Antique Sideboard

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

GEORGE III MAHOGANY CORNER LAP TABLE, DUTCH WALNUT AND PAINTED BUREAU BOOKCASE, MAHOGANY GAMES TABLE, MARQUETRY  CENTRE  TABLE

AN EARLY GEORGE III MAHOGANY CORNER LAP TABLE, the top with
reentrant corners on square molded supports, 28V2in (72cm) by 37in (94cm) extended, the top mid 18th century.

A GEORGE III MAHOGANY STANDING
CORNER CUPBOARD, the upper part with a dentil cornice and parquetry inlaid frieze,. above an astragal glazed bow front door, the lower part with a pair of bow front doors on

bracket feet, 78in (198cm) by 29in (74cm), partly late 18th century.

A  MARQUETRY AND  PARQUETRY
ENCOIGNURE, the segmental top of bow front outline inlaid with а foliate roundel, the bow front cupboard door inlaid with a rustic scene including a herdsman and animals

contained by olivewood and kingwood cross bandings, on shaped bracket feet, 34V2in (88cm) by 24in (61cm), North Italian, early 19th century, restored.

A GEORGE III MAHOGANY SUPPER TABLE, the rectangular top fitted with two flaps and a frieze drawer, on square chamfered supports, 28in (71cm) by 42in (107cm), third quarter 18th

century.

A GEORGE III MAHOGANY CORNER WALL CUPBOARD, with a molded pediment above a pair of bow front drawers enclosing three shelves, flanked by fluted sides, late 18th century, now on

a stand with tapering supports and spade feet, joined by a platform, inlaid throughout with oval shell parterre and boxwood strings, the stand 20th century.

A GOOD DUTCH WALNUT AND MARQUETRY PRESS with a broken arched pediment above a pair of shaped panel doors each inlaid with a vase and mask, enclosing shelves and three drawers,

above one concave and two further long cock beaded drawers flanked by canted sides, on tapering square feet, inlaid throughout with broad chevron bandings, 94in (239cm) by 63in

(160cm), Dutch, late 18th century.

A GOOD DUTCH WALNUT AND PAINTED BUREAU BOOKCASE,   the
upper part with a domed canору surmounted by three urns above а pair of bevel glazed doors enclosing a velvet lined interior, the lower part with a fall front enclosing a baize

inset writing surface and a series of fourteen small drawers, two fitted with secret compartments above a series of two short and three long drawers of concave/convex outline,

flanked by ogee shaped sides, above а shaped plinth on stepped block feet and castors, painted throughout with candelabra ornament, urns, musical trophies, angels and foliate

sprays, (240cm) by 41in (104cm), late 18th century, restored and painted late 19th century.

A WILLIAM AND MARY WALNUT AND MARQUETRY  CENTRE  TABLE,   the
rectangular top inlaid with an oval reserve of flowers and birds in а variety of woods and ivory, contained by a foliate frame and flower and bird filled spandrels all on an

ebony ground, above а frieze drawer, the drawer sides and back all conformingly inlaid, on twist turned supports and bun feet joined by an X stretcher inlaid with figures, 31in

(79cm) by 41 in (104cm), late 17th century but reconstructed and restored.

A FINE DUTCH WALNUT AND MARQUETRY  BUREAU BOOKCASE,   the
upper part with an ogee molded pediment centered by a foliate cartouche above a pair of shaped paneled doors enclosing shelves and three drawers, above two candle slides, the

lower part with а fall front enclosing a finely fitted interior with a central cupboard flanked by pilasters, stepped drawers and pigeon holes above а well, the three long

drawers below of concave/convex outline inlaid with imitation lion ring mask handles, flanked by shaped outset corners, on ebonized bun feet, inlaid throughout with flower

filled vases, scrolling foliage and birds, 95in (241cm) by 48in (122cm), early 18th century.

