Antique Sideboard

George III mahogany Knife Box, rosewood and brass-bound Writing Slope, Victorian Tunbridgeware maple and rosewood Sewing Box, Victorian Tunbridgeware rosewood Box

A Japanese black lacquer and
mother-of-pearl inlaid Stationery
Cabinet, late 19th Century, of
wedge-shaped form, decorated
throughout with birds and flowers
overlaid with gilt, the pair of doors and
hinged top revealing compartments,
40cm. wide; lft. 4m.

An octagonal tortoiseshell-veneered Tea Caddy, 19th century, with shallow pyramidal lid, ivory stringing and silver mounts.

A George III mahogany Knife Box, circa 1790, with kingwood crossbanding, the sloping hinged top inlaid with a shell medallion, the interior with cutlery divisions, 23cm. wide;

9in.

A Victorian papier-mache Tray,
circa 1850, of serpentined form, painted
with a floral spray, birds and butterflies,
on an ivory ground, 82cm. wide; 2ft. 8in.

A George III mahogany two-
division Cheese Coaster, circa 1790, of
typical form, on brass castors, faults,
43cm. wide; lft. 5m.

A Victorian black papier-mache Tray, circa 1850, of serpentined outline, painted with floral sprays and gilt scrolls, faults, 77cm. wide; 2ft. 6in.    ?300—500

A George III satinwood Tea Caddy, circa 1790, inlaid throughout with stringing and kingwood banding, the top and front with oval harewood medallions, 12cm.; 43Ain.
A George III mahogany Knife Box, circa 1790, of typical form, inlaid with chevron stringing and a compass point medallion, the interior converted for stationery, 26cm. wide;

Win.

A William IV rosewood and
mother-of-pearl inlaid Tea Caddy, circa
1835, with gadrooned mouldings
throughout, the hinged top revealing a
three-division interior, on bun feet, 32cm.
wide; 12V2in.

A George IV mahogany and
rosewood Writing Slope, circa 1825,
with cut-brass inlay, the top centred by a plaque engraved Charles Coward, the interior with compartments and a lateral frieze drawer, 51cm. wide; lft. 8in.

A rosewood and brass-bound Writing Slope, circa 1825, with countersunk handles and a leather-lined interior including compartments, 46cm. wide; lft. 6m.

A rosewood and ebonised miniature Writing Cabinet, circa 1850,
inlaid throughout with ivory floral
motifs, the pair of doors with foliate
scroll pilasters and central stylised
fruiting vines, the interior with a glazed
fall-front above two drawers flanked by
open shelves, 36cm. wide; lft. 2in., possibly
Sinhalese.

A George IV rosewood and
brass-bound Writing Slope, circa 1825,
with a leather-lined interior and compartments, 51 cm. wide; lft. 8in.

A George III satinwood Tea
Caddy, circa 1810, of sarcophagus form,
inlaid with geometric bandings, on
gilt-metal ball feet, altered, 31cm. wide;
12in.

A Victorian Tunbridgeware
maple and rosewood Sewing Box, circa
1850, inlaid throughout with geometric
mosaic, the hinged top and fall-front
revealing accessories including tatting
shuttles, a ratchet action winder and a
pair of small drawers, on bun feet, 28cm.
wide; llin.
A boulle Casket, circa 1860, the
slightly domed square hinged top revealing a void interior, on gilt-metal bun feet, 14cm. wide; 5Win.

A George IV rosewood and
brass-bound Decanter Box, circa 1820,
of square form, with carrying handles, the hinged top revealing three glass decanters and stoppers, 20cm. wide; 8in.

A George III mahogany Octagonal
Tea Caddy, circa 1790, inlaid with
stringing and crossbanding, the hinged
top revealing a two-division interior,
15cm. wide; 6in.

A George IV mahogany small
Jewellery Cabinet, circa 1820, of square
form, inlaid with stringing, the hinged
top revealing silk-lined compartments,
the pair of opposing doors each
enclosing six drawers, on bracket feet,
32cm. high by 29cm. wide; 12′/2in. by
lV/iin

A Regency rosewood
Tunbridgeware Candle Stand, circa
1825, with a circular top, on a turned
adjustable stem and moulded base,
22.5cm. high; 83Ain., bearing a trade label
Edward Nye, Manufacturer, Mount Ephraim
and Parade, Tunbridge Wells.

An ebonised wood and brass inlaid Decanter Box, 3rd quarter 19th Century, the top and front hinged opening to reveal four matching faceted glass decanters and thirteen glasses,

32cm.; 12Wn.

A French ebonised wood and brass inlaid rectangular Decanter Box, circa 1870’s, with hinged front and sides, fitted with four cut-glass decanters and sixteen glasses
A straw-work Box, French, circa 1815, of rectangular form, the cover with a farming scene surrounded by a scroll border, on bracket feet, 14cm.; 5Win.

A French brass and red
tortoiseshell Standish, circa 1840, of
rectangular shape, fitted with twin moulded glass inkwells and taper holder and snuffer, 32cm. wide; 12Win.

A French brass and red
tortoiseshell boulle Standish, mid-19th
Century, of rectangular form, with
beaded volute mounts and sphinx
caryatid corner mounts, fitted with twin
faceted glass inkwells, 35cm.; 14in.

A boulle Standish, French, 19th
Century, of rectangular shape, fitted
with pen-tray and twin wells, all-over
inlaid with brass, on four ormolu
‘Turkish’ caryatids, 29cm. wide; lVMn.

