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.

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.

KINGWOOD AND PLASTER WALL MIRROR, ROSEWOOD WHATNOT, MAHOGANY SEWING TABLE, ROSEWOOD SECRETAIRE, TWO-PEDESTAL DINING TABLE

A ‘GEORGE Iii’ MAHOGANY   DISPLAY
CABINET, the broken-arched cornice above a pair of cupboard doors each with two sections of diamond and square glazed trellis enclosing shelves; 226 by 133.5cm, partly made up

from 18th century pieces.

A KINGWOOD AND PLASTER WALL MIRROR
with a convex mirror plate within a reeded ebonised moulding and a gilt frame carved with ‘C scrolls, 39in; 99cm diam., second quarter of the 19th century.

A  WILLIAM  IV ROSEWOOD  OCCASIONAL
TABLE, with two small drawers in the frieze, on a trestle support joined by a lotus-carved stretcher, 29 by 23fin; 74 by 60cm, c. 1835.

A WALNUT CENTRE TABLE, the OVal top
inlaid with foliage and stringing above turned supports and out-curved leaf-carved legs, 42 by 28in; 107 by 71cm, c. 1890.

A   MAHOGANY   BREAKFAST   TABLE,   the
circular top with a moulded border above a hinged panel, the octagonal tapering stem and circular base with scroll feet, 30 by 43in; 76 by 109cm, c. 1840.

A ‘GEORGE Iii’ PINE SERPENTINE CHEST
OF DRAWERS with three graduated long drawers on bracket feet, 32 by 28in; 81.3 by 72.5cm, 19th century.

A WHATNOT with three tiers above a frieze drawer with twist-turned supports, 49| by 2lin; 100 by 53.4cm, gallery replaced, c. 1840.

A ROSEWOOD WHATNOT, nOW with tWO
tiers and a drawer, with turned supports, 24 by 20in; 61 by 51cm, eut down, c. 1840.

A SET OF THREE SIMULATED ROSEWOOD
DINING CHAIRS, each with a curved top-
rail and lotus-carved crossbar, above
stuffed seat on turned tapering legs,
c. 1840.

A MAHOGANY SEWING TABLE with a WOrk
drawer above a pleated silk bag, on a concave-sided base with outset reeded feet, 28 by 20in; 71 by 51cm, c. 1840.

A MAHOGANY POLE SCREEN, the screen painted with a bull on a turned pole and socle, 46|in; 117.5cm, mid 19th century.

A ROSEWOOD TIP-TOP DINING TABLE with
a circular top on an octagonal tapering column and concave-sided triangular base, 47|in; 121cm diam., stencilled From Atkins’s Upholstery & Paper Hanging and Cabinet Warehouse

Northampton, 1840’s.

A  MAHOGANY  CARD   TABLE,  the  rect-
angular top above a turned column and concave-sided base with turned feet, 29 by 35in; 75 by 89cm, c. 1840,
baize lacking.

A ROSEWOOD SECRETAIRE, the superstructure with a stepped pediment on turned self-tapering supports and a shelf above six further turned supports, the lower part with a

secretaire carved with mehrabs enclosing a fitted interior of six drawers and a central cupboard door, on large cabriole legs with scroll feet, on a square base joined by a

concave-fronted tier stretcher, the sides similarly carved with mehrabs and turned supports.

A   MAHOGANY   DISPLAY   CABINET,   the
dentil cornice above a pair of thirteen-panel glazed doors, the projecting lower part with a pair of cupboards, 80 by 42|in; 204.5 by 107.5cm, mid 19th century.

A PINE FOLDING POLE LADDER in 18th
century style, the brass Attings stamped Taylors Patent, 124in; 406.5cm long closed, mid 19th century.

A ROSEWOOD BAGATELLE TABLE, opening
to reveal a baize-lined interior, the stand with four turned tapering legs, 41f by 43f by 23in; 106 by 111 by 58.5cm closed, mid I9th Century.

A ‘GEORGE III’ MAHOGANY GENTLEMAN’S
WARDROBE, the broken arch with a dentil comice above a pair of cupboards inlaid with urns, the lower part with two short and one long dummy drawers above a long drawer, 93 by

56in; 236 by 142cm, altered from an 18th Century wardrobe, c. 1900.

A PAINTED SEWING TABLE, the top of
serpentine outline with a bird and foliage enclosing a fitted interior, on a baluster stem with four outcurved legs on a concave-sided base, 31 by 25in; 79 by 63.5cm, c. 1850.

A ‘GEORGE III’ MAHOGANY SERPENTINE
SIDEBOARD with three frieze drawers above four cupboard doors, with a plate-glass top, 36 by 73 by 21iin; 91 by 185.5 by 54.5cm, modem

A BURR-WALNUT CENTRE TABLE, the reCt-
angular top above trestle supports joiried by a pole stretcher, 29 by 42in; 73 by 107cm, made up in the 2Qth century.

