Antique Sideboard

Italian walnut and satinwood banded Work Table, Louis XV-style kingwood parquetry Table, Regency tortoiseshell and mother-of-pearl inlaid Tea Caddy

An Italian walnut and satinwood banded Work Table, circa 1850, with kingwood crossbanding and pierced brass gallery, the circular hinged top revealing a velvet-lined well, the

triple supports above an undertier and scroll feet, 38cm. diam.; lft. 3in.

An Italian massive white veined circular marble Table, modern, the
circular top with inlaid painted sprays of flowers, on moulded octagonal base, 200cm. diam.; 6ft. 7in.

An Italian Side Table, modern, en suite with the previous lot, the ‘D’-shaped top with inlaid painted decoration, on two moulded rectangular plinth supports, 183cm. wide; 6ft.

A Louis XV-style kingwood parquetry Table, circa 1870, with gilt-metal mounts, the rosewood crossbanded top inlaid with stringing, the frieze drawer above cabriole legs, 77 by

99cm.; 2ft. 6in. by 3ft. 3in.

A Dutch mahogany and purple-heart crossbanded drop-leaf Table, circa 1790, inlaid throughout with stringing, the rectangular quarter veneered top with a frieze drawer, on

tapered square legs, 101cm. wide open; 3ft.3V2in.

An Italian carved giltwood
cartouche-shaped Wall Mirror, circa
1870, the frame pierced and carved with
shells and rocaille, the plate etched with
a mythological figure, 78cm. high;
2ft. Vfrm.

A French Transitional-style
mahogany breakfront Vitrine, with
marble top and gilt-metal mounts, the
glazed door enclosing a lined shelf and
interior, the lower part with Vernis
Martin panels, the square cabriole legs
ending in sabots, 167cm. high by 152cm.
wide; 5ft. 3in. by 5ft.

A Continental painted four-fold
Screen, 19th Century, opening to reveal
a scene depicting musical instruments
and a music stand, together with exotic
birds and a monkey, painted on canvas,
each fold 140cm. high by 46cm. wide;
4ft. 7in. by lft. 6in.

TEA CADDIES, WRITING BOXES, etc.

A Regency tortoiseshell and
mother-of-pearl inlaid Tea Caddy, circa
1820, the domed hinged top revealing a
two-division interior, the bowed front
with Chinoiserie inlay, 18cm. wide; 7in.

A Regency rosewood and
brass-inlaid Tea Caddy, circa 1820, of
sarcophagus form, with a three-division
interior, on gadrooned turned feet,
34cm.

A George IV mahogany Book
Tray, circa 1825, the scrolled sides ,with
pierced spindle balustrades, the plinth
base on bun feet, 41 cm. wide; lft. 4in.

An Indian hardwood and
cut-brass inlaid Deeds Box, circa 1850,
the hinged top revealing a sectioned
interior with a detachable tray, the sides
with brass carrying handles, 56cm. wide;
lft. Win.

A Napoleon III amboyna and
rosewood Liqueur Set, circa 1860, with
gilt-metal mounts, the hinged top
opening in conjunction with a hinged
front and sides to reveal four decanters
and stoppers, with fourteen glasses, on a
plinth base with bun feet, one stopper
broken and one glass broken, 38cm. wide;
lft. 3in.

A Victorian black papier-mache
Tray by Jennens 8c Bettridge, circa
1850, with gilt and mother-of-pearl
Chinoiserie scene within a serpentine
border, 68cm.; 2ft. 3in.

A boulle Desk Stand, circa 1880,
the cut-glass inkwell with a rear
gilt-metal handle flanked by a pair of
lidded compartments, the front with a
kidney-shaped pen-tray, 29cm. wide;
IVhin.

A Victorian figured walnut and
brass-bound Cigar Box, circa 1870, of
rectangular form with an inscribed plaque, the hinged top revealing a watercolour of a Mediterranean harbour scene, 44cm.

A Chinese export black lacquer and gilt Tea Caddy, circa 1840, the
hinged cover revealing a metal
two-division compartment, 27cm. wide;
10V2in.

A Victorian rosewood and mother-of-pearl inlaid Writing Box, circa 1840, the velvet-lined interior with compartments, the sides with countersunk brass handles, 45cm. wide; lft.

5V2in.

A Victorian coromandel Decanter Box, circa 1890, the hinged top and fall-front revealing three cut-glass decanters and stoppers including gilt-metal labels, together with three

beakers and two liqueur glasses, incomplete, the interior with two inscribed plaques, 32cm. wide; lft. ‘hin., bearing the label H. W. Bedford, 67 Regent St. and Chapman’s Patent

No. 191.

