Antique Sideboard

Regency gilt-gesso convex Wall Mirror, Victorian mahogany oval Sutherland Table, Louis XVI-style carved elm Fauteuil, Victorian rosewood revolving Piano Stool

A walnut and gilt painted triple Dressing Table Mirror, faults, 110cm. wide.

A George III mahogany tray-top Bedside Commode, with a tambour front above a pull-out base, on moulded square legs, 52cm. wide.

A George Ill-style large mahogany and crossbanded break-front Sideboard, 19th Century, the three frieze drawers flanked by a deep drawer and a cellaret drawer, the bell flower

carved terminals above tapered square legs and spade feet, 274cm. long.

A pair of early 19th Century-style black japanned and gilt ‘X’-framed Armchairs, with pierced trellis backs and button upholstered ivory dralon seats.

A Victorian oak and upholstered revolving tub-shaped Chair, covered in brown leathercloth; together with another tub-shaped Chair in matching upholstery, on turned legs and

castors.

A giltwood Standard Lamp, with a floral embroidered shade, on a fluted stem and carved tripod supports, 185cm. high.

A Regency gilt-gesso convex Wall Mirror, with an eagle cresting, 81cm. high.

A late George III mahogany small Chest, with ebonised stringing and four long drawers, on bracket feet, 80cm. wide.

A Victorian rosewood revolving Piano Stool, with an octagonal stem and triform base, on scroll feet, 50cm. high.

A 17th Century-style oak Joint Stool, with turned and square legs joined by stretchers, 47cm. wide.

A George Ill-style mahogany Armchair, with trellis splat and distressed green striped brocade slip-in seat, on tapered square legs.

A George III mahogany and satinwood banded Card Table, inlaid throughout with stringing, the breakfront top above tapered square legs, 92cm. wide.

A Victorian mahogany oval Sutherland Table, on turned legs with arched feet and castors, 99cm. wide when open.

A Victorian mahogany and beechwood adjustable Bed Table, 76cm. wide.

A gilt-gesso hanging Display Cabinet, 19th Century, with pierced trophy cresting and a pair of glazed doors, 80cm. wide.

A George III mahogany Chair, with
pierced vase-shaped splat and slip-in
pale-green velvet seat, on tapered square legs;
together with a George III mahogany Chair,
with pierced splat, slip-in gold damask seat and
chamfered square legs.

A pair of George III mahogany Dining Table Ends, with ‘D’-shaped tops, on tapered square legs and brass castors, each 98cm. wide.

A pair of Continental painted and parcel-gilt Chairs, late 18th Century, with pierced splats and rush seats, including loose velvet upholstered squabs, on fluted tapered square

legs joined by turned stretchers.

A Louis XVI-style carved elm Fauteuil,
with vellow damask upholstery, on fluted
turned legs.

A Dutch mahogany miniature Secretaire a Abattant of late 18th Century design, inlaid with multiple bandings and paterae, on tapered square feet, faults, 65cm. high by 34cm.

wide.

George III mahogany breakfront Library Bookcase, Regency rosewood Writing Table, George IV mahogany Serving Table and Cellaret

A George III mahogany
breakfront Library Bookcase, circa
1810, with the moulded cornice above
two pairs of lancet astragal doors
enclosing adjustable shelves, the lower
part enclosed by corresponding panel
doors with ebonised mouldings, on a
plinth base, 241cm. high by 246cm. wide;
7ft. llin. by 8ft. lin.

A George III mahogany small
Bureau, circa 1790, the fall outlined with
stringing and enclosing stationery
compartments, the four long graduated
drawers above bracket feet, 94cm. high by
76cm. wide; 3ft. lin. by 2ft. 4in.

A William IV rosewood Games
Table, circa 1830, the rectangular top
with a reversible sliding panel with
chessboard inlay revealing a
backgammon board, the columnar
turned stem on a shaped platform base
with bun feet, 73cm. high by 55cm. wide;
2ft. 5in. by lft. 9V2in.

A Regency rosewood Writing
Table, circa 1820, the rectangular top
with a leather-inset top and gadrooned
mouldings, the pair of frieze drawers
above a slide, the twin ring turned end
supports joined by a pole stretcher with
paterae mounted sides, on splayed legs
ending in chased brass castors, 75cm. high
by 112cm. wide; 2ft. 5J/2in. by 3ft. 8in.