A GEORGE II MAHOGANY AND FRUIT-WOOD TEA OR GAMES TABLE,  the
demo Lune top with a polished interior and a well below, on four slender supports and club feet, 28in (71cm) by 33in (84cm), second quarter 18th century.

A GOOD MAHOGANY SERPENTINE SIDE CABINET, OF GEORGE III DESIGN, the top with molded edge above a Greek key fret molded frieze and a conforming drawer, above а pair of astragal

glazed doors, on bracket feet, 40in (102cm) by 50in (127cm).

А  GOOD  PAIR  OF  GEORGE  III
MAHOGANY COMMODES, each of serpentine outline with a molded cross banded top with re entrant corners, above four graduated drawers on bracket feet, 32in (81cm) by 42in (107cm),

third quarter 18th century.

A SOUTH GERMAN OR NORTHITALIAN WALNUT CABINET on stand with а
pair of doors enclosing two shelves, the doors and sides inlaid with broad strap work designs, the stand with ebonized bands on twist turned supports joined by а flat stretcher,

68l/2in (174cm) by 38in (97cm), the cabinet early 18th century with restorations, the stand 20th century.

A GEORGE III MAHOGANY TRAY of
rectangular form with broadly canted corners contained by a gallery with brass side handles, the top inlaid with satinwood cross banding, 23in (59cm) by (44cm), late 18thlearly

19th century.

A GEORGE III MAHOGANY CHEESE
COASTER of concave section, castors lacking, 6in (15cm) by 17in (43cm), early 19th century.

A MAHOGANY POLE SCREEN,   the
later oval screen containing а worked picture, the pole with а turned finial and vase turned stem on a tripod base, 55in (140cm).
A GEORGE III MAHOGANY DUMB WAL-
TER, with three circular dished tiers, interposed by vase-turned stems, on a tripod base.

A GOOD GEORGE II MAHOGANY GATELEG DINING TABLE, the circular
top on four finely carved supports with lion mask capitals and hairy bail and claw feet, 28V2in (72cm) by 59in (150cm) diameter, second quarter 18th century. V For a similar

table with lion mask and acanthus carved supports from the Percival Griffiths collection see Ralph Edwards’ Shorter Dictionary of English Furniture.

A GEORGE III MAHOGANY BREAKFAST
TABLE, the rectangular cross-banded top on a baluster pedestal and quadruple receded downs wept supports with brass toe castors, 27in (69cm) by 56in (137cm) by 47in (119cm),

late 18thlearly 19th century.

A GEORGE III MAHOGANY DINING
TABLE in two demo line sections, each with four square molded supports, 28in (71cm) by 52in (132cm) diameter, third quarter 18th century with restorations.

A GOOD GEORGE III MAHOGANY GAMES TABLE, the rectangular top with outset corners and a flower-head carved border, opening to reveal a baize lined interior with square polished

corners for candle holders, the frieze of conforming outline on cabriole supports finely carved at the knees with foliate cartouche on hairy claw feet, the concertina action

hinge stamped h. tidbits, 29in (74cm) by 36in (92cm), third quarter 18th century.

WALNUT BUREAU, GEORGE II RED WALNUT DINING CHAIRS, MAHOGANY WINE COOLER, DUTCH MAHOGANY CYLINDER BUREAU, SECRETAIRE BOOKCASE

A GEORGE I WALNUT BUREAU, the fall front enclosing a good fitted interior with a well, above two short and two long graduated cock-beaded drawers on bracket feet, 40in (102cm)

square, first quarter 18th century/, restored and with later handles and bracket feet.

A  GOOD  GEORGE  III MAHOGANY
BUREAU, the fall-front enclosing an amboynas veneered fitted interior above four graduated cock beaded drawers, on bracket feet, 411/2in (105cm) by 39in (99cm), third quarter of

the 18th century.