A Victorian black papier-mache and mother-of-pearl inlaid combined Work and Jewellery Box, circa 1850,
decorated throughout with floral sprays
and gilt borders, the hinged top above a
pair of doors enclosing four drawers, on
a splayed base with a valanced frieze,
25cm. wide; Win.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

with six turned legs joined by moulded stretchers.

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

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

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

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

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

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

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

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

NORTH ITALIAN PAINTED CHAIRS - DUTCH MAHOGANY COMMODE - PAINTED DISPLAY TABLE - ELM CHEST OF DRAWERS - WALNUT SECRETAIRE A ABATTANT - EXPORT LACQUER WORK TABLE

A PAIR OF NORTH ITALIAN PAINTED CHAIRS, the moulded cartouche-shaped backs with pierced splats, the stuffed seats on moulded cabriole legs, circa 1765.

AN ITALIAN KINGWOOD- AND PARQUETRY-VENEERED
COMMODE, the serpentine front containing three drawers
with brass swan’s neck handles and pierced backplates,
the shaped apron raised on short cabriole legs, 3ft. 3′/2in.
high by 3ft. lOin. wide (100cm. by 117cm.) circa 1770,
marble top missing, later mounts.

A DUTCH WALNUT CHEST, the arc-shaped front containing four long drawers, 2ft. 5in. high by 3ft. 2in. wide (74cm. by 97cm.) mid-18th Century, later feet.

A DUTCH MAHOGANY COMMODE of slightly bombe
form, with mottled pink marble top above three long
drawers on splayed bracket feet, 2ft. 8in. high by 3ft. 3in.
wide (81cm. by 99cm.) circa 1770, originally with a
wooden top, mounts replaced.

A LOMBARD WALNUT TABLE, the top crossbanded in tulipwood, the frieze inset with panels of kingwood, and raised on square tapering legs, 2ft. 5in. high by 3ft. 7in. wide (74cm.

by 109cm.) circa 1780, with restoration.

AN ITALIAN ARTE-POVERA BEDSIDE CUPBOARD, with hinged top and square tapering legs decorated with peasant figures in an antique landscape on a cream ground with mottled blue

scrollwork outlined in gilt, 2ft. bin. high by 2ft. wide (74cm. by 60.5cm.) late 18th Century, originally fitted with a pot, decoration restored.

A DUTCH WALNUT AND MARQUETRY CARD TABLE,
the serpentine top inlaid with flowers, the polished
interior inlaid with a chessboard with a playing card at
each corner, the frieze with a drawer, raised on square
tapering legs, 2ft. 6in. wide (76cm.) circa 1780, top and
legs warped.

A PAINTED DISPLAY TABLE with hinged glazed lid and glazed frieze, raised on circular fluted tapering legs with leafy collars and feet, painted gilt and dark red, 2ft. 6in. high

by 2ft. Hin. wide (76cm. by 89cm.) late 18th Century, Italian, possibly altered from a centre table.

A MlLANESE MARQUETRY SMALL CHEST of three
drawers on square tapering legs, the top inlaid with a musical trophy, the front with figures, 2ft. 6in. high by Ift. 9in. wide (76cm. by 53cm.) late 18th Century.

A MARQUETRY COMMODE, with a rectangular top, three long drawers and square tapering legs, inlaid with panels of floral marquetry, 2ft. Hin. high by 4ft. 5in. wide (89cm. by

135cm.) circa 1790, Milanese or Sicilian.

A FRENCH PROVINCIAL ARMOIRE with a cavetto cornice, the frieze inlaid with flowerheads above a cup-board door with a shaped moulded panel above two short drawers and another

panelled cupboard door, with fluted sides and a shaped apron, on short cabriole feet, 7ft. high by 3ft. 8in. wide (210cm. by 112cm.) circa 1770.

A DUTCH POLLARD ELM TALLBOY, with a white
marble top, canted corners and six long drawers, on
tapering block feet, 5/t. l’Ain. high by 3ft. 4in. wide
(155.5cm. by 42cm.) early 19th Century.

A DUTCH POLLARD ELM CHEST OF DRAWERS, the top crossbanded in walnut, the bowed front with one shallow and three deep drawers, on bracket feet, 2ft. 9V2in. high by 2ft. 5in. wide

(85cm. by 73.5cm.) circa 1795.

A VIENNESE MAHOGANY DESK with a tambour above a bowed front containing a slide and a pair of tambour cupboards flanked by ebonised pillars, with gilt-metal mounts and tall,

giltwood, paw feet, 3ft. 4in. high by 2ft. 21hin. wide (101cm. by 68cm.) circa 1820.

A DUTCH SEMI-CIRCULAR MARQUETRY GAMES
TABLE, the interior inlaid with a chessboard and playing
cards, the front with a pair of tambours and raised on
four square, fluted, tapering legs, 2ft. lin. high (19cm.)
circa 1180, inlay 19th Century.