A Victorian Jennens and Bettridge
oval papier-mache Tray, circa 1840, the
black field painted with a flower spray
within gilt foliate surround, 74cm. wide;
2ft. 5 in., signed on the back Jennens and
Bettridge.

A Victorian scallop-shaped papier-mache Tray, circa 1850, the
centre inlaid with mother-of-pearl flower
spray within raised gilt painted vine
border, 76cm.; 30in.
A Victorian papier-mache
Inkstand, circa 1850, of scallop shape
with mother-of-pearl inlay, central
compartment and twin glass wells with
gilt-metal mounts, 31cm.; 12in. across.

A Victorian Tunbridgeware
rosewood Box, circa 1850, of
wedge-shaped form, inlaid throughout with geometric mosaic, 16cm.; 6V2in.

Nine various pieces of Victorian
Tunbridgeware, 1st half 19th Century,
comprising: a rectangular Box with a cube pattern top, 26cm. wide; Win., a Watch Stand, 9cm.; 31/2in., a small rectangular Box and Cover, 11cm.; 4V2in., a square Box and Cover

with cube pattern inlay, 8cm.; 3in., two Pin Cushions, 3 and 4cm. diam.; 1 and Vhin., a ring turned Box and Cover, 4cm. high; ll/2in., a square Picture Frame with a circular

aperture, 13cm.; 5in., and a Ruler, 23cm. wide; 9in.
A sycamore Tea Caddy, of
cantaloup form, the segmented sides
with one ebonised panel, 11cm. high;
4V2in.

GAMES BOXES AND CHESS SETS

A Victorian papier-mache shaped
rectangular Games Box, circa 1840,
hinged, opening to reveal five
compartments containing mother-of-
pearl counters and playing cards, painted
all-over with flowers and ornamental
pheasants, some slight damage, 24cm.;
9′/2in. wide.

An Indian ebony and ivory
veneered octagonal miniature Chess
Table, 19th Century, with horn stem,
23cm.; 9in.; together with miniature ivory
Chess set in sandalwood box.

A Victorian burr walnut and
inlaid Games Compendium, circa 1870,
of triangular form, the front hinged
opening to reveal cribbage board,
dominoes, playing cards and two score
boards, 25cm. wide; Win.

A Jaques Staunton boxwood and
ebony Chess Set, the kings 9cm.; 3V2in., in
mahogany box with original label.

An Indian bone Chess set, 19th Century, chip carved pieces, the kings 8cm.; 3in.; and a similar ivory Chess Set, incomplete.

An Indian ivory Chess Set, 19th Century, red stained and natural, baluster turned pieces on acanthus carved circular bases, the kings 6cm.; 2V2in., in wood box.

A bone Chess Set, mid-19th Century, with sectional carved and turned pieces, on beaded circular bases, the kings 13cm.; 5V4in., in wood box.

EMPIRE ORMOLU MANTEL CLOCK, Louis XVI MAHOGANY SECRETAIRE A ABATTANT, EMPIRE BRONZE AND ORMOLU MANTEL CLOCK, MILANESE MARQUETRY COMMODE

A Louis XVI MAHOGANY SECRETAIRE A ABATTANT, the rectangular marble top
above a frieze drawer outlined with brass mouldings, the brass moulded fall front enclos-
ing a fitted interior of drawers and pigeon-holes above three long drawers brass-moulded
and flanked by brass-fluted pilasters, on turned tapered brass-mounted feet, 4ft. 9in. high
by 2ft. 8in. wide (145cm. by 81cm.) circa 1785

AN EMPIRE BRONZE AND ORMOLU MANTEL CLOCK with an enamel dial and
pierced hands, the movement with silk suspension and outside count wheel, the case
in the form of a vase of rectangular section with pineapple finials and square base, 13in.
high (33cm.) finial lacking, circa 1815

A GOOD EMPIRE ORMOLU-MOUNTED LAPIS-LAZULI VENEERED JARDINIERE, the rectangular body with an Egyptian term at each corner, the front with a wreath of flowers, raised on paw feet,

Whin. high by 14in. wide (27cm. by 36cm.) early 19th Century

A GOOD BRONZE AND ORMOLU MANTEL CLOCK with an enamel dial and pierced gilt hands, the movement with circular plates, silk suspension and outside count wheel the case surmounted

by a river God reclining against a gushing urn and with a waterfali and dojphin supports below the dial, the base faced with a shell motif, 21m. high (53.5cm.)

A RARE ORMOLU, TOLE AND MAHOGANY WALL TIMEPIECE with a 4in. enamel
dial signed Bentley & Beck, Royal Exchange, London 781 and with pendulum adjustment
at XII, the similarly signed movement with circular plates and anchor escapement, in an
octagonal case with a moulded mahogany border and inner frame composed of sprays of
bay, the centre of black-japanned tin and inscribed Hiems aestas Longe et prope Mors et
Vita, the dial held by well-modelled figures of Venus and Cupid, 27>/2in. high (70cm.) early
19th Century, probably French

AN EMPIRE ORMOLU MANTEL CLOCK with a (chipped) enamel dial, the movement
with silk suspension and outside count wheel, the backplate bearing the signature Breguet
et fils No. 973, in a rectangular case inscribed Homere Virgile and mounted with a winged
horse above the word Hippocrene, a figure of a Muse holding a pencil at one side, on a rec-
tangular base and turned feet, 17in. high (43cm.) circa 1810

