Antique Sideboard

18th Century-style mahogany Bureau-on-Chest, Victorian walnut and floral marquetry Side Cabinet, Chinese export lacquer Work Table, Chinese carved rosewood Jardiniere Stand

An 18th Century-style mahogany Bureau-on-Chest, circa 1920, the quarter veneered fall revealing a fitted interior, the serpentine-fronted commode base with two short and two

long graduated drawers, the canted corners above shaped bracket feet, 109cm. high by 94cm. wide; 3ft. 7in. by 3ft. lin., possibly German.

A Victorian walnut and inlaid
Cabinet Bookcase, circa 1850, with
gilt-metal mounts, the moulded cornice
above a pair of glass panel doors
enclosing a velvet-lined and shelved
interior, below are a pair of panel doors
and a shaped plinth base, 198cm. high by
124cm. wide; 6ft. 6in. by 4ft. lin.

A Victorian mahogany Buffet,
circa 1870, with three tiers and turned
supports, on brass castors, 88cm. wide;
2ft. 10V2in.

A Victorian carved mahogany
Gothic-style box-seat Settle, circa 1870,
the tall back with a cornice above pierced
tracery panels and heraldic shields, the
linenfold box seat with a hinged cover,
200cm. high by 157cm. wide; 6ft. 7in. by
5ft. 2in.

A Victorian walnut and floral marquetry Side Cabinet, the raised mirror back with a pierced carved cresting, the serpentine white marble top above a pair of panelled doors, on a

plinth base, 173cm. high by 149cm. wide; 5ft. 8in. by 4ft. Whin.

A George Ill-style mahogany and painted twin-pedestal Dining Table, made-up, the ‘D’-end top decorated en grisaille with a classical border, the columnar turned pillars on

splayed tripod supports with brass cappings and castors, 300 by 121cm.; 9ft. Win. by
3ft. HV2in., including two leaf insertions.

A set of ten Victorian gilt carved
and upholstered Chairs, circa 1850, the
cartouche-shaped backs and bowed seats
covered in gold damask, the foliate
decorated frames with paterae cresting
rails, the cabriole legs ending in castors.

A Victorian rosewood Card
Table, circa 1840, the fold-over top with
circular claret baize lining, the medallion
carved frieze above a leaf-clad pillar and
domed base, on carved scroll feet and
castors, 92cm. wide; 3ft.

A Victorian burr walnut
harlequin Davenport, circa 1850, with
rising rear section revealing pigeonholes
and three small drawers, the piano
moulded hinged top revealing slide,
adjustable inset and two small drawers,
on carved cabriole supports, the sides
with four real and four opposing dummy
drawers, on bun feet and castors, the
rising action requiring restoration, 56cm.
wide; lft. Win.

ORIENTAL FURNITURE

A pair of Chinese carved
hardwood Armchairs, circa 1900, the
pierced tub-shaped backs profusely carved with dragons, the solid serpentine seats above cabriole legs.

A Japanese lacquer Occasional
Table, circa 1920, the yellow-ochre top
decorated with floral sprays, the gilt stem
with foliate carved supports, on a square
base with bracket feet, 67cm. diam.; 2ft.

A Chinese export lacquer Work Table, circa 1830, decorated with gilt pavilions on a cinnamon ground, the hinged top revealing a black lacquer and gilt interior with lidded

compartments and ivory accessories, the baluster turned stem on triform base with paw feet, 62cm. wide; 2ft.

A Chinese rosewood Altar Table, circa 1900, the rectangular top with an inset burrwood panel flanked by scrolled ends, the fret carved frieze on square legs joined by

stretchers, 81cm. high by 119cm. wide; 2ft. 8in. by 3ft. llin.

A Burmese carved rosewood
Tripod Table, circa 1880, the circular
top with an inset famille-verte ceramic
panel, the baluster turned stem above
triple splayed legs, 56cm. diam.; lft. Win.