A STAINED BEECHWOOD ALCOVE BED, the slightly scrolled ends of equal height and faced with rosettes, raised on short circular tapering legs, the front two headed by diamond

panels, 5ft. Whin. wide by 2ft. 8in. high (119cm. by 81cm.) circa 1900, front-rail cracked.

MAHOGANY   AND   PARCEL-GILT   OVERMANTEL
GLASS, the rectangular plate framed within rounded
pilasters with gilt capitals, lft. 9in. high by 2ft. lOVzin.
wide (53cm. by 88cm.) circa 1825.

A BIEDERMEIER WALNUT SECRETAIRE A ABATTANT
with grey fossil marble top, the fall-front with a fitted
interior, one drawer above and three long drawers
below, flanked by projecting, split-baluster columns, on
bail feet, 4ft. lin. high by 3ft. 2′/2in. wide (140cm. by
98cm.) circa 1825.

A DUTCH MAHOGANY AND MARQUETRY BEDSIDE
CUPBOARD with a tambour door above a drawer, on
turned legs, 2ft. 3in. high by lft. lin. wide (69cm. by
48cm.) circa 1830, extensively restored.

A GOOD SlNHALESE TEAK AND EBONY CUPBOARD in
two parts, the upper part with a moulded cornice and a
pair of doors with panels outlined with ebony leaves
forming ovals and flanked by a pair of free-standing
turned pillars, the slightly projecting lower part with
three leaf-carved drawers above a pair of doors similar to
the upper part, on turned feet, 6ft. 2in. high by 4ft. wide
(188cm. by 122cm.) circa 1830.

AN EXPORT LACQUER WORK TABLE, the shaped slightly domed lid decorated in shades of gilt on black with figures and enclosing a removable tray of compart-ments, raised on pierced

lyre supports with claw feet, 2ft. 4in. high by 2ft. l’Ain, wide (70cm. by 65cm.) early 19th Century, originally with a work bag.

A SET OF THREE ANGLO-INDIAN ROSEWOOD ARM-CHAIRS with stuffed shield-shaped backs, the padded arms with leaf-carved handles and supports, the seatrials raised on circular,

tapering, reeded legs with leafy capitals and feet, circa 1820, backs probably altered.

A CIRCULAR EXTENDING DlNING TABLE SUpported
on a massive divided circular pedestal and concave plinth base, 2ft. 5in. high by 4ft. 5in. diameter closed (73.5cm. by 135cm.) circa 1830, probably German.

A PAIR OF COLONIAL HARDWOOD SMALL SETTEES
each with a double chair back, caned seat and square tapering legs, circa 1800, formed form one long settee.

AN UNUSUAL COLONIAL TEAK CUPBOARD, with a
pair of panelled doors and bun feet, 4ft. 7′Mn. high by
4ft. lin. wide (141cm. by 124cm.) circa 1800, probably
Chinese.

A   BIEDERMEIER   MAHOGANY   DECANTER   CASE
shaped like a miniature cylinder bureau, the hinged lid
opening to reveal six gilt-decorated glass bottles, W’Mn.
wide (27cm.) circa 1825.

Louis XV GILT CONSOLE - ITALIAN GILTWOOD GIRANDOLES - FLEMISH CORNER CUPBOARD - WALNUT CHEST ON STAND - SMALL WALNUT BUREAU

A Louis XV GILT CONSOLE with pierced leaf-carved frieze,
in-scrolled legs carved with leaves and husks and joined
by a pierced stretcher centred by a cartouche, 2ft. 7in. high by 2ft. 8V2W.
wide (79cm. by 82.5cm.) mid-18th Century, green marble top.

A TULiPWOOD COMMODE stamped R. Roessle, with moulded brescia marble top,
the quarter-veneered tulipwood body quarter-banded in kingwood and with two drawers,
on cabriole legs with ormolu mounts, 2ft. 6lMn. high by 2ft. 3′/2in. wide (77cm. by 69cm.).

А CAPE DUTCH STINKWOOD OGEE-FRONTED CHEST
of three long drawers, with canted corners, on claw and
ball feet, 2ft. high by 3ft. 2in. wide (77cm. by
96.5cm.) circa 1750, restored.

A CAPE DUTCH STINKWOOD CORNER ARMCHAIR, the arched back curving around to form the arms with
caned splats and ring-turned baluster supports, the 187 A pair of gilt-metal Candlesticks with spiralling
caned seat on cabriole legs joined by ring-turned sconces, stems and bases, lOin. high (26cm.) circa 1750,
stretchers, circa 1750, with squab cushion.

