Antique Sideboard

George II mahogany Bookcase, Edwardian burr walnut veneered and inlaid Occasional Table, Victorian rosewood Centre Table, George III mahogany carver Chair

A George II mahogany Bookcase, with a
pair of fielded panel doors above candle slides,
100cm. wide, formerly with a cabinet base.

Seven various Chairs, comprising: two
ash spindle-back rush-seat chairs, early 19th
Century, including an armchair, an ash
ladder-back rush-seat chair, a Regency
rail-back solid-seat armchair, on sabre legs, a
pair of Victorian balloon-back occasional
chairs, and a simulated bamboo armchair.

A Victorian quarter-veneered oval
pedestal Table, with central inlaid panel, on
five column supports with four carved scroll
legs, 117cm, wide.

An Edwardian burr walnut veneered
and inlaid Occasional Table, the rectangular
fold-over swivel top of crossbanded kingwood,
the undershelf with four sliding trays, on
square tapering legs joined by further concave
sided undershelf, 54cm. wide.

A Louis XV-style giltwood Fauteuil, the
rectangular back with foliate scroll cresting, the
back, arms and seat upholstered with tapestry
panels, on cabriole legs with scroll feet.

A mahogany Occasional Table, the
circular tilt-top on a turned tapering pillar with
triple splayed legs, 76cm. diam.

A mahogany Card Table, the serpentine fold-over top with green baize inset above fluted frieze, on square tapered moulded legs with block feet, 81cm. wide.

A Victorian rosewood Centre Table, the serpentine top above plain frieze, on cabriole legs and scrolled ball feet, 106cm. wide.

A Regency-style giltwood and cobalt
glass mounted rectangular Wall Mirror,
110cm. high.

A Victorian oak extending Dining Table, the chamfered rectangular top on turned pillar legs, with two leaves and a winder. 172cm. extended.

A George III mahogany Washstand, v»iih twin opening top and sliding mirror above a door, a drawer and a sliding commode base, with twin brass handles, faults, 90cm. high

A George III oak Chest, of two short
and three long drawers, on bracket feet, brass
handles.

A George III mahogany carver Chair,
the reeded square back with pierced rails, with
drop-in seat, on square legs with plain
stretchers, some repair.

A part set of Georgian elm Country
Chairs, including four dining chairs and a
carver, the square back with reeded vertical
splats, oak fixed seats, on square legs with
plain stretchers.

An oak free-standing Bookcase, with
pierced gallery above four shelves, 134cm. high.

A George III oak Chest, of two short and three long graduated drawers, on bracket feet, brass handles, 92cm. wide.

A George III oak Chest, of three short and three long graduated drawers, on bracket feet, with shaped apron and brass handles, 97cm. wide.

A carved oak Chest, of two short and three long graduated drawers, each carved with swirled foliage designs flanked by quarter pilaster columns, on stub feet, brass handles,

99cm. wide.

A George III mahogany Chest, of two short and three long graduated drawers, on compressed feet, replacement handles, faults, 102cm. wide.

A gilt-gesso pier glass Mirror, 19th
Century, with elaborate cast foliate and boss
decoration flanked by similarly decorated and
twist columns, 122cm. high by 72cm. wide.

LOMBARD WALNUT COMMODES, Louis XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD AND AMARANTH COMMODE, LOUIS XV ORMOLU AND BRONZE MANTEL CLOCK, Louis XVI SIDE CHAIRS

AN UNUSUAL SUITE OF GERMAN GROTTO SEAT FURNITURE comprising a three-seat
settee, six armchairs and a rocking chair, the tall carved silvered backs and seats with gilt-
wood dolphin arms on rockwork legs, the rocking chair on scroll dolphin supports and
the rockers with dolphin heads, 18th/19th Century
Provenance: Schloss Rheinsberg
A similar armchair, thought to have been made about 1760/70, is in the Kunst¬gewerbe Museum, Berlin, Schloss Kopenick, and is illustrated by Heinrich Kreisel, Die Kunst des

Deutschen Mobels, vol. II, figure 1111

A PAIR OF LOMBARD WALNUT COMMODES, each with a rectangular top, a drawer in the concave frieze, one also with a slide, with two further drawers in the concave lower part, on

cabriole legs, 2ft. 8in. high by 3ft. 5in. wide (81cm. by 104cm.) circa 1760

A Louis XV/XVI TRANSITIONAL TABLE signed Dusautoy and stamped JME, and with silvered mounts, the oval white marble top with a three-quarter gallery, the frieze inlaid with

flowerhead trellis and with a fitted drawer on one side raised on cabriole legs inlaid with chains of husks and ending in scroll sabots, and joined by a kidney-shaped stretcher

inlaid with a panel of flowers flanked by flowerhead trellis, circa 1780
Jean-Pierre Dusautoy, 1719-1800, was received Master in 1799

A LATE LOUIS XV GILTWOOD VOYEUSE, indistinctly stamped, probably Chevigny, with padded toprail, stufied lyre-shaped back, stufied saddle-shape seat and ^fluted tapering legs,

circa 1765
Tean Nicolay L’Art et la Maniere des Maitres Ebenistes Francais au XVIIIe Siecle, page 102, fig. C, illustrates a very simUar chair by Claude Chevigny, received Master in 1768

A Louis XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD AND AMARANTH
COMMODE stamped J. C. Stumpf/, with mottled grey and white marble top, the front
with a gently swelling centre section and containing three small and two long drawers, the
rounded corners inlaid to simulate fluting, on cabriole legs, 2ft. Hin. high by 4ft. 4V2in.
wide (89cm. by 134cm.) circa 1775
Jean-Chrysostome StumpfT, 1731-1806, received Master in 1766

A FINE AND RARE MAHOGANY BUREAU attributed to Abraham Roentgen, the top
and shaped fall-front inlaid with a chequer banding, the interior fitted with an arrangement
of shaped rosewood-veneered drawers above a plain frieze drawer and shaped kneehole flanked
to each side by a deep drawer with tambour lid and hinged opening to reveal tulipwood-
veneered drawers, on cabriole legs with brass mounts, 3ft. high by 3ft. 3?2in. wide (91.5cm. by
100.5cm.) circa 1765, Neuwied
Hans Huth, Roentgen Furniture, London 1974, illustrates a very similar bureau, plate 18, in the Neues Schloss at Baden Baden

