Antique Sideboard

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.

Queen Anne walnut Table Desk, William and Mary walnut and crossbanded Side Table, walnut Display Cabinet-on-Stand

A Queen Anne walnut and
featherbanded Table Desk, circa 1710,
the fall revealing stepped small drawers and pigeon-holes, the cavetto frieze drawer with lidded and open compartments, 41cm. wide; lft. 4in.

A William and Mary walnut Candle
Stand, circa 1690, the dodecagonal top
inlaid with stringing, the spiral twist
turned stem on splayed tripod supports,
restored, 36cm. wide; lft. 2in.

A George I walnut Chair, circa 1715, with a solid vase-shaped splat and drop-in seat, on shell carved cabriole legs ending in pad feet, restored

A Queen Anne walnut hanging Corner Cupboard, circa 1710, the
crossbanded door inlaid with chevron stringing, the interior with shelves, 93cm. high by 62cm. wide; 3ft. V2in. by 2ft.

A George I walnut and parcel-gilt
Overmantel Mirror, circa 1725, the later
triple bevelled plates within a moulded
border flanked by fretwork sides, 127cm.
wide; 4ft. 2in., formerly with candle sconces

A William and Mary walnut and
crossbanded Side Table, circa 1700, the
moulded top with a frieze drawer, the shaped apron above turned legs joined by waved ‘X’-shaped stretchers, 71cm. high by 79cm. wide; 2ft. 4in. by 2ft. 7in.

A George I walnut and
crossbanded Bureau, circa 1720, the fall
revealing stationery compartments, the
three short and three long graduated
drawers above bracket feet, 100cm. high
by 91cm. wide; 3ft. 3V2in. by 3ft.

A pair of George I walnut Chairs,
circa 1720, with solid vase-shaped splats
and drop-in seats, on cabriole legs
ending in pad feet

A Queen Anne walnut and featherbanded Chest, circa 1710, with two short and three long graduated drawers, on shaped bracket feet, restoration to feet, 94cm. high by 99cm. wide;

3ft. lin. by 3ft. 3in.

A William and Mary walnut and crossbanded Cabinet-on-Chest, circa 1700, inlaid throughout with stringing, the moulded cornice with a cushion frieze drawer above a pair of doors

enclosing an arrangement of drawers and pigeon-holes with a central door, below are two short and two long graduated drawers, on later bun feet, restored, 170cm. high by 113 cm.

wide;
5ft. 7in. by 3ft. 8V2in.

A George I walnut and feather-
banded Chest-on-Chest, circa 1720, the
cavetto cornice above three short and
three long graduated drawers flanked by
fluted chamfered corners, below are
three long graduated drawers, on
bracket feet, restored, partially re-veneered,
182cm. high by 102cm. wide; 6ft. by
3ft. 4in

A Queen Anne walnut and
featherbanded Chest, circa 1710, the
rectangular top above a pair of frieze
drawers and slide with integral lopers,
below are two short and two long
graduated drawers, on later bracket feet,
altered, 76cm. high by 82cm. wide; 2ft. 6in.
by2ft.8in.

A walnut Display Cabinet-on-Stand, now without a cornice, the pair of
domed astragal doors enclosing shelves
above four short and one long
featherbanded drawer, on octagonal
turned legs joined by waved stretchers
with bun feet, 217cm. high by 180cm. wide;
7ft. lin. by 5ft. llin., including early 18th
Century components, probably Dutch

A George I walnut and feather-
banded Bureau, circa 1725, the fall
enclosing stationery compartments, the
four long graduated drawers above
shaped bracket feet, 102cm. high by 92cm.
wide; 3ft. 4in. by 3ft.

GEORGIAN AND REGENCY FURNITURE
A George III mahogany secretaire Bookcase, circa 1790, the satinwood banded cornice with urn finials and arcaded mouldings, the pair of astragal doors enclosing adjustable

shelves, the writing drawer revealing satinwood small drawers, below are three long graduated drawers, on bracket feet, 238cm. high by 109cm. wide; lft. 91hin. by 3ft. 7in.