A PAIR OF LOUIS XV GILT-METAL CANDLESTICKS,
with baluster stems and shaped circular bases, lO’Ain.
high (26cm.) mid-18th Century.

A GLASS CHANDELIER OF SIX S-SCROLL ARMS, the
double gourd-shaped stem also supporting spiral-twist
scrolls, 2ft. high by lft. 9in. wide (61cm. by 53cm.) circa
1750, probably Venetian, some drops later.

A DUTCH MARQUETRY STANDING CORNER CUP-
BOARD with serpentine front, the upper part with
a moulded comice and a pair of panelled doors with a slide below, the lower
part with a pair of panelled doors, on bail feet, 8ft. 5in. high (257cm.) mid-18th Century, inlaid

with
floral marquetry on an oak ground.

A PAIR OF ITALIAN GILTWOOD GIRANDOLES, each
tapering serpentine-topped plate with a cresting and side
pieces of rococo scrolls with flowerheads, each apron
with grotesque mask, 2ft. lin. high by Ift. 4lhin. wide
(63cm. by 42cm.) mid-18th Century, originally with
candle-arms.

A DUTCH PINE CUPBOARD with triangular broken
pediment above a pair of cupboard doors enclosing
shelves and drawers, above an ogee-fronted base with
three long drawers, 7ft. 7in. high by 5ft. wide (231cm. by
152cm.) circa 1760.

A 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 pad and waved H-stretchers, mid-18th Century.

A Louis XV KINGWOOD ETAGERE,
the elliptical top with a moulded border and inlaid with a
chequer banding, with a smaller conforming shelf below, on pierced trestle supports
joined by a crossbar, 2ft. 4in. high by 2ft. Win. wide (71cm. by 87cm.) circa 1770.

A SCANDINAVIAN CARVED OAK BOX inscribed with the date anno 174*
and with two sets of initiais, the hinged lid and sides incised
with geometrie roundels, /ft. 3% in. wide (40cm.) mid-18th Century.

AN ITALIAN NEO-CLASSICAL ALTAR CANDLESTICK
in gilt and silvered wood, 2ft. lOin. high (87cm.)
circa 1770, fitted for electricity.

A FLEMISH CORNER CUPBOARD, the pair of doors
painted with the Virgin kneeling with attendant angels
below draperies, 3ft. high by lft. llin. wide (92cm. by
58cm.) third quarter 18th Century.

A PAIR OF LOUIS XV CARVED WALNUT ARMOIRE
DOORS, each with two panels outlined by simple foliate
rococo carving, 5ft. llin. high by lft. 9in. wide (180cm. by
53cm.) circa 1760.

A WILLIAM AND MARY WALNUT-VENEERED CHEST
OF DRAWERS, the moulded top and three long drawers
inlaid with simple stringing, with panelled sides, 2ft. 9in.
wide (84cm.) circa 1690, base now altered and with later
bracket feet, height now 2ft. Hin (89cm.).

A WILLIAM IV WORK BOX, the whole covered in red/brown
leather, the coffered lid inset with a brass panel, enclosing a
fitted interior lined in blue silk, with a drawer below, with
carrying handles at the sides and on gilt-metal feet with
flowerheads, leaves and berries, 53Ain. high by ll3Ain. wide (153cm. by 29cm.) circa 1835.

AN OYSTER-LABURNUM AND ROSEWOOD-VENEERED
CABINET ON CHEST, the doors enclosing an interior fitted
with drawers surrounding a central cupboard with
further drawers inside, the base with two short and two
long drawers, raised on bracket feet, 4ft. Win. high by
3ft. 9in. wide (148cm. by 114.5cm.) extensively re-
constructed and restored.

A GEORGE I WALNUT CHEST ON STAND,
the moulded cornice above three frieze drawers and
three graduated long drawers with canted, fluted corners, the lower
part with one short drawer flanked by deep drawers and a curved apron,
on later cabriole legs, 5ft. 63Ain. high by 3ft.

A QUEEN ANNE WALNUT BUREAU CABINET, the
upper part with a moulded comice above two mirrored
doors engraved with an arch and flowerheads, with a
pair of candle-slides below, the lower part with a flap
and bookrest, enclosing a fitted interior with a well
above three dummy frieze drawers and two short and
two graduated long drawers, on later bun feet, 6ft. 8in.
high by 3ft. 3V4in. wide (204cm. by 100cm.) both parts circa
1710, but not originally together.

A SMALL WALNUT BUREAU, the Aap enclosing a
fitted interior and well above three graduated long
drawers, on later bracket feet, 3ft. lin. high by lft. lVhin.
wide (94cm. by 60cm.) extensively restored and reduced
inwidth.

