Antique Sideboard

An Art Nouveau oak Sideboard, Victorian carved walnut framed Sofa, Queen Anne oak boarded Box, Queen Anne-style walnut Dining Chairs

An Art Nouveau oak Sideboard, circa 1905, the galleried back with an embossed copper panel and pierced sides, the pair of frieze drawers above inverted tapered square legs

joined by stretchers, 126cm. high by 111cm. wide.

A William and Mary walnut and featherbanded Chest, circa 1690, now in two parts, the moulded crossbanded top above two short and three long graduated drawers, on later bracket

feet, 96cm. high by 86cm. wide.

A George III mahogany and
crossbanded bow-front Sideboard, circa 1790,
inlaid throughout with stringing, the central
frieze drawer above a pair of small panelled
doors flanked by deep drawers, the tapered
square legs on brass spade feet and castors,
90cm. high by 138cm. wide.

A matched set of eight Regency
rail-back Dining Chairs, circa 1815,
comprising: a pair of armchairs with gadrooned crestings and stuffed seats, on ring turned legs, and a set of six rail-back standard chairs, on turned legs, re-railed and

restored.

A Victorian carved walnut framed Sofa, circa 1860, covered in button upholstered gold dralon, the arched pierced back with a foliate scroll cresting, the bowed arms above scroll

facings carved with fruit, on cabriole legs, 196cm. wide.

A George III mahogany Occasional Table, circa 1770, the square moulded tilt-top with a galleried border, with a baluster turned pillar and tripod supports, altered, 61cm. wide.

A Chinese carved hardwood Armchair, circa 1900, the dragon mask cresting above a panel back carved in relief with a stylised dragon, the serpentine solid seat with dragon arms,

on cabriole legs.

A George III mahogany Pembroke Table, circa 1790, the oval top with two fall leaves and chequered inlay above one real and one dummy frieze drawers, the fronts with rosewood

crossbanding, on square tapering legs with spade feet, restored, 76cm.

A Louis XVI walnut miniature
Commode, circa 1790, the later grey marble
top above three drawers with brass mouldings,
the fluted sides on tapered square feet, 31cm.
high by 31cm. wide.

An Edwardian oak pedestal Writing Desk, the tooled leather-inset top above an arrangement of nine drawers, on tapered square feet, 153 cm. wide, bears trade label of Robson &

Sons, Newcastle-on-Tyne.

A Queen Anne oak boarded Box, with hinged cover, faults, 61cm. wide.

A George IV mahogany Tea Table, with a rectangular top, on a turned pillar.

A George IV mahogany tripod Table, the circular tilt-top above a turned column a reeded legs, faults, 56cm. diam.

A George III mahogany Chest, of two short and three long graduated drawers, on bracket feet, 106cm.

A Victorian Chaise Longue, the scrolled; end and seat upholstered in green dralon, on turned feet, 162cm.

A pair of Queen Anne-style walnut Dining Chairs, with vase-shaped splats, the drop-in needlework seats above shell carved cabriole legs with ‘H’-shaped stretchers.

An Edwardian mahogany Armchair, the
oval cane panel back and serpentine seat above
turned legs; together with another Edwardian
mahogany Armchair, on stop-fluted turned
legs.

An Edwardian mahogany Writing Desk,
the galleried leather-inset top with two small
drawers, below is an arrangement of nine
drawers, 122cm. wide, now on plinth bases.

A George III mahogany Side Table,
fitted with two frieze drawers, on chamfered
square legs, 100cm. wide.

A George I-style walnut Card Table, the eared fold-over top with counter recesses, on shell carved cabriole legs and pad feet, 80cm. wide.

George IV mahogany rail-back Armchair, Victorian walnut Wellington Chest, George III mahogany Side Table, Edwardian Art Nouveau Armchair

A George IV mahogany rail-back Armchair, the scrolled arms above an upholstered stuffed seat, on turned and reeded tapering legs.

A set of eight George Ill-style mahogany Dining Chairs, including an armchair, the pierced splats above upholstered drop-in seats, on tapered square legs.

A carved walnut Armchair, late 19th
Century, on ‘X’-shaped supports, faults.

A Victorian mahogany inverted breakfront Wardrobe, the moulded cornice with applied paterae above a pair of panel doors enclosing slides, above two short and two long drawers

flanked by a pair of panel doors enclosing hanging space, on plinth base, 210cm. high by 245cm. wide.

A George III mahogany secretaire Chest, the writing drawer fitted with small drawers and pigeon-holes above two other drawers flanked by canted corners, on bracket feet, 102cm.

wide.

A Victorian mahogany Wellington Chest, of seven graduated drawers, on plinth base, 58cm. wide.