A George IV mahogany secretaire Bookcase, circa 1825, the moulded cornice above a pair of astragal doors enclosing adjustable shelves, the writing drawer revealing small drawers

and pigeon-holes, below are a pair of panel doors, on a plinth base, 262cm. high by 147cm. wide; 8ft. 71Mn. by 4ft. Win.

A George III mahogany secretaire
Library Bookcase, circa 1790, of
breakfront form, inlaid with stringing, the two pairs of astragal doors enclosing adjustable shelves, the writing drawer above three long graduated drawers flanked by a pair of

cupboard doors each with a dummy drawer, on a plinth base, now in three vertical sections, altered and restored, 230cm. high by 230cm. wide; 7ft. 6lhin. by 7ft. 6′/2in.

A George II mahogany Chest-
on-Chest, circa 1750, the moulded
cornice above three short and three long
graduated drawers flanked by fluted
corners, the base with a slide and three
long graduated drawers, on bracket feet,
81cm. high by 113cm. wide; 5ft. llin. by
3ft.6′/2in.

A George HI mahogany Bureau Bookcase, the associated upper section with a swan-neck pediment above a pair of lancet astragal doors enclosing adjustable shelves, the fall

revealing stationery compartments, below are two short and three long graduated drawers, on bracket feet, 246cm. high by 109cm. wide; 8ft. lin. by 3ft. lin.

A George III mahogany Chest, circa 1760, the moulded top above two short and three long graduated drawers flanked by fluted corners, on shaped bracket feet, 89cm. high by 97cm.

wide; 2ft. llin. by 3ft. 2in.

George I walnut chair-back Settee, William and Mary walnut and featherbanded Tea Table,  George I walnut Armchair, George II yew-wood Chest-on-Chest

A George I walnut and featherbanded Bureau Bookcase, circa 1720, the arched cavetto cornice above a pair of astragal doors enclosing adjustable shelves with a pair of candle

slides and a dummy drawer, the fall revealing stepped stationery compartments and a well above a pair of doors enclosing later sliding trays, on bracket feet, restored, 223cm.

high by 95cm. wide; 7ft. 4m. by 3ft. IVzin.

A Queen Anne-style walnut and featherbanded Bureau Bookcase, circa 1910, the double domed cornice with urn finials above a pair of bevelled and star cut mirror panel doors

enclosing adjustable shelves, the fall surmounted by a pair of candle slides and enclosing a fitted interior including a well, the two short and two long graduated drawers above

shaped bracket feet, 210cm. high by 95cm. wide; 7ft. lOViin. by 3ft. Vfcin.

A William and Mary oyster laburnum and walnut Chest, circa 1700,
with segmented veneers and holly
stringing, with two short and three long
graduated drawers, the sides with
roundels, on later shaped bracket feet,
restored, 90cm. high by 94cm. wide;
2ft. litem, by 3ft. lin.

A Queen Anne walnut Dressing Table Mirror, made-up, the bevelled plate with pierced fret surmount, the stepped base with three short drawers above one long drawer, on bun feet,

41cm. wide; I ft. 4in.

A George III cherrywood Bureau, circa 1780, the fall revealing stationery compartments, the four long graduated drawers above later bracket feet, faults, 98cm. high by 81cm.

wide; 3ft. 2V2in. by
2ft. 8in.

A George I walnut chair-back Settee, circa 1720, the shell carved cresting above triple pierced vase-shaped splats, the drop-in seat on shell carved cabriole legs with pad feet,

restored

A George I walnut Side Table, circa 1720, the moulded top above three frieze drawers and a shaped apron, on cabriole legs ending in pointed pad feet, restored, 71cm. high by

86cm. wide; 2ft. 4in. by
2ft. Win.