A QUEEN ANNE WALNUT SIDE TABLE with a
moulded quarter-veneered crossbanded top, a cross-
banded drawer above a shaped apron and cabriole legs
with pad feet, 2ft. 3in. high by 2ft. Sin. wide (69cm. by
73cm.) circa 1710.

GEORGE IV WHITE AND GILT ARMCHAIR - LOUIS XV GILT-METAL CANDLESTICKS - FOUR-FOLD PAINTED LEATHER SCREEN - REGENCE CANED BEECHWOOD SETTEE

A GEORGE IV WHITE AND GILT ARMCHAIR with
stuffed back and padded arms with reeded handles,
circular supports and legs, circa 1820.

A REGENCY GILTWOOD CONVEX MIRROR, the
tubular frame with four plaster lotus clasps, the
anthemion cresting flanked by scrolling acanthus and
anthemion and the apron flanked by smaller but similar
scrollwork, each side with an S-scroll arm supporting
drop-hung glass arms and drip-pans, 4ft. 6in. high by 3ft.
4in. wide (137cm. by 102cm.).

114 A GEORGE IV MAHOGANY SECRETAIRE CABINET,
the upper part with a pair of glazed doors with
gothic glazing bars, the projecting lower part with a fitted secretaire drawer above a pair of panelled cupboards flanked by turned
columns and raised on turned feet, 7ft. 4in. high by 3ft.
9lhin. wide (223cm. by 115cm.) circa 1825.

A WILLIAM IV CANED MAHOGANY BERGERE,
with curved back and lotus-carved scroll handles
with circular leaf-carved front legs headed by paterae, circa 1830.

A WILLIAM IV ROSEWOOD MUSIC STAND with lyre-shaped support,
the baluster stem with lotus base and triangular plinth, 3ft. high (92cm.) circa 1835.

A FLEMISH WALNUT ARMCHAIR, the high rectangular padded back with
serpentine toprail and outcurved moulded scrolling arms on baluster supports, the stuffed seat on ring-turned legs joined by ring-turned baluster stretchers, circa 1680.

A PAIR OF ITALIAN BRASS PRICKET CANDLESTICKS,
the well-moulded stems cast in sections with copper drip
pans and the triangular bases on paw feet, each base
chiselled with the initiais DSDPM, lft. 8′/2in. high
(52cm.) early 18th Century.

A PAIR OF EARLY LOUIS XV GILT-METAL CANDLESTICKS,
with facetted nozzles, baluster stems, and octagonal
bases, 9′/2in. high (24cm.) early 18th Century.

A DUTCH CARVED GILTWOOD OVERMANTEL GLASS,
with arched rectangular plate, the shaped cresting
carved with foliage and scrolls centred by a cypher,
4ft. 3in. high by 3ft. 7in. wide (130cm. by 109cm.) early 18th Century.

A REGENCE ARMOIRE with moulded cornice above
a pair of walnut doors each with three fielded panels
decorated with a circle and star motifs, with panelled oak
sides and turned bun feet, 7ft.  high by 5ft. 6in. wide
(220cm. by 168cm.) circa 1720.

A FLEMISH EBONY- AND KINGWOOD-VENEERED
ARMOIRE with everted cornice, the pair of fielded panel
doors divided and flanked by three split columns, the
capitals carved with heads, the base with a drawer of
double inverted breakfront form with panelled sides and
massive ebonised bun feet, 6ft. lin. high by 6ft. 3in. wide
(185cm. by 190cm.) third quarter 17th Century.

A REGENCE GILTWOOD STOOL carved with acanthus
leaves, on cabriole legs headed by shells and ending
in hairy goats’ feet, circa 1720.

A FLEMISH OAK CHEST
with four long drawers each with a pair of geometrically
moulded panels, the uprights and some of the drawer fronts in walnut and cedar, and the top two drawers inlaid with associated ivory and mother-o’-pearl
panels, 3ft. 9in. high by 3ft. lVhin. wide (144cm. by 121cm.)
third quarter of 17th Century.

A FLEMISH WALNUT ARMCHAIR, the tall
rectangular back and seat covered in needlework, with
moulded scroll arms, baluster legs and waved
X-stretchers, late 17th Century.

A FOUR-FOLD PAINTED LEATHER SCREEN, with four
scenes from the Story of Moses, with serpentine tops
and the lower panels painted with swagged corbels, each fold
6ft. ll’Mn. high by 2ft. 5in. wide (212cm. by 74cm.), biblical panels early 18th Century, probably Flemish.

ANOTHER FOUR-FOLD SCREEN mounted with panels
of stamped leather mainly in green and red on a brown
ground with birds, leaf scrolls, flowers and lambrequins,
5ft. 9′/2in. high, each leaf lft. wide (177cm. by
47cm.) leather panels early 18th Century.