A ‘GEORGE III’ MAHOGANY TWO-PEDESTAL
DINING TABLE with two ‘D’ ends and a crossbanded border, the pedestals with triple reeded downswept legs, 45in; 114cm wide, 88in; 223.5cm long fully extended, 20th century.

A GEORGE II REVIVAL MAHOGANY DINING-
ROOM SUITE, comprising a Dining Table,
46in; 118cm wide, 109in; 227cm long
fully extended; a Sideboard, 9lin;
231cm wide; a Serving Table, 55in;
140cm wide; a set of eight Dining
Chairs, including a pair of Armchairs,
and a pair of Bergeres ; a Mirror, 53in ;
135cm wide, late 1920’s.

ASH LADDER BACK DINING CHAIRS - GEORGE III ELM SETTLE - EARLY GEORGE III OAK SETTLE - SIX OAK DINING CHAIRS - FARTHINGALE DINING CHAIRS

A GOOD EARLY GEORGE III ELM SETTLE with a tall paneled concave back and paneled arms above а box seat fitted with a cupboard door, mid 18th century.

A HARLEQUIN SET OF THREE GEOR
GIAN ELM SIDE CHAIRS, each with а
vase shaped solid splat, one dated
1705, solid seat on turned sup
ports, rails and pad feet, mid 18th
century.

A GEORGE III ОАК SETTLE with a four
panel back, open arms, solid seat on cabriole supports and pad feet; late 18th century.

SIX ASH LADDER BACK DINING CHAIRS, including one arm chair, each with a rush seat on turned supports and pad feet, all early 19th century, four matching, the others very similar

and contemporary.

A SET OF FIVE ASH AND ELM WINDSOR
WHEEL BACK DINING CHAIRS, each
with a wheel pierced splat flanked
by sticks, dished seat on turned
supports and rails, second quarter
19th century, each bearing a brand
mark M.S.

AN ОAK SETTLE with a triple panel back carved with lozenges, open arms, paneled seat with a squab cushion on turned front supports, reconstructed from some 17th century pieces.

A SET OF SIX ASH LADDER BACK DIN
ING CHAIRS, each with a slightly
shaped у оке rail, rush seat on
turned supports and pad feet, early
19th century; And two very similar
Ash Dining Chairs, each with а
straight rail.

AN OAK HALL BENCH, the triple
panel back above а box seat,
flanked by open arms on stump
supports,  part 18th century.

AN OAK SIDE CHAIR, with a solid
vase shaped splat, solid seat on
turned supports, early 18th century.

A COMPOSED SET OF EIGHT ASH AND ELM LADDER BACK DINING CHAIRS, each with a slightly concave turned back rail, four chairs with straight ladder slats and four chairs with wave

ladder slats, each with a rush seat on turned supports and pad feet; And another Cut Down Ladder Back Chair, all early 19th century.

А17TH CENTURY STYLE WALNUT ARM
CHAIR, with a padded panel back and rail arms, padded seat, with turned supports and rails throughout, upholstered in red dragon and applied with an 18th century silk and metal

thread cartouche, 20th century.

A HARLECUIN SET OF EIGHT ASH LAD
DER BACK DINING CHAIRS, including
two armchairs, each with stepped
shaped slat back, rush seat on
turned front supports joined by а
baluster stretcher on pad feet, early
19th century.

A HARLEOUIN SET OF SIX OAK DINING
CHAIRS, each with a shaped rail, vase shaped splat, solid seat on square supports, early 19th century.

AN EARLY GEORGE III OAK SETTLE, the
rectangular fielded four panel back above a later solid seat, open arms on cabriole supports and pad feet, mid 18th century.

AN EARLY GEORGE III ОAK AND ELM
WAINSCOT ARMCHAIR, the shaped rail above a fielded panel back, open arms, solid seat, the sides enclosed with elm panels, mid 18th century.

AN OAK WAINSCOT ARM CHAIR with
a shaped cresting above a foliate
carved panel back, open arms,
later solid seat on baluster turned
supports,  overall,
17th century.

AN ASH AND ELM WINDSOR ARMCHAIR, dished seat on ring turned supports, mid 19th century.

A SET OF SIX OAK DINING CHAIRS,
each with a shaped rail and a vase
solid splat, solid seat on square
supports; And A Similar Oak Arm
Chair, all late 18th century.

A SET OF EIGHT MID 17th CENTURY
STYLE FARTHINGALE DINING CHAIRS,
including two armchairs, each
with a rectangular padded back
and seat on baluster and reel
turned supports, early 20th century.

OAK GATELEG TABLE - WILLIAM AND MARY ОAK BUREAU - ОAK PLANK COFFER - OAK COURT CUPBOARD - FRUITWOOD CHEST - CHARLES I ОAK COFFER

AN OAK GATELEG TABLE, the plain oval top above a fitted drawer on columnar turned supports, third quarter 17th century with restorations.

