Antique Sideboard

A   WALNUT   BLACKAMOOR   LOW   TABLE  - A CARVED WALNUT JEWEL BOX - DOOR KNOCKER -  GILT-BRONZE  CANDELABRA - PAIR OF GILT-BRONZE AND PORCELAIN WALL SCONCES

A   WALNUT   BLACKAMOOR   LOW   TABLE
with a pierced top supported by a child lying on his back in a tree, 22+in; 57cm, Italian, mid 19th Century.

A CARVED WALNUT JEWEL BOX, the Hd
with a family of grouse above a locking fiap holding six pivoting drawers, 13fin; 35cm, Swiss, c. 1900.

A   PAINTED   WHITE   CLAY   BUST   OF   A
MOROCCAN WOMAN wearing a headscarf and a single large ear-ring, a string of beads around her head, stamped Koenig & Lengsfeld, Koelin, 24 in; 62cm, probably Austrian, c. 1900.

A WHITE MARBLE LAMP carved with a young woman standing semi-naked filling her vase from a rocky spring, a leafy tree growing around the rock fitted with a light, 24in; 61cm, probably Italian, late 19th Century.

A BRASS INLAID WALL MIRROR, the rect-
angular plate within a frame inlaid with trails of leaves within a chevron border, 25 by 23in; 63.5 by 58.5cm, probably Indian, late 19th Century.

AN UNUSUAL DOOR KNOCKER OR PAPER
WEIGHT cast with a single hand holding a bail, hinged at the wrist and cast with leaves, now on a marble plinth, 6 by 12in; 15 by 30cm, third quarter of the 19th century.

A ‘SWISS CHALET’ DECANTER CASE in the
form of a rustic chalet, the roof and facade hinged to reveal a decanter tray, 21 i by ; 54 by 65cm, c. 1900.

A PAIR OF GILTWOOD WALL MIRRORS, each
with a tapering frame and plate en-
graved with a figure, the whole sur-
mounted by a pierced leaf cresting,
20|in; 52cm, probably Italian, late 19th
century.

A GILT-BRONZE  CANDELABRA with five
scrolling candle-arms supported by a naked female figure on a pierced rococo base, 23fin; 59cm, c. 1880.

AFTER MORE AU. A Spelter Figure of the Chasseur D’Aigles, an eagle strapped to his shoulder, signed Louis Moreau and titled, 69cm, c. 1900.

A BRONZE FIGURE OF A YOUNG GIRL in
mid eighteenth century style, holding her apron in a coy pose, 8fin; 22.2cm, mid brown/black patination, mid 19th century.

A   BRONZE   GROUP   OF   TWO   CHILDREN
FIGHTING, one boy throwing his play-mate over his Shoulders, on a black marble socle, 4in; 12cm, brown patination, c. 1880.

A BRONZE FIGURE OF A BOY BEATING A
DRUM, standing naked, the drum at his feet, on a black marble socle, 5in; 13cm, brown patination, c. 1880.

A VENETIAN SMALL CASKET mid 18th
century style of serpentine bombe form with a fitted interior and a mirror, 14in; 35.5cm, 1900-1920.

AN   ALABASTER   FIGURE   OF   PEACE,   the
young woman Standing wearing a long skirt, her hair tied back, 15in; 38cm, c. 1870.

AN EBONY VENEERED BRASS INLAID LARGE
WRITING BOX, the lid with a hinged front enclosing two short drawers with a silk lined interior, the whole inlaid with mother-of-pearl and cut-brass foliage with red tortoiseshell strapwork, 22Jin; 56.5cm, c. 1870.

AFTER OMERTH. A Pair of Spelter
Figures entitled Sur la Plage and Bonne
Peche, one of a young woman holding a
lobster and a stick, the other of a young
man holding a fish and a fishing rod,
each signed G. Omerth, on plinths,
16in; 42cm and 17in; 43cm.

A GILT-BRONZE CHANDELIER, the central supports with a lambrequin with six scrolling candle-arms, each supporting four lights fitted for electricity, 41 by 42in; 104 by 107cm approximately, 1840-1860.

A PAIR OF GILT-BRONZE AND PORCELAIN
WALL SCONCES, each with a ‘Sevres’
plate painted with a central reserve of a
young courting couple, within a border
of flowers, the rims cast with a ribbon,
the base with a mask and two candle-
arms, 14in; 36cm, fitted for electricity,
c. 1880.

A CHAMPLEVE ENAMEL AND GILT-BRONZE
LETTER TRAY, the centre inlaid with two birds drinking from a pool within a border of scrolling leaves, the sides with carrying handles cast with masks, 12in; 32cm, c. 1870.

A COMPOSITE MARBLE COLUMN - A PAIR OF BARBEDIENNE GILT-BRONZE CANDLESTiCKS - BURR-CHESTNUT MUSICAL CIGARETTE BOX

A PAIR OF NEO-CLASSICAL REVIVAL URNS,
each of slender ovoid form cast in low relief with an aesthetic arrangement of blossom and insects, black slate socles, 18fin; 47.5cm, 1870’s.