A Louis XV ORMOLU MANTEL CLOCK, the (later) enamel dial and movement signed Balthazard A Paris, in a waisted case with a reclining cherub cresting, the whole profusely chased

with shellwork, scrolls and leaves, 20in. high (51cm.) circa 1760

A LOUIS XVI ORMOLU CARTEL CLOCK with a 9in. (cracked) enamel dial and pierced
gilt hands, the movement with rectangular plates and outside count wheel, the case sur-
mounted by an urn and with pineapple finials, acanthus flanking the dial and a female
mask below, 37in. high (94cm.) circa 1780

A LOUIS XV/XVI TRANSITIONAL BOIS SATINE COMMODE, the shaped moulded
brown and green mottled marble top above an ormolu-mounted frieze divided as two
drawers above two drawers inlaid with ribbon tied musical instruments, sheet music and
flowers with a moulded ormolu mount flanked by an ormolu moulded panel inlaid with
drapes and above an ormolu-mounted frieze on ormolu moulded cabriole legs, 2ft. lO’Mn.
high by 4ft. 2in. wide (87cm. by 127cm.) circa 1775

AN EARLY LOUIS XVI MARQUETRY SECRETAIRE A ABATTANT with a mottled grey
marble top and a drawer in the frieze, the fall-front inlaid with a spray of flowers and
leaves and enclosing a fitted interior, with a pair of doors below, 4ft. 6in. high by 2ft. 7in.
wide (138cm. by 79cm.) circa 1775

A SMALL LOUIS XVI QUARTER-REPEATING ORMOLU CARTEL TIMEPIECE, the (chipped) 4V2in. enamel dial signed Olin a Paris, the similarly signed movement with circular plates and

repeating on one bell Struck by two hammers, the case surmounted by an um and decorated with scrolls, acanthus and swags of bay, 18in. high (46cm.)        ?800-1200

A LATE LOUIS XV ORMOLU AND BRONZE MANTEL CLOCK, the case stamped St. Germain, the enamel dial signed Charles Le Roy A Paris and with pierced gilt hands, the similarly signed

movement with later escapement and outside numbered count wheel, the case surmounted by a lamp and resting on a fluted column, a cockerel at one side and a bronze seated female

figure at the other, the base with a band of fret hung with swags of leaves, on ebony-veneered base mounted with trefoils, 22in. high (56cm.) circa 1770
Jean-Joseph de Saint Germain is mentioned in L’Almanach General des Marchands in 1747 and 1772, with his address, rue Saint Nicolas in the Faubourg Saint Antoine

AN EARLY LOUIS XVI ORMOLU-MOUNTED BLEU-TURQUIN MARBLE VASE of navette shape, the lid surmounted by a pomegranate finial with leaves below, the pierced vitruvian scroll frieze

centred at each side by a mask with swags of oak branches, the leaf-cast fluted handles supported by leafy moustachioed masks, the gadrooned body raised on a waisted socle and

fluted and bead-moulded plinth, Whin. high (31.5cm.) circa 1775

AN UNUSUAL LOUIS XVI GILTWOOD BAROMETER with an oval paper register
plate signed Par Sormanif Rue de L’Arbre sec No. 17 a Paris, with a thermometer in the
centre, the frame with swags of flowers and leaves, an um cresting and a sunburst mask
below, 43V2in. high (110cm.) circa 1780

A Louis XVI ORMOLU-MOUNTED MAHOGANY REGULATOR of long duration, the
dished 13in. enamel dial signed Lepaute A Paris and with pierced engraved gilt hands,
steel centre seconds hand and an enamel calendar ring below VI mounted on a wheel
revolving once a year, the weight-driven movement with shaped plates, piain pillars, four
wheel train with delicate wheelwork and incomplete pin-wheel escapement, the massive
compensation gridiron pendulum with knife-edge suspension from a bracket attached to
the backboard, temperature indication and lenticular bob, the case with a moulded rec-
tangular hood and mounted with bands of petal moulding, flowerheads and a female mask
in the waist door, 7ft. Hin. high (240cm.) circa 1785, plinth lacking

A Louis XVI ORMOLU-MOUNTED KINGWOOD AND TULIPWOOD MARQUETRY CONSOLE DESSERTE, stamped J. Stockei JME, bow-fronted and with a white marble top, the frieze inlaid with an

interlaced geometric strapwork design and containing a central drawer flanked by pivoted segment-shaped drawers, the Supports inlaid to simulate fluting, and with a panelled

back, conforming shelf stretcher, and turned tapering legs also inlaid to simulate fluting, 2ft. Hin. high by 3ft. 4in. wide (88cm. by 102cm.) circa 1775
Joseph Stockei, 1743-1802, was received Master in 1775

A PAIR OF LOUIS XVI GILTWOOD FAUTEUILS, one stamped G. Jacob, each arched
top-rail centred by flowers and with stuffed backs, padded arms with scroll terminais and
stuffed seats on stop-fluted tapering legs, circa 1780
Georges Jacob, 1739-1814, received Master in 1765

A SET OF FOUR Louis XVI PAINTED ARMCHAIRS with rectangular moulded backs,
downswept moulded panelied arms with scroll handles on stop-fluted supports, the stuffed
seats on moulded seatrails and turned tapering fluted and stop-fluted legs headed by
flowerheads, circa 1780, one pair decorated in off-white, the other in off-white and beige,
one reduced in height

A PAIR OF Louis XVI SIDE CHAIRS, similar, but with rounded front corners,
circa 1780

A Louis XVI CARVED GILTWOOD AND GESSO CONSOLE with fleur de peche marble
top, the frieze carved with leafy wave motif and hung with garlands of flowers, raised on
fluted tapering legs, the guilloche-carved stretcher centred by a flower-draped um, 2ft. 9in.
high by 2ft. 11 in. wide (84cm. by 89cm.) circa 1780

LOUIS XVI MARBLE, BRONZE AND ORMOLU PENDULE, DIRECTOIRE ORMOLU-MOUNTED MARBLE MANTEL CLOCK, XVI ORMOLU-MOUNTED MAHOGANY SIDE CABINET, ORMOLU AND BRONZE WALL CLOCK