A William and Mary walnut and featherbanded Tea Table, circa 1700,
the semi-elliptical top with a pair of small
frieze drawers, the turned and octagonal
tapering legs joined by stretchers, on bun
feet, restored and including later components,
71cm. wide; 2ft. 4in.

A George I walnut and feather-
banded Bureau, circa 1720, the fall
revealing a well and stepped stationery
compartments, the two short and two
long graduated drawers above later
bracket feet, 98cm. high by 91cm. wide;
3ft. 21hin. by 3ft.

A George I walnut Armchair,
circa 1715, the oak cresting rail above a
solid vase-shaped splat, the leathercloth
upholstered seat on cabriole legs joined
by turned ‘H’-shaped stretchers

A pair of George I walnut Side
Chairs, circa 1750, with solid
vase-shaped splats and drop-in seats, on
cabriole legs with pad feet

A George I walnut and feather-banded secretaire Chest, circa 1720, the
later top above a moulded frieze,
formerly with a slide, the writing drawer
revealing stationery compartments above
three long graduated drawers, on
bracket feet, 113cm. high by 107cm. wide;
3ft. 8in. by 3ft. 6in., formerly with an upper
section

A William and Mary walnut cushion frame Wall Mirror, circa 1690,
with a later rectangular plate, restored, 53 by 49cm.; lft. 9in. by lft. 7in.

A George I walnut Armchair, circa 1720, with a solid vase-shaped splat and drop-in seat, on cabriole legs joined by turned ‘H’-shaped stretchers and with pad feet, restored

A William and Mary beech wood and cane Side Chair, circa 1690, with a pierced cresting and cabriole legs joined by turned ‘H’-shaped stretchers

A George I walnut and feather-
banded kneehole Writing Desk, circa
1720, the quarter veneered crossbanded
top above one long frieze drawer
revealing a writing surface and
compartments, the kneehole with a
recessed cupboard door surrounded by
seven drawers, on bracket feet, restored,
74cm. high by 75cm. wide; 2ft. 5in. by
2ft. 51/2tn.

A George I walnut and feather-
banded Chest, circa 1715, the
crossbanded top above two short and three long graduated drawers, on reduced bracket feet, restored, 97cm. high by 89cm. wide; 3ft. 2in. by 2ft. 11 in.

A George II yew-wood
Chest-on-Chest, circa 1730, the moulded
cornice above two short and three long
graduated drawers, the base with three
further long graduated drawers, on
bracket feet, 175cm. high by 96cm. wide;
5ft. 9m. by 3ft. 2in.

A William and Mary walnut and
featherbanded Bureau Bookcase, circa
1700, the moulded cornice above a pair
of doors with later mirror panels
enclosing shelves with candle slides
below, the fall revealing a well and
stepped stationery compartments, below
are two short and two long drawers, on
later bun feet, restored, 202cm. high by
104cm. wide; 6ft. Ttein. by 3ft. 5in.

A George I walnut Stool, circa
1720, the rectangular needlework seat
above cabriole legs with scroll carved
knees, on pad feet, 49cm. wide; lft. 7V2in.

VICTORIAN MAHOGANY SETTEE, BREAKFRONT CABINET, THREE PILLAR DINING TABLE, GEORGE III STYLE MAHOGANY DINING CHAIRS, ROSEWOOD SALON CHAIR

A LATE WILLIAM IV MAHOGANY BREAKFRONT CABINET, the top with gadrooned edge above three glazed doors enclosing adjustable shelves, interposed by pillars on turned supports and

castors, 40in (102cm) by 59in (150cm), second quarter of the 19th century.

A ROSEWOOD AND SIMULATED ROSEWOOD BOOKCASE with a break-front white marble top above three sections each interposed by corbels containing adjustable shelves, the sides fitted

with slim doors for further leaves, on a plinth base, 47in (119cm) by 62in (158cm), mid 19th century.