A Chinese carved rosewood Jardiniere Stand, circa 1900, with a circular marble-inset top above a pierced prunus frieze, on cabriole legs, 90cm. high; 2ft. HViin.
A Chinese carved hardwood Jardiniere Stand, circa 1900, with a marble-inset rectangular top above a pierced fret frieze and shaped supports, united by two undertiers, 42cm.

wide; lft. 4′/2in.

A Japanese black lacquer and mother-of-pearl inlaid Work Table, late 19th Century, decorated throughout with birds and flowers, the chamfered rectangular top above a fabric well

and pierced supports, on arched legs, 46cm. wide; lft. 6in.

Chinese coromandel lacquer six-fold Screen, late 19th Century, with a gilt reserved scene depicting courtesans and a pavilion, the reverse side depicting birds and flowers

within stylised borders, 183 cm. high; 6ft.; together with an associated mahogany Stand, with a carved gallery back and a drawer, on turned feet, converted from, a William IV

sideboard, 249cm. wide; 8ft. 2in.
An Indian carved hardwood Armchair, circa 1890, of tub form, profusely carved and pierced with birds and beasts amidst scrolls, on eagle scroll feet with purple velvet stuffed

seat.

CONTINENTAL FURNITURE

An Egyptian walnut and
mother-of-pearl inlaid leopard Stool,
circa 1900, decorated throughout with
inlaid geometric designs, the woven seat
with a rear raised panel depicting
Egyptian figures, on twin stylised leopard
supports, 64cm. high by 78cm. wide;
2ft. lin. by 2ft. 6V2in.

A pair of stools of similar design were sold at Sotheby’s London on 4 November 1988, lot 162.

A Dutch mahogany and floral
marquetry Stool, circa 1890, the drop-in
tapestry seat and scrolled sides on
cabriole legs ending in claw and ball feet,
75cm. wide; 2ft. 5V2in.

Louis XV ORMOLU CARTEL CLOCK, BRONZE HANGING LANTERN, LOUIS XV CANED BEECHWOOD FAUTEUIL, Louis XV PAINTED WINDOW SEAT, PORCELAIN-MOUNTED ORMOLU MANTEL CLOCK

A GILT BRONZE HANGING LANTERN, the pentagonal body with five serpentine
glass panels surmounted by urns and swags of berried foliage, with five leaf-cast scroll
supports, 2ft. Hin. high (90cm.) 19th Century

A Louis XV ORMOLU CARTEL CLOCK, the (cracked) 7V2in. enamel dial with blue
numerals and pierced gilt hands, the later movement contained in a case surmounted by
a cherub holding a flaming torch and with shellwork, scrolls, sprays of flowers and an
engraved floral fret below the dial, 32in. high (81.5cm.) circa 1760

A LOUIS XV GREEN-PAINTED BRACKET CLOCK with a convex enamel dial, the movement with chamfered corners to the plates and outside count wheel, in a waisted case outlined with

rococo mounts and decorated on an apple-green ground with sprays of flowers, 3ft. 5in. high (74cm.) circa 1760, with restoration

A LOUIS XV CANED BEECHWOOD FAUTEUIL, the moulded frame carved with leaves and flame motifs, with arched back, padded arms and cabriole legs, circa 1740

A VENETIAN LACQUER POVERA MINIATURE BUREAU, the flap above a projecting
serpentine drawer, on bracket feet, the whole decorated with flowers and landscapes,
lft. 3V2in. high by lft. 8in. wide (39cm. by 50cm.) circa 1750, restored

A Louis XV FRUITWOOD TABLE stamped Delorme, the hinged serpentine top
opening to reveal a well, the front with a leather-lined slide, with a drawer at one side, raised
on cabriole legs, joined by stretchers, and ending in ormolu sabots, 2ft. 6in. high by lft. 6in.
wide (76cm. by 46cm.) circa 1760
Adrien Delorme, received Master in 1768