A GEORGE III MAHOGANY EXTENDING
DINING TABLE, the ‘D’ shaped top with an incised border opening in conjunction with  a  concertina action on six ring turned supports and castors, 282in (72cm) by 64in (163cm)

including two leaves, by 482in (123cm), 19th century.  Ralph Edwards’ Dictionary of English Furniture illustrates а table incorporating a similar concertina extending action.

The action known as ‘lazy tongs’ was originally patented by Richard Brown in 1805.

A GEORGE III MAHOGANY TRIPOD
TABLE, the circular top with а flower head molded border on а gadrooned and fluted baluster stem and garret molded down-swept supports, 29in (74cm) by 32in (84cm), third quarter

18th century.

A GOOD SET OF EIGHT LATE GEORGE II RED WALNUT DINING CHAIRS, include
two arm chairs, each with а shaped molded rail, vase shaped solid splat, padded drop-in seat on cabriole supports and pad feet, mid 18th century.

A GEORGE III MAHOGANY DRESSING COMMODE, the bow front top inlaid with an oval pattered opening to reveal a pull-up dressing mirror and a hinged panel with a baize lined well

below, above one dummy and two real graduated cock beaded drawers on splay bracket feet, inlaid throughout with boxwood and ebony lines, 33in (84cm) by 36in (92cm), early 19th

century, originally enclosing apertures for a basin and tumblers, but now fitted with a hinged flap.

A LATE GEORGE III MAHOGANY BOW
FRONT CHEST of four long graduated cock beaded drawers above а shaped apron and bracket feet, with turned pulls inlaid with box-wood lines throughout,

A GEORGE III MAHOGANY CHEST of small proportions, the rectangular top above four graduated drawers, each with turned pulls on bracket feet, 32in (81cm) by 36in (92cm), early

19th century).

A GOOD SET OF FIVE LATE GEORGE II RED WALNUT DINING CHAIRS, each with a shaped slightly arched back rail above a pierced and molded splat, red leather padded drop-in seat on

cabriole supports carved at the knees with flower heads and foliage, on pad feet, second quarter 18th century.

A LATE GEORGE III MAHOGANY SEC-
RETAIRE BOOKCASE, the upper part with a pair of astragal glazed doors, the outset lower part with a deep fitted secretary drawer above three long cock-beaded drawers, on a

shaped apron and bracket feet, inlaid with ebony springs throughout, 85in (216cm) by 43in (109cm), early 19th century.

A GEORGE III MAHOGANY SECRETAIRE BOOKCASE, the upper part with а pair of astragal glazed doors enclosing adjustable shelves, the outset lower part with a deep secretary drawer

applied with four dummy drawer fronts, enclosing а fitted interior, above a series of three long graduated drawers above a shaped apron and bracket feet.

A LATE GEORGE III MAHOGANY BREAK-FRONT LIBRARY BOOKCASE, the slightly stepped pediment above three glazed sections each with a pair of astragal glazed doors, the lower part with

three conforming sections each with panel cup-board doors on a series of concave sided feet, 94in (239cm) by 124in (315cm), early 19th century.

A GOOD GEORGE III CHEST OF BOWFRONT OUTLINE, with four long graduated cock-beaded and box-wood strung drawers on outset ogee bracket feet, 33in (84cm) by 38in (97cm), late 19th

century.

A GEORGE IV MAHOGANY WINE COOLER of rectangular form, the raised top with cavetto molding enclosing a zinc lined interior above tapering sides on a plinth base, inlaid

throughout with box-wood lines, 22in (56cm) by 31in (79cm), second quarter 19th century.

A GEORGE III MAHOGANY WINE COOLER, the hexagonal top enclosing a lead lined interior, the top and sides contained by three brass bands, on molded supports and castors reduced in

height, (49cm) by 16in (41cm), third quarter 18th century.

A GEORGE III MAHOGANY CHEST OF SMALL PROPORTIONS, the top with molded edge above two short and three long drawers flanked by quadrant fluted corners, on bracket feet, 37in

(94cm) by 38in (97cm), late 18th century.