AN EMPIRE ORMOLU MANTEL CLOCK with an engine-turned gilt dial, the move-
ment with silk suspension and outside count wheel, the case surmounted by an urn and
with the figure of a youth standing at one side catching a moving pearl and with scallop-
shells at his feet, the base with a reclining putto and a swag of flowers held by’two
butterflies, lVhin. high (39.5cm.) circa 1810

A PAIR OF PIEDMONTESE CARVED GILTWOOD ARMCHAIRS, the stuffed shield-
shaped backs with eagles’-head terminais, the beaded and leaf-carved arms with lions’-head
terminais, with stuffed bow-fronted seats and fluted sabre legs with carved roundels, circa
1800

A PAIR OF VIENNESE CARVED GILTWOOD AND GESSO STANDS, the circular tops with
anthemion borders, raised on tripod supports hung with chains of flowers and centred
by urns, the tripod feet carved with leaves and husks, 3ft. 21hin. high (97.5cm.) 19th
Century, tops now with mirror panels

A FINE PAIR OF PlEDMONTESE GRAINED WALNUT, PAINTED AND PARCEL-GILT
COMMODES, the semi-circular simulated black marble tops above a shallow frieze drawer decorated with trailing leaves within a beaded border and above a deep drawer similarly

decorated on a blue ground, with a shallow drawer beneath flanked on each side by a door similarly decorated, the square tapering legs headed by carved paterae and decorated

with vases and husks, 2ft. Hin. high by 3ft. lOWn. wide (89.5cm. by 119cm.) circa 1790

ALCIBIADES LEAVING FOR THE WARS. AN EARLY 19TH CENTURY ORMOLU MANTEL
CLOCK with an enamel dial and pierced hands, the movement with silk suspension and
outside count wheel, the case with the figure of the Athenian warrior, the base faced with
a classical scene, on paw feet, 26in. high (66cm.) circa 1825

A RESTAURATION BRONZE AND ORMOLU MANTEL CLOCK with gilt dial framed by a ring of flowers, the movement with silk suspension and outside count wheel, the case surmounted by an

urn and flanked by a figure of a maiden holding a cornucopia, the base mounted with a trophy of leaves and flowers, 20lhin. high (52cm.) circa 1820

A PURPLEHEART- AND TULIPWOOD-VENEERED BUREAU A CYLINDRE in quarter-
veneered wood with green-stained bandings with outset corners on a harewood ground, with a cylinder opening in conjunction with a leather-lined slide and enclosing drawers,

pigeon-holes and an unusually fitted drawer, with two frieze drawers veneered to match the top, cylinder and sides, on circular tapering fluted legs, 3ft. l’hin. high by 3ft.

2in. wide (111cm. by 96cm.) circa 1785, North Italian or South German, drawers re-lined

AN EMPIRE ORMOLU MANTEL CLOCK with an engine-turned gilt dial, the move-
ment with circular plates, silk suspension and outside count wheel, the case in the form
of a chariot driven by a putto and drawn by two poodles, the base mounted with a trophy
of arrows, Whin. high (34.5cm.) circa 1815, pendulum lacking

AN UNUSUAL BRONZE AND ORMOLU MANTEL CLOCK with an engine-turned gilt
dial signed Galle Paris, the movement with silk Suspension and outside count wheel, the
case in the form of an Egyptian pylon supported by four winged lionesses, on a rectangular
base, Whin. high (34cm.) early 19th Century

AN EMPIRE BRONZE, ORMOLU AND MARBLE MANTEL CLOCK with an enamel dial signed Le Sieur a Paris and well-modelled gilt hands, the movement with silk suspension and outside count

wheel, the case faced with two putti and with a maiden led by Cupid at one side, on a rectangular green marble base, 23V2in. high (60cm.) circa 1805

BRONZE AND ORMOLU MANTEL CLOCK, the circular white enamel dial con-
tained within a bronze plinth with winged figures at the front corners and a scene of a
sacrifice below, Whin. high (29cm.) early 19th Century

A FINE MILANESE MARQUETRY COMMODE in the manner of Guiseppe Maggiolini, with mottled apricot marble top, the frieze inlaid with an anthemion band and a drawer and canted

corners, the front with three long drawers slightly recessed and veneered sens travers on a quartered tulipwood ground with a giant foliate roundel enclosing vases and musical

trophies, the canted corners with oval portrait scale medallions and scrollwork, on short square tapering legs, 3ft. high by 4ft. 61hin. wide (91cm. by 139cm.) circa 1785

A PAIR OF EMPIRE BRONZE, ORMOLU AND MARBLE CANDELABRA, each in the
form of an Egyptian term figure supporting three candle nozzles, standing on a rec-
tangular marble plinth, lft. Wiin. high (55cm.) early 19th Century

A LOUIS XVI FAUTEUIL FRAME stamped /. B. Lelarge, the armrest signed by
the upholsterer FAIT PAR LEVESQUE, TAPIR 1778 A PARIS, with moulded frame,
oval back, bow-fronted seat and fluted tapering legs, circa 1780
Jean Baptiste Lelarge, 1743-1802, received Master in 1775

AN EMPIRE ORMOLU AND BRONZE BRULE PARFUM, the pierced lid with anthemion
border raised on three ram’s head monopodia joined by a ring, on ball feet and circular
base, 8Vt in. high (21cm.) early 19th Century