A RARE AND VERY IMPORTANT LOUIS XVI MARBLE, BRONZE AND ORMOLU PENDULE
A CERCLES TOURNANTS attributed to Thomire, the enamel hour and minute rings decorated in the manner of Coteau with exceptionally finely drawn gilt and polychrome scrollwork, the

pointer at the end of a spray of roses, the movement with inverted anchor escapement and numbered count wheel, the case in the form of a drum-shaped altar faced with a

pro¬cession of well-modelled figures bearing offerings to the sacrifice, one leading a bull, and with a ram’s mask at either side, on the right a priestess stands before a

smoking tripod making libation over the flame, her acolyte kneeling before her between a red marble urn and a bunch of summer flowers spilling from a basket, the base mounted

with a leafy mask between two gryphons and acanthus scrolls enclosing trophies, the curved ends with garlands of fruit and flowers, 2V/2in. high by 24in. wide (54cm. by 61cm.)

circa 1785
Design for Lot 99 attributed to Thomire, published by kind permission oj the Musee des Arts Decoratifs, Paris
An almost identical clock is shown in a design attributed to Thomire in the Musee des Arts Decoratifs, Paris. The design, which shows alternative arrangements for a chimney

piece, is probably part of a bronzier’s catalogue rather than an actual project for decoration
A similar clock was exhibited The Age of Neo-Classicism, London 1972, catalogue number 1620, it was also attributed to Thomire
Another version is at Longleat House in the Collection of the Marquess of Bath and is illustrated in the guidebook
A third version was sold from the Collection of the Countess Bismarck, Sotheby Monte Carlo, 26th May 1980, lot 656

A Louis XVI ORMOLU-MOUNTED MARBLE MANTEL CLOCK, the enamel dial signed Blanc l’aine et Compe. a Paris and with pierced gilt hands, the movement with silk suspension and outside

count wheel, the case surmounted by an urn and supported between two shaped columns headed by porcelain plaques, the base faced with mounts composed of eagles’ masks and

flowering scrolls, 20V2in. high (52cm.) circa 1790

A GOOD ORMOLU, BRONZE AND WHITE MARBLE MANTEL CLOCK, the enamel
dial signed Polin Vaine A Paris and with pierced engraved gilt hands and calendar
dial with red numerals, the movement with silk suspension and outside count wheel, the
case surmounted by a bacchante and in the form of a litter borne on the Shoulders of two
putti astride seated goats, the breakfront base mounted with infant musicians among
clouds, 20in. high (51cm.), late 18th/early 19th Century    ?2500-3500
For another example of the same model see Tardy, La Pendule Francaise, Volume 2, page 122. A similar clock was exhibited in the 1968 Antique Dealers’ Fair at Grosvenor House

A Louis XVI ORMOLU-MOUNTED GREY MARBLE MANTEL CLOCK, the enamel
dial signed Martinet London and with pierced gilt hands and steel calendar hand, the
movement with outside count wheel and altered suspension, the arched base surmounted
by a fiaming torch and quiver and with fluted pilasters flanked by fruit and flowers below
the dial, the inverted breakfront base faced with foliate mounts, Whin. high (47cm.) circa
1785
Presumably made for the English market

A DIRECTOIRE ORMOLU-MOUNTED MARBLE MANTEL CLOCK, the (chipped) enamel
dial signed Le Cour a Paris, the movement with silk suspension and outside count wheel,
the case surmounted by an um and supported between two verde antico columns of rec-
tangular section headed by vases of flowers, on a stepped rectangular base, 20in. high (51cm.)
circa 1795

A LATE Louis XVI ORMOLU-MOUNTED MAHOGANY SMALL COMMODE, with
Belgian fossil marble top, three long drawers, fluted rounded corners and fluted tapering
legs, 2ft. Hin. high by 2ft. lOin. wide (89cm. by 86.5cm.) circa 1785

A PAIR OF LOUIS XVI ORMOLU-MOUNTED MAHOGANY CONSOLES DESSERTES, the wedge-shaped white marble tops with pierced three-quarter galleries, each with a drawer in the panelled

frieze, raised on fluted supports joined by conforming shelf stretchers, with turned tapering legs, 2ft. 9in. high by 2ft. 7in. wide (84cm. by 79cm.) circa 1785

A Louis XVI GILTWOOD ARMCHAIR stamped P. Gerard, the rectangular back
with a bead moulded frame, the vase-shaped splat hung with laurel swags and trumpets,
the padded arms on downcurved moulded supports, with stuffed seat, on turned fluted
tapering legs headed by paterae, circa 1780
Ponce Gerard received Master 13 May 1778

A PAIR OF LOUIS XVI MAHOGANY SIDE CABINETS, the mottled grey marble tops with three-quarter galleries, the friezes with ormolu bead and petal mouldings, the doors each with

three mirrored panels enclosing shelves, flanked by reeded pilasters, on toupie feet, 3ft. 6in. high by 2ft. 9V4in. wide (107cm. by 84cm.) circa 1785, mirror panels later

A DIRECTOIRE BRASS-MOUNTED MAHOGANY COMMODE, the breche violette marble
top with a pierced three-quarters brass gallery and with three long brass-panelled drawers,
the top one with three small panels and with original rectangular loop handles, the pro-
jecting rounded corners inlaid with brass fluting, raised on toupie feet, 2ft. Whin. high
by 4ft. 1 ‘Mn. zoide (88cm. by 126cm.) circa 1790

A A PAIR OF ORMOLU CHENETS, each in the form of a cherub, issuing from boldly
cast leafy scrollwork and warming his hands at a flaming brazier, on fluted and bead-cast
bases, W/nn. high by 15in. wide (34cm. by 38.5cm.) 19th Century

A PAIR OF ORMOLU-MOUNTED GREY MARBLE VASES in Louis XVI style, with
pomegranate fmials, lion mask handles, leafy socles and square bases, 18in. high (64cm.)
19th Century

A Louis XVI ORMOLU-MOUNTED MAHOGANY SIDE CABINET with white marble
top, the panelled frieze with beaded borders above three glazed doors also with beaded
borders and fianked by fluted and stop-fluted pilasters, on fluted tapering legs, the back
with interlaced double V mark, 2ft. Hin. high by 6ft. V2in. wide (89cm. by 185cm.) circa
1785
The double V inventory mark is traditionally associated with Versailles, though it is also recorded as being the mark of the Chateau de Wideville

AN ORMOLU AND BRONZE WALL CLOCK, the circular white enamel dial and
movement signed Planchon a Paris, the case in the form of a drum suspended from ribbons
with an eagle and laurel leaves below, 21 in. high (55cm.) the back stamped MP and
numbered 9572,19th Century

A LOUIS XVI PAINTED HALF-TESTER BED, with waved moulded cornice
supported on two fluted posts, with arched stuffed ends faced by fluted and leaf-carved
columns, raised on fluted tapering feet, 4ft. 9in. wide by 7ft. long (145cm. by 213cm.) circa
1780

A PAIR OF LOUIS XVI BRONZE AND ORMOLU CANDLESTICKS, each with a leafy nozzle held in the arms of a winged bronze cherub who balances on one foot on a cloud, on cylindrical white

marble pillar with square base, 103Ain. high (27cm.) circa 1790

A PAIR OF LOUIS XVI ORMOLU-MOUNTED PORPHYRY VASES of urn shape with
satyr mask handles supporting swags of flowers, the gadrooned leaf-cast socles on rec-
tangular bases, Hin. high (28cm.) circa 1780, on later rectangular ormolu-mounted blocks,
WMn. high overall (39cm.)