A PAIR OF Louis XV ORMOLU-MOUNTED PARQUETRY CORNER CUPBOARDS with red and white mottled marble tops, each arch-shaped front containing two doors, raised on shaped feet, 2ft. 11

in. high by 2ft. 6in. wide (88.5cm. by 76cm.) circa 1740

A Louis XV SMALL KINGWOOD PARQUETRY SECRETAIRE EN PENTE, indistinctly
stamped, possibly Lave, the bombe body inlaid with a chevron design, the serpentine flap
enclosing a writing surface, three short drawers and a double-sided well inlaid with leafy
stems, on cabriole legs, the whole applied with small leaf-cast gilt-bronze mounts,
2ft. 83Uin. high by lft. l’Mn. wide (83cm. by 60cm.) mid-18th Century
Sold in these rooms, 26th June 1964, lot 119

A LOUIS XV PARQUETRY TABLE EN CHIFFONIERE in tulipwood and kingwood, and of slightly bombe form, the hinged top with three-quarters brass gallery inset with a panel of Sevres

porcelain painted with pheasants on a turquoise trellis enclosing flower-heads, the front, back and sides with a diamond trellis and the front with a leather-lined slide above a

drawer, with a drawer in the right, on slender cabriole legs, 2ft. 3V2in. high by lft. 4V2in. wide (70cm. by 43cm.) circa 1770, porcelain panel 19th Century

A LATE Louis XV PARQUETRY COMMODE with an associated moulded brescia
marble top, the serpentine front and shaped sides with a diamond cube parquetry in
ebony, kingwood and tulipwood within Greek key borders, the front with two drawers each
with three panels, with a shaped apron and splayed legs, 2ft. Whin, high by 3ft. 6in. wide
(68cm. by 106cm.) circa 1760

A Louis XV PAINTED WINDOW SEAT with arched scrolled ends, moulded leaf-
carved frame and cabriole legs, 3ft. 4in. wide (102cm.) circa 1760

A Louis XV SECRETAIRE A RIDEAUX stamped Reizell, with moulded grey fossil marble top, veneered in quarter-veneered kingwood, with slightly bowed front and serpen¬tine sides, the

frieze inlaid with a Greek key in purple heart and with a drawer above a pair of tambour cupboards, faced with two “shelves” of tooled calf book-spines, and enclosing shelves,

pigeon-holes and drawers, with a drawer below matching the frieze and revealing a leather-lined slide with a drawer on the left and a fitted writing drawer on the right, above

another pair of tambour cupboards matching the upper pair, the apron with an ormolu applique, and the short feet with ormolu sabots, the sides inlaid with a diamond cube

parquetry, 4ft. 6V2in. high by 3ft. 2in. zvide (139cm. by 97cm.) circa 1765

A FINE SUITE OF PAINTED AND PARCEL-GILT STOOLS comprising two small stools
and a banquette, the stuffed seats covered in contemporary painted Chinese silk, the
cabriole legs and serpentine friezes carved with scrolls and flowers painted in green and
red, stools lft. 8lhin. wide (52cm.) banquette 3ft. 6in. zvide (107cm.) mid 18th Century,
Austrian or South German

A VENETIAN CARVED GILTWOOD BARGE OR CARRIAGE ARMCHAIR, with arched
upholstered back and seat of currule form with a box cupboard below, the frame boldly
carved with leaves and scrolls and surmounted by a cherub wearing a crown, the waisted
supports with painted panels, with splayed legs, covered in 18th Century silk brocade
partly woven in silver thread, mid-18th Century, restored

A PORCELAIN-MOUNTED ORMOLU MANTEL CLOCK, the 23/4in. enamel dial signed
Crosnier Her. du Roi A Paris, the movement with circular plates, the case framed in sprays
of polychrome flowers and the pierced base mounted with a group of two laughing
figures dressed in green and yellow, 17Vzin. high (44.5cm.) circa 1760 and later, pendulum
lacking

A PAIR OF LOUIS XV GILT-BRONZE CANDLESTICKS, with rococo cast nozzles,
baluster stems and domed bases, 1 lin. high (28cm.) mid-18th Century