A GOOD ROSEWOOD CONVERSATTON CHAIR, with a pair of revolving arm chairs each with a wasted button upholstered back with molded volute terminals, joined by a central section with

serpentine padded seat, upholstered in red plush throughout, on molded cabriole supports and castors, 40in (102cm) by 80in (204cm) wide, mid 19th century.

A GEORGE III STYLE MAHOGANY THREE PILLAR DINING TABLE, the top
with receded edge and broad cross-banding, the centre pedestal with quadruple receded down swept supports, the two end pedestals each on triple down swept supports, 29in (74cm)

by 121in (308cm) including two leaves by 44in (112cm), early 20th century.

A GEORGE III MAHOGANY DINING TABLE, with two demy Lune end sections and a rectangular centre section, each with a boxwood strung frieze, on four slightly tapering square

supports and spade feet, 31in (79cm) by 127in (223cm) including two leaves by 54in (137cm), early 19th century, but restored.

А GEORGE III STYLE MAHOGANY EXTENDING DINING TABLE, the top with demy Lune ends and fluted edge, above a fluted frieze on receded and ring turned supports, 29in (74cm) by 84in

(213cm), including three leaves by 42in (107cm), 20th century.

A GOOD SET OF SIX GEORGE III STYLE MAHOGANY DINING CHAIRS, including two armchairs, each with an arched molded rail, pierced splat, drop-in leather padded seat on square chamfered

supports, early 20th century.

A WALNUT AND MARQUETRY DRAW-
ING ROOM SUITE, including a chaise langue with a padded back and scrolled end, 71in (180cm) wide; and a pair of open Arm Chairs; and a pair of low Nursing Chairs; and а set of

four Side Chairs, each with а waited and shaped back, padded seat on square tapering supports and spade feet, inlaid throughout with boxwood and ivory lines and designs, late

19th early 20th century.

A GOOD SET OF SIX GEORGE III STYLE MAHOGANY DINING CHAIRS, including two armchairs, each with а molded arched rail pierced splat, drop-in seat on molded square supports, early

20th century.

A GOOD SET OF SIX MAHOGANY DIN-ING CHAIRS, each with a broad shaped concave rail above а molded pierced splat, plush covered padded seat, on cabriole supports and castors, mid

19th century; and a very similar pair of Dining Chairs.

A SET OFSIX WALNUT DINING CHAIRS,   A GOOD WALNUT DRAWTNG ROOM
each with a molded balloon SUITE, including a settee with а shaped back, padded seat serpentine molded and button on molded cabriole supports, mid upholstered back, 77in (96cm);

19th century. Armchairs; and a set of six
Side Chairs, all with shaped padded seats on cabriole supports, two of the side chair backs dam-aged, mid 19th century.

A GOOD SET OF SIX GEORGE III MAHOGANY DINING CHAIRS, including two armchairs, each with an arched guilloche molded shield shaped back enclosing finely receded sticks with

foliate capitals, padded bow front seats on receded baluster and turned supports, 20th century.

A PAIR OF GEORGE III STYLE MAHOGANY OPEN ARMCHAIRS, each with a molded shield shaped back with pierced splat, molded open arms, drop-in seat on fluted square tapering supports,

third quarter 19th century.

A GOOD SET OF FIVE GEORGE III MAHOGANY DINING CHAIRS, each with a receded concave rail above а receded ‘X’ splat, padded seat on outset gadrooned front supports, early 19th

century.

AN UNUSUAL LIBRARY CHAIR with а padded back rail above a pierced splat carved with lions about а shield, padded seat on cabriole supports and claw feet, third quarter 19th

century.

A ROSEWOOD SALON CHAIR with а scroll button padded back contained by a molded frame, padded seat on cabriole supports and castors, mid 19th century.

A PAIR OF ROSEWOOD FOOTSTOOLS, each with a Rexene padded top, molded frame on wavy cabriole supports, 8in (20cm) by 14in (36cm), mid 19th century.

A LATE  WILLIAM  IV  ROSEWOOD
STOOL, the square padded top on ‘X’ frame supports joined by а molded pole stretcher, 16in (41cm) by 20in (51cm), second quarter 19th century.