A PAIR OF Louis XVI BRONZE, GILT-BRONZE AND WHITE MARBLE CANDELABRA,
each in the form of a cherub with scant drapery holding a flaming torch in each hand
forming the candie nozzles, standing on drum-shaped marble plinths with rectangular
bases, Whin. (42cm.) circa 1780

A LOUIS XVI ORMOLU-MOUNTED BLACK AND WHITE MARBLE MANTEL CLOCK,
the enamel dial signed Piolaine a Paris, and with pierced gilt hands and Arabie chapters,
the movement with outside count wheel and altered suspension, the case surmounted
by an eagle and with fluted columns backed by corbels faced with chains of flowers, ail
headed by urns of flowers, the base mounted with floral scrolls, 21 ‘hin. high (54.5cm.)
excluding later feet, circa 1785

A DIRECTOIRE MAHOGANY SECRETAIRE A ABATTANT, the moulded comice above a frieze set with a brass band, above a drawer and a fall-front enclosing a fitted interior, with three

further drawers and a drawer in the base flanked by fiuted columns, on turned feet, 4ft. IVhin. high by2ft. 6in. wide (151cm. by 76cm.) late 18th 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.

A Louis XV PROVINCIAL WALNUT COMMODE - GERMAN MAHOGANY ARMOIRE - ITALIAN WALNUT PARQUETRY COMMODE - DANISH OAK AND MARQUETRY BUREAU CABINET

A Louis XV PROVINCIAL WALNUT COMMODE, the
inverted serpentine front with three short and two long
moulded panelled drawers, with moulded corners and
panelled sides, 2ft. 6V2in. high by 4ft. 2in. wide (80cm. by
127cm.) mid-18th Century.

A Louis XV PROVINCIAL BEECHWOOD COMMODE,
the moulded top with rounded corners, with two short
and two long drawers, each with a simple indsed
moulding, 2ft. 6in. high by 3ft. lin. wide (76cm. by 94cm.)
circa 1760, now painted with scrolls and flowers on a
duck-egg blue ground.

A DUTCH SATINWOOD BUREAU, the fall front enclosing a fitted interior with drawers and pigeon-holes surrounding a central cupboard flanked by pull-out pilasters with leather book spines, the bombe base with two short and two long drawers on bracket feet, 3ft. 5in. high by3ft. 6′/2in. wide (104cm. by 108cm.) circa 1760.

A Louis XV PROVINCIAL BEECHWOOD ARMOIRE
with moulded cornice, the frieze applied with scrolls and
the door with a panel with an arched top, the drawer
below with similar decoration, on short scrolled feet,
6ft. lO’Mn. highby3ft. lOin. wide (210cm. by 117cm.) circa
1760.

A DUTCH WALNUT AND MARQUETRY WARDROBE, the serpentine moulded cornice centred by an asymмmetrical C-scroll bracket above a pair of asymmetrical panelled doors set with flower vases within floral marquetry, the lower part with an ogee front and two short and two long drawers with a curved apron set with a shell and flanked by ogee canted corners on lion-paw bun feet, 8ft. ‘Mn. high by 5ft. wide (245.5cm. by 172cm.) mid-18th Century, marquetry possibly later.

A GERMAN MAHOGANY ARMOIRE, with a moulded
swan-neck cresting and a single arched door, with a
drawer below, with canted corners, 7ft. 7in. high by
4ft. 4in. wide (231cm. by 132cm.) circa 1750, with 19th
Century satinwood inlay and scroll feet.0

A  SIX-FOLD  PAINTED  LEATHER SCREEEN  in the
manner of Pieter Casteeh, with domestic and wild birds
in an arcadian setting with a chained fox in the bottom
left-hand corner, each fold 9ft. 5V2tn. high by 1/t. 9′/2in.
wide (288cm. by 53cm.) circa 1760.

A NORTH ITALIAN WALNUT ARMCHAIR with arched
stuffed back, stuffed seat, moulded arms and cabriole
legs joined by stretchers, circa 1740.

A DUTCH MARQUETRY MINIATURE BUREAU, the
sloping front enclosing a fitted interior and with a
drawer in the shaped frieze, the exterior densely inlaid
with floral marquetry partly in bone on a walnut ground,
Whin. high by 19in. wide (29cm. by 48.5cm.) mid-18th
Century.

A NORTH ITALIAN WALNUT PARQUETRY COMMODE,
the serpentine moulded top centred by a quarter-veneered
banded panel with fleur-de-lys corners in walnut, above
three long drawers inlaid with a banded cartouche-
shaped panel and with shaped banded sides, on short
cabriole legs, 3ft. 3in. high by 3ft. Whin. wide (99cm. by
121cm.) circa 1760.

A PAIR OF CARVED WALNUT FAUTEUILS
with moulded flower-carved frames, narrow upholstered backs,
stuffed serpentine-fronted seats and cabriole legs, circa 1760, North German or Scandinavian.

A DUTCH MAHOGANY BUREAU in two parts, the sloping front
enclosing a fitted interior incorporating a well,
with one convex and two graduated long drawers, the
sides with convex indentation and fluted chamfered
corners and apron, on reeded block feet, 3ft. 9in. high by 3ft. Stein, wide (114cm. by 106cm.) circa 1780.

A VlENNESE MAHOGANY AND CHERRYWOOD WORK
TABLE, the hinged top with a fitted interior on elegant
lyre shaped trestle supports joined by a platform stretcher,
on short sabre legs, 2ft. 73Ain. high by lft. 7in. wide
(80cm. by 48cm.) circa 1830.

A LOUIS XVI PROVINCIAL ELMWOOD POUDREUSE
with a sliding mirrored centre section flanked by two
hinged compartments above a candle-slide and three
fneze dbors, on square tapering legs ending in block
sabots, 2ft.high by 2ft. 5lMn. wide (73cm. by
75cm.) circa 1790.

