Antique Sideboard

An Art Nouveau oak Sideboard, Victorian carved walnut framed Sofa, Queen Anne oak boarded Box, Queen Anne-style walnut Dining Chairs

An Art Nouveau oak Sideboard, circa 1905, the galleried back with an embossed copper panel and pierced sides, the pair of frieze drawers above inverted tapered square legs

joined by stretchers, 126cm. high by 111cm. wide.

A William and Mary walnut and featherbanded Chest, circa 1690, now in two parts, the moulded crossbanded top above two short and three long graduated drawers, on later bracket

feet, 96cm. high by 86cm. wide.

A George III mahogany and
crossbanded bow-front Sideboard, circa 1790,
inlaid throughout with stringing, the central
frieze drawer above a pair of small panelled
doors flanked by deep drawers, the tapered
square legs on brass spade feet and castors,
90cm. high by 138cm. wide.

A matched set of eight Regency
rail-back Dining Chairs, circa 1815,
comprising: a pair of armchairs with gadrooned crestings and stuffed seats, on ring turned legs, and a set of six rail-back standard chairs, on turned legs, re-railed and

restored.

A Victorian carved walnut framed Sofa, circa 1860, covered in button upholstered gold dralon, the arched pierced back with a foliate scroll cresting, the bowed arms above scroll

facings carved with fruit, on cabriole legs, 196cm. wide.

A George III mahogany Occasional Table, circa 1770, the square moulded tilt-top with a galleried border, with a baluster turned pillar and tripod supports, altered, 61cm. wide.

A Chinese carved hardwood Armchair, circa 1900, the dragon mask cresting above a panel back carved in relief with a stylised dragon, the serpentine solid seat with dragon arms,

on cabriole legs.

A George III mahogany Pembroke Table, circa 1790, the oval top with two fall leaves and chequered inlay above one real and one dummy frieze drawers, the fronts with rosewood

crossbanding, on square tapering legs with spade feet, restored, 76cm.

A Louis XVI walnut miniature
Commode, circa 1790, the later grey marble
top above three drawers with brass mouldings,
the fluted sides on tapered square feet, 31cm.
high by 31cm. wide.

An Edwardian oak pedestal Writing Desk, the tooled leather-inset top above an arrangement of nine drawers, on tapered square feet, 153 cm. wide, bears trade label of Robson &

Sons, Newcastle-on-Tyne.

A Queen Anne oak boarded Box, with hinged cover, faults, 61cm. wide.

A George IV mahogany Tea Table, with a rectangular top, on a turned pillar.

A George IV mahogany tripod Table, the circular tilt-top above a turned column a reeded legs, faults, 56cm. diam.

A George III mahogany Chest, of two short and three long graduated drawers, on bracket feet, 106cm.

A Victorian Chaise Longue, the scrolled; end and seat upholstered in green dralon, on turned feet, 162cm.

A pair of Queen Anne-style walnut Dining Chairs, with vase-shaped splats, the drop-in needlework seats above shell carved cabriole legs with ‘H’-shaped stretchers.

An Edwardian mahogany Armchair, the
oval cane panel back and serpentine seat above
turned legs; together with another Edwardian
mahogany Armchair, on stop-fluted turned
legs.

An Edwardian mahogany Writing Desk,
the galleried leather-inset top with two small
drawers, below is an arrangement of nine
drawers, 122cm. wide, now on plinth bases.

A George III mahogany Side Table,
fitted with two frieze drawers, on chamfered
square legs, 100cm. wide.

A George I-style walnut Card Table, the eared fold-over top with counter recesses, on shell carved cabriole legs and pad feet, 80cm. wide.

Continental carved oak Desk, Chinese red lacquered Cabinet, Edwardian mahogany and inlaid Side Cupboard, French provincial walnut Writing Table

A Regency mahogany Armchair, the
rectangular back with rope twist rail, the upholstered seat on turned tapering legs; together with a William IV mahogany Armchair, the rectangular back with carved clasp and

scroll arms above an upholstered seat, on turned tapering legs.

A Continental carved oak Desk, 19th
Century, the rectangular top above two real
and two dummy frieze drawers, on bulbous
legs joined by caned and turned stretchers,
151cm. wide.

