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.

George I-style walnut Armchair, Edwardian rosewood and inlaid Music Cabinet, Victorian walnut Occasional Table, Anglo-Indian carved hardwood Davenport

An Edwardian rosewood and inlaid Music Cabinet, the top with an oval fan medallion above a hinged fall-front, below is a glazed astragal door enclosing shelves, on bracket feet,

59cm. wide.

An Edwardian rosewood and inlaid Occasional Table, the oval top with central inlay of musical trophies, on square tapering legs joined by concave sided undershelf, 64cm. wide.

A 17th Century-style oak Box-on-Stand, the hinged lid above two simulated short drawers, the stand with frieze drawer, on turned legs joined by moulded stretchers, 74cm. wide.

A George IV mahogany and inlaid Torchere, on a spiral turned column and tripod base, 38cm. diam., formerly a shaving stand.

A Queen Anne-style walnut framed Mirror, with shaped top and bevelled glass, 85cm. high.

A George II mahogany Chest, of two
short and three long graduated drawers, on
bracket feet, 80cm. wide.

A George I-style walnut Armchair, the back and loose seat upholstered in floral tapestrv. on shell carved cabriole legs and claw and ball feet.

A Continental walnut Cupboard, 19th Century, the two shelves enclosed by a pair of panelled doors with carved frieze and plinth, on bracket feet, 112cm. wide.

A Victorian walnut Occasional Table, the oval tilt-top with satinwood inlay and stringing, on Baluster turned pillar and quadruple splayed legs, 133cm.

A Victorian rosewood pole Fire Screen, the glazed screen with tapestry of Royal coat-of-arms, on spiral turned pillar and triple supports with scroll feet, 145cm. high

A George IV mahogany Washstand, the
top with lead-lined cistern, the hinged fall
revealing washbasin above cupboard drawer
and bidet drawer, on turned tapering legs,
57.5cm. wide.

An Edwardian mahogany Display
Cabinet, the three shelves enclosed by an
astragal glazed and panelled door between
convex glazed panelled sides, on tapered
square legs and spade feet, 108cm. wide.

A Victorian ebonised Stool, the square seat upholstered in geometric tapestry, on turned tapering legs.

A late Victorian mahogany extending Dining Table, the rectangular top on cabriole legs and pad feet, 104cm. wide by 131cm. long, extending with two extra leaves to 210cm. long.

An Edwardian mahogany and inlaid Chair, the back and seat upholstered in flor fabric, on square tapering legs.

A George III oak Bureau, the hinged fall revealing stationery compartments above two short and three long drawers, on bracket feet, faults, 122cm. wide.

A mahogany Settee, 19th Century, made-up, the curved back with applied foliate roundel, the upholstered seat on block feet, 145cm. wide.

An Anglo-Indian carved hardwood Davenport, 19th Century, the superstructure with foliate pierced cresting above an arrangement of five short drawers, the writin surface.with

concealed pen drawer above foi real and four dummy drawers and carved fanciful bird supports and dragon feet, hinged lid lacking, faults, 65cm. wide.

A mahogany Sofa Table, the rectangul top with two fall leaves and gadrooned edgii above two real and two dummy short drawe~ upon columnar support and platform base with

quadruple splaved legs, one drawer lach faults.

An Eavestaff mini Piano, in walnut c together with matching Piano Stool, 129cm. wide.

A Victorian mahogany pedestal Desk,
the rectangular top inset with red leather
above one long and two small frieze drawers,
on two pedestals each with three short
drawers, on plinth bases with castors, 135cm.
wide.

A set of six Victorian mahogany
Chairs, the rectangular backs upholstered in
deep buttoned gold dralon, the upholstered
seats on turned tapering legs with castors.

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.

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.

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