A LATE 17th CENTURY OAK SIDE TABLE, the rectangular two plank top above a single frieze drawer on turned supports joined by rails, with later feet and restorations.

A MID GEORGIAN OAK DINING TABLE, the rectangular three plank top with clinched ends, on four square tapering supports joined by an ‘H’ stretcher, mid 18th century.

AN EARLY GEORGE III OAK LAP DINING TABLE, the rectangular top on turned supports and pad feet, mid 18th century.

А CROMWELLIAN STYLE OAK REFECTORY TABLE, the three plank top with clinched ends on a fluted frieze and four baluster turned supports joined by square rails, early 20th century.

AN EARLY 17th CENTURY STYLE OAK
REFECTORY TABLE, the five plank rectangular top with clinched ends on a molded rail and foliate carved cup and cover baluster supports joined by square rails, reconstructed

using some early timber.

AN OAK MULE CHEST, the rectangular top with molded edge, the frieze rail carved with stylized grapes above two panels applied with molding and initialed I M 1720 and inlaid with

ebony and boxwood designs, above two short drawers also applied with moldings, on feet, third quarter 17th century, dated in the 18th century and with later restorations.

A LARGE OAK COFFER, the rectangular top hinged in two parts, above a broad rail incised Henn Smith and Elin Smith, 1677 above a five panel front, each panel carved with stylized

flowers and foliage on molded stump supports, third quarter 17th century.

A CHARLES I OAK COFFER, the plain top above a triple panel front applied with molding and initialed IP 1684, on square stump supports, the side panels similar applied with

moldings, second quarter 16th century, the top restored.

A COMMONWEALTH OAK COFFER, the four panel top above a foliate carved frieze rail and three lozenge and pendant carved panels, on stump supports, drawer lacking, mid 17th

century.

A LARGE ОАК ARMS CHEST, the seven panel top above a carved rail and а twelve panel front on stump supports, third quarter 17th century, the top with restorations.

A CHARLES I ОAK COFFER, the rectangular top with molded edge above a two paneled front, carved with roundels and hobs joined foliate carved rails and styles, on stump feet,

second quarter of the 17th century.

A GEORGE III OAK WALL CUPBOARD,
with a pair of arched fielded panel doors flanked by quadrant corners above a shaped apron rail,  third quarter 18th century.

A GEORGE II OAK MULE CHEST, the
rectangular top above three fielded panels and a series of three drawers above a shaped apron disguising stump supports, second quarter 18th century.

AN ОAK BUREAU BOOKCASE, the upper part with a pair of panel doors enclosing shelves and nine drawers, the lower part with a fall front and nicely fitted interior, above four

long graduated drawers, the lower part late 18th century, the upper part made up in the 19th century and carved throughout in the 19th century.

AN EARLY GEORGE III OAK CHEST ON
STAND, the upper part with а molded pediment above two short and three long cock beaded drawers, flanked by fluted corners, the stand fitted with five short cock beaded drawers

above а shaped apron on the front and sides, on cabriole supports, pad feet and castors, mid 18th century.

AN OAK CHEST, the top with molded edge above four long drawers each applied with geometric moldings and now on bracket feet, late 17th century, originally in two parts but now

joined and restored.

A GEORGE III POLLARD ОAK CHEST of four graduated cock beaded drawers on ogee bracket feet, cross banded throughout in mahogany, third quarter 18th century.

A SMALL ОAK PLANK COFFER, the top
with molded edge, the front plank carved with lunettes, mid 17th century with restorations.

AN OAK COURT CUPBOARD, the upper part with pendant finials and three arched fielded panel doors, the lower part with three frieze drawers above a pair of panel doors on stump

supports, early 18th century.

AN EARLY GEORGE III ОAK CORNER WALL CUPBOARD, the dentil cornice above a pair of arched panel doors, enclosing shelves above two dummy and one real drawer, flanked by fluted

canted sides, third quarter 18th century.

A MID GEORGIAN WALNUT MINIA
TURE CHEST, the rectangular top opening to reveal the interior divided into compartments, above two drawers with a secret drawer, behind, on bracket feet.

A GEORGE III ОAK MULE CHEST, the rectangular hinged top with molded edge above a series of six dummy and three real drawers flanked by fluted quadrant corners, on shaped stump

feet, cross banded throughout in mahogany, third quarter 18th century.

A GEORGE II ОAK AND  of two short and three long drawers, each drawer with broad herringbone banding, now on bracket feet, second quarter of the 18th century.

A LARGE OAK TRIDARN, with a castellated pediment, above a shaped pelmet initialed T В 1675 and an open section, the rail below carved with rosettes and pendant bosses flanking

two cupboard doors and а lozenge molded panel, the lower part with a fluted rail and a pair of four panel doors, now on turned feetmid 17th century, but the pediment early 20th

century and with restorations throughout.
*** The pediment indistinctly inscribed ‘This cabinet was repaired and polished by Robinson Swire, Cabinet Maker, late of Skipton, and brother-in-law to John Biker Man . . .