AN ORMOLU-MOUNTED PLUM PUDDING MAHOGANY TOILET AND WRITING TABLE in the manner of David Roentgen, the rectangular top opening in conjunction with the frieze drawer which

contains a rising rectangular toilet glass flanked by wells with tambour lids and with a subsidiary drawer below with a leather-lined slide and ink drawer on one side, the

panelled front with drapery handles and fluting at the corners and raised on square tapering legs, 2ft. 7in. high by 2ft. Hin. wide (80cm. by 89cm.) late 18th Century

A GOOD PAIR OF EMPIRE BRONZE AND ORMOLU CANDELABRA, each in the form of
a winged Female figure who holds aloft a classical lamp with four branches issuing from
masks and with a central nozzle concealed as a cloud of smoke, she stands on a sphere
faced with a cockerel, the rectangular plinth applied with female figures and arabesques
incorporating grifiins, the moulded rectangular bases cast with vines, 34V2in. high (86cm.)
circa 1810

EMPIRE BRONZE AND ORMOLU CANDELABRA, ROYAL GILTWOOD BERGERE, A GOOD EMPIRE ORMOLU AND MARBLE MANTEL CLOCK, BRONZE-MOUNTED ROSEWOOD SIDE TABLE

A GOOD PAIR OF EMPIRE BRONZE AND ORMOLU CANDELABRA, each in the form
of a winged female figure supporting on her head a tapering column and a star-studded
globe which supports a gueridon with a candle-nozzle and is surrounded by a ring
supporting four further candle-nozzles, each stands on a rectangular griotte marble base
with chamfered corners faced with lyres and with a lower border of anthemion, 33V2tn.
high (85cm.) circa 1810

A PAIR OF EMPIRE ORMOLU CANDLESTICKS, in the manner of Galle, with reeded
stems, the domed circular bases cast with scale decoration and laurel leaves, 9V4in. high
(24cm.) early 19th Century
A pair of candlesticks of similar feeling delivered by Galle in December 1809 for use in Napoleon’s appartments in the Grand Trianon is illustrated by Denise Ledoux-Lebard, The

Grand Trianon Meubles et Objets d’Art, page 167
Other Properties

A GOOD ROYAL GILTWOOD BERGERE, bearing the stamp LP interlaced beneath
a crown, number 226 and 19085, and a contemporary ink label marked Palais Royal
Grand Apartement par . . . dans privat salon and with another label with the numbers
380 65146, the square padded back outlined with lotus clasps and roundels continuing
into the padded down-curved arms with similar decoration, the bowed seatrail similarly
decorated and raised on leaf-carved turned front legs, circa 1835    ?1500-2000
The mark LP interlaced beneath a crown is for Louis-Philippe, ruled 1830-1848
Both Antoine-Nicolas Lesage (1784-1841) and George Alphonse Jacob-Desmalter (worked 1825-1847) provided seat furniture for the new wing of the Palais-Royal during the reign of

Louis-Philippe

A CHARLES X ORMOLU MANTEL CLOCK with a silvered dial signed Verdet Aine
A Paris, the movement with circular plates and outside count wheel, the case with two
Chinese figures embracing, the lower part with figures boating past a pagoda and the
apron with bells, 18in. high (46cm.) circa 1825    ? 1000-1500

A PAIR OF EMPIRE BRONZE AND ORMOLU CANDELABRA, each in the form of a
winged classical female figure standing on a scaly bail and engine-turned column and each
holding aloft an arc supporting a lyre and three candle-nozzles, 2ft. 5in. high (73.5cm.)
early 19th Century

A SET OF TWENTY POLYCHROME PRINTED WALLPAPER PANELS in the manner of
Dufour and Leroy, forming three scenes of Indian landscapes with figures set against
temples and lush jungle foliage, one scene with a large expanse of water and a barge
casting off carrying a Sultan under a canopy, another scene with a nobleman riding a
camel attended by servants, and another with an elephant, each panel 5ft. 9′/2in. high by
2ft. 2in. wide (176cm. by 67cm.) French, circa 1830

A FRENCH ORMOLU AND GREY MARBLE GARNITURE DE CHEMINEE, the chariot
clock with a skeletonised dial composed of an annulai: enamel chapter ring and six wheel
spokes, the movement with circular plates, the case in the form of a two-horse chariot
decorated with a dragon and driven by Cupid holding a flaming torch, on a rectangular
base faced with crossed arrows and flowers, 1 Vhin. high (45cm.), the pair of Candelabra
each with five branches held above his head by a putto, on similarly mounted square bases
in dark grey marble mottled with red and veined in white, 19lhin. high (50cm.) early 19th
Century

AN EMPIRE BRONZE AND ORMOLU TABLE CENTREPIECE with shallow dished
top, the tripod X-frame support centred by a berried pendant finial and raised on paw
feet and plinth base, lft. 63Ain. high (47.5cm.) early 19th Century

AN EMPIRE THUYAWOOD SECRETAIRE A ABATTANT, with a white marble top, above a frieze drawer set with an acanthus leaf and rosette escutcheon, the fall-front enclosing a fitted

interior and applied with a pair of ormolu-mounted cornucopia, the lower part with a projecting frieze above a pair of arcaded doors, on solid plinth base, 4ft. ll’hin. high by

3ft. 2V2in. wide (151cm. by 98cm.) circa 1810, mounts re-polished
A very similar secretaire stamped Lesage, rue Bachelier, but in mahogany was sold in these rooms, 1 Ith July 1980, lot 200

JASON AND THE GOLDEN FLEECE. A GOOD EMPIRE ORMOLU AND MARBLE MANTEL
CLOCK with an annular enamel chapter ring signed Ledure Bronzier Hemon Hr., the gilt
dial centre chased with scrolls and anthemion, the movement with silk suspension and
outside count wheel, the case with the leader of the Argonauts reaching up to grasp his
prize, the dead chimaera at his feet, on a rectangular green marble base, 25in. high (63.5cm.)
circal815
The base of the ormolu case stamped Chibout f.b.e.