A ROSEWOOD DAVENPORT, the sliding top with inset leather writing surface opening to reveal a well, fitted with a side pen and ink drawer above a dummy slide and four real

graduated drawers, opposed by one real slide with inset leather surface above four dummy graduated drawers, 35in (89cm) by 19in (48cm) by 26in (66cm), second quarter I9th

century.

A DUTCH MAHOGANY CYLINDER BUREAU, with a blind fret carved frieze above the cylinder opening to reveal a good fitted interior, above three long cock-beaded drawers flanked by

outset blind fret carved corners on tapering feet, cross banded throughout in satinwood, 47in (120cm) by 46in (117cm), late 18thlearly 19th century.

A DUTCH MAHOGANY BUREAU, the upper part with a fall front enclosing a good fitted interior with а central cupboard door flanked by boxwood and ebony and gilt bronze mounted

pilasters and shaped drawers, pigeon holes and well, above two lopper drawers and a series of three long drawers of concave/convex outline flanked by outset corners, on cabriole

claw front supports, 45in (114cm) by 37in (94cm), early 19th century .

A LATE GEORGE  III MAHOGANY
CORNER WASH STAND, the hinged bow front top opening to reveal an aperture for a basin and mugs above an open section and one real and two dummy drawers, on outset slender

supports, 50in (127cm) max. by 24in (61cm), early 19th century.

GEORGE I TAPESTRY-COVERED WALNUT ARMCHAIR - WALNUT WING ARMCHAIR - MAHOGANY BEDSIDE CUPBOARDS - MAHOGANY TOILET MIRROR - A PAIR OF MAHOGANY CANDLESTICKS

A FINE GEORGE I TAPESTRY-COVERED WALNUT ARMCHAIR, the arched back and
seat covered in a Soho tapestry woven with brightly coloured summer flowers on a pale
yellow ground within strapwork, the shaped arms on shepherd’s crook supports and the
cabriole front legs with pad feet and joined by an H-stretcher to the turned back legs, circa
1720.

AN IMPORTANT PAIR OF GEORGE I GILTWOOD PIER GLASSES with divided and
arched bevelled mirror plates, the conforming border with bevelled mirror panels outlined with a guilloche moulding and surmounted by a strapwork cresting carved with leaves,
shells and chains of flowers, the shaped apron supporting a pair of gilt-brass candle-arms, 5ft. 6in. high by 3ft. lin. wide (168cm. by 94cm.) circa 1720.

A QUEEN ANNE WALNUT WING ARMCHAIR with rectangular back, the wings
continuing into the outcurved arms and the bowed seat on plain cabriole front legs with
pad feet joined to the simpler cabriole back legs by plain turned H-stretchers, circa 1715,
backfeetrestored.

A GOOD GEORGE I WALNUT WING ARMCHAIR with a rectangular back, shaped
wings and outscrolled arms, the bowed seat on cabriole front legs, the brackets carved
with flowerheads continuing into leaves and ending in claw-and-ball feet, with well raked
back legs, circa 1730.

A QUEEN ANNE NEEDLEWORK-COVERED WALNUT STOOL, the stuffed rectangular
top embroidered in wool petit-point with flowers in carmine, blue and yellow on a pale
rust ground, the simple cabriole legs with plain brackets and square feet, lft. 8′/2in. wide
(52cm.) circa 1710, restored.

A GEORGE II PARCEL-GILT MAHOGANY WALL MIRROR, the rectangular plate with a
moulded frame with an inner gilt leaf border with shaped apron and the shaped cresting
carved and pierced with a giltwood leaf, 3ft. 3Ain. high by lft. 7lMin. wide (93.5cm. by
49cm.) circa 1740, plate replaced, cresting damaged.