An Edwardian mahogany Display Cabinet, inlaid with stringing, the pair of glazed panel doors with painted fretwork, on splayed square legs joined by an undertier, 92cm. wide.
A set of five George IV mahogany rail-back Dining Chairs, the stuffed seats above tapered square legs and spade feet.

A Victorian walnut Wellington Chest, of
seven graduated drawers, on plinth base,
distressed, 60cm. wide.

A Victorian carved walnut serpentine
Centre Table, on cabriole legs, 110cm. wide;
together with two Victorian ebonised single
Chairs and an Armchair.

A pair of George III mahogany Chairs,
the pierced oval splat backs above upholstered drop-in seats, on chamfered square legs.

A George III mahogany pedestal
Sideboard, the raised upper section now lacking
sliding door, the top with convex ends above an
arrangement of five drawers, on tapered
square legs and spade feet, faults, 1/Ocm. wide.

An oak Refectory Table, on solid end supports, 153cm.

A George III mahogany Side Table, the
moulded top above a frieze drawer and two small drawers, on square legs, 91cm. wide.

A late George III mahogany and
crossbanded rectangular Card Table, inlaid
with stringing, on ring turned legs, 90cm. wide.

A William IV mahogany breakfront Side Cabinet, with a pair of panel doors flanked by open adjustable shelves, on a plinth base, 168cm. wide.

A late George Ill-style mahogany twin-pedestal Dining Table, on turned pillars with triple reeded splayed legs ending in brass paw feet and castors, 203cm. long by 98cm. wide,

including a leaf insertion and clips.

A late George III mahogany Card Table, of chamfered rectangular form, inlaid with stringing, on ring turned legs, 91cm. wide.

A George III mahogany gendeman’s Dressing Table, the crossbanded hinged top revealing a mirror and compartments, the front with dummy drawers, a door and a deep drawer, on

tapered square legs with spade feet and an undertier, 61cm. wide.

An Edwardian Art Nouveau Armchair,
the tall triple pierced splat back above an
upholstered seat, on turned legs; together with
two other mahogany tall Chairs of Art
Nouveau design, with upholstered backs and
seats.

An Edwardian carved mahogany Torchere, on fluted turned support and tripod base, 30cm. diam.

MAHOGANY TUB CHAIR - WALNUT ARMCHAIRS -  EDWARDIAN ART NOUVEAU OAK WRITING DESK - PEDESTAL DINING TABLE - GILT LACQUER PEMBROKE TABLE

A MAHOGANY TUB CHAIR, the frame inlaid with boxwood stringing with a padded back and sprung bow-fronted seat on square tapering legs, with castors, c. 1900.

A SET OF SIX GRAINED WALNUT CHAIRS,
each with an oval back with pierced
brackets carved with scrolls above a
sprung serpentine seat on moulded
cabriole legs, c. 1878.

A WALNUT ARMCHAIR with a waisted button-upholstered back and padded arms above a serpentine seat on leaf-carved cabriole legs, c. 1860.

A ROSEWOOD AND MARQUETRY ENVELOPE
CARD TABLE, the quartered top inlaid with bone and boxwood foliage and birds enclosing a baize-lined playing surface and counter wells, on square tapering legs joined by a stretcher; 75 by 54cm, c. 1900.

A NEST OF THREE LACQUERED OCCASIONAL
TABLES, each with a rectangular top,
two painted with dragons and vases,
the third an asymmetrical low table on
pierced lyre supports carved with
dragon-head feet, the largest 28 by
2lin; 71 by 53cm, c. 1920.

A  PAIR  OF  WALNUT  ARMCHAIRS,   each
with a padded back and outcurved arms
with leaf-carved terminais, the ser-
pentine sprung seats on scroll-carved
cabriole legs with claw-and-ball feet,
c. 1920.

A PAIR OF ROSEWOOD SIDE CHAIRS, each
with an oval padded back and pierced
scroll and flower cresting, the sprung
seats on leaf-carved cabriole legs,
mid 19th century.

A MAHOGANY CARD TABLE, the ‘D’-shaped top with a gadrooned border enclosing a baize-lined interior, the frieze carved with Greek key, on square tapering legs, 29?by31in;75 by 79cm.

A MAHOGANY BOOKCASE in tWO parts,
the upper part with a dentil cornice above a pair of thirteen-panel glazed cupboard doors, the lower section with two short drawers above another pair of thirteen-panel glazed doors enclosing shelves, 75by 36in; 192.5 by 91.5cm, c. 1910.

A ‘REGENCY’ GREEN AND GOLD PAINTED FOUR-SEATER SETTEE with moulded top-rails above a splat painted with trophies, on turned legs joined by stretchers, with four loose squab seats and two cushions, 67in; 170cm wide, c. 1900.