A SET OF FOUR WALNUT SIDE CHAIRS, each with a molded balloon shaped back, padded seat on serpentine outline on molded cabriole supports, mid 19th century,
A GOOD SET OF EIGHT QUEEN ANNE STYLE WALNUT DINING CHAIRS, including two armchairs, each with a solid vase shaped splat, drop-in seat on shell molded cabriole supports, 20th

century,

A SET OF EIGHT GEORGE III STYLE MAHOGANY DINING CHAIRS, including one armchair, each with а shaped rail and pierced splat, molded with an anthemion and foliage, saddle shaped

drop-in seat, on molded square supports, 20th century.

A SET OF NINE GEORGE III STYLE MAHOGANY DINING CHAIRS, matching the one.

A GOOD WALNUT DRAWTNG ROOM
SUITE, including a settee, an armchair and a side chair each with а blue silk brocade padded back and seat contained by a cross banded, inlaid and molded frame on ring turned

supports and castors, together with four side chairs en suite, the settee 62in (158cm) wide, third quarter 19th century.

A SET OF EIGHT GEORGE III STYLE MAHOGANY DINING CHAIRS, including two armchairs, each with an entwined pierced splat back, drop-in seat, above a gadrooned rail on cabriole

supports and bail and claw feet, early 20th century.

AN EARLY VICTORIAN MAHOGANY
SETTEE, the button upholstered back contained by a molded frame, with padded scroll ends and seat, on turned supports and castors, 83in (211cm) wide, second quarter 19th

century.

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 I TAPESTRY-COVERED WALNUT ARMCHAIR - WALNUT WING ARMCHAIR - MAHOGANY BEDSIDE CUPBOARDS - MAHOGANY TOILET MIRROR - A PAIR OF MAHOGANY CANDLESTICKS

A FINE GEORGE I TAPESTRY-COVERED WALNUT ARMCHAIR, the arched back and
seat covered in a Soho tapestry woven with brightly coloured summer flowers on a pale
yellow ground within strapwork, the shaped arms on shepherd’s crook supports and the
cabriole front legs with pad feet and joined by an H-stretcher to the turned back legs, circa
1720.

AN IMPORTANT PAIR OF GEORGE I GILTWOOD PIER GLASSES with divided and
arched bevelled mirror plates, the conforming border with bevelled mirror panels outlined with a guilloche moulding and surmounted by a strapwork cresting carved with leaves,
shells and chains of flowers, the shaped apron supporting a pair of gilt-brass candle-arms, 5ft. 6in. high by 3ft. lin. wide (168cm. by 94cm.) circa 1720.

A QUEEN ANNE WALNUT WING ARMCHAIR with rectangular back, the wings
continuing into the outcurved arms and the bowed seat on plain cabriole front legs with
pad feet joined to the simpler cabriole back legs by plain turned H-stretchers, circa 1715,
backfeetrestored.

A GOOD GEORGE I WALNUT WING ARMCHAIR with a rectangular back, shaped
wings and outscrolled arms, the bowed seat on cabriole front legs, the brackets carved
with flowerheads continuing into leaves and ending in claw-and-ball feet, with well raked
back legs, circa 1730.

A QUEEN ANNE NEEDLEWORK-COVERED WALNUT STOOL, the stuffed rectangular
top embroidered in wool petit-point with flowers in carmine, blue and yellow on a pale
rust ground, the simple cabriole legs with plain brackets and square feet, lft. 8′/2in. wide
(52cm.) circa 1710, restored.

A GEORGE II PARCEL-GILT MAHOGANY WALL MIRROR, the rectangular plate with a
moulded frame with an inner gilt leaf border with shaped apron and the shaped cresting
carved and pierced with a giltwood leaf, 3ft. 3Ain. high by lft. 7lMin. wide (93.5cm. by
49cm.) circa 1740, plate replaced, cresting damaged.