A Louis XV WALNUT CAUSEUSE, stamped Nogaret a Lyon, with moulded frame, cartouche-shaped back, serpentine-fronted seatrail and cabriole legs, circa 1750
Nogaret, who always signed without his initiais, was received Master circa 1740 Jean Nicolay’s L’Art et la Maniere des Maitres Ebenistes Francais au XVille Siecle, figure A,

illustrates a similar chair

A RARE ITALIAN MARQUETRY PRIE-DIEU attributed to Pietro Piffetti, in quarter-
veneered kingwood and with kingwood quarter-banding and inlaid in engraved ivory and
mother-of-pearl; the top with a panel of the Annunciation enclosed by scrollwork and
fiowers, the concave front similarly inlaid to the sides with ribbon panels and containing
a drawer with secret compartments behind, on cabriole legs joined by a conforming
platform with a drawer pulling forward with part of the front feet as a kneeler, the back
inlaid in ivory with the Flight into Egypt, 2ft. Whin. high by 2ft. 3in. wide (88cm. by
69cm.) circa 1740, restored
Elio Quaglino, Mobiii Regionali Italiani, Il Piemonte illustrates, page 125, a prie-dieu by Piffetti with similar inlay. Hugh Honour, Cabinet Makers and Furniture Designers,

pages 96-101 also illustrates and discusses wbrks by Piffetti with similar decoration to this prie-dieu.
Pietro Piffetti {circa 1700-1777), having previously worked in Rome moved to Turin in 1730 and was designated by Royal patent ebanista nostro to the King on the 13th July of

that year. He continued working for the Royal Household until his deathin 1777

A LOMBARD PARQUETRY COMMODE, of serpentine bombe form, the front con-taining three drawers inlaid similarly to the sides with scroll and strapwork borders and central lobed

cartouches, 3ft. 3in. high by 4ft. wide (100cm. by 122cm.) mid-18th Century

A SET OF EIGHT VENETIAN PAINTED AND PARCEL-GILT ARMCHAIRS, each with a
moulded rococo frame carved with flame motifs, the cartouche-shaped backs with inset
stuffed panels, with scroll arms, stuffed drop-in serpentine-fronted seats and cabriole
legs, mid-18th Century

A Louis XVI PAINTED AND PARCEL-GILT SUITE comprising six fauteuils and a
canape, the oval backs headed by bows, with padded arms and stuffed seats on stop-fluted
tapering legs, the Aubusson upholstery delicately woven with tasselled drapery enclosing
flowers, canape 6ft. wide (185.5cm.) circa 1780, possibly Belgian