A DUTCH MARQUETRY AND MAHOGANY CARD
TABLE, the hinged swivelling top with baize-lined
interior enclosing a well, on square tapering legs,
2ft. 7in. high by2ft. 7′Mn. wide (78.5cm. by 79.5cm.) circa
1790.

A GERMAN MARQUETRY CYLINDER BUREAU,
the top inlaid with linked hearts, the cylinder front
inlaid with a lozenge of flowers and opening in conjunction
with the writing surface to reveal a fitted interior with drawers, with three long drawers below the lowest one inlaid with a cube parquetry lozenge, the sides inlaid with ovals, on square tapering feet, 3ft.

A DANISH OAK AND MARQUETRY BUREAU CABINET,
the upper part with a pierced cresting and blind-fret comice
above a pair of panelled doors inlaid with lozenge marquetry
panels, the lower part with a similarly-inlaid sloping
enclosing a fitted interior, above four long drawers on
fluted bracket feet, 7ft. 4lkin. high by 4ft. wide (224cm. by 122cm.) circa 1785.

A GERMAN WALNUT COMMODE with two long
drawers and with broad crossbanding and narrow
chequered stringing, on square sabre legs, 2ft. 5in. high
by 3ft. lOin. wide (74cm. by 117cm.) circa 1780, possibly
originally taller.

A DUTCH MAHOGANY OPFLAPTAFEL, the hinged lid
lined on the underside with four hinged shelves above a
hinged flap enclosing a well, the front with two small
drawers flanking a well above a pair of small doors ail
outlined with chequered stringing and with fluted
canted corners, 2ft. 8in. high by 3ft. 9in. wide (81cm. by
114cm.) circa 1780.

A DUTCH MAHOGANY CHIFFONIER, the six drawers
inlaid with fan medallions, the chamfered corners inlaid
with continuai chevron design, the sides inlaid with
tassel and ribbon-tied cords, 4ft. lO’Mn. high by 3ft. 3in.
wide (149cm. by 98cm.) circa 1790.

MAHOGANY TOILET MIRROR - MARBLE-TOPPED SERPENTINE MARQUETRY COMMODES - BOW-FRONT CHEST - NORTH COUNTRY WINDSOR ARMCHAIRS - PAINTED D-SHAPED SIDE CABINET

A GEORGE III MAHOGANY TOILET MIRROR with rectangular crossbanded frame,
the supports with acorn finials and the base with a pair of drawers, on bracket feet, lft.
11 in. wide (58cm.)

A FINE PAIR OF GEORGE III MARBLE-TOPPED SERPENTINE MARQUETRY COMMODES
in the manner of John Cobb, each with a moulded mottled rust and beige marble top, the
frieze veneered in satinwood and inlaid with trailing flowering stems tied in the centre by
a ribbon, the front and sides in quarter-banded kingwood and with four giant satinwood
ovals finely inlaid with ribbon-tied panels of flowers, the projecting corners and sides
inlaid with garrya and raised on short square tapering legs, one pair of doors enclosing a
pair of adjustable shelves, the other with two pairs of four tulipwood-crossbanded
satinwood drawers, 2ft. 10′Ain. high by 3ft. Win. wide by 2ft. deep (87cm. by 117cm. by
61cm.) circa 1775.

A GEORGE III PAINTED D-SHAPED SIDE CABINET, the top with a border or ribbon-tied
flowers, a pair of doors and side panels each with panels of flowers in ivory and rust,
all on a dark brown ground, on four square tapering legs with block feet,
6in. wide(92cm. by 107cm.) circa 1790, decoration restored.

A GEORGE III MAHOGANY TOILET MIRROR, the shield-shaped plate with
crossbanded surround and with three drawers in the bow-fronted base, lft 7′Ain wide
(48.5cm.) circa 1785.

A LATE 18TH CENTURY JAPANNED CHEST OF FOUR LONG DRAWERS with a
moulded top and bracket feet, decorated throughout in gilt and red with sprays of flowers
on a black ground, 2ft. Win. high by 3ft. 8in. wide (87cm. by 112cm.) circa 1780, decoration
renewed.

A CIRCULAR PLATE PAIL with piain tapering cylindrical body, two brass bands
and hinged loop handle, lft. 2′Ain. high by lft. 23Ain. diameter (36cm. by 37.5cm.) circa 1750.

A GEORGE II CIRCULAR MAHOGANY PLATE PAIL, the slatted body with a raoulded
brass rim with hinged loop handle and piain brass base band, lft. high by ll3Ain. diameter
(30.5cm. by 30cm.) circa 1750.

A GEORGE II MAHOGANY PEAT BUCKET with slightly tapering horizontally
ringed body, two brass bands and hinged loop handle, lft. 3lhin. high by lft. 2V2in.
diameter (39.5cm. by 37cm.) circa 1750.

A SERPENTINE-FRONTED STEEL BASKET GRATE of George III design, the pierced
frieze applied with ovals and raised on a pair of circular tapering pillars, with four urn
finials, 2ft. 3in. wide (69cm.); and a set of three steel fire irons with urn finials; and a
serpentine-fronted pierced steel fire curb with a design of rococo scrollwork and a pair of
gryphons, 4ft. wide (122cm.).

A GEORGE III MAHOGANY CHEST of three long drawers, with a moulded top and
bracket feet, 3ft. wide (91cm.) circa 1800.

A LATE GEORGE III MAHOGANY BOW-FRONT CHEST of four graduated long drawers with a brushing slide and splayed bracket feet, 3ft. 3in. wide (100cm.) circa 1800

A REGENCY MAHOGANY BOW-FRONT CHEST of two short and three long well figured drawers with turned hardwood handles inset with mother-o’-pearl dises, on splayed bracket feet, 3ft. 4V2in. high by 3ft. 5in. wide (102.5cm. by 104.5cm.) circa 1815.

A SET OF THREE REGENCY “BAMBOO” CHAIRS including a pair of Armchairs, the
backs and arms filled with spindles, with rush seats, carved throughout to resemble
bamboo, circa 1810, now painted blue on pale grey, the side chair showing traces of the
original painted bamboo decoration.

A PAIR OF EMBOSSED BIRD PICTURES in the manner of Samuel Dixon, each with an exotic coloured bird, one perched on a flowering tree, the other accompanied by (24cm. by 19cm.) thtrd quarter ^Century,^ modern white and gilt frames.