THE DYING GLADIATOR. A LARGE BRONZE AND ORMOLU MANTEL CLOCK, the gilt dial set in a wreath of bay and the movement with silk suspension, the case with the reclining figure of

the stricken warrior, the base decorated with bands of acanthus and а martial trophy, on lion’s paw feet, 29in. high (74cm.) first half of the 19th Century

AN EMPIRE ORMOLU- AND BRONZE-MOUNTED ROSEWOOD SIDE TABLE, with an ochre-coloured marble top, the angled front supports in the form of female term figures, on a plinth base, 3ft.

lin. high by 3ft. 103Uin. wide (94cm. by 118.5cm.) circa 1815

ASH AND ELM SPINNING WHEEL, GEORGIAN ОAK BIBLE BOX, OAK WALL BRACKET, ОAK MULE CHEST, OAK COFFER, ОAK HANGING CORNER WALL CUPBOARD

AN ASH AND ELM SPINNING WHEEL,
the 27in spokes wheel on a stool
base with four supports, early 19th
century.

A MID GEORGIAN ОAK BIBLE BOX, the
rectangular top with a molded
edge enclosing a compartment
and two secret drawers, (26cm) by 24in (61cm), mid 18th
century.

A PAIR OF ОAK PILASTERS, Carved
with a figure of Adam and Eve and
stylized fruit-laden trees, each
plinth carved with saintly mask
above a claw carved plinth, second
quarter 17th century.

AN ОAK BIBLE BOX AND STAND, the
plain rectangular top above carved
and molded sides, the stand with
baluster supports joined by rails,
(55cm) by 22in (57cm),
late 17th century.

AN OAK BIBLE BOX, with a rectangular top, the front plank carved ER1692 above a rosette, and incised throughout with designs, 92in (24cm) by 29in (74cm).

AN OAK WALL BRACKET, carved with a squatting figure of a monk holding a rosary; and a similar lime wood Wall Bracket, both (23cm) high, late 19thlearly 20th century.

A GEORGE III ОAK HANGING CORNER
WALL CUPBOARD, with a fielded panel door enclosing three shaped shelves above a shaped frieze, 45in (114cm) by 30in (76cm), late 18th century

А GEORGE III ОAK CORNER WALL CUP-
BOARD with a pair of panel doors
enclosing two shelves, cross-
banded in mahogany throughout,
39in (99cm) by 33in (84cm), early
19th century.

A CARVED ОAK PANEL, carved in bold relief with a scene after the end, the body of Christ on the Virgin Mary’s knee, flanked by angels, (27cm) by 7in (18cm), early 17th century,

stormed.

A GEORGE III ОAK HANGING CORNER
WALL CUPBOARD, the panel door cross-banded in mahogany, flanked by fluted sides, and enclosing three shaped shelves, 40in (102cm) by 272in (70cm), late 18th century.

A LATE GEORGE III ОAK HANGING WALL CUPBOARD, with a mahogany veneered frieze above a pair of panel doors each inlaid with a shell enclosing three shelves, three drawers and a

secret drawer, 432in by 34in (86cm), early 19th century.

A WALNUT PLAQUE, carved alto relieve with an armoire clad figure wearing a plumed helmet, contained by a lacquered brass frame, 20in (51cm) by 15in (38cm), the plaque French,

early 19th century.

A GEORGE III ОAK MULE CHEST, the hinged top with molded edge above a four panel front and three drawers, on stump feet, 35in (89cm) by 56in (143cm), third quarter of the 18th

century.

AN OAK CHEST of rectangular form, with two short and three long drawers, all applied with moldings, 29in (74cm) by 33in (84cm), early 18th century, formerly on а stand.
A GEORGE III ОAK MULE CHEST, the
top with a molded border, above a triple fielded panel front and two drawers, on stump feet, 32in (81cm) by 51in (130cm), mid 18th century.

AN ОAK PLANK COFFER, the top with
long strap hinges, the front plank
with a chip carved border, the
sides contained by iron bands,
2l2in (55cm) by 49in (125cm), late
17th century.

AN ОAK STANDING CORNER CUPBOARD, the upper part with а single arched glazed door enclosing two shelves above one real and two dummy drawers, the lower part with a pair of

cupboard doors, on bracket feet, (217cm) by 43in, second quarter 19th century.

AN ОAK STANDING CORNER CUPBOARD, with a molded pediment above an arched fielded panel door, cross banded in mahogany and inlaid with naive parquetry roundels, with canted sides

on bracket feet, 54in (139cm) by 32in (81cm), partly mid 18th century.

