Antique Sideboard

MID 17th CENTURY OAK BIBLE ВОХ - QUEEN ANNE OAK AND ELM SIDE CHAIR - GEORGE III ELM DINING CHAIRS - OAK PARTNER’S DESK

A GEORGE III ОAK BUREAU, the fall front enclosing a fitted interior, with a cupboard, pigeon holes and drawers above four long graduated drawers each inlaid with mahogany

banding, now with turned wood pulls, and on turned feet, late 18th century.

A GEORGE III ELM BUREAU, the fall
front enclosing a fitted interior
above two short and three long
cock beaded drawers,
by , third quarter 18th
century but extensively restored.

AN ОAK CHEST of two short and
three long drawers on bracket feet, late
18th century with restorations.

AN OAK COURT CUPBOARD, the upper part with a fluted frieze above a pair of paneled cupboard doors flanking a central panel with outset free standing turned baluster supports,

the lower part with а pair of paneled doors on stump supports, third quarter 17th century, but partly carved later.

AN OAK COURT CUPBOARD, the pediment carved with stylized dragons and dated 1750, the central section with a pair of lozenge carved doors flanking a central panel initialed ‘E

E’, enclosed by outset turned columns, the lower part with a pair of paneled doors, now on baluster feet, early 18th century, but the upper part reconstructed, later carved and

with later feet.

A CARVED OAK OVERMANTLE AND А SERIES  OF PIECES  OF  WAINSCOT
PANELLING, skirting boards and other panels, 17th 8th century.

A MID 17th CENTURY OAK BIBLE ВОХ, the top with molded edge above a simple plank font carved with stylized foliage.

A SMALL ОАК GATELEG TABLE, the oval top on turned supports with outset wormed feet, early 18th century.

A GEORGE II О AK BIBLE ВОХ ON STAND, the fall front enclosing three drawers, the front initialed IP 1732, on a later stand with turned supports, the upper part second quarter

of the 18th century.

A GOOD SET OF FOUR WALNUT AND BEECHWOOD SIDE CHAIRS, each with an arched top rail carved and pierced with an armorial device surmounted by a coronet, above а rattan panel

flanked by twist turned supports and a rattan panel seat, on foliate molded scroll supports joined by a foliate Flemish rail, probably Flemish, the beech panels 17th century,

but restored and reconstructed in the 19th century.

A LARGE OAK PARTNER’S DESK, the rectangular top with an inset red tooled leather writing surface above three frieze drawers and two paneled cupboard doors interposed by term and

fruit carved pilasters on either side, the ends with panels applied with molding centered by a mask, on а plinth base, third quarter 19th century, but incorporating some carved

pieces from a 17th century Beeldencast.

A GEORGE III OAK MULE CHEST, the
rectangular hinged top cross
banded in mahogany above а
series of six dummy drawers and
two real drawers flanked by
redid corners on bracket feet, late
18th early 19th century.

A QUEEN ANNE OAK AND ELM SIDE
CHAIR, with a vase shaped splat,
panel seat on turned supports, early 18th century.

A PAIR OF CHARLES IISTYLE OAK SIDE CHAIRS, each with back rail carved with a crown flanked by a lion and a boar, with pierced splat flanked by twist columns, solid seat with

squab cushions on Flemish supports and rail, third quarter of the 19th century.

A LATE GEORGE II STYLE OAK FOOT STOOL, the square gross point top on a lancet molded frame and four cabriole supports, late 19th century.

AN OAK BENCH, the triple panel back carved with lozenges and initialed ESM, above open arms and а box seat with carved triple panel front, reconstructed using some 17th century

panels.

A SET OF FIVE GEORGE III ELM DINING CHAIRS, each with an arched rail, pierced splat, dropping seat on slightly tapering square supports, late 18th century.

AN OAK HALL BENCH, with a triple
fielded panel back carved with
foliage and lozenges, dated 1740,
above open arms, solid seat on
cabriole supports and pad feet, partly
mid 18th century.

AN EARLY VICTORIAN MAHOGANY
CHILD’S COMMODE CHAIR, with а
broad concave rail, open arms, the
hinged seat enclosing a chamber,
second quarter 19th century.

A SET OF FIVE LADDER BACK ASH DIN
ING CHAIRS, each with a turned
rail, rush seat on turned front
supports; and an ash ladder back
Arm Chair, all early 19th century.