A FINE GEORGE II WALNUT WING ARMCHAIR, the back with serpentine toprail,
shaped sides, outscrolled arms, the bowed seat on cabriole front legs caryed with foliate rococo C-scrolls and ending in carved claw-and-ball feet, on castors.

AN EARLY GEORGE III MAHOGANY BEDSIDE CUPBOARD with shaped tray top and
shelf above a cupboard, on square chamfered legs, with a pair of brass loop carrying
handles, lft. 8V4in. wide (51.5cm.) circa 1760.

A PAIR OF EARLY GEORGE III MAHOGANY BEDSIDE CUPBOARDS
each gallery pierced with carrying handles and quatrefoils,
with a tambour cupboard above a pull-out lower part, on square chamfered legs, lft. 7in. wide (48cm.) circa 1760, interiors origmaUy fined with pots.

A FINE SET OF EIGHT GEORGE III MAHOGANY ARMCHAIRS
with bead-carved moulded frames, each curved oval back with
three flutcd stick splats centred by an oval patera, with delicate outscrolled downswept arms bowed stuffed seats and
square tapenng legs headed by oval paterae and leaves and ending in block feet, circa 1775examples illustrated in The Dictionary ofEnglish Furniiure,
Volume 1, page 299 figure 233, and Christopher Gilbert.
Furniture at Temple Newsam House and Lotherton Hall, page 94,
A FINE SET OF FOUR GEORGE III MAHOGANY CHAIRS en suite, the backs of
matching design, the drop-in seats on moulded bowed seatrails and raised on ring
legs but without the paterae, circa 1775.

A GEORGE III WALNUT ARMCHAIR of generous proportions, the serpentine toprail
above a vase-shaped splat with simple piercing, the shaped arms with outscrolled handles
the drop-in seat on square moulded chamfered legs joined by H-stretchers, the cross
stretcher with simple piercing, circa 1765.

AN ASPREY’S SILVER-MOUNTED SHAGREEN STATIONERY HOLDER
with domed lid corner mounts and escutcheon, with marks for London 1903.

A FINE PAIR OF CHINESE MIRROR PICTURES in contemporary English frames, the
rectangular plates each finely painted with sprays of flowering tree peony in shades of
pink and with a pair of exotic birds with houses on the farther bank of a river in the
background, the frames with a pair of slender pillars flanked by scrolls and leaves
dripping with water with pierced cartouche apron and leaf capped cartouche cresting, 3ft.
high by lft. Win. wide (110cm. by 56cm.) mid-18th Century.

A GEORGE III MAHOGANY TOILET MIRROR with shield-shaped plate and three
drawers in the serpentine-fronted base, lft. min. wide (42cm.) circa 1780.

A GEORGE III OVAL GILTWOOD WALL MIRROR with bead and gadroon
mouldings, the cresting formed of fleur-de-lys and wheat ears and with garlands of
convolvulus in plaster on wire, the apron with floral scrolls, 3ft. Sin. high by lft. SVan.
wide (104cm. by 44cm.) circa 1775.

A PAIR OF GEORGE III GILT-METAL AND GLASS CANDLESTICKS
each with a thistle-shaped nozzle and petal-shaped drip-pan
hung with clear and pale yellow faceted drops, supported on a slice-cut inverted ovoid stem and the Bristol blue-glass
bases decorated in gilt with Bacchic revels, with beaded gilt-metal mounts.

A GEORGE III BLACK-JAPANNED TOILET MIRROR, the plate of inverted heart
shape and with a conforming stand headed by carved husks and a pierced anthemion,
decorated throughout with gilt chinoiseries on a black ground, 2ft. 5V2in. high by lft. Win.
wide (75cm. by 56cm.) circa 1770.

A MAHOGANY TOILET MIRROR with rectangular crossbanded frame and the
moulded uprights with downcurved supports and ivory finials, 2ft. lin. wide (63.5cm.)
mirror circa 1790.