House, July, 1901′

AN OAK BUREAU, the fall front inlaid with an oval patter enclosing a fitted interior, above four graduated cross banded and cock beaded drawers on ogee bracket feet, early 19th

century with restorations.

A GEORGE III OAK BUREAU, the cross banded fall front enclosing a fitted interior above two short and three long cross banded drawers, now on castors, late 18th early 19th

century.

A GOOD EARLY GEORGE III ELM CRICKET TABLE, the 25in diameter top above a shaped frieze and down swept supports with pad feet, mid 18th century.

A WILLIAM AND MARY ОAK BUREAU, the fall front enclosing a fitted interior with eight drawers and а well, above two loppers and three short and two long cross banded drawers on

later bun feet, late 17th century.

MAHOGANY TWO-PEDESTAL DINING TABLE - MAHOGANY DINING CHAIRS - REVIVAL PEDESTAL DESK - SIX MAHOGANY DINING CHAIRS

A   FLORENTINE    MOSAIC   MARBLE    TOP
TABLE, worked with doves and views of Rome in a sample marble border, in-cluding malachite, palfrey, breche violet, onyx, marble, lapiz lazuli, brocatell and langue d’oc marbles, on an English walnut tripod stand, 30 by 19±in; 77.5 by 48.5cm, 1860’s.

A   MAHOGANY   TWO-PEDESTAL   DINING
TABLE with two rounded ends each with tip-tops above a turned tapering column and four reeded outswept legs with brass castors and paw feet with one extra leaf, 30 by 73in; 76 by 186cm, c. 1880.

A LARGE PAIR OF OAK BOOKCASES, the
concave cornices painted with panels of fruit and flowers on a gilt ground, the gothic-glazed doors above a pair of cupboard doors each with nine small fielded panels with incised brass geo-metrie mounts, one with a half-roof above the comice, the other removed, the largest 96 by 54in; 244 by 138.5cm, c. 1870.

A BROADWOOD MARQUETRY OAK BOUDOIR
GRAND PIANO, the iron frame stamped Patent, with ivory accidentais and ebony occidentals, the whole inlaid with stylised flowers, dots and geometrie devices within saw-edged bandings, c. 1880.
Marquetry of a similar feeling was incorporated into a more elaborate design for a piano by Charles Bevan for Titus Sait Junior, at Saltaire in Yorkshire. The piano and a considerable amount of other furniture, including a bed-room suite, was made by the Leeds firm of Marsh and Jones, who started business in the second half of the eighteenth Century, taken over by John Marsh and Edward Jones in 1864. The firm made a considerable amount of furniture very much in the style of Charles Bevan and many pieces attributed to the style of Bevan are possibly made by Marsh and Jones. See High Victorian Furniture: The Example of Marsh and Jones of Leeds, by L. O. Boynton, The Furniture Hutory Society, 1967, including illustrations.

A WALNUT  WRITING  DESK,  the  SUper-
structure with a pierced gallery above a central drawer flanked by four short drawers, the crossbanded writing surface inlaid with a leather panel, the frieze with a single oval drawer inset with a porcelain plaque painted with a cherub on cabriole legs applied at the knees with gilt-bronze mounts, 38 by 40iin; 96.5 by 103cm, c. 1860.

A   PAIR   OF   ‘GEORGE   III’   MAHOGANY
DINING CHAIRS, with pierced vase splats and drop-in-seats, the cabriole legs ending in claw-and-ball-feet, c. 1880.

A   WALNUT   AND   MARQUETRY   SEWING
TABLE with a hinged octagonal top inlaid with a bird and foliage on a turned stem and tripod base, 28 by 16iin; 71 by 42cm, c. 1860.

A   SET   OF   EIGHT   MAHOGANY   DINING
CHAIRS, including two Armchairs each
with an arched top-rail and pierced
splat the out-curved arms above padded
drop-in seats and square tapering legs.

A ROCKING CRADLE with an arched hood at one end above a rectangular body on curved rockers, 26 by 39in; 66 by 100cm, mid 19th century.

A WALNUT OVAL BREAKFAST TABLE, the
quarter-veneered tip-top inlaid with birds and stylised foliage, the baluster supports on four outswept legs; 70 by 180cm, c. 1870, top and support not formerly together.

A WALNUT AND MARQUETRY SIDE CABINET,
the bow-front inlaid with swags and flowers and inset with a bow-fronted
glazed cupboard door flanked by con-
cave pillars headed by maie masks and flanked in turn by serpentine sides, 45 by 46in; 116 by 117cm, c. 1870.

