COLUMN with a
Corinthian capital above a turned stem and base, 58in; 149cm, late 19th century.

A BRONZE VASE cast with two lizards clinging to the rim and shoulder of the vase, their mouths interlocked, lOin; 26cm, c. 1860.

A BRONZE AND MARBLE ENCRIER witil a
figure of a man seated between a terrestrial globe and a celestial globe, on a yellow-veined marble base inset with a pen scoop, Hin; 28cm, c. 1840.

A PAIR OF BRONZE URNS, each with a gad-rooned lip and leaf-cast cover enclosing a sconce,the sides with carryinghandles, 7jin; 18.5cm, mid 19th century.

A BOULLE DESK SET comprising a blotter and an encrier with a central compart-ment for an inkwell, each inlaid with brass scrollwork on a red tortoiseshell ground, the encrier.

A ‘REGENCE’ GILT-BRONZE CHENET, the pierced acanthus balustrade sur-mounted by a female calif, 22 by 27in; 56 by 68.5cm, mid 19th century.

A GLASS DISPLAY CASE, the domed top with rectangular sides held by pressed metal flowerhead supports, 29 by 25in; 74 by 63.5cm, late 19th\early 20th century, now painted gold.

A GILT-BRONZE-MOUNTED CELADON VASE,
the body with leaves and flowers, the base and cover applied with ‘C scroll and leaf-cast mounts, 22in; 56cm, the top now fitted as a lamp, third quarter of the 19th century.

AN UNUSUAL SILVERED BRONZE CHAN-
DELIER with a pierced framework
applied with studded lattice-work sides
enclosing four lights, each with a shell
cover, 19in; 48cm wide, fitted for
electricity, with chains and ceiling rose,
c. 1890.

A BOULLE WRITING SLOPE, the serpentine top hinged in two parts and inlaid with cut-brass scrolling leaves on a red tortoiseshell ground enclosing a burr satin birch interior with two inkwells, a velvet-lined writing slope and compart-ments for pen and ink, the lock plate and hinges engraved with leaves, 5 by 14fin; 14 by 37.5cm, c. 1860.

A  BURR-CHESTNUT  MUSICAL   CIGARETTE
BOX, the hinged top enclosing two com-partments, the base with a musical box, 4 by 7in; 11 by 18cm, early 20th Century.

A   GILT-BRONZE   CORINTHIAN   COLUMN
LAMP with a green-painted stepped base and pleated shade, 25in; 63.5cm, fitted for electricity, c. 1880; And Another Similar but composite, 20th Century.

A PAIR OF TABLE LAMPS - BRONZE DOOR KNOCKER - CHARRIERE MAHOGANY KNIFE BOX - SET OF six OAK CHAIRS - STAINED GLASS PANEL

A PAIR OF TABLE LAMPS, each with an
oriental vase mounted with an electrical
fitting, painted with birds and flowering
stems, on carved wood plinths, 16in;
40cm, modem.

A WALNUT WRITING SLOPE banded with brass, the interior with a writing surface and fitted compartments, by 18in; 18 by 46cm, c. 1870.

A WALNUT AND PARQUETRY WRITING BOX,
with thin bands of inlay along the edges with wider bands across the top and front, the interior with fitted compartments and pen scoop, 7 by 20in; 17.8 by 50.7cm, mid 19ih century.

A WALNUT TEA CADDY in Well-figured
wood, the interior with two caddies and a later mixing bowl with a ’secret’ compartment in the lid, 15Jin; 38.7cm, 1840’s.

A BRONZE DOOR KNOCKER, cast with a lion’s head holding a ring cast with cherubs and a mask, 27cm, c. 1880.

A FOLDER  OF VARIOUS DRAWINGS  AND
PRINTS by various designers, late 19th
Century.

A   WILLIAM   IV   MAHOGANY   WRITING
SLOPE, the top inlaid with brass string-ing, the interior with compartments and a writing surface c. 1830.

A CELADON VASE, now fitted as a lamp, with shade, the vase loin; 41cm, c. 1900.

A PAIR OF CELADON VASES of bulboUS
ovoid form, fitted for electricity as
lamps, with rectangular green silk
shades, 32in; 81cm overall approx., 20th
Century    .

