Antique Sideboard

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

99cm. wide.

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

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

George IV mahogany Side Cabinet, George III mahogany secretaire Cabinet, George III mahogany semi-circular Card Table, George II mahogany drop-leaf Table

A George IV mahogany Side
Cabinet, circa 1830, the foliate scroll
frieze with three drawers above a pair of
recessed cupboard doors flanked by six
short drawers, the reeded and carved
turned pilasters above carved turned
feet, 91cm. high by 147cm. wide; 3ft. by
4ft. Win.

A George III mahogany secretaire Cabinet, circa 1790, inlaid throughout with segmented spandrels and paterae, the stepped pediment with a drawer above a pair of panelled doors

enclosing three drawers, the secretaire drawer flanked by a pair of drawers, below are a pair of panelled doors enclosing later sliding trays, on shaped bracket feet, 188cm.

high by 126cm. wide; 6ft. 2in. by 4ft.

A mahogany Tripod Table, early 19th Century, with an associated top, on a turned stem with cabriole legs, 30cm. diam.; lft.

A George III mahogany Chest, circa 1770, the moulded top above two short and three long graduated drawers, on bracket feet, 86cm. high by 99cm. wide; 2ft. Win. by 3ft. 3in.

A pair of George III mahogany
Hall Chairs, circa 1780, the oval backs
with pierced trellis splats, the dished
solid seats on tapered square legs.

A set of six Regency mahogany
rail-back Chairs, circa 1810, including
two armchairs, with disc decorated
mid-bars and Trafalgar seats, on turned
reeded legs, restored.

A George III fiddle-back mahogany bow-front Side Table, circa 1790, the frieze with one long drawer above tapered square legs, faults, 76cm. wide; 2ft. 6in.

A George III mahogany semi-circular Card Table, circa 1790,
inlaid throughout with stringing, on tapered square legs with later ebonised spade feet, 91cm. wide; 3ft.

A George III mahogany secretaire
Chest, circa 1790, the crossbanded top
above a writing drawer revealing
stationery compartments, below are three
long graduated drawers and splayed
bracket feet, 104cm. high by 94cm. wide;
3ft. Sin. by 3ft. lin.

A George II mahogany drop-leaf Table, circa 1750, the oval top on tapered turned legs with pad feet, restored, 125cm. wide; 4ft. lin.

A George III mahogany Tea Table, circa 1770, the serpentined fold-over top with egg and dart mouldings, the moulded chamfered square legs headed by pierced angle brackets, top

warped, 90cm. wide;
2ft. lV/iin.

A set of five George IV
mahogany rail-back Dining Chairs, circa
1820, including two armchairs, the
scrolled crestings above upholstered seats
covered in corded green velvet, on sabre
legs, faults.

A Regency rosewood Pembroke
Table, circa 1815, inlaid throughout with
brass stringing and fleur-de-lys, the
rounded rectangular top with a frieze
drawer, the ring turned pillar on
quadruple splayed legs ending in brass
paw feet, 119 by 79cm. extended; 3ft. llin.
by 2ft. 7in.

A William IV carved oak Teapoy,
circa 1835, the hinged top with a foliate
border enclosing four cut-glass blending
bowls and a pair of canisters, the lotus
leaf carved and turned stem on a shaped
platform base with petal-shaped feet,
46cm. wide; lft. 6in.

A George III mahogany Bureau,
circa 1770, the fall enclosing stationery
compartments, the two short and two
long drawers above bracket feet, restored,
91cm. wide; 3ft.

A set of four George III mahogany Dining Chairs, circa 1780,
the pierced splats carved with swags, the
drop-in seats above tapered square legs
joined by stretchers.

A George III mahogany Escritoire, circa 1770, the cavetto cornice with dentilled mouldings, the fall-front revealing numerous small drawers and pigeon-holes, below are three

long graduated drawers, on shaped bracket feet, 168cm. high by 101cm. wide; 5ft. 6in. by 3ft. 4in., impressed above the fall R. Gore, 1774, P. 1670.

A Regency rosewood three-tier Whatnot, circa 1810, with real and dummy drawers, the ring turned supports ending in ceramic castors, 140cm. high by 50cm. wide; 4ft. 7in. by lft.

A George IV carved rosewood
marble-top pedestal Table, circa 1825,
the circular specimen marble top with chessboard inset, the acanthus-clad columnar pillar above a triform base, on carved claw feet and castors, carving partially lacking, 70cm.

diam.; 2ft. 3l/2in.

A William IV carved rosewood Canterbury, with three pierced divisions above a frieze drawer, on turned feet and brass castors, 51cm. wide; lft. 8in.