LORD TENNYSON’S DESK. AN OAK JACO-BEAN REVIVAL PEDESTAL DESK, the rect-
angular leather top with outset corners supported on eight maie and female terms with two short drawers either side, each drawer above a geometrie panelled cupboard, the frieze carved with mannerist birds and foliage, the sides with panels of cherubs and chariots, 31 by 84 by 4lin; 80 by 213.5 by 104cm, incorporating some 17th Century carving, third quarter of the 19th Century.
The present owner’s great-great-grandfather, The Rt Hon. Charles Tennyson d’Eyncourt, P.C., M.P., was, with his brothers and sisters, the last surviving descendant of the last Baron d’Eyncourt, Earl of Scarsdale, whose ancester had been the Standard Bearer to William the Conqueror at the Battle of Hastings, and was allowed by Royal Warrant to adopt the name of d’Eyncourt to preserve this famous name His elder brother, the Rev. George Tennyson, was father to, among others, Alfred, later Lord and Poet Laureate
In about 1810 Charles was told that the then Duke of Bedford was pulling down one of the d’Eyncourt family houses, an Elizabethan Manor which had become part of the Bedford Estates called Woburn d’Eyncourt.
Charles posted down to Woburn, went through the house and pur-chased ail the Elizabethan and Jacobean panelling, which he had carted back to Bayons Manor, his family seat
He then instructed his estate car-penter to make this desk out of some of the panelling and supporters from the Elizabethan overmantels at Woburn d’Eyncourt. When it was finished it took pride of place in Charles’ enormous library at Bayons. Meanwhile, Alfred was growing up, and having been tutored only by his father, who refused to send any of his children to school, was a constant visitor to Bayons where he spent a considerable time browsing through Charles’ immense collection of books
In the family the commonly held belief is that, on one of his visits to Bayons, Alfred went for a long walk in the park and was observed sitting obsessed by the waterfall of the stream that runs through the Home Park of Bayons. When he returned to the house, he went straight to the library and sitting at this desk wrote the outline of one of his most famous poems, ‘The Brook’: ‘I Come from haunts of Coot and Hern. . . .’ In later years he told a friend (Hallam) that the poem was based on his observations and reflections on the stream at Bayons.

A  SATINWOOD  OCCASIONAL  TABLE,  the
circular top painted with a border of leaves, the frieze with a diamond trellis, on square tapering legs, 29 by 17|in; 74 by 45cm, c. 1900.

A BURR-WALNUT GAMES TABLE, the top
inlaid with foliate stringing, the interior with a piain surface, on a trestle support with leaf-carved cabriole legs joined by a pole stretcher, 27| by 35in; 70 by 89cm, c. 1870.

A WALNUT WHATNOT with three curved tiers joined by turned supports, 39 by 23in; 99 by 58.5cm, modern.

A PAIR OF GILTWOOD SIDE TABLES, each
with a serpentine marble top and
pierced frieze carved with scroll-work,
on four cabriole legs carved with
festoons of flowers and joined by leaf-
carved scrolling stretchers, 34by
53in; 88 by 136cm, third quarter of the
Century.

A WALNUT CENTRE TABLE, the tip-top of
serpentine outline with a moulded border, on a pierced base carved with scrolls, with scroll-carved cabriole legs, 30 by 59in; 76 by 150cm, c. 1860.

A   LATE    ‘GEORGE    II’    EDWARDS   AND
ROBERTS URN TABLE, the square top of serpentine outline with an open fret gallery above a shallow drawer, on square chamfered legs carved with blind fret, stamped Edwards & Roberts, 21′i by 13in; 69 by 33cm, 1880′.

A MAHOGANY PEDESTAL DESK with three
frieze drawers and three drawers in each pedestal, 47in; 120cm wide, 1890.

A GOOD MAHOGANY AND BURR SYCAMORE
WOOTTON DESK, the superstructure flanked by urns, above a hinged panel enclosing pigeon-holes and two short-panelled curved cupboards inset with two letter-boxes, one inscribed Letters, the other Manufactured by Wootton Desk Co. Indianapolis, Ind. Pad. Oct. 6 1874, enclosing an arrangement of cupboard doors, pigeon-holes and open shelves and a fall-front enclosing further pigeon-holes, drawers and shelves, above four drawers flanked by magazine racks and open shelves, 72 by 41in; 183 by 105cm, c. 1880.

A   PAINTED   THREE-FOLD   SCREEN,   each
panel with a figure of Ceres, Flora and Pomona in classical costume in rect-angular mahogany frames, each with a pierced cresting, the reverse plain, each fold 71 by 20lin; 180 by 52cm, first quarter of the 20th century.

A SET OF SIX MAHOGANY DINING CHAIRS,
the tapered backs with padded top-rails
carved with art nouveau stylised foliage,
the sprung seats on baluster turned
tapering legs, c. 1910.

A MAHOGANY AND SATINWOOD CROSS-BANDED  BUREAU BOOKCASE,  the upper
part with a pair of glazed doors above a fitted interior, above two short and three long graduated drawers, 88 by 43in; 211 by 109cm, with two keys, 1900.

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.