A BRASS FIRE KERB of elongated ‘C shape with steel supports and wire trellis, 65in; 165cm wide, mid I9th
century

A STAINED GLASS PANEL with a central roundel of the Devil with a young shepherd enclosed by entwined leaves and branches in a pine frame, by 31iin; 103 by 80cm, c. 1880.

A CHARRIERE MAHOGANY KNIFE BOX, the
brass-bound sloping front with inset carrying handles and a fitted interior, the slope initialled AH, the lock plate signed A. Charriere a Paris, 23in; 58cm wide, the base with a button-operated secret drawer, third quarter of the 19th century.

A SET OF FOUR STAINED GLASS PANELS
portraying four angels, inscribed By
Love Serve One Another Not By Might
Nor By Power But By My Spirit Saith
The Lord Of Hosts, two with the
Y.W.C.A. inverted triangle, 44 by  ; 112.5 by 41.3cm, late 19th
century.

A ROSEWOOD WHATNOT, nOW with tWO
tiers and a drawer, with turned supports, 24 by 20in; 61 by 51cm, eut down, c. 1840.

A MARBLE OCCASIONAL TABLE inlaid with
an asymmetrical design of various marbles, the centre with an Italian mosaic panel of the Coliseum on a triple cluster column and concave-sided base, 28 by 2lin; 71 by 53.5cm, c. 1870.

A MAHOGANY SEWING TABLE with tWO
real opposing two dummy drawers in a frieze, on a trestle support, 29 by 28lin; 75 by 72cm, c. 1850, restored.

A LARGE GILTWOOD AND PLASTER OVER-
MANTEL MIRROR with a moulded pedi-ment above a panel carved with leaves and flowers, above three mirror plates divided by stop-fluted columns, sup-ported by three further plates with urn and leaf-carved supports, 611 by 75lin; 156 by 192cm, c. 1870.

A SET OF six OAK CHAIRS, each with a leaf- and shell-carved top-rail above a pierced splat and moulded curved side supports, the sprung seats on turned tapering legs with castors, c. 1870.

A MAHOGANY BOOKCASE with a moulded pediment above two large glazed cup-board doors with moulded astragals, on bracket feet, 94 by 73in; 239 by 186cm, mid 19th century.

A WALNUT DISPLAY CABINET, the COn-
cave frieze inlaid with foliage above a glazed door and pilasters applied with spelter terms, 41 by 31 fin; 105 by 79.5cm, 1850’s.

A WALNUT TEAPOY - WALNUT WRITING DESK - WALNUT SERPENTINE CARD TABLE - BURR-WALNUT CENTRE TABLE - ROSEWOOD OCCASIONAL TABLE

A WALNUT TEAPOY, the moulded rect-angular top lifting to reveal a fitted interior, on a massive gadrooned baluster and platform base, with bun feet, 32 by loin; 81.5 by 41cm, c. 1840.

A CAST-IRON HAT AND UMBRELLA STAND
with rococo leaf-cast hooks, the um-brella stand with removable drip-tray and pierced back, 72in; 183cm, registra-tion mark indistinct, possibly 1854.

A PAIR OF WALNUT CHILD’S CHAIRS, the
moulded balloon backs with interlaced splats, retanned seats with turned legs and stretchers, c. 1850.

A ROSEWOOD CENTRE TABLE, the top with
a gilt tooled leather writing surface extending to the ‘D’ ends on a trestle base joined by a pole stretcher, with gadrooned bun feet, 29 by 60in; 73.5 by 152.5cm, c. 1840.

A   ROSEWOOD    AND    MOTHER-OF-PEARL
INLAID BAROMETER, the silvered dial signed Underhill St Mary’s Gate, Manchester, the whole inlaid with mother-of-pearl birds and foliage, 4lin; 104cm, mid 19th century.

A HINDLEY WALNUT WRITING DESK, the
superstructure with six drawers with locking flaps, the frieze with two drawers, on fluted tapering legs, stamped C. Hindley & Sons, 134 Oxford St., London and numbered 52247.