George III mahogany extending Dining Table, Regency mahogany rectangular pedestal Table, George II mahogany Occasional Table, Victorian burr walnut combined Work and Writing Table

A Regency mahogany rectangular
pedestal Table, circa 1810, the tilt-top
with rounded corners, on a ring turned
pillar and quadruple splayed legs ending
in brass cappings and castors, 135cm.
long; 4ft. 5in., bears impressed mark
Wilkinson, Ludgate Hill.

A Regency rosewood and brass
strung pedestal Table, made-up, the
circular tilt-top with roundel inlaid medallion, the later base with a tapering octagonal pillar, on carved claw feet and castors, 127cm. diam.; 4ft. 2in.

A George III mahogany
secretaire Chest-on-Chest, circa 1770,
the dentilled cornice and blind-fret frieze above two short and three long graduated drawers flanked by canted fluted corners, the fitted writing drawer above three long

graduated drawers, on ogee bracket feet, 190cm. high by 107cm. wide; 6ft. 3in. by 3ft. 6in.

A George III mahogany extending
Dining Table, circa 1770, with drop-leaf
and extending with three leaf insertions,
on eight moulded tapered square legs
with bell flower carved knees and spade
feet, restored, 114 by 264cm. fully extended;
3ft. 9in. by 8ft. 8in.

A George IV mahogany Chiffonier, circa 1820, with gadrooned mouldings throughout, the raised open tier back with an anthemion cresting above foliate carved ‘S’-scroll supports,

the pair of convex frieze drawers with corresponding panel doors below, on turned feet, doors warped, 169cm. high by 95cm. wide; 5ft. 6V2in. by 3ft. lWin.

A George II red walnut Bureau
Bookcase, circa 1750, the pair of fielded
panel doors enclosing pigeon-holes, the
cleated fall revealing a fitted interior,
below is an arrangement of two short
and three long drawers, on later shaped
bracket feet, 168cm. high by 91.5cm. wide;
5ft. 6m. by 3ft.

A George IV mahogany Side
Table, circa 1820, the bow-front top with
a pair of frieze drawers flanked by
paterae, on ring turned legs, 87cm. wide;
2ft. 10 Win.

A Regency mahogany breakfront
Sideboard, circa 1810, inlaid throughout
with ebony stringing, the central frieze
drawer above an arched apron flanked
by three drawers, including a cellaret
drawer, on ring turned tapering legs,
94cm. high by 169cm. wide; 3ft. lin. by
5ft.

A George III mahogany ‘D’-end
Dining Table, circa 1800, with a later
leaf insertion, the ring turned pillar
above inverted tripod supports, on brass
castors, restored, 97 by 171cm. fully
extended; 3ft. 2in. by 5ft. 7in.

A George II mahogany
Occasional Table, circa 1750, the
square-shaped tilt-top above a fluted
pillar and acanthus carved tripod
supports ending in egg and claw feet,
69cm.; 2ft. 3in.

VICTORIAN AND EDWARDIAN FURNITURE

A Victorian mahogany ‘D’-end
four-pedestal Dining Table, the fluted
pillars above moulded tripod supports
ending in stylised leaf-clad feet, top
162 by 290cm.; 5ft. 4in. by 9ft. 6in.

A set of nine George II-style
carved walnut and upholstered Chairs,
circa 1910, including a pair of
armchairs, the serpentined backs and
sprung seats covered in striped crimson
velvet, the cabriole legs carved at the
knees with grotesque masks and on hairy
paw feet.

.A Victorian carved walnut and button upholstered Occasional Chair, circa 1850, the balloon-shaped back with paperscroll and foliate mouldings, the pierced sides above a

serpentined seat, on cabriole legs.

A George II-style carved mahogany Tripod Table, made-up, the
tilt-top with a moulded acanthus leaf
border, the turned stem on triple
cabriole legs ending in claw feet, restored,
86cm. diam.; 2ft. Win.

A Victorian rosewood Teapoy, circa 1840, the gadrooned hinged top revealing four canisters and a pair of cut-glass blending bowls, the cavetto sides with egg and dart mouldings,

on a lobed baluster stem and carved tripod supports, 44cm. wide; lft. 5l/2in.

A Victorian burr walnut
combined Work and Writing Table,
circa 1865, inlaid with ebonised panels
of stylised ivy, the hinged top revealing a
writing surface and compartments, the
frieze drawer above a solid well, on
turned and splayed supports joined by a
stretcher, 61cm. wide; 2ft.

A Victorian burr walnut
Sutherland Table, circa 1860, inlaid with
stringing, arabesques and foliate
decoration, the turned supports joined
by a pole stretcher, 58.5cm. wide;
lft. llin.