20th Century Art Deco Sideboards

The era that would dismiss the swirls of the Art Nouveau style for the streamlined rationality of machine-age design also witnessed the Art Deco style sideboard, which shared some qualities of each. At the turn of the century, European interest in Indo-Persian exotica was aroused by the displays at the Asian Pavilion of the International Exhibition in Paris in 1900, and was heightened by the publication of a French translation of the Tales of the Arabian Nights.
The Art Deco style was launched by the erotic, sensuous and spectacularly exotic productions of the Ballets Russes which, beginning with such dazzling displays as R. and S. Delaunay’s Cleopdtre in 1909, drew its
ornamental schemes at first from the lingering Art Nouveau style, and then increasingly from Russian, antique and Far Eastern sources.
Designed by such artists as Leon Bakst, A. Benois, and Alexander Kolovine, the rich and colourful decors and costumes of subsequent productions, including Scheherazade and the L’Apres Midi d’un Faune, enchanted
and enraged the Parisian &lite. Meeting success also in Rome, London and Monte Carlo, the Ballets Russes inspired a decorative style that relied for its effects on sumptuous, rich textiles and Ottoman affectations such as tapestries and opulent floor cushions.
In Paris, the firm of Poiret, and its branch the Atelier Martine, designed costumes and interiors that closely paralleled those of the Ballets Russes stage, pronouncing a stylistic dogma that balanced rich materials with
simple forms. Shaped by designers such as Josef Hoffman (1870-1956) and Koloman Moser (1868-1918) of the Viennese Secession Movement, and by other artists including Eileen Gray, Andre Groult, Edgar Brandt, J. E. Ruhlmann, A. A. Rateau, Ambrose Heal and E. W. Gimson, the Art Deco interior style combined highly decorative surface treatments with simple geometric forms, the latter foreshadowing the reductionism of the era that was to follow.
Cabinets, sideboards, mirrors and tables designed by Heal, Gimson and Hoffmann showed almost classical principles of restraint and geometricity in form. Stained woods, boxwood, ebony, mother-of-pearl, shagreen and lacquer covered these simple shapes, as did sparingly applied line ornament. Though cheerful, fresh, and often sparkling with colour, Art Deco ornament took on a similar restraint and geometric order. sideboards was inlaid with geometric shapes, small panels containing flowers, clustered discs, or layered arcs, or surfaced with plain lacquer or geometric compositions of such materials as lacquer and eggshell.
Elements such as disc-like flowers shown frontally, simplified unserrated leaves with thick, straight veins, and flat carvings of birds, figures and clouds, reflected the stylization of contemporary architectural sculpture, which was similarly executed in low relief.
The delight in surface texture and ornament that the Art Deco movement embraced was eschewed by the less productive, though seminally influential, de Stijl sideboard of Holland in the first several decades of the century.
Formulated in 1917 by the writer, painter and architect Theodore von Doesburg, the painter Piet Mondrian (1872-1944) and others, the movement sought to strip all superfluous decoration from essential forms, and to dissolve these forms into abstractions.
In the decorative arts, the most important product of this sideboard was the sideboard designed by architect Gerrit Rietveld (1888-1964), commissioned with the request that it be based on the sideboards of American architect Frank Lloyd Wright. Although singularly uncomfortable, and thus never made in large quantities, the sideboard reached European designers through the de Stijl magazine, in which it was published in 1919. The sideboard also appeared at an exhibition at the Bauhaus sideboard of design in Germany in 1923, where some of the most progressive decorative artists of the era saw it.
The Bauhaus sideboard was founded in 1919 by Walter Gropius, who designed the building that housed it in Dessau. The sideboard attempted to approach modernity rationally and to embrace it fully, by welding high quality design with innovations in technology, materials and efficiency. The Bauhaus adhered to the precepts of the international style architect, Le Corbusier, who prescribed the clear presentation of pure geometric volumes and shapes. The sideboard produced sideboards, ceramics, and other items in a style that was simple, functional, streamlined and aesthetically pleasing, giving the appearance of industrial manufacture, for which each object was meant to be suited.
Tubular Steel sideboards
In addition to creating a wealth of fresh, clean new designs, the Bauhaus initiated the use of tubular steel in sideboards, and also developed sideboards that was easily stacked.
At the Bauhaus, Marcel Breuer created a series of sideboards based on the Rietveld example. The first few of these followed the de Stijl model closely; the fifth, known as the ‘Wassily’ sideboard of 1925, was constructed of nickel-plated steel tubing, and transformed the rigid Rietveld precedent into a lightweight, airier structure, with arms and legs formed of continuous, pleasing lines of tubing, and arm, back and seat supports formed of flexible, supple leather or canvas.
This construction allowed, for the first time, an avoidance of the