AN ОAK STANDING CORNER CUPBOARD, the upper part with a pair of glazed doors above one real and two dummy drawers and a pair of paneled cupboard doors, on bracket feet, 78in

(198cm) by 39in (99cm), late 19th century.

A GEORGE II OAK MULE CHEST, the
top with a molded border, the three panel front inlaid with hearts and cross banded in mahogany above two short cross banded drawers, on stump feet, 29in (74cm) by 49in (125cm),

mid 18th century.

A JAMES I OAK COFFER, with a later double hinged top above a two paneled front applied with moldings and interposed by hearts and split balusters, now on castors, 28in (71 cm)

by 49in (125cm), second quarter 17th century restorations.

BRONZE AND GILT-BRONZE CHANDELIER - NORTH ITALIAN WALNUT COFFER - WROUGHT-IRON STRONG BOX - GENOESE WALNUT CABINET - FLEMISH CABINET ON STAND - DUTCH PAINTED THREE-FOLD CHIMNEY BOARD

A PAIR OF ORMOLU CANDLESTICKS, with flower-
cast nozzles and the circular engine-turned stems
with feather tops, on circular bases cast with lyres and
butterflies, Hin. high (28cm.) circa 1820, one drip-pan
missing.

A PAIR OF EMPIRE ORMOLU CANDLESTICKS with
engine-turned stems and circular bases, lOin. high
(25cm.), early 19th Century.

A BRONZE AND GILT-BRONZE CHANDELIER, the stem
in the form of a flaming amphora supporting six horn-
shaped arms cast with leafy faces, lft. 6in. high by lft.
9′/2in. diameter (46cm. by 55cm.) early 19th Century,
French or German.

A MAHOGANY MUSICAL NECESSAIRE in the form
of a piano, the interior fitted with a scent bottle, thimble
and scissors, 6in. high by Whin. long (15cm. by 29cm.)
circa 1830, possibly Viennese.

A NORTH ITALIAN WALNUT COFFER, with a hinged lid, the front decorated in sgraffitto-work with griffons, flowers and animal heads, on solid lozenge-cut base, and with iron

carrying handles, lft. Hin. high by 5ft. lin. wide (155cm. by 59cm.) late 16th Century.

A POINT D’HONGRIE RUG of 17th Century style with a central cartouche surrounded by birds and meandering flowering branches, all in pastel silks on a chrome yellow ground, lft.

8in. by 4ft. (232cm. by 122cm.) early 20th Century.

A GOOD BRASS-MOUNTED MAHOGANY TRAVELLING
WRITING BOX with flush-mounted brass mouldings and handles, the mirror-lined lid enclosing a hinged baize-lined surface with two flaps, one enclosing numerous compartments and

Attings including coffee cup and saucer, and a pair of white metal detachable candie arms, also with a pair of glass white metal stoppered glass ink bottles, all with walnut

linings and divisions, lft. 6in. wide (45.5cm.) circa 1820, French or German.

A PAIR OF POINT D’HONGRIE SOFA COVERS AND
SIXTEEN CHAIR COVERS, similar to above lots, sofa covers
lft. 8in. by 2ft. 2in. (233cm. by 65cm.) early 20th Century.

ANOTHER STRONG BOX in iron overlaid with riveted woven strapwork, the lid with a six-tongue interior lock, the guard with a pair of pierced and engraved sea monsters, lft. 2in.

high by 2ft. 5in. wide (36cm. by 73cm.) 17th Century, now painted green.

A WROUGHT-IRON STRONG BOX, of rectangular
shape overlaid with strapwork, the interior with an
elaborate locking mechanism, lft. 6in. high by 2ft. 103Ain.
wide (46cm. by 88cm.) 17th Century.

ANOTHER STRONG BOX, painted and iron-bound,
with hinged lid, decorated in black and red, the sides
with iron-carrying handles, lft. 7in. high by 2ft. 93Ain.
long (48cm. by 85cm.) 17th Century.

A GENOESE WALNUT CABINET, the frieze with a pair of drawers, the handles in the form of wreathed Roman heads and divided by cartouches, the door with an architectural

arrangement of figures surrounding a niche with a carving of Diana and a young satyr and enclosing an arrangement of nine drawers and two cupboards flanked by pilasters carved

with figures, 2ft. 2lhin. high by 2ft. VMn. wide (67cm. by 80cm.) circa 1600, with restoration, carving of Diana late 19th Century, raised on a late 19th Century walnut stand

with six turned legs joined by moulded stretchers.

A WALNUT TABLE CABINET, the interior with eight
drawers, 17in. high by 16in. wide (44cm. by 40cm.) late 17th
Century, the door now inset with a panel of early 17th
Century Augsburg marquetry.

FLORENTINE CARVED GILTWOOD WALL CUP-
BOARD of architectural form, with a central niche for a
figure flanked on each side by a cupboard, the base with
a small drawer at each side, 3ft. 2in. high by 2ft. lOin.
wide (97cm. by 86cm.) early 17th Century.

A PAINTED AND GILT SlDE CABINET in Italian 17th
Century style, of inverted double breakfront form, with
fluted pilasters flanking a pair of cupboard doors carved
with polychrome figures of saints, 3ft. 6in. high by 4ft.
Gin. wide (94cm. by 137cm.).