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

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

Deutschen Mobels, vol. II, figure 1111

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

Antique 18th Century Queen Anne Sideboards
18th Century French forms, and the French Rococo ornamental vocabulary, were extremely influential throughout Europe, where sideboards and other pieces in the relaxed Louis XV manner were made well into the century in Spain, Portugal, Italy, North America and elsewhere.
The supple, undulating forms created by Daniel Marot, Jean Berain and the French Regence permeated England during the reign of Queen Anne (1702-14). Characterized by curvaceous lines and ornamental restraint, Queen Anne style sideboards asserted the first truly English style. As a thriving national economy encouraged more building on the part of landed gentry and middle-class merchants, increased demand for interior furnishings was met by unprecedented standards of skill among London cabinetmakers.
Balanced curves and straight lines gave chairs cabriole legs, vase-shaped splats, horse-shoe shaped seats and undulating backs which followed the sitter’s profile. Walnut, and later mahogany, was applied in highly figured veneers to cabinets and tables, or sparingly carved with shells, masks or foliage on the crests, knees and rails of chairs. ‘Seaweed’ marquetry, japanning on red ground, and judicious touches of gilt coated the flat surfaces of tables, chests-of-drawers, day-beds and settees. Feet were carved as hoofs, hairy paws, trifids and claw-and-ball.
Queen Anne sideboards with arched or mirrored panels were crowned by swan-neck or double-arched pediments, often with Chippendale’s version of a French chair.
ornamental finials. Of Netherlandish origin, these curving pediments were to find extreme expression later in the century on Dutch Rococo case pieces, when curves alternated with horizontal plinths on which porcelain rarities were displayed.
The furniture and sideboards in particular of William Kent (1689-1748) promulgated a heavy, Baroque style based on Italian architectural sources, and especially on the Renaissance work of Vicente architect Andrea Palladio. However, the softer forms of the Queen Anne style persisted, and various elements characteristic of it appeared on sideboards well into the century.
In the Netherlands, Portugal and Spain Queen Anne characteristics such as cabriole legs, shell motifs, claw-and-ball feet, and vase-shaped chair splats were transplanted into local styles.
The Queen Anne style was adopted in colonial America in the early 1730s, when flourishing trade in the major mercantile centres of Boston, Philadelphia, New York, Newport and Charleston encouraged a desire for large, comfortable and fashionable mansions. Classical architectural details appeared on buildings from the Carolinas to New Hampshire. Houses, such as Westover in Virginia, reflected elements of the English Palladian style, which reached the colonies through such publications as W. Salmon’s Palladio Londinensis published in 1734, and James Gibbs’s Book of Architecture of 1728.
Columns and pilasters, swan-neck pediments, and finials filtered on to highboys, long-case clocks, and even the fragile frames of pier-glasses. The favoured woods of walnut, maple, cherry and pine, and increasingly mahogany, were sparsely highlighted with carved shells or foliage, and occasionally offset with inlay in such forms as stars, or with gilded shells on tables, highboys and lowboys. Slender cabriole legs, horseshoe-shaped seats, and feet carved as pads, trifids and claw-and-ball, imitated English fashions long after they had fallen from favour in England. Sideboards, fronted with doors with arched panels, contained tiers of drawers and pigeonholes. Along with Queen Anne Sideboards easy chairs, corner chairs, candlestands, piecrust tea tables on tripod legs and fire-screens, all became more popular.
Regional differences in sideboards-making were sharpened as craftsmanship developed in each area, and immigrant tastes and traditions expressed themselves. Chair splats were shaped with distinguishing silhouettes, those from Dutch-settled New York broader than those from English-settled Massachusetts. The spaces between splat and stiles on Philadelphia chairs resembled birds with bold, inward-curving elongated beaks; the curves of Philadelphia Queen Anne style seats tended to inflect more than seats found on chairs made elsewhere. New York clawand-ball feet were square in form, while those from Massachusetts characteristically featured raking claws. The cabriole legs of many southern pieces were almost straight. Stretchers generally disappeared during this period, although they tended to persist on Massachusetts pieces, typical of sideboards forms produced there.

French Empire Style Sideboards
Empire sideboards were first hand made in 1802 of the Voyage daps la Basse et Haute Egypte, a collection of drawings by Baron Vivant-Denon, who had accompanied Napoleon on his excursion to Syria and Egypt in 1798-1801, heightened the interest in Egypt that Napoleon’s campaign had itself generated.
Sideboards designed by Napoleon’s architects, Charles Perrier (1764-1838) and Pierre Fontaine (1762-1853), including those at the Tuileries and the Chateau de Malmaison, and pieces produced by makers such as F. H. G. Jacob-Desmalter and L. F. and P. A. Bellange, developed the Empire style. This drew on Greek, Roman and Egyptian furniture, and became popular from England and North America to Germany, Italy and Spain.
This grand, imperial style achieved much of its effect through massive forms and rich ornament. Although an ornate, propagandistic style, it derived great dignity from its clear forms and classical restraint. Motifs such as eagles, lions, caryatids, griffins and sphinxes, taken from Roman, Greek and Egyptian antique examples, appeared on sideboards as ornaments and supports. Tables with monopodia legs, gilt eagle supports, or lion’s paw feet, elegant sofas and ’sleigh’ beds with sweeping S-curved arms and endboards, and klismos and curule chairs, presented classical motifs on a much larger scale than in earlier classical styles. Rich woods such as mahogany, gilt carving and ormolu mounts of anthemions, stars and medallions, characterized Empire oak sideboards.
English Regency Style Sideboards
The English version of this style, known as the Regency, lasted from about 1790 to 1830, when the vogue for relics of antiquity popularized sideboards ornamented with sphinxes, griffins, classical mouldings and other Empire style elements.
Although it reached its peak early in the 19th century, Empire and Regency sideboards represented merely one phase in the evolution of the classical style that would take place in the course of the century when a variety of past idioms would be continually reinterpreted and renewed.