A Continental carved oak Sideboard,
19th Century, the mirror panel back with
floral and foliate carved cresting above
caryatids, the rectangular top with three frieze
drawers, on twin pedestal bases each with
cupboard enclosed by panel door carved with
dead game between caryatid stiles, on plinth
bases, 223cm. wide.

A Continental carved oak Buffet, the
rectangular top with floral and foliate carved cresting and frieze drawer above undershelf and cupboard enclosed by a pair of panel doors carved with dead game between caryatid

stiles, on platform base, 146cm. wide.

A Continental oak Mirror, the frame carved with three crowns, winged angel and serpent with scroll border, 135cm. high.

An oak kneehole Office Desk, modern,
with seven drawers, 131cm. wide.

A George IV mahogany Sideboard, the rectangular top above cupboard, two short drawers, cellaret drawer and undershelf, on turned tapering legs, 124cm. wide.

A Chinese red lacquered Cabinet, 19th Century, with fall-front, now lacking, above an arrangement of six short and one long drawers; together with matching stool, faults, 67cm.

wide.

An Edwardian mahogany and inlaid
breakfront Sideboard, the top with brass rail
and curtain back and two lidded compart-
ments above five frieze drawers and three
cupboards enclosed by a pair of tambour
doors and a pair of panel doors between two
further cupboards, each enclosed by an inlaid
panelled door, on plinth bases, 210cm. wide;
together with a mahogany two-tier Shelf,
132cm. wide.

An Edwardian mahogany and inlaid Side Cupboard, the rectangular top with two frieze drawers above two cupboards each enclosed by inlaid panel door, on a plinth base, 106cm.

wide.

A Victorian walnut Bonheur du Jour, the superstructure with shelf and pierced foliate cresting above four short drawers, the writing surface inset with green leather above a

frieze drawer, on cabriole legs, 80cm. wide.

A Victorian rosewood Davenport, the
top with baluster turned gallery, the hinged
writing surface inset with green leather and
revealing two real and two dummy drawers,
the side with hinged pen tray and four real
and four dummy drawers, on a plinth base,
faults, 48cm. wide.

A set of eight mahogany Hepplewhite-style Dining Chairs, including two armchairs, the shield-shaped backs with pierced vase-shaped splats, the seats upholstered in brown

leather, on square tapered moulded legs.

A mahogany Tea Table, 19th Century, the ‘D’-shaped fold-over top above satinwood inlaid frieze, on square tapering legs, 91 cm. wide.

A Regency mahogany rectangular Pembroke pedestal Table, with opposing frieze drawer, the quadruple square pillar above splayed legs ending in brass cappings and castors, 106cm.

wide.

A French provincial walnut Writing Table, late 18th Century, with tooled jfjiher-inset top and a drawer, the scroll apron cabriole legs, worm, restored, 81cm. wide.

A George III mahogany rectangular drop-leaf Table, on chamfered square legs, one :.t>if carped. 106cm. wide.

A George Ill-style mahogany Occasional Table, the circular top with distressed pie-crust border, the stop-fluted pillar above scroll tripod supports, 53cm. diam.

A Queen Anne walnut and crossbanded Chest, restored, the two short and three long drawers on bun feet, 97cm. wide, possibly Anglo-Dutch.

A late George III pine standing Corner Cupboard, enclosed by two pairs of panelled doors, on a plinth base, restored, 185cm. high by
105cm. wide.