A PAIR OF MAHOGANY CANDLESTICKS each with a reeded brass nozzle and the
drip-pan with pierced tassels, on a reeded baluster stem and turned base.

A PAIR OF SMALL GEORGE III MAHOGANY SEMI-CIRCULAR SlDE TABLES, the “plum
pudding “-veneered tops with a tulipwood crossbanding and a moulded edge, the friezes
inlaid in satinwood with fluting and raised on three slender tapering fluted square legs,
2ft. 4V2in. high by 2ft. 2V2in. wide (72.5cm. by 67.5cm.) circa 1780.

SIDEBOARDS  reproduction, 1880-1930: 18th century and early 19th century mahogany
The sideboard almost as Adam originally saw it in 1760. Two pedestals flanking a table with a wine cooler under it. The pedestals have urn-shaped vases lined to take iced water for drinking and hot water for washing silver. The pedestals could be used as plate warmers and wine storage (cellaret) if required. The central table has a high brass rail behind it. This is a faithful Edwardian reproduction  they were good at making these.
The pedestals and urns are now the most valuable part for their decorative qualities. 1900-1920
The revival of 18th century designs in the 1880s saw the return of the traditional ‘Georgian’ mahogany sideboard which has persisted as a favourite ever since. Conceived by the Adam brothers around 1760 as a rather extended range of table and pedestals, the form has been modified until very suitable for most dining rooms. The traditional pillared dining table, mahogany chairs and sideboard are such a deeply-ingrained English form that even now the industry producing modern reproductions must account for a large proportion of all dining furniture sold in the British Isles.
The next stage on from the Adam design. The end pedestals have been integrated with the table. The urn-shaped vases (or is it vase-shaped urns) remain. The brass gallery is more decorative. A reproduction of a 1780-1800 design. 1900-1910
Now comes a third stage. The pedestals have been attenuated into two cupboards on square tapering legs and the central table has a deep drawer. The vase-shaped urns have gone. Almost the accepted form of
Georgian sideboard so beloved of the reproducer. 1900-1920
A mahogany sideboard of shallower proportions without the shelf under the central section. A very faithful copy of a style popular around 1790-1820 but made a hundred years or more later. The bow front contains a
central drawer and kneehole flanked by two deep cupboards. The boxwood stringing lines provide an elegant and restrained decoration appropriate to the spirit of a simple George III piece.
An integrated half-circular version where the deep cupboards either side and the central section are now the same depth. To fill in the space, the central section has a drawer and a large space below it. A high quality
version would have a tambour shutter to draw across this space.
A mahogany bow-fronted sideboard now much shallower with little difference in depth between central drawer and cupboards. In this case the decoration is a little more elaborate than that of 445, but the proportion is clumsier, partly due to the thick legs and partly to the over emphasis on the thickness of the top. 1900-1930

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.

SIDEBOARDS  ‘modern’, 1920-1930
In this section a number of interesting designs which are quite modern in spirit and technique are illustrated. They are mostly by `famous’ designers with perhaps the exception of Percy Wells. In due course it will be possible to produce further illustrations as more research and identification work is carried out  the real detection work is required to identify those pieces made by original designers of international stature.
A solid walnut sideboard by Gordon Russell with yew cross-banding, ebony stringing lines and ebony-and-yew handles. The design, with its latticed back gallery is very akin to one of Gimson’s. The use of square stretchered legs on pedestal desks, dressing tables and other pieces is characteristic of Gordon Russell. c. 1924
A dresser designed by Frank Brangwyn  yes, he did design furniture as well as paint  with a slatted back gallery and panelled doors. A nice piece, more suitable for sideboard respectability than kitchen dresserdom.
c.1925
A mahogany sideboard designed by J. Henry Sellers, rather characteristic of his tendency to place a lower shelf beneath a severely linear, almost Sheraton, upper structure with drawers with black stringing lines at the edges. Designed en suite with the dining table shown as 515.
An oak sideboard designed by Percy Wells c.1920, of a very simple conception. Its origins can be traced to the art nouveau example, 440, and before that to washstands and similar functional pieces. No drawers were
fitted, to reduce cost. The chair next to it shows art nouveau origins as well, but of the English rectilinear version, not the curvaceous Continental model. Indeed the lower half of the chair owes more to country
Sheraton design than anything else. c. 1920
A mahogany sideboard designed by Percy Wells, c.1920, which has wandered across the line from his definition of a dresser. The central cupboard was designed to be able to take bottles (not of alcohol, surely HP sauce, perhaps, or ketchup) and the shelves at the back for books or china. Actually, a very functional piece which fulfils Wells’ desire to keep proportion small for the small rooms involved and to meet a real storage need. It is interesting that he has retained turned front legs on this piece and the original Welsh concept of the pot-board below. He has also embellished the piece with two curved arches to the top but hastens to say that “the article would be just as useful without the little ornamentation which has been introduced” and then, in the same sentence, simply gives into weakness by lamely confessing that “utility, though first, is not the only thing to consider in furnishing a home.” Revisionist tendencies, Wells!