Antique Neo Classical and Adam Sideboards

English Neo Classical sideboard. The satinwood and yew tambour shutter opens to reveal a fitted desk interior. Beneath this is a long drawer with a frieze. The scrolling foliage pattern, brass ring pulls, and etched
wyverns are all typical Neoclassical motifs. The sideboards has square, inlaid, tapering legs and brass feet on casters.
Neoclassical design lies in ancient Greece and Rome. It was initially inspired by architecture, as there were no examples of ancient sideboards until after the excavation of Pompeii and Herculaneum in the mid 18th
century Thus, early Neoclassical sideboards tends to use architectural motifs adhered to in standard sideboards forms, such as acanthus leaves, swags and foliage, guilloche bands, and scrolls. The use of these motifs was not new, as they were employed as ornament in both the Renaissance and Baroque periods. What was new was how the motifs were adapted, added to, and incorporated within the decorative schemes
encountered through travel on the Grand Tour and the discoveries made in ancient sites.
French Mahogany Wooden Sideboards
France was the first country to embrace mahogany sideboards, although it was not until late 1700`s that the final vestiges of Rococo were erased from the decorative library. The French furniture of taste, the Comte de Caylus (1692-1765), was instrumental in introducing Classicism, including Classical sideboards, to France, publishing in 1752 the first of seven volumes of Recueilk d’antiduites egyptiennes, etruscanes, grecques et romaines, in which he discussed and illustrated the tastes and styles of the ancient world.
Mahogany Neoclassical sideboards tends to be rectangular and lacks curves. This did not happen at once, as larger pieces often remained in stock after fashions had changed and cabinet-makers adapted the Rococo
forms by applying Neoclassical decoration. In this French transitional style, serpentine shapes were gradually straightened and cabriole legs evolved into turned or tapered legs. Chair backs were rectangular or oval with turned legs, often fluted in reference to Classical architectural columns.
Throughout the Neoclassical period, building booms influenced the production of furnishings. More palaces were built in Russia in the second half of the 18th century than in any other European country. These new
buildings, and refurbished older buildings, required new sideboards, as most of the existing pieces lacked sufficient pomp and majesty for Catherine the Great’s court. Most Russian sideboards was imported front Paris, as Russian taste tended to emulate French style. The German ebeniste, David Roentgen , made sideboards specifically For his Russian clientele that was far more flamboyant than French court sideboards.
Adam Style Sideboards.
The Neoclassical style in England — home to the innovative architecture of Robert Adam — adapted some French forms such as the commode and the “French chair”. Adam’s sideboards complemented the light colours used in his interiors and textiles, and painted decoration featured more than
Parisian gueridon Made of rosewood, kingwood, and sycamore, this table is inlaid with musical instruments and has a brass gallery.
in its French Counterparts. Greek vase paintings greatly influenced Adam, and lie often used painted panels in his work; these might be the central panel of a demi-lune or rectangular commode, or a centred rounded at the top of a pier glass flanked by carved maidens and urns. Thomas Chippendale also worked in the
Neoclassical style, producing a pair of rectangular pedestals with urns, a sideboard table, and wine cooler for the dining room at Hardwood House. For this commission he used circular inlaid medallions on the pedestals with carved swags and rams’ heads above, to match the other pieces.
The pattern books published by George Hepplewhite and Thomas Sheraton simplified Adam’s sideboards designs for the mass market. Their designs were hugely influential, particularly in America. sideboards in this style is termed Federal style after the new US government and often features the official symbol of the American eagle. Swedish sideboards from this time is referred to as Gustavian after King Gustav III who admired the work of the French cabinet-makers so much that lie invited them to work in Sweden. When he could not afford to pay them, they returned home, but left their sideboards style as a lasting legacy. Danish sideboards was simpler and often made from darker woods. Decoration was limited to dentil moulding, the Greek key motif, and rosettes.
European sideboards fashion tended to fellow French or English Neoclassical taste in antique furniture: in Spain, the north was inspired by English styles, while in the south, Neo classical and Adam sideboards were dominant.