A ROSEWOOD SIDE CABINET, the break-front with a beaded border above two glazed cupboard doors with brass grilles flanked by lotus-carved columns, the sides with two open adjustable book-shelves, 62in; 100 by 158cm, c. 1850.

A BURR-WALNUT BREAKFRONT BOOKCASE
with a central mirror-back velvet-lined compartment with a pierced and crocketed arch with oak and acorn spandrels flanked by open shelves, 37 by 78in; 94 by 198cm, late 1840’s.

A   BEECHWOOD   LOW   CHAIR   with   an
upholstered and moulded waisted back and sprung circular seat, on cabriole legs, 1850’s.

A ROSEWOOD OCCASIONAL TABLE, the top
with two ‘D’-flaps, the frieze with two graduated real opposing two dummy drawers, on tapering fluted column, with convex-sided base on turned-out feet, 31i by 17±in; 80 by 44.5cm, c. 1840.

A PAPIER-MACHE OCCASIONAL TABLE, the
oval tip-top with a gilt moulded rim enclosing a central painted reserve of flowers and a mother-of-pearl border, on a moulded baluster stem and circular base, 26 by 28+in; 67 by 72cm, mid I9th century.

A  WILLIAM  IV  ROSEWOOD  OCCASIONAL
TABLE, with two small drawers in the frieze, on a trestle support joined by a lotus-carved stretcher, 29 by 23fin; 74 by 60cm, c. 1835.

A MAHOGANY MILITARY CHEST IN TWO
PARTS, with three short drawers above three long drawers, 40f by 38in; 103.5 by 96.5cm, mid 19th century.

A SET   OF   SIX  WILLIAM IV MAHOGANY
DINING CHAIRS, each with a curved top-
rail and leaf-carved crossbar, the stuffed
seats on reeded turned tapering legs,
c. 1836.

AN   EBONISED   AND   PARCEL-GILT   OAK
CENTRE TABLE, the rectangular top with chamfered corners and leaf-carved border, on a trestle support joined by a leaf-carved stretcher on dolphin feet, 29 by 39in; 74 by 99cm, c. 1860.

A BURR-WALNUT HARLEQUIN DAVENPORT,
the Sprung superstructure with a pierced gallery above three short drawers fianked by four pigeon-holes, the carved flap enclosing a pull-out writing surface fianked by pen scoops, the front on leaf-carved cabriole supports, the frieze with four real opposing four dummy drawers, 45 by 23in; 115 by 58.5cm, superstructure up, c. 1860.

A MAHOGANY MILITARY CHEST IN TWO
PARTS, with two short drawers above three long drawers, 93 by 101cm, mid 19th century.

A WALNUT SERPENTINE CARD TABLE, the
well-figured top above a frieze carved with ‘C scrolls and foliage, on a baluster gadrooned stem and four cabriole legs carved at the knees with leaves and scrolls, 30 by 33iin; 76 by 85cm, c. 1860.

A TRIPOD FIREGUARD with a glass super-structure in a moulded frame, above a semicircular occasional table on a barley-twist and triple base, 42fin; 108.5cm, c. 1850.

A   BURR-WALNUT   CENTRE   TABLE,   the
rectangular top above trestle supports joined by a pole stretcher, 29 by 42in; by 107cm, made up in the 20th.
Century

ROSEWOOD WELLINGTON CHEST - WALNUT BREAKFRONT BOOKCASE - WALNUT SIDEBOARD - ROSEWOOD STOOL IN LOUIS XVI STYLE

A ROSEWOOD WELLINGTON CHEST with
ten long drawers retained by flat columns headed by lotus capitals, 52 by 24in; 132 by 61cm, c. 1840.

A GOOD ‘GEORGE Iii’ SERPENTINE MAHO-
GANY CHEST, the moulded top with a brushing slide above three graduated serpentine drawers, the corners carved with blind fret, on ogee bracket feet, 34 by 54in; 88 by 137cm.

A MAHOGANY BREAKFAST TABLE, the OVal
tip-top with a moulded edge on a baluster octagonal column with four moulded cabriole legs carved at the knees with large scrolls, 29 by 55in; 74 by 140cm, c. 1860.