A PAIR OF EMBOSSED PAPER FLOWER PICTURES in the manner of Samuel Dixon each with a spray of flowers tied with a blue ribbon and including Auricula and NaTciLs, in original japanned frames decorated with gilt flowers on blac:9^by Vhin. (25cm. by 19cm.) third quarter 18th Century.

ANOTHER PAIR, similar, min. by Vkin. (25cm. by 19cm.).

A REGENCY PENWORK GAMES BOX of elongated octagonal form, the lid with
chinoiserie scene of two men carrying a lady on a hammock to a pagoda, the sides
decorated with gryphons and scrollwork all in black and white and enclosing
compartments with engraved mother-o’-pearl tiles and fish counters, on eight gilt-metal
bail feet, 8Van. wide (21cm.) circa 1805.

A REGENCY PENWORK TEA CADDY, the domed lid with a chinoiserie scene of a
man and woman rowing on a lake with swans and pagodas, the body with slightly tapering
sides and chequered edge to the lid above an elaborate foliate design, the interior with a
glass mixing bowl and a pair of removable canisters, with hinged maplewood lids, lft. 2in.
wide (35.5cm.) circa 1805.

A “HARLEQUIN” SET OF EIGHT GOOD NORTH COUNTRY WINDSOR ARMCHAIRS in
yew and elmwood, of rieh colour, each arched back with a pierced double splat flanked by
dowels, the curved arms on turned supports and the shaped elm seat on turned legs and
H-stretchers, second quarter 19th Century.

A ROCKING CHAIR of very similar design, on plain rockers, second quarter 19th
Century.

English Sideboards

In England, dining-room furniture only began to develop as functional purpose-made pieces from c.1730 onwards, with side tables made specifically for serving rather than merely displaying dishes. The first recognizable sideboards were contemporary with the work of the Adam brothers (the middle decades of the eighteenth century) and consisted of a heavy side table flanked by two pedestal cupboards topped with urns in the classical manner. These were ingenious all-purpose dining-room fittings, with knife urns, lead-lined
containers for keeping hot and cold water for washing glasses and cutlery, racks for hot plates, cellarettes for bottles and, frequently, pot-cupboards for the gentlemen’s after-dinner use.
From c.1770 the size of the sideboard became more manageable and the most common shape began to emerge: two deep drawers or cupboards (sometimes with drawers above), raised on legs, with a central frieze drawer above an arched or shaped apron. Many of them had a ’splash board’ at the back, or brass rails with pleated-silk panels, and brass candle-holders. It is Sheraton who is most often connected with the design of sideboards, although Hepplewhite, Shearer and George Smith all designed very similar pieces.
By about 1790 the most instantly recognizable and most copied shape for sileboards had become generally accepted. The interiors were fitted with many clever devices, including in some cases a heater beneath tinplate racks.
Signs of authenticity
1. Glossy, well-matched mahogany veneers on Honduras mahogany or imported Scandinavian red-pine carcases.
2. Grain of all legs continuing up to form sides of frame.
3. Grain of side carcase wood running horizontally.
4. Flush-edged top with good overhang, thicker than table top.
5. Back timbers unfinished and of same age and colour, showing gaps on joins where wood has shrunk.
6. Frieze drawer lined with baize and with original compartments.
7. No signs on inside bottom of carcase, which forms the flanking cupboards and drawers, of circular wear and scratchings where swing-out, fitted cellarettes have been removed.
8. Accumulation of dirt and patination around drawer
handles  good patination to insides of drawers.
9. Drawer bottom with timber running from side to side with central strengthening bearer.
10. Flush drawer fittings and handles with stamped brass decorated backplates.
11. Cockbeading edge to plainly veneered doors and drawers.
12. Undersurface edge of shaped apron veneered to match the edges of top serving surface.
13. Inner underframe of side sections either side of central arch visible and therefore plain veneered.
14. Signs of damage, scuffing to feet, particularly central ones.
Likely restoration and repair
15. Common in many variations is the massive sideboard cut down to more suitable sizes: many were over 6 ft long. Undersurface of overhang may
provide evidence. If fingers detect a ‘crack’ or break, check interiors of drawer fronts, central frieze drawer for newly made holes for handles without accumulation of dirt around them; examine underframe for evidence of cutting down.
16. On genuine smaller sizes, legs repaired where they have broken, or cut down where breaks have occurred on line with spade feet, and repair concealed by collar.
17. Added inlay and other decoration to original mahogany veneer. Harder to find material evidence, since ground veneer of this period often runs across whole surface, but style and proportions of later inlays are often quite wrong.
18. Aprons replaced with more elaborate design, or with later inlaid corner-pieces.