A William IV rosewood Teapoy,
circa 1835, the circular top enclosing
four divisions, the gadrooned frieze
above a baluster turned and cabochon
carved support with scrolled acanthus
tripod supports, 48cm. diam.; lft. 7in.

A George III mahogany Chest,
circa 1760, the moulded top above two
short and three long graduated drawers,
on ogee bracket feet, 81 by 97cm. wide;
2ft. 8in. by 3ft. 2in.

A George IV mahogany Serving
Table and Cellaret, circa 1825, the
rectangular table top above an acanthus carved frieze, on reeded turned tapering legs, 94cm. high by 175cm. wide; 3ft. lin. by 5ft. 9in.; together with a matching mahogany

Cellarette of sarcophagus form, the moulded hinged top revealing lead-lined partitions, the panelled sides above gadrooned feet, 52cm. high by 71 cm. wide; lft. 8′/2in. by 2ft.

4in.

A Regency mahogany secretaire
Bookcase, circa 1810, the broken-arch
pediment with a stylised swag and
volutes, the pair of astragal doors
enclosing adjustable drawers, the writing
drawer revealing satinwood stationery
compartments, below are three long
graduated drawers, on turned feet,
230 by 105cm.

A Regency rosewood Chiffonier,
circa 1815, the raised back with an open
tier above a frieze drawer and a pair of
panelled doors, on later bun feet, 118cm.
high by 92cm. wide; 3ft. lO’fan. by 3ft.

A William IV mahogany breakfront Bookcase, circa 1835, the
chamfered cornice above four astragal
doors enclosing adjustable shelves, below
are three frieze drawers and four panel
doors enclosing adjustable shelves, on a
plinth base, 213cm. high by 234cm. wide;
7ft. by 7ft. 8m.

A George IV rosewood Cabinet, circa 1825, in two parts, the moulded cornice above a glazed panelled upper section enclosed by a pair of doors, the mirror-backed interior with

lined shelves, the projecting base with a pair of pleated fabric panel doors enclosing adjustable shelves, on a plinth base, 203cm. high by 127cm. wide: 6ft. 8in. by 4ft. 2m.

A George IV mahogany Cheval Dressing Mirror, circa 1820, the
rectangular plate with scrolled reeded supports joined by stretchers, on hipped splayed legs ending in brass paw feet and castors, 78cm. wide; 2ft. 61hin.

A George III mahogany oval pedestal Table, circa 1800, the tilt-top with later satinwood crossbanding, the columnar turned stem on quadruple splayed legs ending in brass

castors, restored, 132 by 108cm.; 4ft. 4in. by 3ft.61/2in.

A George IV rosewood Davenport, circa 1825, the leather-inset top with a rear pierced fret gallery including a pair of drawers, the pierced lyre-shaped supports with plume

splats, on platform base with a turned stretcher and scroll feet, 53cm. wide; lft. 9in.

A William IV mahogany
Partners’ Writing Table, circa 1835, the
moulded rectangular top with a tooled
leather inset and six opposing drawers,
the reeded turned legs on brass cappings
and ceramic castors, 111 by 180cm.;
3ft. Win. by 5ft. llin., bearing drawer
impress E. W. Hammond, 30 Bell Yard,
Lincolns Inn.

A Regency painted and gilt
Overmantel, circa 1815, the stepped
cornice above a circular convex plate
within green and gilt lattice frieze, the
bound cluster columns with acanthus
capitals enclosing a rectangular plate,
98cm. high by 132.5cm. wide; 3ft. 2l/2in. by
4ft. 4′Ain., plates later.

A George III mahogany tray-top Commode, circa 1790, the tambour front above a pull-out base, on square legs, 78cm. high by 51cm. wide; 2ft. 63Ain. by lft. 8in.

A painted canvas four-fold Screen, early 19th Century, decorated throughout with flowers and exotic birds within nailed borders, 160cm. high;
5ft. 3in.

A George III mahogany Library
Bookcase, circa 1780, the arched
dentilled cornice and blind-fret frieze
above a pair of geometric astragal doors
enclosing shelves, below are a pair of
panel doors enclosing two short and two
long crossbanded drawers, on a plinth
base, 272cm. high by 140cm. wide; 7ft. llin.
by 4ft. 7in.

A George III mahogany ‘D’-end
Dining Table, circa 1790, with a reeded
border, on tapered square legs ending in
brass spade feet and castors, altered,
173cm. long by 121cm. wide fully extended.