A George Ill-style mahogany
Tripod Table, circa 1900, the rect-
angular tilt-top with a pierced fret
gallery, the fluted stem on lappet carved
cabriole legs, 70cm. wide; 2ft. 4 Win.

A set of eight Victorian rosewood balloon-back Chairs, circa 1850, with pierced mid-rails and serpentined red velvet upholstered seats, on carved cabriole legs (8)
A Victorian burr walnut combined Work and Games Table, circa 1865, inlaid with arabesques and stringing, the hinged top revealing chess, backgammon and cribbage boards, the

fitted frieze drawer above a solid well, on turned and splayed supports joined by a stretcher, 69.5cm. wide; 2ft. 3Win.

A Victorian walnut and inlaid harlequin Davenport, circa 1865, the
rising stationery compartments above a
piano-shaped top revealing a pull-out
writing surface, the sides with four real
and four opposing dummy drawers, the
front with applied turned and carved
pilasters, on a plinth base with castors,
58cm. wide; lft. llin.

A George Ill-style mahogany ‘D’-end Dining Table, circa 1910, with a fluted frieze, on fluted tapered square legs with paterae capitals and spade feet, 243cm. long by 137cm.

wide fully extended, including two leaves; 8ft. by 4ft. 6in.

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

KINGWOOD AND PLASTER WALL MIRROR, ROSEWOOD WHATNOT, MAHOGANY SEWING TABLE, ROSEWOOD SECRETAIRE, TWO-PEDESTAL DINING TABLE

A ‘GEORGE Iii’ MAHOGANY   DISPLAY
CABINET, the broken-arched cornice above a pair of cupboard doors each with two sections of diamond and square glazed trellis enclosing shelves; 226 by 133.5cm, partly made up

from 18th century pieces.

A KINGWOOD AND PLASTER WALL MIRROR
with a convex mirror plate within a reeded ebonised moulding and a gilt frame carved with ‘C scrolls, 39in; 99cm diam., second quarter of the 19th century.

A  WILLIAM  IV ROSEWOOD  OCCASIONAL
TABLE, with two small drawers in the frieze, on a trestle support joined by a lotus-carved stretcher, 29 by 23fin; 74 by 60cm, c. 1835.

A WALNUT CENTRE TABLE, the OVal top
inlaid with foliage and stringing above turned supports and out-curved leaf-carved legs, 42 by 28in; 107 by 71cm, c. 1890.

A   MAHOGANY   BREAKFAST   TABLE,   the
circular top with a moulded border above a hinged panel, the octagonal tapering stem and circular base with scroll feet, 30 by 43in; 76 by 109cm, c. 1840.

A ‘GEORGE Iii’ PINE SERPENTINE CHEST
OF DRAWERS with three graduated long drawers on bracket feet, 32 by 28in; 81.3 by 72.5cm, 19th century.

A WHATNOT with three tiers above a frieze drawer with twist-turned supports, 49| by 2lin; 100 by 53.4cm, gallery replaced, c. 1840.

A ROSEWOOD WHATNOT, nOW with tWO
tiers and a drawer, with turned supports, 24 by 20in; 61 by 51cm, eut down, c. 1840.

A SET OF THREE SIMULATED ROSEWOOD
DINING CHAIRS, each with a curved top-
rail and lotus-carved crossbar, above
stuffed seat on turned tapering legs,
c. 1840.

A MAHOGANY SEWING TABLE with a WOrk
drawer above a pleated silk bag, on a concave-sided base with outset reeded feet, 28 by 20in; 71 by 51cm, c. 1840.

A MAHOGANY POLE SCREEN, the screen painted with a bull on a turned pole and socle, 46|in; 117.5cm, mid 19th century.

A ROSEWOOD TIP-TOP DINING TABLE with
a circular top on an octagonal tapering column and concave-sided triangular base, 47|in; 121cm diam., stencilled From Atkins’s Upholstery & Paper Hanging and Cabinet Warehouse

Northampton, 1840’s.

A  MAHOGANY  CARD   TABLE,  the  rect-
angular top above a turned column and concave-sided base with turned feet, 29 by 35in; 75 by 89cm, c. 1840,
baize lacking.

A ROSEWOOD SECRETAIRE, the superstructure with a stepped pediment on turned self-tapering supports and a shelf above six further turned supports, the lower part with a

secretaire carved with mehrabs enclosing a fitted interior of six drawers and a central cupboard door, on large cabriole legs with scroll feet, on a square base joined by a

concave-fronted tier stretcher, the sides similarly carved with mehrabs and turned supports.

A   MAHOGANY   DISPLAY   CABINET,   the
dentil cornice above a pair of thirteen-panel glazed doors, the projecting lower part with a pair of cupboards, 80 by 42|in; 204.5 by 107.5cm, mid 19th century.