SIDEBOARDS  reproduction, 1890-1930: ‘Jacobean’ oak varieties
The ‘Jacobean’ style was popular well before the onset of the standard ‘Tudor’ dining room of the 1920s and 1930s. By the 1890s the popularity of medievalism had brought out a surge of ‘old oak’ manufacture.
Commercially produced sideboards of the period simply reflect the desire to satisfy this trend.
An oak sideboard of almost standard top design, except that the prevailing columns on either side of the mirror are twist turned. The drawer fronts are moulded and the door panels are fielded. The piece has a
pot-board stretcher beneath and bulbous turned front legs in imitation of Elizabethan types. 1900-1910
Again a variation of standard design at the top but this time the cupboard doors are on either side of three central drawers and have geometric mouldings on them. Twist-turned legs, with square section stretchers, end in bun feet. 1900-1910
A lower back without mirror  the start of the move towards lighter furniture for lower ceilings, perhaps. Actually a piece designed in emulation of a court cupboard, with a dominating, overhanging top moulding with big, turned finial suspended under each end. Doors and panels are geometrically moulded and, in the cases of the two end doors, fielded as well. 1900-1915
A very interesting oak sideboard in an amalgam of ‘Olde English’ styles with inlays in boxwood (or holly) and a darker wood, perhaps ebony. The geometrically moulded drawer fronts and back panels are ‘Jacobean’ in
design, emulating oak chests of the 1670-1690 period and the bobbin-turned double-column front legs and stretchers are taken from lighter furniture of the 1680-1700 period, such as gatelegs and side tables. The inlays, with the Prince of Wales’ feathers motifs, are quite 19th century in inspiration and the checked boxwood-and-ebony stringing lines are of the type favoured by designers of the 1890s to 1920s, such as Waals and the Barnsleys, although such lines were used in the 18th century also. The occasional square sections in the bobbin turning of the stretchers are an erroneous diversion, since such square sections, in the original period, were only used at the joints, not left stranded in mid-section such as these. The thumb-nail moulding round the serving top and its lower moulding outlines are quite authentic to the 17th century but the top to the back incorporates a dentillated moulding which is mid-18th century in design. It is not clear whether the piece is meant to be stained in any way when finished, but the implication is not, since it was the fashion, 1880-1910, for such `back-to-Elizabeth F designers to leave the natural wood unstained and simply to wax polish it.
The ‘lower’ move continued. This time the back has been cut down to a simple one with the central arch characteristic of Edwardian furniture. Geometric mouldings and applied split balusters decorate the surfaces.
Large turned bulbous feet/legs in Elizabethan style.
An oak sideboard in the ‘Jacobean’ manner, incorporating moulded drawer fronts, twist-turned legs and stretchers, scrolled pierced carving in Restoration style and a low arched back as favoured by Edwardian fashion, but getting ever lower.
The back has almost gone, preparing the way for the simple Jacobean styles of the late 1920s and 1930s. Otherwise similar decoration to previous examples. 1900-1925

SIDEBOARDS  reproduction, 1890-1930:
`Queen Anne’ styles leading to ‘burr walnut bedappled’
It is not quite clear when the return to 18th century designs led to a thirst for ‘Queen Anne’. Certainly the cabriole leg was used on dining chairs before the end of the century. This feature, on sideboards, seems to have been a bit later  say in the 1890s  but the design seems to have gathered popularity until its heyday in the 1930s. (See also `burr walnut bedappled’ in Design Data Sheets, page 37.) The ‘Queen Anne’ style, exemplified by the use of the cabriole leg, should not be confused with ‘Victorian Queen Anne’ which was a more Palladian, William Kent-ish architectural style with triangular or broken pediments popular around the 1870s and 1880s for cabinets.
The Queen Anne of Edwardian times is nearer the real thing, using cabriole legs and fiddle-shaped splats for chairs. It is not a pure style, however, and is distinct from exact reproductions of Queen Anne pieces.
An oak sideboard (also made available in mahogany at the time) whose only real claim to Queen Anne pretensions lies in its thin, weakly-designed cabriole legs. There is the high back of Victorian taste and the large central mirror. The open central section was rather hopefully called a cellaret by the makers but the bowl placed within it in the photograph has unfortunate connotations of night-time use. 1900-1910
A second variety of oak sideboard where, again, the only claim to Queen Anne styling is in the weak front cabriole legs.
The back is lower and squarer and someone has had the idea of attaching a carved embellishment to each door. Otherwise only cabriole legs give it the Queen Anne name, but at least they are on the back as well as
the front. 1900-1915
Still coming down, the back is lower and the flat-capped uprights of art nouveau contrast somewhat with the Queen Anne cabrioles. Made in mahogany; not a Queen Anne wood. The popular Edwardian semi-circular
central arch has had a Queen Anne carved ’shell’ put in it  very appropriate.
The back has gone entirely and the form is distinctly modern reproduction. Two variants on the figured walnut Queen Anne style sideboard showing a return to the ‘dressing table’ shape.
A burr walnut sideboard, this time with a short modern back and on paw-footed cabriole legs with rather bulbous toes and shell-carved knees. The carving on the door mouldings and the top edge has a rather
machine-reproduced look about it. 1920-1940
A rather fancy sideboard of a type associated with the Bath Cabinet Makers in the 1920s and 1930s. It is ‘Queen Anne’ with `William and Mary’ overtones and even William Kent type chamfered fluted edges. So here we go:
The legs are cabrioles with shell carving and scroll feet introduced c.1720. The stretchers connecting the legs and the scrolled carved cresting rails between them are associated with the period 1680-1700.
The oyster veneers and inlaid boxwood are c.1680-1700 but the ‘feather’ or `herring-bone’ banding belongs to 1700-1720.
The canted corners with fluting are an architectural motif associated with William Kent c.1720-1730.