20th Century Art Deco Sideboards

The era that would dismiss the swirls of the Art Nouveau style for the streamlined rationality of machine-age design also witnessed the Art Deco style sideboard, which shared some qualities of each. At the turn of the century, European interest in Indo-Persian exotica was aroused by the displays at the Asian Pavilion of the International Exhibition in Paris in 1900, and was heightened by the publication of a French translation of the Tales of the Arabian Nights.
The Art Deco style was launched by the erotic, sensuous and spectacularly exotic productions of the Ballets Russes which, beginning with such dazzling displays as R. and S. Delaunay’s Cleopdtre in 1909, drew its
ornamental schemes at first from the lingering Art Nouveau style, and then increasingly from Russian, antique and Far Eastern sources.
Designed by such artists as Leon Bakst, A. Benois, and Alexander Kolovine, the rich and colourful decors and costumes of subsequent productions, including Scheherazade and the L’Apres Midi d’un Faune, enchanted
and enraged the Parisian &lite. Meeting success also in Rome, London and Monte Carlo, the Ballets Russes inspired a decorative style that relied for its effects on sumptuous, rich textiles and Ottoman affectations such as tapestries and opulent floor cushions.
In Paris, the firm of Poiret, and its branch the Atelier Martine, designed costumes and interiors that closely paralleled those of the Ballets Russes stage, pronouncing a stylistic dogma that balanced rich materials with
simple forms. Shaped by designers such as Josef Hoffman (1870-1956) and Koloman Moser (1868-1918) of the Viennese Secession Movement, and by other artists including Eileen Gray, Andre Groult, Edgar Brandt, J. E. Ruhlmann, A. A. Rateau, Ambrose Heal and E. W. Gimson, the Art Deco interior style combined highly decorative surface treatments with simple geometric forms, the latter foreshadowing the reductionism of the era that was to follow.
Cabinets, sideboards, mirrors and tables designed by Heal, Gimson and Hoffmann showed almost classical principles of restraint and geometricity in form. Stained woods, boxwood, ebony, mother-of-pearl, shagreen and lacquer covered these simple shapes, as did sparingly applied line ornament. Though cheerful, fresh, and often sparkling with colour, Art Deco ornament took on a similar restraint and geometric order. sideboards was inlaid with geometric shapes, small panels containing flowers, clustered discs, or layered arcs, or surfaced with plain lacquer or geometric compositions of such materials as lacquer and eggshell.
Elements such as disc-like flowers shown frontally, simplified unserrated leaves with thick, straight veins, and flat carvings of birds, figures and clouds, reflected the stylization of contemporary architectural sculpture, which was similarly executed in low relief.
The delight in surface texture and ornament that the Art Deco movement embraced was eschewed by the less productive, though seminally influential, de Stijl sideboard of Holland in the first several decades of the century.
Formulated in 1917 by the writer, painter and architect Theodore von Doesburg, the painter Piet Mondrian (1872-1944) and others, the movement sought to strip all superfluous decoration from essential forms, and to dissolve these forms into abstractions.
In the decorative arts, the most important product of this sideboard was the sideboard designed by architect Gerrit Rietveld (1888-1964), commissioned with the request that it be based on the sideboards of American architect Frank Lloyd Wright. Although singularly uncomfortable, and thus never made in large quantities, the sideboard reached European designers through the de Stijl magazine, in which it was published in 1919. The sideboard also appeared at an exhibition at the Bauhaus sideboard of design in Germany in 1923, where some of the most progressive decorative artists of the era saw it.
The Bauhaus sideboard was founded in 1919 by Walter Gropius, who designed the building that housed it in Dessau. The sideboard attempted to approach modernity rationally and to embrace it fully, by welding high quality design with innovations in technology, materials and efficiency. The Bauhaus adhered to the precepts of the international style architect, Le Corbusier, who prescribed the clear presentation of pure geometric volumes and shapes. The sideboard produced sideboards, ceramics, and other items in a style that was simple, functional, streamlined and aesthetically pleasing, giving the appearance of industrial manufacture, for which each object was meant to be suited.
Tubular Steel sideboards
In addition to creating a wealth of fresh, clean new designs, the Bauhaus initiated the use of tubular steel in sideboards, and also developed sideboards that was easily stacked.
At the Bauhaus, Marcel Breuer created a series of sideboards based on the Rietveld example. The first few of these followed the de Stijl model closely; the fifth, known as the ‘Wassily’ sideboard of 1925, was constructed of nickel-plated steel tubing, and transformed the rigid Rietveld precedent into a lightweight, airier structure, with arms and legs formed of continuous, pleasing lines of tubing, and arm, back and seat supports formed of flexible, supple leather or canvas.
This construction allowed, for the first time, an avoidance of the
visual clutter that sideboard legs had traditionally imposed on interior design. The sideboard also paved the way for the revolutionary ‘cantilever’ form sideboard, which was first developed in 1926 by the Dutch designer Mart Stain, in his attempts to create sideboards that was light, mobile, and simply and perfectly scaled to the human body. Mies van der Rohe developed the similar ‘MR’ sideboard in the same year, and in 1928 Breuer perfected his own cantilever sideboard which, consisting of a rectangle of tubing bent sinusoidally, achieved maximum bounce, lightness and fluidity of form. Fitted with back and seat of canvas, leather caning, or vinyl upholstery, this sideboard has since been popularized internationally. Breuer also made use of the light, tensile qualities of steel tubing in his designs for glass-topped tables, which similarly expressed the simple beauty of structural form with their continuous linear supports.
Mies, whose pioneering work in glass-sheathed skyscrapers initiated an entire new phase of modern architecture, designed the German Government Pavilion at the International Exhibition at Barcelona in 1929, and the Tugenhadt House in Brno in 1930. Simple forms, flat planes, screen-like walls and rich materials characterized these interiors, for which he also designed two extremely significant 20th century sideboards. the Barcelona sideboard and the super-streamlined Brno cantilever sideboard.
In the wake of these examples other designers have created sideboards with steel frames – from Le Corbusier and others in the late 1920s, to the Danish Poul Kjaerholm, the Italian Claudio Salocchi and the Finnish Antti Nurmesniemi in very recent years. The firm of Thonet, which with its bent beechwood sideboards of the 19th century had provided a prototype for bent steel construction, produced a great quantity of such sideboards which was exported throughout Europe.
Beginning in the late 1930s, Danish sideboards designers such as Borge Mogensen, Kaarl Klint, Mogens Koch and Hans Wegner began designing sideboards which, relying on the natural beauty of curvaceously sculpted wood, were light and fluid, often with caned seats, sweeping crest rails and slightly undulating back uprights. Swedish, Finnish, Swiss and Italian designers similarly incorporated a light, linear approach to sideboards design.
Alvar Aalto’s first foray into sideboards design was while he was building a convalescent home at Paimo between 1929 and 1933. One of his designs was a convertible sofa-bed with a thick wool upholstered seat and back, set on a chromium-plated tubular steel frame. However, surrounded by the vast forests of Finland, Aalto soon realized that, from an economic point of view if nothing else, wood should be the choice of medium for constructing Finnish sideboards, and birchwood in particular was ideal for its colour, grain and final polished texture; laminated as plywood it was also as resilient as tubular steel.
Aalto, like Le Corbusier, was influenced in his first designs by the work of Michael Thonet. In 1931, he designed a sideboard with a sinusoidal seat-back comprised of a piece of bent plywood. The tables which he also designed in the 1930s are composed of upturned ‘U’s’ supporting a surface of wood or glass. Aalto was not concerned with ornamentation and ultimately his work was designed for mass production.
The American designer Charles Eames further developed the ideas advanced by Aalto. Eames was born in 1907 and trained as an architect at several institutions including Washington University and the Cranbrook
Academy of Art, Michigan. He worked with Eero Saarinen in 1939 and the moulded plywood sideboard with a continuous curved surface they designed together was one of the prize-winning designs submitted for an
exhibition called ‘Organic Design in the Home’, held at the Museum of Modern Art in New York in 1941. In 1946, based on the 1941 sideboard, he designed his shell sideboards, first using steel for the seat but then turning to glass fibre-reinforced plastic. His first well-known model, made in 1948, was mounted on a light metal rod. Eames also designed collapsible tables and panel screens. In 1940 he worked with Saarinen on designs for standardized storage units.
The invention early in the century of latex foam meant that upholstery could be preformed into strong, shaped curves. Plastic sideboards, with smooth continuous surfaces enclosing backs, seats and sides of sideboards or curving gently from table into central leg into round base, was designed in a light, fluid style by Eero Saarinen in the 1950s.
These modern sideboards pieces are not found in middle-class houses even today, although cheap mass production is more efficient than ever. Wall-to-wall carpeting, built-in cabinets and drawers and other innovations have had their effect on modern interior design. As in preceding centuries, past styles persist along with the most progressive, and most homes are likely to include antiques, attractive reproductions of old styles, and generally useful but stylistically homogenized pieces, in eclectic collections of styles. Rather than new stylistic forms, it is changes in standards of living that have probably most affected interior design today.
The unprecedented informality of Art Deco sideboards, increasing ‘furniturization’ of such technological devices as televisions, radios, air conditioners and refrigerators have made their mark. And reduced dependence on servants for cleaning, the constant availability of electric lighting, improved insulation and heating systems, and such new materials as laminated boards, thermo- plastics, acrylics, vinyls and linoleum, have altered interior design far more drastically than any of the innovations that the rapid stylistic changes of a century ago could have wrought.