A PINE FOLDING POLE LADDER in 18th
century style, the brass Attings stamped Taylors Patent, 124in; 406.5cm long closed, mid 19th century.

A ROSEWOOD BAGATELLE TABLE, opening
to reveal a baize-lined interior, the stand with four turned tapering legs, 41f by 43f by 23in; 106 by 111 by 58.5cm closed, mid I9th Century.

A ‘GEORGE III’ MAHOGANY GENTLEMAN’S
WARDROBE, the broken arch with a dentil comice above a pair of cupboards inlaid with urns, the lower part with two short and one long dummy drawers above a long drawer, 93 by

56in; 236 by 142cm, altered from an 18th Century wardrobe, c. 1900.

A PAINTED SEWING TABLE, the top of
serpentine outline with a bird and foliage enclosing a fitted interior, on a baluster stem with four outcurved legs on a concave-sided base, 31 by 25in; 79 by 63.5cm, c. 1850.

A ‘GEORGE III’ MAHOGANY SERPENTINE
SIDEBOARD with three frieze drawers above four cupboard doors, with a plate-glass top, 36 by 73 by 21iin; 91 by 185.5 by 54.5cm, modem

A BURR-WALNUT CENTRE TABLE, the reCt-
angular top above trestle supports joiried by a pole stretcher, 29 by 42in; 73 by 107cm, made up in the 2Qth century.

A ‘GEORGE III’ MAHOGANY TWO-PEDESTAL
DINING TABLE with two ‘D’ ends and a crossbanded border, the pedestals with triple reeded downswept legs, 45in; 114cm wide, 88in; 223.5cm long fully extended, 20th century.

A GEORGE II REVIVAL MAHOGANY DINING-
ROOM SUITE, comprising a Dining Table,
46in; 118cm wide, 109in; 227cm long
fully extended; a Sideboard, 9lin;
231cm wide; a Serving Table, 55in;
140cm wide; a set of eight Dining
Chairs, including a pair of Armchairs,
and a pair of Bergeres ; a Mirror, 53in ;
135cm wide, late 1920’s.

WALNUT WALL MIRROR, MAHOGANY TOILET MIRROR, MAHOGANY TRIPOD TABLE, MAHOGANY SOFA TABLE, BOW FRONT HANGING  WALL  CUPBOARD

A GEORGE III STYLE WALNUT WALL
MIRROR, the rectangular beveled plate contained by a gilt slip and surmounted by a crisp parcel gilt floral and foliate draped cresting, 47in (120cm) by 29in (74cm), the

cresting 18th century, the remainder made up later.

A GOOD GEORGE III FRETTED AND CARVED WALL MIRROR,   the   oval
plate contained by a chevron banded slip and a finely fretted and incised cresting, frame and apron, 34in (87cm) by 80in (46cm), third quarter of the 18th century.

A GEORGE II WALNUT AND PARCEL GILT PIER GLASS, the later plate contained by a molded slip beneath а swan neck and foliate carved cresting centered by a cartouche, 51l/2in

(131cm) by 24in (61cm), second quarter 18th century, restored. V A very similar Pier Glass is illustrated in The Furniture at Temple Neivsham House and Lotheston Hall by

Christopher Gilbert.

A FRUITWOOD VENEERED GEORGE III WALL MIRROR, the plate contained by a gilt and molded slip, the shaped pediment pierced with feathers above a shaped apron, 40in (102cm) by 20in

(5iem), mid 18th century with restorations.

A LATE GEORGE II MAHOGANY TOILET MIRROR, the later rectangular plate on standard supports above а three-drawer base on bracket feet, 28in (71cm) by 17in (43cm).

A GEORGE III MAHOGANY TOILET MIRROR with a shield shaped swing plate on standard supports, 22in (56cm) by 17in (43cm).

A LATE REGENCY ROSEWOOD AND CUT BRASS TEAPOY, with a raised rectangular top enclosing a fitted interior, with four tea canisters and two cut and etched glass mixing bowls, the

sides applied with embossed and ring handles on а slender self tapering pedestal and four down swept supports and claw toe castors, inlaid throughout with designs and lines.

A GEORGE III MAHOGANY DECANTER ВОХ of rectangular form, the hinged top and front inlaid with an oval patter, parquetry and chevron lines, the sides applied with swan neck

handles, the silk lined interior with nine gilt soda glass decanters and a tray, a phial and two cordial glasses en suite, 9V2in (24cm) by 13in (33cm), late 18thlearly 19th

century.

A PINE FOLDING POLE LADDER, with eight rungs, 108in (275cm).

A GEORGE III YEW WOOD AND MAHOGANY TRIPOD TABLE, the dished top on a vase turned baluster stem and do swept supports, 27in (69cm) by 23in (59cm) diameter, third quarter 18th

century with restorations.