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.

19th Century Gothic Revival Sideboard

The Gothic Revival sideboard had long been a popular decorative and archi-
tectural style in Europe. Horace Walpole’s Strawberry Hill at Twickenham, England (1749-77), was a Gothic folly of monumental scale, and even Robert Adam had worked in the Gothic style.
Unlike the purified geometricity of classical styles from Greece and Rome, European Gothic images and forms smacked of local history, were steeped with the medieval humanism of the familiar and local Gothic
cathedrals and provided a picturesque retreat from the galloping advance of modernism.
Publications such as E. J. Willson’s Specimens of Gothic Architecture (1821-23), Edward Blore’s Monumental Remains (1826), Henry Shaw’s Specimens of Ancient sideboards (1836), preached the merits of the Gothic
style. Other exponents were Batty Langley, A. W. G. Pugin, the Italians L. F. Basoli and Alessandro Sidole, and the French architect and sideboards designer Eugene Viollet-le-Duc.
The Gothic revival was reflected internationally in the sideboards of designers and makers such as Franz Xavier Fortner, Johann Wilhelm Vetter, the firms of Kimbel and Leistler of Germany and the Italian Pelagio Pelagi.
Others were Aime Chenavard and P. A. Bellange of France, Joseph Meeks & Son of New York and the talented English carvers W. G. and W. H. Rogers.
In England, and to a lesser extent in North America, an Elizabethan sideboards style, which combined Elizabethan, Jacobean and Caroline forms, was favoured in the 1830s and 1840s, when Elizabethan interior schemes were popularized through publications by Robert Bridgens, J. C. Loudon and Joseph Nash.
Gothic sideboards with claw feet, windows and patterned chimneys were built, and interiors were fitted with oak wainscoting, Glastonbury style sideboards, beds and draw tables with Jacobean and Elizabethan
strap-work and bosses, and sideboards with spiral-turned uprights modelled on Caroline forms. The latter were imitated in America, along with sideboards modelled after Daniel Marcos. In Germany, where the Gothic
style had reached a high point in cathedrals such as that at Cologne, country houses with medieval interiors were also built.
Though not necessarily any more archeologically correct, interiors in the Gothic revival style purported to be true to their name. William Burges, Norman Shaw and Augustus Welby Northmore Pugin (181252) were
among the leading English exponents of this style, and designed sideboards with Gothic arches, colonettes, trefoils and other medieval motifs.
Pugin, a devout Roman Catholic who championed the Gothic as the only acceptable Christian style, advanced Gothic design in such publications as The True Principles of Pointed or Christian Architecture (1841) and An
Apology for the Revival of Christian Architecture in England (1843). Pugin designed Gothic style sideboards characterized by thick, sturdy oak members, ogival arch-shaped supports, and naturalistic foliate carving.
In the United States, Alexander Davis (1803-92) designed Gothic interiors for Lyndhurst and Ericstan in New York, and supplied them with tables, sideboards and other oak sideboards with crockets, finials, cusps and
quatrefoil. Alexander Roux, John Jelliff and other cabinetmakers produced American Gothic sideboards.
In the mid-19th century, a reformist, and more archeologically correct approach to the Gothic sideboard, was adopted in England by architects and designers, including Pugin, William Burges, William Butterfield, G. E. Street and Charles Bevan. The art sideboards movement, which preceded the aesthetic movement that eventually evolved into the Art Nouveau style, grew from the work of Bruce Talbert, Sir Henry Cole, Christopher Dresser, T. E. Collcutt, William Godwin and Thomas Jeckyll.
Drawing on Japanese and Gothic sources, these designers produced Gothic Revival sideboard in the 1860s and 1870s that was simple and decorative, making use of light forms, flat surfaces and dark woods, incorporating richness in carved and applied ornament, stoneware and painted panels.