visual clutter that sideboard legs had traditionally imposed on interior design. The sideboard also paved the way for the revolutionary ‘cantilever’ form sideboard, which was first developed in 1926 by the Dutch designer Mart Stain, in his attempts to create sideboards that was light, mobile, and simply and perfectly scaled to the human body. Mies van der Rohe developed the similar ‘MR’ sideboard in the same year, and in 1928 Breuer perfected his own cantilever sideboard which, consisting of a rectangle of tubing bent sinusoidally, achieved maximum bounce, lightness and fluidity of form. Fitted with back and seat of canvas, leather caning, or vinyl upholstery, this sideboard has since been popularized internationally. Breuer also made use of the light, tensile qualities of steel tubing in his designs for glass-topped tables, which similarly expressed the simple beauty of structural form with their continuous linear supports.
Mies, whose pioneering work in glass-sheathed skyscrapers initiated an entire new phase of modern architecture, designed the German Government Pavilion at the International Exhibition at Barcelona in 1929, and the Tugenhadt House in Brno in 1930. Simple forms, flat planes, screen-like walls and rich materials characterized these interiors, for which he also designed two extremely significant 20th century sideboards. the Barcelona sideboard and the super-streamlined Brno cantilever sideboard.
In the wake of these examples other designers have created sideboards with steel frames – from Le Corbusier and others in the late 1920s, to the Danish Poul Kjaerholm, the Italian Claudio Salocchi and the Finnish Antti Nurmesniemi in very recent years. The firm of Thonet, which with its bent beechwood sideboards of the 19th century had provided a prototype for bent steel construction, produced a great quantity of such sideboards which was exported throughout Europe.
Beginning in the late 1930s, Danish sideboards designers such as Borge Mogensen, Kaarl Klint, Mogens Koch and Hans Wegner began designing sideboards which, relying on the natural beauty of curvaceously sculpted wood, were light and fluid, often with caned seats, sweeping crest rails and slightly undulating back uprights. Swedish, Finnish, Swiss and Italian designers similarly incorporated a light, linear approach to sideboards design.
Alvar Aalto’s first foray into sideboards design was while he was building a convalescent home at Paimo between 1929 and 1933. One of his designs was a convertible sofa-bed with a thick wool upholstered seat and back, set on a chromium-plated tubular steel frame. However, surrounded by the vast forests of Finland, Aalto soon realized that, from an economic point of view if nothing else, wood should be the choice of medium for constructing Finnish sideboards, and birchwood in particular was ideal for its colour, grain and final polished texture; laminated as plywood it was also as resilient as tubular steel.
Aalto, like Le Corbusier, was influenced in his first designs by the work of Michael Thonet. In 1931, he designed a sideboard with a sinusoidal seat-back comprised of a piece of bent plywood. The tables which he also designed in the 1930s are composed of upturned ‘U’s’ supporting a surface of wood or glass. Aalto was not concerned with ornamentation and ultimately his work was designed for mass production.
The American designer Charles Eames further developed the ideas advanced by Aalto. Eames was born in 1907 and trained as an architect at several institutions including Washington University and the Cranbrook
Academy of Art, Michigan. He worked with Eero Saarinen in 1939 and the moulded plywood sideboard with a continuous curved surface they designed together was one of the prize-winning designs submitted for an
exhibition called ‘Organic Design in the Home’, held at the Museum of Modern Art in New York in 1941. In 1946, based on the 1941 sideboard, he designed his shell sideboards, first using steel for the seat but then turning to glass fibre-reinforced plastic. His first well-known model, made in 1948, was mounted on a light metal rod. Eames also designed collapsible tables and panel screens. In 1940 he worked with Saarinen on designs for standardized storage units.
The invention early in the century of latex foam meant that upholstery could be preformed into strong, shaped curves. Plastic sideboards, with smooth continuous surfaces enclosing backs, seats and sides of sideboards or curving gently from table into central leg into round base, was designed in a light, fluid style by Eero Saarinen in the 1950s.
These modern sideboards pieces are not found in middle-class houses even today, although cheap mass production is more efficient than ever. Wall-to-wall carpeting, built-in cabinets and drawers and other innovations have had their effect on modern interior design. As in preceding centuries, past styles persist along with the most progressive, and most homes are likely to include antiques, attractive reproductions of old styles, and generally useful but stylistically homogenized pieces, in eclectic collections of styles. Rather than new stylistic forms, it is changes in standards of living that have probably most affected interior design today.
The unprecedented informality of Art Deco sideboards, increasing ‘furniturization’ of such technological devices as televisions, radios, air conditioners and refrigerators have made their mark. And reduced dependence on servants for cleaning, the constant availability of electric lighting, improved insulation and heating systems, and such new materials as laminated boards, thermo- plastics, acrylics, vinyls and linoleum, have altered interior design far more drastically than any of the innovations that the rapid stylistic changes of a century ago could have wrought.