А GEORGE III MAHOGANY TRIPOD TABLE, the 35in diameter top on а tapering columnar stem and do swept supports and later casters, third quarter 18th century.

A GEORGE III MAHOGANY TRIPOD TABLE, the rectangular top with canted corners and fluted edge on a vase turned stem and crab stock supports, 29in (74cm) by 17V2in (44cm), late

18th century.

A GEORGE III MAHOGANY GAMES
TABLE, the rectangular top with broad canted corners, inlaid with а satinwood reserve and cross banding, above a conforming banded frieze and four molded tapering supports, 28in

(71cm) by 36in (92cm).

A WILLIAM IV ROSEWOOD GAMES AND
WORK TABLE, the rectangular top with molded edge opening to reveal a maple and rosewood veneered chess board, above a frieze drawer, wool bag slide lacking, on Standard supports

joined by a pole stretcher, on molded feet, 29in (74cm) by 22in (56cm), second quarter 19th century.

A LATE GEORGE III MAHOGANY SOFA TABLE, the rectangular top above two real and two dummy drawers on Standard supports with brass toe castors joined by a pole stretcher, inlaid

throughout with ebony lines, 282in (72cm) by 592in (149cm) extended, first quarter of the 19th century.

ANOTHER GEORGE III MAHOGANY BOW FRONT CORNER HANGING WALL
CUPBOARD, the cross banded doors enclosing three shelves above one real and two dummy drawers, early 19th century.

A LATE GEORGIAN BOW FRONT MAHOGANY CORNER HANGING WALL
CUPBOARD, with a gadrooned pediment above a pair of shell inlaid doors enclosing three shelves, 47in (119cm) by 33in (84cm) early 19th century.

A GEORGE III MAHOGANY CORNER HANGING WALL CUPBOARD with а
shaped fielded panel door enclosing three shelves, 37l/2in (95cm) by 32in (81cm).

A  LATE  GEORGE  II  MAHOGANY
CORNER CUPBOARD with a fretted dentil cornice, paneled door flanked by stop fluted sides enclosing three shaped shelves, now on cabriole supports, 46in (117cm) by 3l2in (80cm),

mid 18th century.

A GEORGE III MAHOGANY BOW FRONT HANGING  WALL  CUPBOARD,   the
doors enclosing three shelves, the sides and frieze inlaid with box-wood lines, late 18th century.

A PAIR OF TABLE LAMPS - BRONZE DOOR KNOCKER - CHARRIERE MAHOGANY KNIFE BOX - SET OF six OAK CHAIRS - STAINED GLASS PANEL

A PAIR OF TABLE LAMPS, each with an
oriental vase mounted with an electrical
fitting, painted with birds and flowering
stems, on carved wood plinths, 16in;
40cm, modem.

A WALNUT WRITING SLOPE banded with brass, the interior with a writing surface and fitted compartments, by 18in; 18 by 46cm, c. 1870.

A WALNUT AND PARQUETRY WRITING BOX,
with thin bands of inlay along the edges with wider bands across the top and front, the interior with fitted compartments and pen scoop, 7 by 20in; 17.8 by 50.7cm, mid 19ih century.

A WALNUT TEA CADDY in Well-figured
wood, the interior with two caddies and a later mixing bowl with a ’secret’ compartment in the lid, 15Jin; 38.7cm, 1840’s.

A BRONZE DOOR KNOCKER, cast with a lion’s head holding a ring cast with cherubs and a mask, 27cm, c. 1880.

A FOLDER  OF VARIOUS DRAWINGS  AND
PRINTS by various designers, late 19th
Century.

A   WILLIAM   IV   MAHOGANY   WRITING
SLOPE, the top inlaid with brass string-ing, the interior with compartments and a writing surface c. 1830.

A CELADON VASE, now fitted as a lamp, with shade, the vase loin; 41cm, c. 1900.

A PAIR OF CELADON VASES of bulboUS
ovoid form, fitted for electricity as
lamps, with rectangular green silk
shades, 32in; 81cm overall approx., 20th
Century    .

A BRASS FIRE KERB of elongated ‘C shape with steel supports and wire trellis, 65in; 165cm wide, mid I9th
century

A STAINED GLASS PANEL with a central roundel of the Devil with a young shepherd enclosed by entwined leaves and branches in a pine frame, by 31iin; 103 by 80cm, c. 1880.

A CHARRIERE MAHOGANY KNIFE BOX, the
brass-bound sloping front with inset carrying handles and a fitted interior, the slope initialled AH, the lock plate signed A. Charriere a Paris, 23in; 58cm wide, the base with a button-operated secret drawer, third quarter of the 19th century.