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
About 1770-1915
Inlaid mahogany bow-fronted sideboard, about 1780-1790.
Auseful piece of dining-furniture comprising a number of drawers and cupboards for the storage of cutlery, table linen, condiments and so on, which evolved during the 1770s from the very grand side-table and pedestal ensembles first designed by Robert Adam. In the late-18th/ early-19thC, they often incorporated a plate-warmer, wine cooler, cistern or cellaret, hence their original name, `cellaret sideboard’. Occasionally a pot cupboard was included, sometimes set discreetly in one side.
Usually replaced in large houses around 1825 by vast serving tables accompanied by chiffoniers. In Victorian times, sideboards were less easily defined. They can be of dresser form, or a smaller chiffonier type; some best described simply as cabinets.
About 1770-1810: Standard form had a central drawer flanked either side by drawers
(one shallow, one deep), and a single cupboard; or one of each. Cupboards may have dummy drawer fronts. Central recess fronted by shaped or arched apron; its back either open or solid; sometimes the cupboard set half-way back. All cupboards may be tambour-fronted. Central cutlery drawer compartmented and lined with baize.
Most were bow- or serpentine-fronted; some semi-elliptical or straight. Thick, flat, over-hanging top with flush edges. Majority on six square-sectioned, tapering legs; sometimes eight. After 1800, legs were often turned with ring mouldings; sometimes reeded or fluted. Drawers flush with carcase when inlaid (edged with stringing or cross-banding); cockbeaded when simply veneered.
Later versions with brass back-rail, either to support plate, or to suspend splashback curtain. Occasionally fitted with adjustable candleholders.
About 1800-1850: Previous type (with turned legs) joined by pedestal sideboards with central shallow drawer retained, but sides extending to floor to form pedestal cupboards. Either carved (often paw) feet, or continuous plinth. By 1810 pedestal could extend upwards too, joined at rear by shaped wooden splashback. Separate wine cooler (now often missing) placed in central recess.
Majority in Grecian style; early Victorian plainer.
1850 onwards: Considerable variation. Made in all revival styles  Elizabethan, Gothic, Renaissance, Chippendale, Sheraton and Queen Anne. Many highly carved; some cheaply made and poorly executed. Later
Mahogany sideboard with brass back-rail, about 1800.
examples (of all types) sometimes with mirror at back (now usually removed).
Principally mahogany; occasionally satinwood. Rosewood during Regency and early Victorian periods. Occasionally walnut around 1850; birch or satin maple (to simulate satinwood) on cheaper reproductions towards 1900. Pine or mahogany for carcases; oak or mahogany for drawer linings. Satinwood and other light-coloured woods used for decorative inlay.
Standard methods employed; majority veneered. See CHESTS OF DRAWERS, p. 93, for drawer construction.
Watch out for alterations. The comonest include: I Removal of brass rails  look for filled holes at rear of top. 2 Reduction in depth  examine back for newly cut and stained timber, and look inside the carcase for cut-off drawer runners. If in original condition, the `wear’will stop at least 1/2 inch from the back. 3 Replacement of less saleable turned legs with square-sectioned ones. If correct, the legs will extend upwards to form the stiles of the carcase and the grain of the timber will be continuous. If wrong, the new join will be concealed either by a fine line of inlay, or by an applied astragal moulding, and the grain will not match above and below.
Watch also for quality Edwardian reproductions of Sheraton types. Their design may look authentic, but the veneer will be thin, and machine-cut; the dovetails, machine-cut, will look regular; and the legs will probably look too thin. The poorest of the reproductions will be recognizable by their lack of proportion and sometimes an odd combination of features.
1930s Art Moderne sideboard.
Restrained inlay of light-coloured woods until about 1810; mostly stringing lines; some fan shapes and oval paterae. Ebony or brass inlay of classical design in early 19thC.
Handles: Standard for their day (see p. 93). Bold lion’s mask ring handles especially popular after 1800, and on reproductions.
Stain or varnish followed by wax polish. French polish after about 1820. Dark stain on Victorian ‘Elizabethan’ and Renaissance. Art Furniture pieces ebonised.
VALUES
Prices for the best late-18thC inlaid sideboards in original condition are in five figures; post-1800 versions (with turned legs) about a quarter to half the price. Pedestal sideboardsnever very popular  even less. Plus points are decorative inlay or carving, small size and surviving interior fittings.
Regency pedestal sideboard, about 1810, mahogany with ebony inlay.