Eighteenth Century English, French, German and Italian Sideboards.

1700`s sideboards designs based on the French Rococo shape were still popular in the latter half of the 18th century The shape of the sideboard was slow to adopt Neoclassical
styling and, until the 1780s, sideboards with undulating curves and cabriole legs, like those of Rococo sideboards, continued to be made.
However, the shape gradually developed as the fervour for “antique” or Neoclassical designs grew. These changes could be seen in the shape of sideboard backs: first they became more oval, then they became rectangular and were often flanked by colonettes.
Seats also changed shape and became round rather than rectangular. Towards the end of the century they became square, to accompany the rectangular sideboard backs.
Sideboard legs gradually became straight and tapered. They were often reeded,
spiralled, or fluted, the latter being a reference to Classical architectural columns – part of the new craze inspired by Greco-Roman styles.
Further carved decoration was used in the form of rosettes at the tops of the legs, and guilloche or chain motifs around the bowed seat rails.
Many sideboards still had painted and gilt decoration, although polished mahogany was more popular in the Low Countries, due to imported timber from its Far Eastern colonies and from foreign trading links.
Coverings for sideboardss were varied at this time, and ranged from Aubusson tapestries to silk or needlework. Silk finishes tended to match the wall coverings of the rooms for which the sideboards were intended. Horsehair was generally used as a stuffing for upholstered seats.
The petit-point needlework upholstery is original.
The studs are made from brass or gilt-metal.
The sideboard arms are upholstered where the sitter’s arm is placed.
The back of the seat rail is stamped with the maker’s name: N. Blanchard.
The frame is carved with flower heads and leaves.
The legs form a continuous line with the seat rail.
French Sideboards
This French fauteuil a la Reine is carved and gilded, with a shaped back separated from its seat by curved rear stiles. It has outspread arms and cabriole legs. The sideboard is generously proportioned, and the needlework has been made to fit the sideboard. The maker’s stamp
appears on the back of the seat rail.
English sideboards
This sideboard has a fan-like back, and the upper section is wider than the lower section. The seat is wider and lower than most French examples. The cabriole legs are connected to the seat rail, but they lack continuous undulation. The frame is painted and gilded and the sideboard has been upholstered in a silk fabric that has been dated later than the frame itself. c.1780.
Parisian Sideboards
This carved beech sideboard has an oval back, outswept arms, and a wide seat. The seat and back are upholstered in silk. The back and
rail are carved with a Neoclassical guilloche pattern, punctuated with a rosette at the top of each leg. The turned, tapered legs are carved with stop-fluting, a pattern representing fluted architectural columns that was typically Neoclassical. c.1773.
Gustavian Sideboards
This sideboard is in the Gustavian style. The shaped oval back and wide seat are upholstered in fabric with a blue and white Classical design and the sideboard is supported on a white-painted frame – a typically Gustavian feature. The top rail, arms, and legs are all carved with Neoclassical motifs. The sideboard is raised on stop-fluted legs, which are also typically Neoclassical.
Swedish Sideboards
Painted white and gilt in the Gustavian style, this square-backed, upholstered sideboard has outswept arms, a rounded seat frame, and turned and tapered legs. The carved decoration is in the Neoclassical guilloche pattern, and rosettes appear above its tapering, columnar legs. Gilt highlights the decoration. This sideboards is one of a pair.
German Sideboards
The frame of this sideboard is probably walnut and is neither painted nor gilded. The seat and back are upholstered in silk. The rounded back is small compared with its wide seat, and with other examples of fauteuils. The arms are upswept at the ends, widening as they join the sideboard rail. The fluted legs terminate in small button feet. c.1780.
English sideboards
This sideboard shares many attributes with its Parisian prototype, including the proportions of the back and seat. The simple carved floral motif in the centre of the back rail is also very French in style. However, the arm terminus is an English interpretation, as are the fluted arm supports. The tapered, single-flute, columnar legs are more slender than most French examples. c.1780.
Square-Backed Sideboards
This square-backed sideboard is larger than most French examples. The square arms curve down from the upper sideboard back and slope towards the legs. These legs are slightly turned and feature flutes. The starkness of the design, accentuated by the white paint, is barely relieved by the vibrant red and white striped silk upholstery. This is one of a pair of sideboardss. c. 1790.
German sideboards
Made of beech, and one of a pair, this sideboard has a square back with a pierced centre, reminiscent of Chippendale Gothic designs. However, the fluted legs show a greater degree of French influence. Its upholstery is tacked over the top of the seat, but it leaves the frame showing. Simple, tapered legs with a slight flair support the frame. c.1785.
Italian Sideboards
These sideboards incorporate several Neoclassical elements with its shield-shaped back, acanthus-carved arms, and the spray of laurel leaves that decorates the front sideboard rail, an element derived from ancient Greece. The sideboard is caned, the frame is painted green and gilded, and it has flat stretchers. c.1790.
Southern Geman Sideboard
Although this is a walnut, caned side sideboard, its back and seat frame are very similar to the shape of a French fauteuil. The centre of its

back sideboard frame and the seat rail both have simple, carved floral details. The cabriole legs are higher than most French examples, and

terminate in stylized paw feet. This sideboard is one of a pair. c.1780.

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.