A ZANZIBAR BRASS-BOUND SMALL COFFER
with a fitted interior, the feet fitted with rollers, the whole bound in repousse brass, 22in; 56cm, late 19th/ early 20th century.

A GREEN AND GILT LACQUER PEMBROKE
TABLE, the top painted with Chinese dragons on six bobbin-turned supports joined by a turned stretcher, 27 by 69 by 57cm, c. 1920.

AN    EDWARDIAN    ART    NOUVEAU    OAK
WRITING DESK, the attenuated superstructure with adjustable bookshelves at the sides enclosing a recess, with a presentation plaque dated 1914, 72 by 42in; 183 by 107cm, c. 1910.

A   BLACK   LACQUER   AND   CHINOISERIE
BUREAU, with a fitted interior, the fiap working in conjunction with the lopers above two drawers, the stand with cabriole legs, 31 in; 79cm wide, 1920’s.

AN ‘EDWARDIAN ART NOUVEAU’ MAHO-
GANY SETTLE, the paclded back and sides upholstered with a repeating pattern of birds in stylised blossoming txees, the sprung seats similarly up¬holstered, the front with tapering square columns headed by branches, the apron pierced with a heart, on stepped block feet; 143.5cm wide, c. 1910.

A   ‘GEORGE   III’   MAHOGANY  ARMCHAIR,
the pierced back carved with ribbon-tied foliage, the outcurved arms with scroll terminais carved with leaves above a padded seat on cabriole legs with scroll toes carved with leaves, c. 1900.

A   BLACK   LACQUER   AND   CHINOISERIE
COCKTAIL CABINET en suite with the previous lot, with two cupboard doors above two short drawers, the stand with cabriole legs, 53 f by 44in; 136.5 by 112cm, c. 1920.

A ‘GEORGE I’ WALNUT SIDE CABINET with
a moulded top above two arched cup-board doors flanked by two further arched cupboard doors above two long drawers, on a stand with a moulded border and cabriole legs, 48 by 31 in; 122 by 79cm, c. 1920.

A MAHOGANY PEDESTAL DESK, the rect-
angular top with a leather-lined writing surface, the frieze with three long drawers above three graduated drawers in each pedestal, on bracket feet, 31 by 60in; 79 by 152cm, 20th century.

A ‘GEORGE III’ MAHOGANY DINING TABLE,
the ‘D’-ends with self-tapering columns and three downswept legs, 95in; 241.5cm long fully extended, 55in; 104cm wide, made up in the 20th century.

A SET OF SIX WALNUT DINING CHAIRS,
including a pair of Armchairs, in Art Deco style, each with an upholstered back with broadly canted tops and sprung seats and moulded legs, 1930’s.
Several of these chairs bear a small unidentified stamp of a shaped cross within a horseshoe.

A   MAHOGANY   BREAKFAST   TABLE,   the
circular top inlaid with bandings on a tripod support with paw castors, the top re-veneered and with later inlay, married to the base, 43|in; 111cm diam., late 19thjearly 20th century.

A WALNUT AND MARQUETRY SIDE CABINET,
the envelope top inlaid with seaweed marquetry enclosing a polished surface, the frieze with three graduated drawers, on cabriole legs with pad feet, 33 by loin; 84 by 41cm, c. 1920.

A NEST OF MAHOGANY QUARTETTO TABLES,
the rectangular tops banded in satin-
wood on turned trestle supports, the
largest 28 by 22in; 71 by 56cm, early
20th century.

A MAHOGANY SEWING TABLE, the frieze
with a central drawer flanked by leaf scrolls above a silk workbag on a trestle base joined by a pole stretcher with bun feet, 29 by 27|in; 74 by 70cm, c. 1840.

A   ‘GEORGE   III’   MAHOGANY   PEDESTAL
DINING TABLE, with two ‘D’-ends and four leaves, each pedestal with four reeded downswept legs, 146in; 481.5cm long fully extended, third quarter of the 20th century.