A WALNUT CANTERBURY, the sections divided by twist-turned supports above a frieze drawer, on turned legs ending in castors, 20in; 51cm, c. 1860.

A PINE SIDE TABLE, the rectangular top and two frieze drawers on trestle supports held by notched buttresses, 48in; 112cm wide, c. 1870
The style is similar to that of Charles Bevan for Saltayre House, and numerous bedroom suites of this kind were made by Marsh, Jones & Cribb.

A BURR-WALNUT TRIPOD TABLE, the cir-
cular top with a revolving candle-stand above a revolving book-stand, 27 by 18in; 70 by 46cm, 1860.

A SET OF SIX MAHOGANY DINING CHAIRS,
the moulded balloon backs with sprung
seats and turned legs, c. 1840.

A WALNUT WELLINGTON CHEST with One
locking flap and two graduated drawers, 41 by 104 by 49cm, 1860’s, with key.

A ROSEWOOD STOOL IN LOUIS XVI STYLE,
the padded top above a guilloche carved frieze on fluted turned tapering legs, 15 by 26in; 38 by 66cm, mid 19th century.

A CAST-IRON AND BRASS CAMPAIGN BED,
the hinged back with folding arms and sides with a fretwork panel and seat on turned legs with china castors, mid 19th century.

A   WALNUT   AND   BURR-WALNUT   SIDE
CABINET, the panelled moulded super-structure with twist-turned supports with a pair of cupboard doors flanked by twist-turned columns and a pair of glazed doors, 69 by 60in; 175 by 152.5cm, 1860’s, with two keys.

A WALNUT BREAKFRONT BOOKCASE with
three glazed doors enclosing shelves, on bun feet, 431 by 72in; 110.5 by 183cm, c. 1850.

A BRASS AND MOTHER-OF-PEARL THREE-
SIDED DOUBLE BED with two pillared ends, with eleven turned supports below a conforming balustrade with roundels and a square panel inlaid with mother-of-pearl, 75iin; 192cm wide, c. 1880.

AN EBONISED AND GILT PLASTER OVERMANTEL MIRROR, surmounted by a plaster plaque depicting an eighteenth Century clerical figure with a cresting of ribbon-tied fruit and foliage above, 65 by 49in; 165 by 124.5cm, possibly French, 1870.

A   MAHOGANY    BOBBIN-TURNED    ARM-
CHAIR with turned back, the button-upholstered arms and similar sprung seat with turned legs on white ceramic castors, the back with a leather squab cushion, 1880’s, re-upholstered.

AN   AESTHETIC   MOVEMENT   MAHOGANY
SIDE CABINET by Moore & Hunton, the superstructure with a pierced fretwork back and a central shelf above a mirrored panel and two short drawers each inlaid with a small lacquered panel, flanked by cupboard doors inset with leather panels embossed with lotus, the base with a symmetrical arrangement of five shelves, the whole with moulded up-curved borders, the back with a plaque stamped Moore & Hunton, Norship Street, London EC, 51 by 50in; 130 by 127cm, c. 1870.

A GOLDMAN CABINET ON STAND, with a
pair of cupboard doors enclosing two trays above a short drawer on Square slender legs with a brass label, lManu-factured by H. Goldman Mfg. Co., 394-400 Latrove Street, Melbourne”, 40 by 21?in; 101.5 by 55.5cm, c. 1930.
The overall shape and form care-fully follows contemporary English designs based on the principle laid down by Ernest Gimson and carried out in the Cotswold tradition. The wood appears to be an Australian variety of walnut.

A WALNUT CENTRE SEAT formed of three addorsed chairs, three padded arms, backs, sprung seats on turned legs with white ceramic castors, 44in; 112cm wide approximately, 1870’s.

A SUITE OF MAHOGANY DRAWING ROOM
FURNITURE comprising four Side Chairs, two Armchairs and a Chaise Longue, the chairs with curved top-rails carved with Greek key above padded backs and sprung serpentine seats on fluted turned tapering legs with castors, the chaise longue with a sprung overscroll end and sprung seat on short fluted turned tapering legs, c. 1870.