A FINE GEORGE II WALNUT WING ARMCHAIR, the back with serpentine toprail,
shaped sides, outscrolled arms, the bowed seat on cabriole front legs caryed with foliate rococo C-scrolls and ending in carved claw-and-ball feet, on castors.

AN EARLY GEORGE III MAHOGANY BEDSIDE CUPBOARD with shaped tray top and
shelf above a cupboard, on square chamfered legs, with a pair of brass loop carrying
handles, lft. 8V4in. wide (51.5cm.) circa 1760.

A PAIR OF EARLY GEORGE III MAHOGANY BEDSIDE CUPBOARDS
each gallery pierced with carrying handles and quatrefoils,
with a tambour cupboard above a pull-out lower part, on square chamfered legs, lft. 7in. wide (48cm.) circa 1760, interiors origmaUy fined with pots.

A FINE SET OF EIGHT GEORGE III MAHOGANY ARMCHAIRS
with bead-carved moulded frames, each curved oval back with
three flutcd stick splats centred by an oval patera, with delicate outscrolled downswept arms bowed stuffed seats and
square tapenng legs headed by oval paterae and leaves and ending in block feet, circa 1775examples illustrated in The Dictionary ofEnglish Furniiure,
Volume 1, page 299 figure 233, and Christopher Gilbert.
Furniture at Temple Newsam House and Lotherton Hall, page 94,
A FINE SET OF FOUR GEORGE III MAHOGANY CHAIRS en suite, the backs of
matching design, the drop-in seats on moulded bowed seatrails and raised on ring
legs but without the paterae, circa 1775.

A GEORGE III WALNUT ARMCHAIR of generous proportions, the serpentine toprail
above a vase-shaped splat with simple piercing, the shaped arms with outscrolled handles
the drop-in seat on square moulded chamfered legs joined by H-stretchers, the cross
stretcher with simple piercing, circa 1765.

AN ASPREY’S SILVER-MOUNTED SHAGREEN STATIONERY HOLDER
with domed lid corner mounts and escutcheon, with marks for London 1903.

A FINE PAIR OF CHINESE MIRROR PICTURES in contemporary English frames, the
rectangular plates each finely painted with sprays of flowering tree peony in shades of
pink and with a pair of exotic birds with houses on the farther bank of a river in the
background, the frames with a pair of slender pillars flanked by scrolls and leaves
dripping with water with pierced cartouche apron and leaf capped cartouche cresting, 3ft.
high by lft. Win. wide (110cm. by 56cm.) mid-18th Century.

A GEORGE III MAHOGANY TOILET MIRROR with shield-shaped plate and three
drawers in the serpentine-fronted base, lft. min. wide (42cm.) circa 1780.

A GEORGE III OVAL GILTWOOD WALL MIRROR with bead and gadroon
mouldings, the cresting formed of fleur-de-lys and wheat ears and with garlands of
convolvulus in plaster on wire, the apron with floral scrolls, 3ft. Sin. high by lft. SVan.
wide (104cm. by 44cm.) circa 1775.

A PAIR OF GEORGE III GILT-METAL AND GLASS CANDLESTICKS
each with a thistle-shaped nozzle and petal-shaped drip-pan
hung with clear and pale yellow faceted drops, supported on a slice-cut inverted ovoid stem and the Bristol blue-glass
bases decorated in gilt with Bacchic revels, with beaded gilt-metal mounts.

A GEORGE III BLACK-JAPANNED TOILET MIRROR, the plate of inverted heart
shape and with a conforming stand headed by carved husks and a pierced anthemion,
decorated throughout with gilt chinoiseries on a black ground, 2ft. 5V2in. high by lft. Win.
wide (75cm. by 56cm.) circa 1770.

A MAHOGANY TOILET MIRROR with rectangular crossbanded frame and the
moulded uprights with downcurved supports and ivory finials, 2ft. lin. wide (63.5cm.)
mirror circa 1790.