A DUTCH MARQUETRY CHEST with shaped top, the shaped front
with four long drawers, on scroll feet, inlaid with floral
marquetry on a mahogany and elmwood ground, 2ft. l’hin. high by 2ft. lO’hin. wide (80cm. by 87.5cm.) circa 1740.

AN EARLY LOUIS XV WALNUT STOOL of cartouche shaped form with
acanthus leaf carved apron and cabriole legs carved with
cabochons at the knee and scroll feet, lft. 5in. high by lft. Hin. wide (43.5cm. by 58.5cm.) circa 1735.

A REGENCE CANED BEECHWOOD SETTEE,
the back with serpentine top and serpentine-fronted seat,
raised on six cabriole legs, the whole carved with leafy scrolls and shells, 4ft. 8in. wide (142cm.) circa 1725, restored.

A DUTCH MARQUETRY HANGING CUPBOARD, with
glazed door and glazed chamfered sides, 3ft. 8in. high by
3ft. 4′/2in. wide (111cm. by 103cm.) mid-18th Century,
inlaid with bands of floral marquetry on a walnut
ground.

A GEORGE II PARCEL-GILT WALNUT-VENEERED WALL
MIRROR with bevelled plate, the frame with inner and
outer gilt mouldings and outset square corners, 2ft. 4′/2in.
high by lft. 9′/2in. wide (72cm. by 54cm.) circa 1730, one
corner with moulding missing.

A GEORGE II WALNUT AND PARCEL-GILT WALL
MIRROR, the rectangular bevelled plate outlined by a
rope moulding and crossbanded walnut outlined with
egg and dart moulding, 3ft. high by 2ft. 7in. wide (92cm. by
79cm.) circa 1730.

DUTCH PARQUETRY CABINET - INLAID MAHOGANY WRITING DESK - DUTCH MAHOGANY CYLINDER BUREAU -ITALIAN GILTWOOD LOOKING GLASS - JAPANNED CABINET ON STAND

A PAIR OF GILT-BRONZE PASTILLE-BURNERS each in
the form of a vase with pierced lid surrounded by three
fasces, supported on seated gryphons, 8′/tin. high
(21.5cm.) early 19th Century.

A DUTCH MAHOGANY AND BRASS BRAZIER
with a brass carrying handle and liner, the outside
supported by dowels waisted to form a splayed base with
a brass rim, lft. 4′Mn. high (42cm.), early 19th Century.

A DUTCH PARQUETRY CABINET, the top set with a
partridgewood lozenge crossbanded in kingwood with
satinwood spandrels and with a broad rosewood border
above a pair of similarly inlaid cupboard doors, on
square tapering block feet, 2ft. 9in. high by 3ft. ‘Mn. wide
(84cm. by 94cm.) circa 1790.

A CUT-PAPER PICTURE of eight birds perched on a
tree, the right with a stag and the left with a man and
two dancing goats in the distance, all in eut black paper,
6′Ain. high by VMn. wide (16cm. by 19cm.) second quarter
ofl9th Century.

A MAHOGANY CHEST of two drawers, the top inlaid with a shell patera,
raised on square tapering legs with pierced brackets, 2ft. 6in. high by
2ft. 8in. wide (76cm. by 82cm.) early 19th Century, probably Austrian.

A DUTCH MARQUETRY LIT BATEAU with over-
scrolled ends and decorated throughout with floral
marquetry urns and boxwood and ebony stringing,
7ft. long (213cm.) circa 1820.

AN INLAID MAHOGANY WRITING DESK, with a tambour fronted
superstructure enclosing a fitted interior, the top and
front set with shell ovals and boxwood stringing, the lower
part with a sliding writing surface, and hinged flap, above a
kneehole with a dummy drawer flanked by four graduated long
drawers at either side, the panelled sides inlaid with shell
ovals, and reading slides, 4ft. Vhin. high by 4ft. 8in.
wide (125cm. by 143cm.) circa 1790, Dutch or German.

A DUTCH PAINTING ON GLASS by Zeuner, depicting
a sorrowful peasant girl with two Franciscan monks in
an Italianate landscape with Castles and villas, signed in
the bottom left hand corner and dated 1770.

A DUTCH MAHOGANY CYLINDER BUREAU, the
leather-lined writing surface opening in conjunction
with the cylinder flap and enclosing a fitted interior
with three long drawers below, the lower two flanked by
half columns on bracket feet, 3ft. 8′/2in. high by 3ft. 7in.
wide (113cm. by 109cm.) circa 1800.

AN ITALIAN GILTWOOD LOOKING GLASS of late 18th Century style with
bevelled plate, the cresting pierced with a diamond trellis
centred by an oval of carved flowers under a pair of cornucopiae
and ribbons, 4ft. Hin. high by 2ft. Hin. wide (150cm. by 89cm.)