A PATINATED LEAD FIGURE OF A SCOUT,
the young man standing with his arms raised holding a hat and a staff, on a wooden plinth, 16in; 41cm, early 20th century.

A SPELTER FIGURE OF A PUTTO, standing with one arm raised holding a vase, on a wooden socle, 27in; 68cm, c. 1870.

A PAIR OF SPELTER URNS AND COVERS,
each cast with cherubs at play, the
Covers with a single cherub holding a
cup of wine, the sides with vine-cast
handles, on ebonised socles, 15in;
38cm, c. 1880.

A COMPOSITE MARBLE COLUMN with a
turned body and base, 46 by 12in; 117 by 30.5cm, late 19th century.

A PAIR OF ROCOCO GILT-BRONZE CHENETS,
each with a bold acanthus scroll resting
on a corcelled pillar, 13in; 33cm wide,
second half of the 19th century.

A   PAIR   OF   BARBEDIENNE   GILT-BRONZE
CANDLESTiCKS, each tapering stem cast
with flowers, Hin; 28cm, signed with
founders’ mark F. Barbedienne and with
engraved erroneous date 1780, 1880-
1900.

A PAIR OF  BRONZE  CANDELABRA,  each
with a scroll-cast base cast with a seated figure of a Chinaman beside a three-branch candle-arm, 13in; 33cm, c. 1860.

A SIMULATED MARBLE COLUMN with a
Corinthian capital above a turned stem and base, 58in; 149cm, late 19th century.

A BRONZE VASE cast with two lizards clinging to the rim and shoulder of the vase, their mouths interlocked, lOin; 26cm, c. 1860.

A BRONZE AND MARBLE ENCRIER witil a
figure of a man seated between a terrestrial globe and a celestial globe, on a yellow-veined marble base inset with a pen scoop, Hin; 28cm, c. 1840.

A PAIR OF BRONZE URNS, each with a gad-rooned lip and leaf-cast cover enclosing a sconce,the sides with carryinghandles, 7jin; 18.5cm, mid 19th century.

A BOULLE DESK SET comprising a blotter and an encrier with a central compart-ment for an inkwell, each inlaid with brass scrollwork on a red tortoiseshell ground, the encrier.

A ‘REGENCE’ GILT-BRONZE CHENET, the pierced acanthus balustrade sur-mounted by a female calif, 22 by 27in; 56 by 68.5cm, mid 19th century.

A GLASS DISPLAY CASE, the domed top with rectangular sides held by pressed metal flowerhead supports, 29 by 25in; 74 by 63.5cm, late 19th\early 20th century, now painted gold.

A GILT-BRONZE-MOUNTED CELADON VASE,
the body with leaves and flowers, the base and cover applied with ‘C scroll and leaf-cast mounts, 22in; 56cm, the top now fitted as a lamp, third quarter of the 19th century.

AN UNUSUAL SILVERED BRONZE CHAN-
DELIER with a pierced framework
applied with studded lattice-work sides
enclosing four lights, each with a shell
cover, 19in; 48cm wide, fitted for
electricity, with chains and ceiling rose,
c. 1890.

A BOULLE WRITING SLOPE, the serpentine top hinged in two parts and inlaid with cut-brass scrolling leaves on a red tortoiseshell ground enclosing a burr satin birch interior with two inkwells, a velvet-lined writing slope and compart-ments for pen and ink, the lock plate and hinges engraved with leaves, 5 by 14fin; 14 by 37.5cm, c. 1860.

A  BURR-CHESTNUT  MUSICAL   CIGARETTE
BOX, the hinged top enclosing two com-partments, the base with a musical box, 4 by 7in; 11 by 18cm, early 20th Century.

A   GILT-BRONZE   CORINTHIAN   COLUMN
LAMP with a green-painted stepped base and pleated shade, 25in; 63.5cm, fitted for electricity, c. 1880; And Another Similar but composite, 20th Century.

MAHOGANY TOILET MIRROR - MARBLE-TOPPED SERPENTINE MARQUETRY COMMODES - BOW-FRONT CHEST - NORTH COUNTRY WINDSOR ARMCHAIRS - PAINTED D-SHAPED SIDE CABINET

A GEORGE III MAHOGANY TOILET MIRROR with rectangular crossbanded frame,
the supports with acorn finials and the base with a pair of drawers, on bracket feet, lft.
11 in. wide (58cm.)

A FINE PAIR OF GEORGE III MARBLE-TOPPED SERPENTINE MARQUETRY COMMODES
in the manner of John Cobb, each with a moulded mottled rust and beige marble top, the
frieze veneered in satinwood and inlaid with trailing flowering stems tied in the centre by
a ribbon, the front and sides in quarter-banded kingwood and with four giant satinwood
ovals finely inlaid with ribbon-tied panels of flowers, the projecting corners and sides
inlaid with garrya and raised on short square tapering legs, one pair of doors enclosing a
pair of adjustable shelves, the other with two pairs of four tulipwood-crossbanded
satinwood drawers, 2ft. 10′Ain. high by 3ft. Win. wide by 2ft. deep (87cm. by 117cm. by
61cm.) circa 1775.