A PAIR OF MAHOGANY CANDLESTICKS each with a reeded brass nozzle and the
drip-pan with pierced tassels, on a reeded baluster stem and turned base.

A PAIR OF SMALL GEORGE III MAHOGANY SEMI-CIRCULAR SlDE TABLES, the “plum
pudding “-veneered tops with a tulipwood crossbanding and a moulded edge, the friezes
inlaid in satinwood with fluting and raised on three slender tapering fluted square legs,
2ft. 4V2in. high by 2ft. 2V2in. wide (72.5cm. by 67.5cm.) circa 1780.

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

SIDEBOARDS
About 1770-1915
Inlaid mahogany bow-fronted sideboard, about 1780-1790.
Auseful piece of dining-furniture comprising a number of drawers and cupboards for the storage of cutlery, table linen, condiments and so on, which evolved during the 1770s from the very grand side-table and pedestal ensembles first designed by Robert Adam. In the late-18th/ early-19thC, they often incorporated a plate-warmer, wine cooler, cistern or cellaret, hence their original name, `cellaret sideboard’. Occasionally a pot cupboard was included, sometimes set discreetly in one side.
Usually replaced in large houses around 1825 by vast serving tables accompanied by chiffoniers. In Victorian times, sideboards were less easily defined. They can be of dresser form, or a smaller chiffonier type; some best described simply as cabinets.
About 1770-1810: Standard form had a central drawer flanked either side by drawers
(one shallow, one deep), and a single cupboard; or one of each. Cupboards may have dummy drawer fronts. Central recess fronted by shaped or arched apron; its back either open or solid; sometimes the cupboard set half-way back. All cupboards may be tambour-fronted. Central cutlery drawer compartmented and lined with baize.
Most were bow- or serpentine-fronted; some semi-elliptical or straight. Thick, flat, over-hanging top with flush edges. Majority on six square-sectioned, tapering legs; sometimes eight. After 1800, legs were often turned with ring mouldings; sometimes reeded or fluted. Drawers flush with carcase when inlaid (edged with stringing or cross-banding); cockbeaded when simply veneered.
Later versions with brass back-rail, either to support plate, or to suspend splashback curtain. Occasionally fitted with adjustable candleholders.
About 1800-1850: Previous type (with turned legs) joined by pedestal sideboards with central shallow drawer retained, but sides extending to floor to form pedestal cupboards. Either carved (often paw) feet, or continuous plinth. By 1810 pedestal could extend upwards too, joined at rear by shaped wooden splashback. Separate wine cooler (now often missing) placed in central recess.
Majority in Grecian style; early Victorian plainer.
1850 onwards: Considerable variation. Made in all revival styles  Elizabethan, Gothic, Renaissance, Chippendale, Sheraton and Queen Anne. Many highly carved; some cheaply made and poorly executed. Later
Mahogany sideboard with brass back-rail, about 1800.
examples (of all types) sometimes with mirror at back (now usually removed).
Principally mahogany; occasionally satinwood. Rosewood during Regency and early Victorian periods. Occasionally walnut around 1850; birch or satin maple (to simulate satinwood) on cheaper reproductions towards 1900. Pine or mahogany for carcases; oak or mahogany for drawer linings. Satinwood and other light-coloured woods used for decorative inlay.
Standard methods employed; majority veneered. See CHESTS OF DRAWERS, p. 93, for drawer construction.
Watch out for alterations. The comonest include: I Removal of brass rails  look for filled holes at rear of top. 2 Reduction in depth  examine back for newly cut and stained timber, and look inside the carcase for cut-off drawer runners. If in original condition, the `wear’will stop at least 1/2 inch from the back. 3 Replacement of less saleable turned legs with square-sectioned ones. If correct, the legs will extend upwards to form the stiles of the carcase and the grain of the timber will be continuous. If wrong, the new join will be concealed either by a fine line of inlay, or by an applied astragal moulding, and the grain will not match above and below.
Watch also for quality Edwardian reproductions of Sheraton types. Their design may look authentic, but the veneer will be thin, and machine-cut; the dovetails, machine-cut, will look regular; and the legs will probably look too thin. The poorest of the reproductions will be recognizable by their lack of proportion and sometimes an odd combination of features.
1930s Art Moderne sideboard.
Restrained inlay of light-coloured woods until about 1810; mostly stringing lines; some fan shapes and oval paterae. Ebony or brass inlay of classical design in early 19thC.
Handles: Standard for their day (see p. 93). Bold lion’s mask ring handles especially popular after 1800, and on reproductions.
Stain or varnish followed by wax polish. French polish after about 1820. Dark stain on Victorian ‘Elizabethan’ and Renaissance. Art Furniture pieces ebonised.
VALUES
Prices for the best late-18thC inlaid sideboards in original condition are in five figures; post-1800 versions (with turned legs) about a quarter to half the price. Pedestal sideboardsnever very popular  even less. Plus points are decorative inlay or carving, small size and surviving interior fittings.
Regency pedestal sideboard, about 1810, mahogany with ebony inlay.