SIDEBOARDS  reproduction, 1890-1930:
`Queen Anne’ styles leading to ‘burr walnut bedappled’
It is not quite clear when the return to 18th century designs led to a thirst for ‘Queen Anne’. Certainly the cabriole leg was used on dining chairs before the end of the century. This feature, on sideboards, seems to have been a bit later  say in the 1890s  but the design seems to have gathered popularity until its heyday in the 1930s. (See also `burr walnut bedappled’ in Design Data Sheets, page 37.) The ‘Queen Anne’ style, exemplified by the use of the cabriole leg, should not be confused with ‘Victorian Queen Anne’ which was a more Palladian, William Kent-ish architectural style with triangular or broken pediments popular around the 1870s and 1880s for cabinets.
The Queen Anne of Edwardian times is nearer the real thing, using cabriole legs and fiddle-shaped splats for chairs. It is not a pure style, however, and is distinct from exact reproductions of Queen Anne pieces.
An oak sideboard (also made available in mahogany at the time) whose only real claim to Queen Anne pretensions lies in its thin, weakly-designed cabriole legs. There is the high back of Victorian taste and the large central mirror. The open central section was rather hopefully called a cellaret by the makers but the bowl placed within it in the photograph has unfortunate connotations of night-time use. 1900-1910
A second variety of oak sideboard where, again, the only claim to Queen Anne styling is in the weak front cabriole legs.
The back is lower and squarer and someone has had the idea of attaching a carved embellishment to each door. Otherwise only cabriole legs give it the Queen Anne name, but at least they are on the back as well as
the front. 1900-1915
Still coming down, the back is lower and the flat-capped uprights of art nouveau contrast somewhat with the Queen Anne cabrioles. Made in mahogany; not a Queen Anne wood. The popular Edwardian semi-circular
central arch has had a Queen Anne carved ’shell’ put in it  very appropriate.
The back has gone entirely and the form is distinctly modern reproduction. Two variants on the figured walnut Queen Anne style sideboard showing a return to the ‘dressing table’ shape.
A burr walnut sideboard, this time with a short modern back and on paw-footed cabriole legs with rather bulbous toes and shell-carved knees. The carving on the door mouldings and the top edge has a rather
machine-reproduced look about it. 1920-1940
A rather fancy sideboard of a type associated with the Bath Cabinet Makers in the 1920s and 1930s. It is ‘Queen Anne’ with `William and Mary’ overtones and even William Kent type chamfered fluted edges. So here we go:
The legs are cabrioles with shell carving and scroll feet introduced c.1720. The stretchers connecting the legs and the scrolled carved cresting rails between them are associated with the period 1680-1700.
The oyster veneers and inlaid boxwood are c.1680-1700 but the ‘feather’ or `herring-bone’ banding belongs to 1700-1720.
The canted corners with fluting are an architectural motif associated with William Kent c.1720-1730.

SIDEBOARDS  art nouveau and progressive, 1890-1915
We have explained elsewhere how art nouveau is a term now used to describe furniture which many of its English original designers would have hotly refuted. The Scottish school and the Century Guild are another
matter, since their sinuous designs are much more akin to Continental art nouveau.
In this section we show sideboards from blatantly art nouveau originals to commercially watered-down versions and one or two other ‘progressive’ designs. There are many side cabinets which might have been
included here but we have preferred to retain them in the Cabinet section out of a sense of technically philological purity.
A sideboard-cum-side cabinet of interesting art nouveau decoration on serpentine bracket feet. Included here because surely the lower half with, its three central drawers and flanking cupboards, dictates that it was
intended as a sideboard. The piece has rather astonishing inlaid ‘tulip’ decoration with whip-lash curves and the two high side cabinets on the top half flank a much more conventional glazed cabinet of shorter
dimensions. The glazing bars have an additional curved bar each side of the central panel, as though the designer was tired of the verticality of the construction and wanted to relate something to the sinuous inlays.
Note the interesting use of diagonally-chequered stringing lines which give an arts and crafts touch.
A mahogany sideboard of interesting design which combines a traditional English form with the use of inlays of ‘whip-lash’ art nouveau floral decoration. The canted glazed side-cupboards are a design associated with Liberty’s, who espoused art nouveau and quaint furniture enthusiastically. C. 1900
An almost aggressively art nouveau oak sideboard, more on the Continental lines of the style than the British. The sides of the lower half, with their protruding tapering stiles in the ‘Eastlake’ manner, are broken by the sinuous curves of carved floral decoration. The bronze hinges, handles and applied tulips are over-decorative and there is a good deal of ostentation about the amount of carving used all over. Notice the flat capped finials along the top  a feature used by Voysey but emulated in a way he disliked intensely.
A nice small oak sideboard which shows how the principles of the arts and crafts movement could be applied to a piece with restraint. The bronze panel let in to the back with its typical spade shapes and the carved `trees’ in the door panels relieve the almost altar-like severity of the pointed uprights. 1900-1914
Commercial adaptations of the ‘art nouveau’ style in sideboards, from the use of leaded-light cupboards (an English favourite, this) to the simple, rather bankrupt embellishment of heart-shaped frets and added fretted
curves on (e). Notice the tapering upward columns on the sides of the top of (b), ending in flat caps  a feature of Voysey’s designs for several pieces of furniture.