A SET OF FOUR STAINED GLASS PANELS
portraying four angels, inscribed By
Love Serve One Another Not By Might
Nor By Power But By My Spirit Saith
The Lord Of Hosts, two with the
Y.W.C.A. inverted triangle, 44 by  ; 112.5 by 41.3cm, late 19th
century.

A ROSEWOOD WHATNOT, nOW with tWO
tiers and a drawer, with turned supports, 24 by 20in; 61 by 51cm, eut down, c. 1840.

A MARBLE OCCASIONAL TABLE inlaid with
an asymmetrical design of various marbles, the centre with an Italian mosaic panel of the Coliseum on a triple cluster column and concave-sided base, 28 by 2lin; 71 by 53.5cm, c. 1870.

A MAHOGANY SEWING TABLE with tWO
real opposing two dummy drawers in a frieze, on a trestle support, 29 by 28lin; 75 by 72cm, c. 1850, restored.

A LARGE GILTWOOD AND PLASTER OVER-
MANTEL MIRROR with a moulded pedi-ment above a panel carved with leaves and flowers, above three mirror plates divided by stop-fluted columns, sup-ported by three further plates with urn and leaf-carved supports, 611 by 75lin; 156 by 192cm, c. 1870.

A SET OF six OAK CHAIRS, each with a leaf- and shell-carved top-rail above a pierced splat and moulded curved side supports, the sprung seats on turned tapering legs with castors, c. 1870.

A MAHOGANY BOOKCASE with a moulded pediment above two large glazed cup-board doors with moulded astragals, on bracket feet, 94 by 73in; 239 by 186cm, mid 19th century.

A WALNUT DISPLAY CABINET, the COn-
cave frieze inlaid with foliage above a glazed door and pilasters applied with spelter terms, 41 by 31 fin; 105 by 79.5cm, 1850’s.

CHARLES II CARVED SILVERED CABINET STAND - QUEEN ANNE WALNUT BUREAU BOOKCASE - GEORGE I WALNUT SIDE CHAIR - GEORGE III LIBRARY WING ARMCHAIR

A JAPANNED CABINET ON STAND, the cabinet with a pair of
doors decorated with birds in a landscape in shades of gilt
on black and enclosing an arrangement of eleven similary
decorated drawers, 5ft. 4in. high overall by 3ft. ‘hin.
wide (162.5cm. by 93cm.) second quarter 18th Century,
on plain ebonised stand with chamfered legs.

A SMALL CHARLES II CARVED SILVERED CABINET STAND,
the frieze with a pair of foliate whorls supporting flowers,
carved with a scallop-shell at each side, raised on slender
foliate S-scroll legs, 2ft. 6lhin. high by 2ft. 4V2in. wide (77cm. by 72cm.)
circa 1670, now ebonised.

A QUEEN ANNE NEEDLEWORK-COVERED WALNUT
ARMCHAIR, with rectangular back, shaped wings,
outscrolled arms, the bowed seat with a loose cushion
and with cabriole front legs with pad feet, circa 1710,
covered in floral wool needlework on a yellow ground,
the back cabriole legs restored.

A QUEEN ANNE WALNUT CLOSE STOOL, the hinged
top enclosing a pottery bowl, with a deep shaped frieze,
simple cabriole legs with pad feet, lft. 7in. wide
circa 1710.

A QUEEN ANNE WALNUT BUREAU BOOKCASE, with
a moulded cornice above a pair of arched glazed doors
enclosing shelves, with candleslides below, the lower
part with a fitted interior above two short and two
graduated long drawers on bracket feet, 6ft. 9in. high by
3ft. 4in. wide (207cm. by 101.5cm.) base circa 1710, upper
part later.

A GEORGE I WALNUT BUREAU BOOKCASE, with a moulded cavetto
comice above a pair of mirrored doors enclosing shelves, the
flap enclosing a fitted interior with a well above two short and two
graduated long drawers, on bracket feet, 6ft. 9′/2in. high by 3ft. 1 Viin. wide (209cm. by 95cm.) circa 1715.

A GEORGE I GILTWOOD PIER GLASS, the divided
bevelled plate with a narrow scroll-carved border,
flanked by fruit and leaves, the shaped apron decorated
with a shell and fiowers with swan-neck cresting
similarly decorated, flanking a foliate cartouche, 5ft.
Hin. high by2ft. 2′/2in. wide (183cm. by 67cm.) circa 1720,
with restoration.

A QUEEN ANNE WALNUT CABINET ON CHEST, the
moulded comice and a pair of chevron-banded doors,
each with a chevron arch enclosing an arrangement of
eleven drawers and a drawer with four small drawers,
the lower part with two short and two long chevron
banded drawers, on bracket feet, 5ft. Whin. high by 3ft.
8in. wide (179cm. by 112cm.) circa 1710, feet and handles
later.