A WALNUT SIDEBOARD, the raised back with a galleried top and a flock-covered cavetto cornice behind ring-turned columns supporting a shelf above a central mirror flanked by two further mirrors and shelves, the base with a central mirrored recess flanked by two satinwood panel doors and on ring turned legs joined by an undershelf, the whole with geometrie stringing in a variety of woods, by 69in; 222 by 175cm, c. 1880.

MAHOGANY TWO-PEDESTAL DINING TABLE - MAHOGANY DINING CHAIRS - REVIVAL PEDESTAL DESK - SIX MAHOGANY DINING CHAIRS

A   FLORENTINE    MOSAIC   MARBLE    TOP
TABLE, worked with doves and views of Rome in a sample marble border, in-cluding malachite, palfrey, breche violet, onyx, marble, lapiz lazuli, brocatell and langue d’oc marbles, on an English walnut tripod stand, 30 by 19±in; 77.5 by 48.5cm, 1860’s.

A   MAHOGANY   TWO-PEDESTAL   DINING
TABLE with two rounded ends each with tip-tops above a turned tapering column and four reeded outswept legs with brass castors and paw feet with one extra leaf, 30 by 73in; 76 by 186cm, c. 1880.

A LARGE PAIR OF OAK BOOKCASES, the
concave cornices painted with panels of fruit and flowers on a gilt ground, the gothic-glazed doors above a pair of cupboard doors each with nine small fielded panels with incised brass geo-metrie mounts, one with a half-roof above the comice, the other removed, the largest 96 by 54in; 244 by 138.5cm, c. 1870.

A BROADWOOD MARQUETRY OAK BOUDOIR
GRAND PIANO, the iron frame stamped Patent, with ivory accidentais and ebony occidentals, the whole inlaid with stylised flowers, dots and geometrie devices within saw-edged bandings, c. 1880.
Marquetry of a similar feeling was incorporated into a more elaborate design for a piano by Charles Bevan for Titus Sait Junior, at Saltaire in Yorkshire. The piano and a considerable amount of other furniture, including a bed-room suite, was made by the Leeds firm of Marsh and Jones, who started business in the second half of the eighteenth Century, taken over by John Marsh and Edward Jones in 1864. The firm made a considerable amount of furniture very much in the style of Charles Bevan and many pieces attributed to the style of Bevan are possibly made by Marsh and Jones. See High Victorian Furniture: The Example of Marsh and Jones of Leeds, by L. O. Boynton, The Furniture Hutory Society, 1967, including illustrations.

A WALNUT  WRITING  DESK,  the  SUper-
structure with a pierced gallery above a central drawer flanked by four short drawers, the crossbanded writing surface inlaid with a leather panel, the frieze with a single oval drawer inset with a porcelain plaque painted with a cherub on cabriole legs applied at the knees with gilt-bronze mounts, 38 by 40iin; 96.5 by 103cm, c. 1860.

A   PAIR   OF   ‘GEORGE   III’   MAHOGANY
DINING CHAIRS, with pierced vase splats and drop-in-seats, the cabriole legs ending in claw-and-ball-feet, c. 1880.

A   WALNUT   AND   MARQUETRY   SEWING
TABLE with a hinged octagonal top inlaid with a bird and foliage on a turned stem and tripod base, 28 by 16iin; 71 by 42cm, c. 1860.

A   SET   OF   EIGHT   MAHOGANY   DINING
CHAIRS, including two Armchairs each
with an arched top-rail and pierced
splat the out-curved arms above padded
drop-in seats and square tapering legs.

A ROCKING CRADLE with an arched hood at one end above a rectangular body on curved rockers, 26 by 39in; 66 by 100cm, mid 19th century.

A WALNUT OVAL BREAKFAST TABLE, the
quarter-veneered tip-top inlaid with birds and stylised foliage, the baluster supports on four outswept legs; 70 by 180cm, c. 1870, top and support not formerly together.

A WALNUT AND MARQUETRY SIDE CABINET,
the bow-front inlaid with swags and flowers and inset with a bow-fronted
glazed cupboard door flanked by con-
cave pillars headed by maie masks and flanked in turn by serpentine sides, 45 by 46in; 116 by 117cm, c. 1870.