SIDEBOARDS  hybrid, 1900-1930
From 1900 to 1930 the sideboard was also subject to a mixture of styles being applied to one piece. A small selection of such hybrids is shown here to illustrate how there are quite a large number of pieces which defy
classification into an accepted stylistic nomenclature.
A veneered walnut sideboard incorporating panels of burr veneer and herringbone inlaid lines with crossbanding around them. The piece is a mixture of William and Mary walnut styles  in the turned and octagonal faceted legs and in the cross-stretchers  and a curious sort of Edwardian Sheraton in the bowed central front drawers with satinwood technique in the laying of veneers. The back, with its central arch, is pure Edwardian design but the scrolled carving stuck  no, applied  under the cabinet section is late 17th-century-inspired. One has a strange sensation, looking from the top gradually downwards, of rushing back through 130 years of styles, starting at 1910.
An oak sideboard in the ‘Tudor’ or ‘Jacobean’ manner, exhibiting late 17th century decorative characteristics but early 20th century in both design and execution. The 17th century decorative features are the applied split balusters on the vertical frame, the ‘bun’ turnings, the stretchers, and the geometrically moulded door and drawer panels. The carving is modern, the 1gramophone cabinet’ pedestal top is out of period, and the
proportion quite distinct. 1910-1930
A mahogany sideboard, heavily carved with acanthus leaf, floral and fruity decoration, standing on cabriole legs with ball-and-claw feet. The back incorporates a broken pediment, also with carved similar decoration.
The uncarved panelled surfaces are quarter veneered symmetrically and the doors are either curved or serpentine in shape. The piece represents quite an accomplishment of the cabinet-maker’s art and draws upon mid-18th century motifs. It is, however, entirely `improved reproduction’ in form and spirit, belonging strictly to the period of its manufacture.
1920-1940A burr walnut sideboard on carved cabriole legs and incorporating a carved frieze below the central drawers of Restoration inspiration. The feel of the piece is intended to be ‘Queen Anne’ in design  i.e. with burr walnut, cabriole legs, cross-banded panels and so on, but the very low back gives it quite a modern appearance. Much reproduced. 1920-1930
A cabinet on cabriole-legged stand, surely intended for use as a sideboard. Why else the six square deep drawers and the central cupboard, with its scrolled apron The figured walnut was probably used throughout the suite to which it belonged.
A side cabinet in feathered mahogany and of ogee shaping, mounted on short cabriole legs with shell carving on the knee. Ignoring the ‘Queen Anne’ legs, the piece is mid-18th century mahogany in inspiration but the band of blind fretted carving across the front has a very machine-made look about it. 1920-1940
SIDEBOARDS  chiffoniers
The ‘vulgar’ chiffonier, much hated by ‘progressive’ designers did not really change very much over a period of fifty years as these three examples from a 1910 catalogue show. Add a bit of spindled gallery; the
occasional broken pediment or turned pillar; a bit of machined carving in bas-relief but leave the basic format the same, seems to have been the rule of thumb. Some versions  the better ones  are in solid mahogany; some  the nastier ones  are cheap thin veneer on a cheap deal frame, or even stained deal. 1910