A RARE GEORGE II LABURNUMWOOD BUREAU,
the sloping front enclosing an interior fitted with drawers,
pigeon-holes and a cupboard ail in mahogany, with four graduated
long drawers below, the front with quarter-veneered laburnumwood
panels, 4ft. high by 3ft. 8lhin. wide (112cm. by 113cm.) mid-18th Century,
later top and ogee bracket feet, originally with an upper part.

A GOOD SET OF FOUR GEORGE II MAHOGANY
CHAIRS, with leaf-carved toprails, pierced splats, stuffed
saddle-shaped drop in seats, and cabriole front legs
carved with leafy cabochons and ending in claw-and-ball
feet, circa 1740.

AN EARLY GEORGE I WALNUT SIDE CHAIR, with an
arched toprail and vase-shaped splat, the saddle-shaped
drop-in seat on short carved cabriole legs ending in pad
feet, circa 1720, drop-in seat missing.

A GEORGE II MAHOGANY CORNER CUPBOARD, in well
figured wood, with a dentil comice and the door with
a well figured fielded panel of shaped outline enclosing
three shelves with shaped frieze, 3ft. 7′/2in. high by 2ft.
Win. wide (110cm. by 87cm.) circa 1740, on a mid-Victorian stained
pinewood stand with three legs.

A GEORGE II WALNUT TALLBOY,
in two parts with two short and six long drawers,
on bracket feet, 6ft. Vhin. high by 3ft. 6in. wide (187cm. by 108cm.) circa 1740.

A GEORGE II MAHOGANY AND PARCEL-GILT LOOKING
GLASS, the rectangular mirror plate within a moulded
and parcel-gilt frame, the shaped parcel-gilt cresting
centred by a shell, the sides hung with gilt flowers and
foliage, 3ft. lin. high by lft. 8in. wide (94cm. by 51cm.)
circa 1750.

A GEORGE II MAHOGANY TRIPLE TOP TEA OR
GAMES TABLE, with two hinged flaps, one piain and one
with a baize-lined interior with candle-stands and
counter wells, with a frieze drawer and cabriole legs
ending in pad feet, 2ft. oVzin. high by 2ft. Win. wide
(75cm. by 86.5cm.) circa 1750.

A GEORGE II MAHOGANY ARMCHAIR,
the rounded toprail above a pierced vase-shaped splat and
scrolling outcurved arm supports with drop-in seat on
square moulded legs joined by stretchers, mid-18th Century.

A  SET  OF  FIVE  EARLY  GEORGE  III  MAHOGANY
CHAIRS, with soft serpentine-topped backs and serpentine-topped
backs and serpentine-fronted seats, on square chamfered legs, with H-stretchers, circa 1760.

AN EARLY GEORGE III LIBRARY WING ARMCHAIR,
in faded crimson leather, the arched toprail curving
round to form the wings and outcurved scrolling arm
rests, the stuffed seat on square moulded legs, now with
castors, circa 1765.

A GOOD GEORGE II MAHOGANY LIBARY ARMCHAIR, with stuffed serpentine-topped back,
the stuffed arms with outscrolled leaf-carved handles and leaf-carved supports, the stuffed seat on well-carved cabriole legs, headed by cabochons and leaf and scroll feet, circa 1755.

A GEORGE III MAHOGANY SERPENTINE-FRONTED CHEST, of four graduated long drawers,
the top drawer fitted with a baize-lined slide and lidded compartments and originally with a mirror, on bracket feet, 2ft. 9in. high by2ft. Win. wide (84cm. by 87cm.) circa 1770.

FLEMISH CARVED WALNUT ARMCHAIR - LOMBARD WALNUT BUREAU - FLEMISH WING ARMCHAIR - MID-18TH CENTURY DUTCH WALNUT AND MARQUETRY CHEST - DANISH ROSEWOOD-VENEERED CABINET

A GOOD FLEMISH CARVED WALNUT ARMCHAIR, the
back with a gadrooned scroll cresting above a splat of
circles and ovals flanked by scrollwork and with turned
supports, the leaf-carved arms on turned supports and
the caned seat on turned and octagonal legs joined by
waved X-stretchers, circa 1690.

A FLEMISH WING ARMCHAIR in late 17th Century
style, the high rectangular back with outcurved arms on
scroll supports and the stuffed seat on scrolling legs
joined by a stretcher.

A LOMBARD WALNUT BUREAU, the sloping front
enclosing a fitted interior, with a long drawer in the
frieze above three graduated serpentine drawers with
moulded fronts, on bracket feet, 3ft. 4in. high by 3ft. 6in.
wide (102cm. by 106cm.) circa 1740.