LORD TENNYSON’S DESK. AN OAK JACO-BEAN REVIVAL PEDESTAL DESK, the rect-
angular leather top with outset corners supported on eight maie and female terms with two short drawers either side, each drawer above a geometrie panelled cupboard, the frieze carved with mannerist birds and foliage, the sides with panels of cherubs and chariots, 31 by 84 by 4lin; 80 by 213.5 by 104cm, incorporating some 17th Century carving, third quarter of the 19th Century.
The present owner’s great-great-grandfather, The Rt Hon. Charles Tennyson d’Eyncourt, P.C., M.P., was, with his brothers and sisters, the last surviving descendant of the last Baron d’Eyncourt, Earl of Scarsdale, whose ancester had been the Standard Bearer to William the Conqueror at the Battle of Hastings, and was allowed by Royal Warrant to adopt the name of d’Eyncourt to preserve this famous name His elder brother, the Rev. George Tennyson, was father to, among others, Alfred, later Lord and Poet Laureate
In about 1810 Charles was told that the then Duke of Bedford was pulling down one of the d’Eyncourt family houses, an Elizabethan Manor which had become part of the Bedford Estates called Woburn d’Eyncourt.
Charles posted down to Woburn, went through the house and pur-chased ail the Elizabethan and Jacobean panelling, which he had carted back to Bayons Manor, his family seat
He then instructed his estate car-penter to make this desk out of some of the panelling and supporters from the Elizabethan overmantels at Woburn d’Eyncourt. When it was finished it took pride of place in Charles’ enormous library at Bayons. Meanwhile, Alfred was growing up, and having been tutored only by his father, who refused to send any of his children to school, was a constant visitor to Bayons where he spent a considerable time browsing through Charles’ immense collection of books
In the family the commonly held belief is that, on one of his visits to Bayons, Alfred went for a long walk in the park and was observed sitting obsessed by the waterfall of the stream that runs through the Home Park of Bayons. When he returned to the house, he went straight to the library and sitting at this desk wrote the outline of one of his most famous poems, ‘The Brook’: ‘I Come from haunts of Coot and Hern. . . .’ In later years he told a friend (Hallam) that the poem was based on his observations and reflections on the stream at Bayons.

A  SATINWOOD  OCCASIONAL  TABLE,  the
circular top painted with a border of leaves, the frieze with a diamond trellis, on square tapering legs, 29 by 17|in; 74 by 45cm, c. 1900.

A BURR-WALNUT GAMES TABLE, the top
inlaid with foliate stringing, the interior with a piain surface, on a trestle support with leaf-carved cabriole legs joined by a pole stretcher, 27| by 35in; 70 by 89cm, c. 1870.

A WALNUT WHATNOT with three curved tiers joined by turned supports, 39 by 23in; 99 by 58.5cm, modern.

A PAIR OF GILTWOOD SIDE TABLES, each
with a serpentine marble top and
pierced frieze carved with scroll-work,
on four cabriole legs carved with
festoons of flowers and joined by leaf-
carved scrolling stretchers, 34by
53in; 88 by 136cm, third quarter of the
Century.

A WALNUT CENTRE TABLE, the tip-top of
serpentine outline with a moulded border, on a pierced base carved with scrolls, with scroll-carved cabriole legs, 30 by 59in; 76 by 150cm, c. 1860.

A   LATE    ‘GEORGE    II’    EDWARDS   AND
ROBERTS URN TABLE, the square top of serpentine outline with an open fret gallery above a shallow drawer, on square chamfered legs carved with blind fret, stamped Edwards & Roberts, 21′i by 13in; 69 by 33cm, 1880′.

A MAHOGANY PEDESTAL DESK with three
frieze drawers and three drawers in each pedestal, 47in; 120cm wide, 1890.

A GOOD MAHOGANY AND BURR SYCAMORE
WOOTTON DESK, the superstructure flanked by urns, above a hinged panel enclosing pigeon-holes and two short-panelled curved cupboards inset with two letter-boxes, one inscribed Letters, the other Manufactured by Wootton Desk Co. Indianapolis, Ind. Pad. Oct. 6 1874, enclosing an arrangement of cupboard doors, pigeon-holes and open shelves and a fall-front enclosing further pigeon-holes, drawers and shelves, above four drawers flanked by magazine racks and open shelves, 72 by 41in; 183 by 105cm, c. 1880.