A GEORGE III PAINTED D-SHAPED SIDE CABINET, the top with a border or ribbon-tied
flowers, a pair of doors and side panels each with panels of flowers in ivory and rust,
all on a dark brown ground, on four square tapering legs with block feet,
6in. wide(92cm. by 107cm.) circa 1790, decoration restored.

A GEORGE III MAHOGANY TOILET MIRROR, the shield-shaped plate with
crossbanded surround and with three drawers in the bow-fronted base, lft 7′Ain wide
(48.5cm.) circa 1785.

A LATE 18TH CENTURY JAPANNED CHEST OF FOUR LONG DRAWERS with a
moulded top and bracket feet, decorated throughout in gilt and red with sprays of flowers
on a black ground, 2ft. Win. high by 3ft. 8in. wide (87cm. by 112cm.) circa 1780, decoration
renewed.

A CIRCULAR PLATE PAIL with piain tapering cylindrical body, two brass bands
and hinged loop handle, lft. 2′Ain. high by lft. 23Ain. diameter (36cm. by 37.5cm.) circa 1750.

A GEORGE II CIRCULAR MAHOGANY PLATE PAIL, the slatted body with a raoulded
brass rim with hinged loop handle and piain brass base band, lft. high by ll3Ain. diameter
(30.5cm. by 30cm.) circa 1750.

A GEORGE II MAHOGANY PEAT BUCKET with slightly tapering horizontally
ringed body, two brass bands and hinged loop handle, lft. 3lhin. high by lft. 2V2in.
diameter (39.5cm. by 37cm.) circa 1750.

A SERPENTINE-FRONTED STEEL BASKET GRATE of George III design, the pierced
frieze applied with ovals and raised on a pair of circular tapering pillars, with four urn
finials, 2ft. 3in. wide (69cm.); and a set of three steel fire irons with urn finials; and a
serpentine-fronted pierced steel fire curb with a design of rococo scrollwork and a pair of
gryphons, 4ft. wide (122cm.).

A GEORGE III MAHOGANY CHEST of three long drawers, with a moulded top and
bracket feet, 3ft. wide (91cm.) circa 1800.

A LATE GEORGE III MAHOGANY BOW-FRONT CHEST of four graduated long drawers with a brushing slide and splayed bracket feet, 3ft. 3in. wide (100cm.) circa 1800

A REGENCY MAHOGANY BOW-FRONT CHEST of two short and three long well figured drawers with turned hardwood handles inset with mother-o’-pearl dises, on splayed bracket feet, 3ft. 4V2in. high by 3ft. 5in. wide (102.5cm. by 104.5cm.) circa 1815.

A SET OF THREE REGENCY “BAMBOO” CHAIRS including a pair of Armchairs, the
backs and arms filled with spindles, with rush seats, carved throughout to resemble
bamboo, circa 1810, now painted blue on pale grey, the side chair showing traces of the
original painted bamboo decoration.

A PAIR OF EMBOSSED BIRD PICTURES in the manner of Samuel Dixon, each with an exotic coloured bird, one perched on a flowering tree, the other accompanied by (24cm. by 19cm.) thtrd quarter ^Century,^ modern white and gilt frames.

A PAIR OF EMBOSSED PAPER FLOWER PICTURES in the manner of Samuel Dixon each with a spray of flowers tied with a blue ribbon and including Auricula and NaTciLs, in original japanned frames decorated with gilt flowers on blac:9^by Vhin. (25cm. by 19cm.) third quarter 18th Century.

ANOTHER PAIR, similar, min. by Vkin. (25cm. by 19cm.).

A REGENCY PENWORK GAMES BOX of elongated octagonal form, the lid with
chinoiserie scene of two men carrying a lady on a hammock to a pagoda, the sides
decorated with gryphons and scrollwork all in black and white and enclosing
compartments with engraved mother-o’-pearl tiles and fish counters, on eight gilt-metal
bail feet, 8Van. wide (21cm.) circa 1805.

A REGENCY PENWORK TEA CADDY, the domed lid with a chinoiserie scene of a
man and woman rowing on a lake with swans and pagodas, the body with slightly tapering
sides and chequered edge to the lid above an elaborate foliate design, the interior with a
glass mixing bowl and a pair of removable canisters, with hinged maplewood lids, lft. 2in.
wide (35.5cm.) circa 1805.

A “HARLEQUIN” SET OF EIGHT GOOD NORTH COUNTRY WINDSOR ARMCHAIRS in
yew and elmwood, of rieh colour, each arched back with a pierced double splat flanked by
dowels, the curved arms on turned supports and the shaped elm seat on turned legs and
H-stretchers, second quarter 19th Century.

A ROCKING CHAIR of very similar design, on plain rockers, second quarter 19th
Century.

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.

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.