AN ITALIAN LOOKING GLASS, the oval plate in a
leaf-carved moulded frame and surrounded by putti
holding sheaves of corn and baskets of fruit supported
on scrolled strapwork, 8ft. 7in. high by 6ft. wide (263cm.
by 182cm.) early 18th Century.

A GOOD PAIR OF DUTCH WALNUT AND MARQUETRY
CHAIRS, each curved solid vase splat inlaid with birds
and flowers partly in bone and with shaped supports,
the shaped drop-in seats on cabriole legs with pointed
oad and waved H-stretchers, mid-18th Century.

AN ITALIAN ARMOIRE, the panelled front painted with shelves
of books and pots within faux marbre borders, 7ft. 8in. high by
4ft. 6in. wide (234cm. by 137cm.) earh 18th Century, painted decoration restored.

A MID-18TH CENTURY DUTCH WALNUT AND
MARQUETRY CHEST with a moulded shaped top and four
graduated drawers in the ogee front with canted corners
and block feet, inlaid throughout with birds and flowers,
2ft. 9in. high by 3ft. 2in. wide (84cm. by 96cm.) circa 1750,
marquetry probably 19th Century.

A DUTCH EAST INDIES HARDWOOD COFFER with a
rectangular moulded hinged lid, the front centred by a
pierced brass lock plate and with brass bosses, on bun
feet, the sides with solid brass handles and pierced and
engraved backplates, 2ft. 4in. high by 4ft. 9in. wide
(71cm. by 145cm.) circa 1720.

AN ALTO ADIGE CEDARWOOD CHEST, the plain
moulded lifting lid decorated with concentric circles,
and decorated on the inside with two panels, centred by
an armoriai cartouche, the front set with three carved
and etched panels within moulded frames punctuated by
figures and surrounded by further panels and an
armoriai device within scrolling borders, raised on bun
feet, 2ft. 6V4in. high by 6ft. 4′Ain. wide (83cm. by 193.5cm.)
circa 1680, lid restored, later feet.

NOTHER BRASS CHANDELIER, similar but slightly
smaller, 18Vain. high (47cm.) 17th Century, probably.

A FLEMISH LABURNUM STOOL, with a rectangular
upholstered top and turned legs joined at the square
section by turned stretchers, 2ft. 9in. wide (84cm.) circa
1690.

A BRASS CHANDELIER, with simple baluster stem and six scroll branches
supporting nozzles and drip-pans, 20in. high (51cm.) 17th Century, probably German.

A DANISH ROSEWOOD-VENEERED CABINET ON
STAND, the upper part with a pair of doors enclosing
shelves, the lower part with two short and two long
drawers, on baluster legs joined by flat waved stretchers
and bun feet, 6ft.high by 4ft. 6′/2in. wide (204cm. by
138.5cm.) circa 1700.

A LIEGE OAK BOX, of elaborate serpentine shape,
the top carved with sprays of flowers and the date within
moulded borders, 5in. high by lft. 3in. wide (13cm. by
38cm.) dated 1756.

A PAIR OF ORMOLU WALL LIGHTS, each with two candle-nozzles
and drip-pans on leaf-cast scrolling branches, with similar
backplates also cast with flowers, 19in. (50cm.) mid-18th Century, French or German.

A DUTCH WALNUT DISPLAY CABINET, the moulded serpentine
comice set with scrolling bosses, the central one set with
a mask, above a pair of shaped glazed doors flanked by
columns with gilded Corinthian capitals, the lower part with three graduated long drawers and the ogee canted corners,
on massive lion pad feet, 7ft. 8′/2In. high by 5ft. 6′Mn. wide (235cm. by 169cm.) circa 1760.

A PAIR OF SPANISH WALNUT SIDE CHAIRS with
embossed leather panel backs and seats, on bobbin
turned legs joined at the square section by bobbin turned
stretchers, circa 1660.

ANOTHER, the back with a coat of arms and the
inscription Augustin Gil de la Puerta Conde Duque de
Olibares Generales Imo de las Caballerias del Rei Porto
San S…, with fiat arms, the seat stamped with armoriai
trophies and the legs with chip carving and shaped
front stretcher, mid-17th Century.

A SPANISH WALNUT AND LEATHER ARMCHAIR, the
back and seat with a two-headed eagle and other birds,
the arms of unusual twin scroll form, and with moulded
scroll legs, mid-17th Century.

A PAIR OF SPANISH WALNUT ARMCHAIRS with shaped leather-covered backs and seats stamped with trees and flowers and scrollwork, with moulded arms on inverted cabriole supports, the seatrails carved with leaves and raised on cabriole legs, early 18th Century.

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.