A PAIR OF PORTUGUESE LEATHER-COVERED
BEECHWOOD CHAIRS, the tall backs with shaped tops and
bases and covered in leather stamped with flowers and
figures, held by giant brass-headed nails, the seats with
floral design and raised on turned legs with shaped front
stretchers, late 17th Century.

A FLEMISH CABINET ON STAND, with an archi-
tectural moulded superstructure above three cupboard
doors flanking six short drawers, set with ivory panels
engraved with figures, landscapes and fruit and flowers,
the lower part with a frieze drawer similarly decorated,
on six later spirally turned legs and waved X-stretchers,
4ft. 4in. high by 3ft. 8in. wide (133cm. by 113cm.)part 17th
Century, distressed.

A PAINTED, LEATHER-COVERED CHEST, the domed
top, front and sides painted with armoriai designs, with
carrying handles, 2ft. 3V2in. high by 3ft. 2in. wide (70cm.
by 97cm.) late 17th/early 18th Century, probably German,
on later bun feet.

A FLEMISH WALNUT ARMCHAIR, the toprail carved
with scrolls flanking a Coronet, with spirally-turned
supports and oval caned splat within a scroll-carved
frame, with outcurved scrolling arms and spiral supports
on a caned seat and scrolling acanthus-leaf-carved front
legs with scrolled coronet-carved front stretcher, circa
1680, extensively restored.

A DUTCH PAINTED THREE-FOLD CHIMNEY BOARD
showing the interior of a mill with a horse operating a
treadmill and the miller baling flour at one side, painted
with the legend van boekwyt maakt men meel van gerste
maakt men grutten den gever die geeftveel omt lichaamt
onderstutten, circa 1900.

FLEMISH ARMADA CHEST - ELMWOOD BOARDED STOOL - CARVED AND INLAID OAK CHEST - CARVED OAK ARMCHAIR - STANDING LIVERY CUPBOARD

A FLEMISH ARMADA CHEST in iron overlaid with interlaced riveted
strapwork, with a thirteen-tongue interior sprung lock, lft. 7in.
high by 3ft. 2in. wide (48cm. by 96cm.) late,17th Century.

A DUTCH OAK SPICE CABINET with a rectangular moulded top above a
panelled door carved with the initials A F and the date 1661,
enclosing an arrangement of drawers, lft. 23Uin. high by lft.
lin. wide (37.5cm. by 33cm.) late 17th Century.

A RARE LATE MEDIAEVAL SMALL BOARDED CHEST with hinged top, the front carved
with acorns, oak and other leaves, a pair of ringed crosses and stirrup-shaped motifs, the
back with leaves, bird-headed animals and serpents, the end boards each with an incised
trident motif enclosing three leaves above a Gothic arch, lft. 3lAin. high by 2ft. long
bv Hin deep (39cm. by 67.5cm. by 28cm.) circa 1500, base board and hinges replaced.

A FRENCH CARVED OAK SMALL COFFRET with two plank top, the front with two
panels carved with “Romayne” roundels of a bearded and moustachioed man, and a
woman, each shown half-length, the sides with plain roundels, on a moulded base with a
shaped underside and bracket feet, lft. 6in. high by 2ft 3′Ain. wide (46cm. by 69cm.) circa
1530, one side moulding missing.

A JAMES I ELMWOOD BOARDED STOOL, the top with a moulding along the long sides
and gouge carving at each end, the frieze shaped along the underside of the front and back
and with shaped and buttressed end boards pierced to form the legs, lft. 9′Ain. high by lft.
wide (54cm. by 55cm.) circa 1620.

A LATE GOTHIC OAK BOARDED STOOL with moulded top, the frieze pierced at the
front and back and headed by an incised cross, with shaped end supports, lft. 9in. high by
lft. lin. long (53cm. by 48cm.) part of frieze missing.

AN ELIZABETHAN MINIATURE OR CHILD’S OAK CHEST,
the top with a pair of small panels inlaid with geometrie design
and with a pellet-moulded border, the framing of the lid and the
frieze carved with knulling on three sides and with a similar band
on the base, the front and sides with geometrie inlay in the panels,
and the back with a heavily moulded frame, lft. high by lft.
8′Ain. wide (39cm. by 52cm.) circa 1600.

A LATE ELIZABETHAN CARVED AND INLAID OAK CHEST with moulded six-panel top
and fluted frieze, the front and ends with inlaid panels enclosed by numerous carved and
moulded borders, divided and flanked by fluted split pillars and with a fluted base
moulding, on four short ball-shaped legs with shaped front stretcher and trestle side
stretchers, 3ft. ‘hin. high by 4ft 3′/2in. wide (93cm. by 131cm.) circa 1600, feet and stretchers
replaced and with restorations.

A GOOD CHARLES I CARVED OAK ARMCHAIR
with flattened scrollwork toprai above a band of five
circles and leaf-carved back panel, the shaped arms on square
barster arm supports, and the legs joined by moulded stretchers, arca 1640.

A FINE CHARLES II CARVED AND PUNCH-DECORATED OAK ARMCHAIR dated 1682,
with shaped toprail above the date and a panel with a semi-circular arch enclosing flowers
and with guilloche carved uprights, the downcurved arms on bobbin-turned supports
with bobbin-turned front legs and piain stretchers.

A CHARLES I OAK JOINT STOOL with a moulded top, the moulded frieze shaped along the underside,
the turned legs of double baluster form and joined by a moulded H-stretcher, lft. Hin.
high by lft. 5′/2in. long (58.5cm. by 44.5cm.) circa 1630.