GEORGE IV WHITE AND GILT ARMCHAIR - LOUIS XV GILT-METAL CANDLESTICKS - FOUR-FOLD PAINTED LEATHER SCREEN - REGENCE CANED BEECHWOOD SETTEE

A GEORGE IV WHITE AND GILT ARMCHAIR with
stuffed back and padded arms with reeded handles,
circular supports and legs, circa 1820.

A REGENCY GILTWOOD CONVEX MIRROR, the
tubular frame with four plaster lotus clasps, the
anthemion cresting flanked by scrolling acanthus and
anthemion and the apron flanked by smaller but similar
scrollwork, each side with an S-scroll arm supporting
drop-hung glass arms and drip-pans, 4ft. 6in. high by 3ft.
4in. wide (137cm. by 102cm.).

114 A GEORGE IV MAHOGANY SECRETAIRE CABINET,
the upper part with a pair of glazed doors with
gothic glazing bars, the projecting lower part with a fitted secretaire drawer above a pair of panelled cupboards flanked by turned
columns and raised on turned feet, 7ft. 4in. high by 3ft.
9lhin. wide (223cm. by 115cm.) circa 1825.

A WILLIAM IV CANED MAHOGANY BERGERE,
with curved back and lotus-carved scroll handles
with circular leaf-carved front legs headed by paterae, circa 1830.

A WILLIAM IV ROSEWOOD MUSIC STAND with lyre-shaped support,
the baluster stem with lotus base and triangular plinth, 3ft. high (92cm.) circa 1835.

A FLEMISH WALNUT ARMCHAIR, the high rectangular padded back with
serpentine toprail and outcurved moulded scrolling arms on baluster supports, the stuffed seat on ring-turned legs joined by ring-turned baluster stretchers, circa 1680.

A PAIR OF ITALIAN BRASS PRICKET CANDLESTICKS,
the well-moulded stems cast in sections with copper drip
pans and the triangular bases on paw feet, each base
chiselled with the initiais DSDPM, lft. 8′/2in. high
(52cm.) early 18th Century.

A PAIR OF EARLY LOUIS XV GILT-METAL CANDLESTICKS,
with facetted nozzles, baluster stems, and octagonal
bases, 9′/2in. high (24cm.) early 18th Century.

A DUTCH CARVED GILTWOOD OVERMANTEL GLASS,
with arched rectangular plate, the shaped cresting
carved with foliage and scrolls centred by a cypher,
4ft. 3in. high by 3ft. 7in. wide (130cm. by 109cm.) early 18th Century.

A REGENCE ARMOIRE with moulded cornice above
a pair of walnut doors each with three fielded panels
decorated with a circle and star motifs, with panelled oak
sides and turned bun feet, 7ft.  high by 5ft. 6in. wide
(220cm. by 168cm.) circa 1720.

A FLEMISH EBONY- AND KINGWOOD-VENEERED
ARMOIRE with everted cornice, the pair of fielded panel
doors divided and flanked by three split columns, the
capitals carved with heads, the base with a drawer of
double inverted breakfront form with panelled sides and
massive ebonised bun feet, 6ft. lin. high by 6ft. 3in. wide
(185cm. by 190cm.) third quarter 17th Century.

A REGENCE GILTWOOD STOOL carved with acanthus
leaves, on cabriole legs headed by shells and ending
in hairy goats’ feet, circa 1720.

A FLEMISH OAK CHEST
with four long drawers each with a pair of geometrically
moulded panels, the uprights and some of the drawer fronts in walnut and cedar, and the top two drawers inlaid with associated ivory and mother-o’-pearl
panels, 3ft. 9in. high by 3ft. lVhin. wide (144cm. by 121cm.)
third quarter of 17th Century.

A FLEMISH WALNUT ARMCHAIR, the tall
rectangular back and seat covered in needlework, with
moulded scroll arms, baluster legs and waved
X-stretchers, late 17th Century.

A FOUR-FOLD PAINTED LEATHER SCREEN, with four
scenes from the Story of Moses, with serpentine tops
and the lower panels painted with swagged corbels, each fold
6ft. ll’Mn. high by 2ft. 5in. wide (212cm. by 74cm.), biblical panels early 18th Century, probably Flemish.

ANOTHER FOUR-FOLD SCREEN mounted with panels
of stamped leather mainly in green and red on a brown
ground with birds, leaf scrolls, flowers and lambrequins,
5ft. 9′/2in. high, each leaf lft. wide (177cm. by
47cm.) leather panels early 18th Century.