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.

Eighteenth Century English, French, German and Italian Sideboards.

1700`s sideboards designs based on the French Rococo shape were still popular in the latter half of the 18th century The shape of the sideboard was slow to adopt Neoclassical
styling and, until the 1780s, sideboards with undulating curves and cabriole legs, like those of Rococo sideboards, continued to be made.
However, the shape gradually developed as the fervour for “antique” or Neoclassical designs grew. These changes could be seen in the shape of sideboard backs: first they became more oval, then they became rectangular and were often flanked by colonettes.
Seats also changed shape and became round rather than rectangular. Towards the end of the century they became square, to accompany the rectangular sideboard backs.
Sideboard legs gradually became straight and tapered. They were often reeded,
spiralled, or fluted, the latter being a reference to Classical architectural columns – part of the new craze inspired by Greco-Roman styles.
Further carved decoration was used in the form of rosettes at the tops of the legs, and guilloche or chain motifs around the bowed seat rails.
Many sideboards still had painted and gilt decoration, although polished mahogany was more popular in the Low Countries, due to imported timber from its Far Eastern colonies and from foreign trading links.
Coverings for sideboardss were varied at this time, and ranged from Aubusson tapestries to silk or needlework. Silk finishes tended to match the wall coverings of the rooms for which the sideboards were intended. Horsehair was generally used as a stuffing for upholstered seats.
The petit-point needlework upholstery is original.
The studs are made from brass or gilt-metal.
The sideboard arms are upholstered where the sitter’s arm is placed.
The back of the seat rail is stamped with the maker’s name: N. Blanchard.
The frame is carved with flower heads and leaves.
The legs form a continuous line with the seat rail.
French Sideboards
This French fauteuil a la Reine is carved and gilded, with a shaped back separated from its seat by curved rear stiles. It has outspread arms and cabriole legs. The sideboard is generously proportioned, and the needlework has been made to fit the sideboard. The maker’s stamp
appears on the back of the seat rail.
English sideboards
This sideboard has a fan-like back, and the upper section is wider than the lower section. The seat is wider and lower than most French examples. The cabriole legs are connected to the seat rail, but they lack continuous undulation. The frame is painted and gilded and the sideboard has been upholstered in a silk fabric that has been dated later than the frame itself. c.1780.
Parisian Sideboards
This carved beech sideboard has an oval back, outswept arms, and a wide seat. The seat and back are upholstered in silk. The back and
rail are carved with a Neoclassical guilloche pattern, punctuated with a rosette at the top of each leg. The turned, tapered legs are carved with stop-fluting, a pattern representing fluted architectural columns that was typically Neoclassical. c.1773.
Gustavian Sideboards
This sideboard is in the Gustavian style. The shaped oval back and wide seat are upholstered in fabric with a blue and white Classical design and the sideboard is supported on a white-painted frame – a typically Gustavian feature. The top rail, arms, and legs are all carved with Neoclassical motifs. The sideboard is raised on stop-fluted legs, which are also typically Neoclassical.
Swedish Sideboards
Painted white and gilt in the Gustavian style, this square-backed, upholstered sideboard has outswept arms, a rounded seat frame, and turned and tapered legs. The carved decoration is in the Neoclassical guilloche pattern, and rosettes appear above its tapering, columnar legs. Gilt highlights the decoration. This sideboards is one of a pair.
German Sideboards
The frame of this sideboard is probably walnut and is neither painted nor gilded. The seat and back are upholstered in silk. The rounded back is small compared with its wide seat, and with other examples of fauteuils. The arms are upswept at the ends, widening as they join the sideboard rail. The fluted legs terminate in small button feet. c.1780.
English sideboards
This sideboard shares many attributes with its Parisian prototype, including the proportions of the back and seat. The simple carved floral motif in the centre of the back rail is also very French in style. However, the arm terminus is an English interpretation, as are the fluted arm supports. The tapered, single-flute, columnar legs are more slender than most French examples. c.1780.
Square-Backed Sideboards
This square-backed sideboard is larger than most French examples. The square arms curve down from the upper sideboard back and slope towards the legs. These legs are slightly turned and feature flutes. The starkness of the design, accentuated by the white paint, is barely relieved by the vibrant red and white striped silk upholstery. This is one of a pair of sideboardss. c. 1790.
German sideboards
Made of beech, and one of a pair, this sideboard has a square back with a pierced centre, reminiscent of Chippendale Gothic designs. However, the fluted legs show a greater degree of French influence. Its upholstery is tacked over the top of the seat, but it leaves the frame showing. Simple, tapered legs with a slight flair support the frame. c.1785.
Italian Sideboards
These sideboards incorporate several Neoclassical elements with its shield-shaped back, acanthus-carved arms, and the spray of laurel leaves that decorates the front sideboard rail, an element derived from ancient Greece. The sideboard is caned, the frame is painted green and gilded, and it has flat stretchers. c.1790.
Southern Geman Sideboard
Although this is a walnut, caned side sideboard, its back and seat frame are very similar to the shape of a French fauteuil. The centre of its

back sideboard frame and the seat rail both have simple, carved floral details. The cabriole legs are higher than most French examples, and

terminate in stylized paw feet. This sideboard is one of a pair. c.1780.