A   PAINTED   THREE-FOLD   SCREEN,   each
panel with a figure of Ceres, Flora and Pomona in classical costume in rect-angular mahogany frames, each with a pierced cresting, the reverse plain, each fold 71 by 20lin; 180 by 52cm, first quarter of the 20th century.

A SET OF SIX MAHOGANY DINING CHAIRS,
the tapered backs with padded top-rails
carved with art nouveau stylised foliage,
the sprung seats on baluster turned
tapering legs, c. 1910.

A MAHOGANY AND SATINWOOD CROSS-BANDED  BUREAU BOOKCASE,  the upper
part with a pair of glazed doors above a fitted interior, above two short and three long graduated drawers, 88 by 43in; 211 by 109cm, with two keys, 1900.

PAIR OF MALACHITE-MOUNTED MARQUETRY CABINETS - SATINWOOD DRESSING TABLE - ‘GEORGE  III’ MAHOGANY CARLTON

AN IMPORTANT AND FINE PAIR OF MALACHITE-MOUNTED MARQUETRY CABINETS, each with an arched mirror crest-ing surmounted by a gilt-bronze inter-laced monogram above a female mask, flanked by pearwood putti, the red marble top above outset canted columns with elaborately carved purpleheart and gryphon supports with pearwood sup-ports, flanking a cupboard door, one applied with a copper electrotype panel entitled Musica, the other entitled Poesia, held by fine marquetry and ivory inlaid arrangement of foliage and flowers, on gadrooned bun feet, the columns applied with malachite bosses, ISl by 34|in; 200 by 88cm, c. 1865.
Among the numerous woods used in this exceptionally fine pair of marquetry cabinets are the following: walnut, chestnut, box, pear, purpleheart, holly, syca-more and amboyna.

A  PAINTED  PEMBROKE  TABLE,  the  top
with two ‘D’-flaps painted with vases and swags of ribbon-tied flowers within a rosewood inlaid border, the frieze with a central long drawer, on square tapering legs with brass castors similarly painted with swags of flowers, 1880-1900, 35in; 94cm wide (open), mid or late I9th century.

A   MAHOGANY   DISPLAY   CABINET,   the
broken pediment above a pair of glazed doors enclosing shelves, the stand with a fluted frieze and square chamfered legs, 76i by 29in; 194.3 by 74.3cm, 1880-1900.

A PAIR OF WALNUT AND MARQUETRY SIDE
CABINETS, each with a grained top above a glazed cupboard door inlaid with flowers and leaves flanked by fiat colurnns similarly inlaid and headed by gilt-bronze mounts.

A SATINWOOD AND MARQUETRY DISPLAY
CABINET ON STAND by Edwards & Roberts, the upper part with a sixteen-panelled glazed cupboard door enclos-ing shelves flanked by mirrored panels with open shelves supported by fluted colurnns, the lower part with a single drawer stamped Edwards & Roberts above a cupboard door flanked by open shelves inlaid throughout with swags with ribbon-tied foliage, masks and vases, crossbanded throughout with rosewood, 81 by 45in; 206 by 114cm, c. 1900.

A   ‘GEORGE   III’   MAHOGANY   CARLTON
HOUSE WRITING DESK with three frieze drawers, on square tapering legs ending in castors, the superstructure with two brass letter slots, with key, c. 1800/1900.

AN EDWARDS  AND  ROBERTS MAHOGANY
WRITING TABLE, the inset leather top with outset corners above leaf-carved cabriole legs, with two long frieze drawers, 30| by 54 by 30in; 77 by 137 by 76cm, the frieze drawer stamped ER, 1880’s.

A ‘GEORGE II’ MAHOGANY DINING TABLE,
the rectangular top with three extra leaves, on four cabriole legs carved at the knees with shells and leaves with claw-and-ball feet, 120 by 294in; 305 by 75cm, late I9th century.