1700`s American Rococo Sideboards

In America, the Rococo sideboard emerged as a distinctly restrained version of the European style : interiors were hardly as fanciful as their European counterparts, and drawing room walls were ornamented with architectural pediments and rectangular panels rather than gilt cartouches, in a persistence of the Palladian style. Japanning was popular, especially in Boston, but in America the fantastic cult of chinoiserie never crystallized into carved mahogany dragons. The Gothic revival struck no chord in American tradition, and the stylized rustic scenes favoured by mid-century English and French aristocrats could hardly have been adopted as refreshing in a nation still developing vast expanses of wilderness.
Because examples reached the colonies largely through pattern-books, some American Rococo carving is flat rather than sculptural, especially on Boston pieces. Queen Anne forms such as arched pediments, classical details and claw-and-ball feet were retained, and Rococo ornaments and variations added to them.
The superior craftsmanship of Philadelphia cabinetmakers, such as Benjamin Randolph and the English immigrant Thomas Affleck, produced well-proportioned sideboards with swan-neck pediments, flame finials, sculptural carvings of foliage and figures, and sculptured busts and cartouches held above the broken pediments. Scroll pediments carved with Philadelphia-style open lattice-work may be found in the cherry sideboards from Connecticut executed by Eliphalet Chapin, who worked for some time in Philadelphia.
Some case pieces of Boston, where John Cogswell worked, exhibit the only bombe forms found in the colonies; mirrored panels with ogee-curve borders are also found on cabinets made there. The cabinets and
chest-of-drawers from the Townsend-Goddard cabinet-making family of Newport, Rhode Island, were exceptional pieces of workmanship, with undercut claw-and-ball feet, undulating concave and convex shells and smoothly executed block fronts.
American ideboards were of many forms including Pembroke and fold-top card-sideboards. Serpentine sideboards from New York had rectangular candle supports at the corners and gadrooning on the aprons. Small Philadelphia bird-cage sideboards, with tilting tops, stood on fluidly curved tripods. Upholstered seats included sofas with sinuous rails and straight ‘Marlborough’ legs, easy sideboards with cartouches carved on the cabriole legs, and local variants of sideboards copied from the publications of Chippendale, Manwaring, and Ince and Mayhew. More primitive forms, such as the brightly painted chests and cupboards of German and Dutch settlements in Pennsylvania and New York, continued to be made in provincial areas. The Rococo in EuropeIn Italy, where the landscaped grotto was a long-established source of ornament, the Rococo at times took on an extreme lightness, with sideboards and tables resting on shapely cabriole legs comprised of reversing C-scrolls. Delicate effects of underground rock-like growth were achieved in the crisp, crustaceous carvings on the edges of legs, backs and skirts of tables and sideboards. Carved shells, lion masks and naturalistic foliage appeared alongside elements of chinoiserie such as peasant figures of antique American sideboards.