A MAHOGANY TALL CHEST of seven drawers with
fruitwood stringing and plinth base, 5ft. 55V*in. high by
2ft. 5in. wide (166cm. by 73.5cm.) late 18th Century,
possibly German or Dutch.

A FINE SINO-DUTCH LAC BURGAUTE SECRETAIRE A
ABATTANT, the projecting frieze drawer supportee on a
pair of reeded pillars above a panelled fall front enclosing
drawers and pigeonholes and a pair of panelled doors
enclosing three long drawers, on tall block feet, the
sides each with a pair of carrying handles, the whole of
the front finely decorated in tinted mother-o’-pearl with
birdx, peonies and prunus blossom, the flap panel with
an attractive view of buildings and monuments, the
sides with floral sprays, 4ft. lOin. high by 3ft. 2in. wide
(148cm. by 96cm.) circa 1820.

A SET OF FIVE ANGLO-INDIAN EBONY CHAIRS with
curved toprails, stuffed drop-in seats and turned legs,
circa 1825.

A SET OF FIVE BIEDERMEIER FRUITWOOD CHAIRS
with curved crescent-shaped toprails, stuffed seats,
square tapering slightly splayed legs, circa 1830.

A CHARLES X CARVED GILTWOOD AND GESSO PICTURE FRAME
of moulded rectangular shape, each corner faced with stylized
foliage and butterflies, outer measurement 34in. by 293/*in.
(87cm. by 76cm.) inner measurement 24in. by 20iUin. (61cm. by 51cm.) circa 1830.

A SMALL GILTWOOD AND PLASTER WALL MIRROR
with serpentine top plate and narrow border and the
apron and cresting applied with shells, high by
lft. 4′/2in. wide (62cm. by 42cm.) second quarter 19th
Century, probably German.

A GOANESE EBONY WORK-CASKET with serpentine sides,
the lid inset with a coat of arms, the interior elaborately
fitted and inlaid with ivory and tortoiseshell, high by lft. 2in. wide (14cm. by 37cm.) circa 1840.

A WALNUT SIDE CHAIR, the back carved with a
grotesque mask and C-scrolls on a solid seat
and ring-turned baluster legs, the splat 17th Century,
Swiss or Italian, seat and legs late 18th/early 19th Century.

A PAINTED AND PARCEL-GILT LOOKING GLASS, the rectangular plate
flanked by pilasters, the triangular pediment centred by an eagle,
3ft. 7in. high by 2ft. 4l/tin. wide (109cm. by 72cm.) circa 1840, possibly Viennese.

A JAPANNED CABINET ON STAND, the cabinet with
a pair of doors enclosing an arrangement of eleven
drawers decorated on the front, sides and interior with
attractive chinoiserie scenes of figures and buildings and
with engraved brass escutcheons, hinges and corner
mounts, the stand with square chamfered legs and
decorated with blind Chinese fretwork picked out in
gilt on black, overall height 5ft. 3in. by 3ft. 3in. wide
(160cm. by 99cm.) cabinet early 18th Century, stand
circa 1900.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

A REGENCY PENWORK LETTER BASKET - PARCEL-GILT AND EBONISED CONVEX MIRROR - MID-VICTORIAN PAPIER-MACHE TRAY - ROSEWOOD AND WALNUT TABLE CABINET

A PAIR OF SPA PAINTED BOXES of shaped outline, the slightly domed lids each
painted with a scene of peasants after Breugel, one with haymakers refreshing themselves,
the other with a game of bowls, the sides with landscapes, ail decorated en grisaille on a
cream ground, 5′hin. wide (14cm.) circa 1760.

A REGENCY PENWORK LETTER BASKET of boat shape, with elaborately shaped top
and central division pierced with a carrying handle decorated with insects and flowers,
partly in polychrome on a black ground, on four gilt-metal claw-and-ball feet, 9′Ain. wide
(23.5cm.) circa 1810.

A PAIR OF GEORGE III GILTWOOD WALL BRACKETS in the French style, each with
three S-scroll arms supporting a drip-pan and a nozzle, the fluted backplates headed by an
oval wreath of ribbon-tied oak foliage and pastoral trophies and with husk pendant apron,
Hin. high (28cm.) circa 1780.

A PAIR OF REGENCY GILTWOOD WALL LIGHTS each with a pair of scrolling arms
with reeded cup-shaped brass nozzles, the backplates in the form of conjoined spheres
centred by an ebonised eagle with outspread wings holding tasselled gilt-metal chains in
his beak, 2ft. 3in. high (69cm.) circa 1805.

ANOTHER of similar design, 2ft. Win. open (86.5cm.) circa 1815.