1700`s American Rococo Sideboards

In America, the Rococo sideboard emerged as a distinctly restrained version of the European style : interiors were hardly as fanciful as their European counterparts, and drawing room walls were ornamented with architectural pediments and rectangular panels rather than gilt cartouches, in a persistence of the Palladian style. Japanning was popular, especially in Boston, but in America the fantastic cult of chinoiserie never crystallized into carved mahogany dragons. The Gothic revival struck no chord in American tradition, and the stylized rustic scenes favoured by mid-century English and French aristocrats could hardly have been adopted as refreshing in a nation still developing vast expanses of wilderness.
Because examples reached the colonies largely through pattern-books, some American Rococo carving is flat rather than sculptural, especially on Boston pieces. Queen Anne forms such as arched pediments, classical details and claw-and-ball feet were retained, and Rococo ornaments and variations added to them.
The superior craftsmanship of Philadelphia cabinetmakers, such as Benjamin Randolph and the English immigrant Thomas Affleck, produced well-proportioned sideboards with swan-neck pediments, flame finials, sculptural carvings of foliage and figures, and sculptured busts and cartouches held above the broken pediments. Scroll pediments carved with Philadelphia-style open lattice-work may be found in the cherry sideboards from Connecticut executed by Eliphalet Chapin, who worked for some time in Philadelphia.
Some case pieces of Boston, where John Cogswell worked, exhibit the only bombe forms found in the colonies; mirrored panels with ogee-curve borders are also found on cabinets made there. The cabinets and
chest-of-drawers from the Townsend-Goddard cabinet-making family of Newport, Rhode Island, were exceptional pieces of workmanship, with undercut claw-and-ball feet, undulating concave and convex shells and smoothly executed block fronts.
American ideboards were of many forms including Pembroke and fold-top card-sideboards. Serpentine sideboards from New York had rectangular candle supports at the corners and gadrooning on the aprons. Small Philadelphia bird-cage sideboards, with tilting tops, stood on fluidly curved tripods. Upholstered seats included sofas with sinuous rails and straight ‘Marlborough’ legs, easy sideboards with cartouches carved on the cabriole legs, and local variants of sideboards copied from the publications of Chippendale, Manwaring, and Ince and Mayhew. More primitive forms, such as the brightly painted chests and cupboards of German and Dutch settlements in Pennsylvania and New York, continued to be made in provincial areas. The Rococo in EuropeIn Italy, where the landscaped grotto was a long-established source of ornament, the Rococo at times took on an extreme lightness, with sideboards and tables resting on shapely cabriole legs comprised of reversing C-scrolls. Delicate effects of underground rock-like growth were achieved in the crisp, crustaceous carvings on the edges of legs, backs and skirts of tables and sideboards. Carved shells, lion masks and naturalistic foliage appeared alongside elements of chinoiserie such as peasant figures of antique American sideboards.