A DUTCH MARQUETRY CHEST with shaped top, the shaped front
with four long drawers, on scroll feet, inlaid with floral
marquetry on a mahogany and elmwood ground, 2ft. l’hin. high by 2ft. lO’hin. wide (80cm. by 87.5cm.) circa 1740.

AN EARLY LOUIS XV WALNUT STOOL of cartouche shaped form with
acanthus leaf carved apron and cabriole legs carved with
cabochons at the knee and scroll feet, lft. 5in. high by lft. Hin. wide (43.5cm. by 58.5cm.) circa 1735.

A REGENCE CANED BEECHWOOD SETTEE,
the back with serpentine top and serpentine-fronted seat,
raised on six cabriole legs, the whole carved with leafy scrolls and shells, 4ft. 8in. wide (142cm.) circa 1725, restored.

A DUTCH MARQUETRY HANGING CUPBOARD, with
glazed door and glazed chamfered sides, 3ft. 8in. high by
3ft. 4′/2in. wide (111cm. by 103cm.) mid-18th Century,
inlaid with bands of floral marquetry on a walnut
ground.

A GEORGE II PARCEL-GILT WALNUT-VENEERED WALL
MIRROR with bevelled plate, the frame with inner and
outer gilt mouldings and outset square corners, 2ft. 4′/2in.
high by lft. 9′/2in. wide (72cm. by 54cm.) circa 1730, one
corner with moulding missing.

A GEORGE II WALNUT AND PARCEL-GILT WALL
MIRROR, the rectangular bevelled plate outlined by a
rope moulding and crossbanded walnut outlined with
egg and dart moulding, 3ft. high by 2ft. 7in. wide (92cm. by
79cm.) circa 1730.

XVIII Century English Sideboards Rococo Style
In mid-century and in the late 18th century, the French Rococo sideboards caught on in England, inspired largely by the engravings of H. F. Gravelot and by improved peace-time relations with France. In England the
cave-like rocaille, and the cult of the picturesque that accompanied it, became popular along with ornaments suggestive of the romantic Gothic and the tantalizing Orient, and Rococo English sideboards occasionally merged together. As in France, private rooms were made increasingly comfortable by pieces such as small desks, candlestands, fire-screens and work-tables. The most fashionable Rococo sideboard featured curvaceous gilt panels, or wall hangings of oriental paper or silk. William Chambers travelled to China in 1749, and in 1757 published his Designs of Chinese Buildings, sideboards, and Dresses. Publications by designers and craftsmen such as Thomas
Chippendale, Thomas Johnson, Matthew Darly, Matthias Lock, Robert Manwaring and William Ince and John Mayhew, popularized fanciful sideboards along with ordinary forms. Their most exuberant Rococo designs
were characterized by asymmetrical ornament and whimsicalities. Unpublished cabinetmakers, such as John Linnell, William Vile and John Cob, were equally forceful exponents of the mid-century style.
Cabinets, book-cases, long-case clocks and commodes for the most part retained the basic forms of the preceding Queen Anne period, but many pieces assumed the serpentine shapes and swelling anthropomorphic bombe of the French Louis XV style. Gilding and japanning remained in vogue. Twisted girandoles resembling branches, and pier-glasses assembled from C-curves, waterfalls and rocailles, captured the effect of rustic naturalism. Increasingly available mahogany, but also pine and gesso, lent itself especially well to crisp depictions of Chinese dragons and pagodas, cusps and pointed Gothic arches, and stylized scenes of peasants, windmills and donkeys.
Many of the chair designs published in Chippendale’s Directside sideboards or of 1754 had broad square seats, projecting scrolled ears, and animalistic cabriole legs. Settees formed of repeated chair backs were occasionally carved with bamboo-like supports and oriental frets ; buffet in the Chinese manner, with fantastic dragons perched with the corner posts, were fashionable but unusual extravagances. Light, gilded seats with serpentine silhouettes in the Louis XV furniyure style were common; most of the sideboards were upholstered with rich floral needlework, velvets, or silk damasks.
The influence of the English Rococo was far-reaching. Contemporary printed designs travelled across the Atlantic, were thrown back to France and reached as far north as Denmark, where chairs showed Director-type pierced splats, set between straight wide stiles. The value Rococo style sideboards characterized by Chippendale’s nut sideboards permeated American design in about 1755.