A MAHOGANY SETTEE upholstered in William Morris’s ‘Squirrel’, the arched back with over-scrolled arms, sprung seat and twist-turned legs, 73in; 186cm wide, late 19th century
This fabric was designed by J. H. Dearle, c. 1899, who was Morris’s manager and ran the works after his death. This fabric was exhibi-ted at the Arts and Crafts Exhibition of 1899.

A   LIBERTY   AND   CO.   BIRCH   COCKTAIL
CABINET, with canted sides, incorporat-ing the sides of a wide door, enclosing shelves and a well above two drawers with plated heart escutcheons, 50 by 28in; 127 by 71cm, 1920’s.

A SET OF EIGHT ‘LATE GEORGE II’ DINING
CHAIRS, including a pair of Armchairs
each with a pierced vase splat, drop-in
seats and cabriole legs with claw-and-
ball feet, late 19th century.

A SET OF MAHOGANY WALL SHELVES with
an arched swan-neck cresting above five tiers of open shelves, each with a crenellated top above a pierced border with blind fret, with mirrored backs joined by double column supports, 46in; 117cm, c. 1890 .

A GOOD HINDLEY AND WILKINSON PAINTED   SATINWOOD   DRESSING   TABLE,
the shield mirror hung with roses and a dove, the supporting cupboards with oval panels en grisaille, with classical figures, the shaped frieze containing concave/convex drawers with fitted interiors, the frieze drawer with a pull-out adjustable writing slide on ring-turned tapering legs, the whole painted with classical flowers and fruit, stamped Hindley & Wilkinson Ltd London, with Hobs & Co. special quality locks, 66 by 40| by 21in; 169 by 102 by 50.8cm, stretcher missing, c. 1890
This is a copy of the one now in the Victoria and Albert Museum which was purchased by the South Kensington Museum in 1867. A similar piece is illustrated in British Furniture, 1880-1915, by Pauline Agius, page 52.

A LARGE PAIR OF MAHOGANY DOORS AND
FRAMES, the overdoor with corbel supports applied with baskets of fruit and acorns, each door with six panels, 98 by 64in; 248 by 162.5cm overall; the doors 83 by 39iin; 210 by 99.7cm, c. 1910.

A SET OF ‘SHERATON GEORGE III MAR-
QUETRY DINING CHAIRS, the shield backs with solid vase splats inlaid with baroque marquetry, the sprung seats with square tapering legs and block feet, late I9th century, possibly Dutch, the marquetry partly incised on a maho-gany ground.

A   ‘WILLIAM  IV’  ROSEWOOD  DRUM-TOP
TABLE, the top inset with a leather surface and crossbanded with rosewood, the frieze with four real and four dummy drawers on a tapering column and concave-sided base, 29 by 47in; 74 by 119cm, c. 1835.

A SET OF FOUR SIMULATED ROSEWOOD
DINING CHAIRS, the top-rails applied with foliage with double ‘S’-scroll splat, stuffed drop-in seat and turaed tapering legs, late 1930’s.

A TALL WALNUT STAND, the square top with out-flaring turned legs joined by a platform stretcher inlaid with pewter birds and flowers, the arched niches with beaten and pierced copper bosses, 44in; 112cm, c. 1900.

A SET OF EIGHT GEORGE III STYLE MAHO-GANY   DINING   CHAIRS,   including   tWO Armchairs, each with a serpentine top rail pierced with quatrefoils above three
conforming crossbars, the outcurved arms with leaf-carved scroll terminais,
the pad feet on fluted square-section
legs, joined by ‘H’-stretchers, early 20th
century.

A PAIR OF PAINTED WALL CABINETS in mid
18th century chinoiserie style, each with a pagoda cresting and open glass shelves supported by fluted columns, 36 by 22in; 91.5 by 56cm, fitted for electricity, modem.

A   MAHOGANY   PEDESTAL   DESK   with   a
green leather-lined top above three frieze drawers and three drawers in each pedestal, 60 by 36in; 152.5 by 91.5cm, 20th century.

A NEST OF FOUR SATINWOOD OCCASIONAL
TABLES, each with an oval reserve on
four ring-turned supports and a trestle
base, the largest 26 by 20in; 60 by 5lin,
с. 1900.