A GEORGE IV ROSEWOOD-VENEERED AND GILT-BRASS PEDESTAL, the quarter-
veneered crossbanded square top with a cast brass frieze of scrollwork and supported on
four reeded pillars, the bases with drums cast with cherubs and standing on a stepped
square base similarly veneered to the top, on four mushroom-shaped feet,
by lft. 2V4in. square (80cm. by 36cm.) circa 1830.

A REGENCY PARCEL-GILT AND EBONISED CONVEX MIRROR, the double moulded
frame with a main band incised with curving gilt lines and set with paterae, with an inner
berried laurel leaf border and outer bead border, circa 1810.

A VENETIAN OCTAGONAL, CLEAR AND MOSAIC GLASS WALL MIRROR of elongated
octagonal form, with bevelled plate, the conforming frame with an inner and outer mirror
border and a main mosaic border of polychome flowers on a white “tiled” ground set with
clear glass clasps and flowerheads, 2ft. 8in. high by 2ft. min. wide (81cm. by 67cm.) circa.

A REGENCY PAPIER-MACHE TRAY stamped Howard London, of rectangular shape
with rounded corners and decorated in shades of gilt on black with sprays of flowers and
moths and the border with anthemion, with a pair of gilt-metal serpent loop handles, 2ft.
1 Van. wide (64cm.) circa 1810.

A MID-VICTORIAN OVAL PAPIER-MACHE TRAY with overscrolled edge, the border
decorated in gilt on a black ground, with a vermiculate design enclosing rectangles of
quatrefoils, 2ft. ‘hin. wide (62.5cm.) circa 1850.

A MID-VICTORIAN PAPIER-MACHE TRAY stamped B. Walton & Co. Warranted, of
similar outline decorated in gilt and polychrome on black with vases, birds, chains of
flowers and rococo fretwork, lft. 7′hin. wide (49.5cm.) circa 1850.

ANOTHER of similar outline, the centre with a spray of polychrome flowers on
black, the border with maiden-hair fern and rococo scrollwork in gilt, lft. 7in. wide
(48cm.) circa 1850.

A GENOESE WALNUT FALL-FRONT CABINET, with moulded cornice above a frieze containing two drawers and faced with naked figures, the fall front enclosing an interior fitted with a central carved cupboard surronnded by drawers, the Stiles also faced with figures, 2ft. lhin. high by 2ft. 3in. wide (62cm. by 68cm.) circa 1600.

AN ITALIAN WALNUT PRIE-DIEU, with a moulded
dentil cornice and frieze drawer above a cupboard door
flanked by fielded panels, with a kneeler enclosing a
compartment, on a moulded base and scrolling feet, the
whole inlaid with stylized floral marquetry and a double-
headed eagle, 2ft. lOin. high by 2ft. 4in. wide (87cm. by
71cm.) 17th Century, probably Tuscan.

A NORTH ITALIAN WALNUT COMMODE of three
long drawers inlaid in bone with stars, on later bracket
feet, 2ft. Whin. high by 3ft. 6′Mn. wide (90cm. by 106cm.)
circa 1700, drawer relined.

A GOANESE INLAID TABLE CABINET, the exterior
and interior covered with trellis in ivory on ebony and
padouk, the fall front enclosing an arrangement of one
long and seven short drawers, lft. 4in. wide (40cm.)
early 18th Century, distressed.

A FLEMISH ROSEWOOD AND WALNUT TABLE CABINET with a coffered hinged compartment, enclosing a mirror flanked by painted scenes of figures in land-scapes above a pair of geometrically panelled cupboard doors enclosing an arrangement of ten drawers around a cupboard enclosing an architectural mirrored interior, each drawer and the interior of the cupboards set with painted panels of a mythological nature, lft. 4in. high by lft. 6in. wide (41cm. by 45.5cm.) late 17th Century.

A DUTCH MARQUETRY AND EBONY-VENEERED SIDE
TABLE, the top inlaid with a bouquet of tulips and roses
within floral spandrels, the plain frieze drawer on
spirally turned baluster legs joined by a wavy X-framed
stretcher, 2ft. 5in. high by 3ft. wide (74cm. by 91cm.)
circa 1680, restored.

A REGENCE ARMOIRE with moulded cornice above
a pair of walnut doors each with three fielded panels
decorated with a circle and star motifs, with panelled oak
sides and turned bun feet, 7ft. 2′/iin. high by 5ft. 6in. wide
(220cm. by 168cm.)circa 1720.

A SOUTH GERMAN BOULLE CASKET, the top inlaid
in pewter and brass with the Rape of Europa, within a
floral frame, the fall front and sides similarly decorated,
the interior now fitted with ten slim drawers, the sides
with carrying handles, 8in. high by lft. lin. wide (21cm. by
23cm.) 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.