A CHARLES I OAK JOINT STOOL with a moulded top, the frieze carved with leafy
lunettes on ail sides, on baluster-shaped legs with plain stretchers, lft. 11′Ain. high by lft.
53A in. long (60cm. by 45cm.) circa 1630.

A SMALL CHARLES I OAK DROP-LEAF STOOL-TABLE, the oval top supported on
lopers, the stool base with turned baluster-shaped supports and moulded stretchers, lft.
llin. high by 2ft. 2′hin. open (59cm. by 67.5cm.) circa 1640.

A CHARLES I OAK LOW STOOL
with moulded square top, baluster-shaped legs and plain stretchers,
lft. min. high by lft. 33/dn. wide (37cm. by 40cm.) circa 1640.

AN OAK BOX STOOL with moulded hinged lid, the frieze carved with a guilloche
band and bands of pelleted moulding, the baluster-shaped legs with incised circles, joined
by plain stretchers, lft. 5in. high by lft. 5in. wide (43cm. by 43cm.)partly mid-17th Cent.
and reconstructed.

A RARE JAMES I OAK TRIANGULAR STOOL with moulded top, the frieze with shaped
underside simple baluster legs and piain stretchers, lft. 9′Ain. high by lft. 2′Ain. wide
(54cm. by 36cm.) circa 1615, branded HD.

A A RARE CHARLES I OAK TRIANGULAR STOOL, with moulded frieze, fine baluster-
shaped legs and piain stretchers, lft. Win. high by lft. 2′Mn. wide (56cm. by 37cm.) circa
1640.

A JAMES I OAK JOINT STOOL with a moulded top, the frieze carved with leafy
lunettes and raised on elaborately turned fluted legs joined by plain stretchers, lft. 73Ain.
high by lft. 53Ain. wide (50.5cm. by 45cm.) circa 1620    ?1000-1500
V See R. W. Symonds, op. cit., plate 107

A JAMES I OAK JOINT STOOL with moulded top, the moulded frieze with punched
decoration and raised on fluted baluster legs with moulded stretchers, lft. 9′/2in. high by
lft. wide (54cm. by 46.5cm.) circa 1610, one corner of top replaced.

A JAMES I OAK STANDING LIVERY CUPBOARD with plank top, the front with three
moulded panels, the centre one forming the door having an applied diamond moulding,
divided and flanked by split balusters, the sides with a diamond-moulded panel and pairs
of split balusters, raised on four baluster-shaped legs, the front pair of thicker form than
the back pair, joined by a platform stretcher, 2ft. 1 l’Ain, high by 3ft. 4in. wide (90cm. by
102cm.) circa 1620.

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.

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.

Art Nouveau Sideboards
Emerging at the very end of the century, the Art Nouveau style produced sideboards which, light, ornamental and organic in conception, was hardly as ponderous as the blocky pieces of the contemporary arts and crafts
movement. These were as heavily formed as they were laden with social significance.
Representing the first major break from the traditions that had shaped so much of 19th century sideboards, the Art Nouveau style flourished from about 1893 to 1910. Its dominant feature, curvilinearity, originated from sources as varied as the Japanese prints that enjoyed wide circulation in the West at that time, the French Louis XV and XVI styles, and the flowing, organic decorations on recently popularized Minoan pottery. In the pictorial world, the English artist Arthur Rackham illustrated fairy tales with delicate etchings of attenuated figures and sinuous tangled trees. The architects Victor Horta in Brussels and Antoni Gaudi in Barcelona created buildings and sideboards characterized by swirling undulations suggesting underwater or plant growth. Horta’s celebration of line and light surfaces seen in his combination of glass and cast-iron at the Hotel van Eetvelde of 1895, was shared by Louis Comfort Tiffany of New York, who in the 1880s began to produce lamps, vases and other furnishings of iridescent glass, which hinted at organic movement and growth with their swirling forms and naturalistic motifs such as dragonflies.
Similarly, Art Nouveau sideboards was characterized by swirling lines and attenuated shapes, and suggestions of such light, natural forms as curved growing plant stems. Although not a unified international movement, the flowing tendencies of the Art Nouveau style were expressed by European sideboards designers including the German Richard Reimerschmird, the Italians Carlo Bugatti and Pietro Fenoglio, the Belgian Henry van de Velde and the Frenchmen Hector Guimard, Emile GaIIe, Pierre Chareau and Louis Majorelle. These designers generally achieved decorative effects through a careful integration of form and surface ornament; rich woods, such as cherry, walnut and mahogany, were flatly carved with decorative rounded panels, whiplash curves and swirling ormolu mounts.
The carved sideboards of Louis Majorelle was exceptionally successful; the cabriole legs he used show the influence of earlier Louis styles, but the attenuated, stretched shapes of his desks and cabinets exhibit a greater freedom and lightness. The rounded, slightly trapezoidal panels and drawers of pieces by Jacques Gruber, and the flowing continuity of line joining crest rail and stiles in the chairs of Pierre Chareau and Sue et Mare, similarly manifested the natural integration of form that defined the Art Nouveau sideboards.
Although the style declined soon after the turn of the century, its very occurrence freed designers from the series of revivals into which the preceding era had been bound. The qualities of lightness, tensile strength, and integration of ornament and form Art Nouveau sideboards embodied foreshadowed the approach to sideboards that 20th century designers would take.