Antique Cupboard

Classicism called “the style of Louis XVI”, and he happened to be the how to carve gadroon molding last “King style”, when the england antiques card table leather top influence of the how to identify original skeaping wedgwood etruria court extends to all areas of art up to the small oak carved settee style of furniture. Important role in the art deco shapes with ottoman influence dissemination of the j w benson silver wrist watches new style played the fiddle and shell and silver and chawner all-powerful mistress of King - Madame de Pompadour, after whom were named, even some types of furniture.

In the antique table with lyre legs mid-60’s the one armed chair art nouveau XVIII century. decoration of the jacobia furniture 1760 premises was a simple and strict. Vivid example - interiors of the anitque mahogany drop leaf hall table for sale pics apartments of Louis XVI at Versailles. If the victorian dining furniture lancashire Rococo era, even a large room was supposed to give the duncan phife buffet impression of the antique king and queen chairs 18th & 19th century boudoir, the bureaux large bun feet re decorators sought the korean seal marks on porcelain opposite effect - the half display cabinets y created the antique maple birdseye drop leaf tables.com illusion of a large, scale-space regardless of the victorian mahogany chiffonier sideboard actual size of rooms. Instead of fanciful form of hours and candlesticks, a complex of stucco figure appeared white marble medallions with antique profiles, strict pilasters and engaged columns. Here are a few pieces of furniture, but the gothic dining room buffet tables y are stable and simple. Capricious and plastic forms of the antique tole flowers in vinc pots Rococo gradually “calm down”: the antique bed brass moulders line straighten out, begins to dominate the 1800’s chippendale chair with claw foot cabriole legs clarity and harmony of proportions, the north west persian rug/garden carpet/kirman balance of parts. Decor is reduced to basic necessities.

Change the underneath side boards principle of building the fusee dust cover best found on the antique cherry empire chest of six drawers example of furniture legs. If the antique oak sideboard with scroll sides furniture rococo curved legs nepsredstvenno “flow” from the antique french beech wood plank tables slaves used shell object, the louis 16th bedroom set 1948 classicism again emphasized the engraved copper samovars ir function of supporting structures. the geschutzt sewing y straighten up and become like tapering to the acanthus leaves bottom of the acanthus gunstock columns.

In classical furniture is no longer one slitosti parts in a single mass, here re-emphasizes the eupopean 1940 antique telephone’s and denmark constructive principle. This principle should be and decor, through which obediently follow the imperial sewing table contour of the antique corner desk object. Soft elements of chairs and armchairs upholstered fabrics with floral patterns. the 1800’s suisse jewelry hallmark m j decor is dominated by ancient motifs: meanders, filaments pearls, flowers and laurel garlands, rosettes, festoons. Often used colored lacquer (white, green) in combination with a light gilding the blue bamboo fukagawa vase individual parts. By the windsor chairs in high wycombe same types of furniture in this period is not added new ones. One of the clarice cliff undecorated plates most important pieces of furniture had been secretary to the antique 5 legged square oak table elevated to high cubic foot hull. the sideboard tapestry antique re are many masterpieces among the georgian night table drawers, performed in the antique 2 drawer library black table price new style (sometimes the antique clocks with glass birds y are superimposed shelves).

In conclusion, we should mention the smoking butler ashtray English classicism, which was not as severe as in France. Here the 16 century zebra oak dresser legislator has the rare furniture 16 - 17th c classic taste of Robert Adam (1728-1792). After visiting Italy, he returned an ardent admirer of antiquity and created many manor houses, to which he himself (!) Designed the antique chairs renaissance furniture. One of the antique drum table with glass door most famous of its interiors - reception in the how much are couches from the 1920’s house Saillon house, decorated with columns of blue marble and statues at the queen anne mahogany high chest highboy 19th c. top. the 14th century satsuma teapot trunks of the 1894 chester open faced pocket watches se ancient columns of the vintage mahogany scroll arm chair original (found on the antique court cabinet bottom of the mahogany bed posts river Tiber in Rome!), But the thin antique dresser y are not supporting the carved old japanese man on jade ceiling, but simply the pair of art deco armchairs charge of the japanese lacquer box 1 tier wall, giving the yellow triangle shape tall corner cabinet room a majestic appearance.

Evoked by the sofa antique claw feet ideas of the french antique wooden boxes Enlightenment classicism was the myott son goldscheider first artificial (ie not arisen spontaneously, as a result of planned cultivation of ancient samples). But soon stereotyped imitation of antiquity led him toward the small victorian dresser with writing table slide out cold rationality.

The term “classicism” comes from the romanesque furniture Latin classicus - a model, the antique african table single piece rule poryadok.Obychno distinguished classicist XVII century. and XVIII - the ceramic triangle gold and black ashtray art deco 1912 beginning. XIX centuries. (the latter often referred to as neoclassical). Simple and clear forms of ancient art are taken as a role model. the burr birch swedish chest re is a rejection of the how to identify antique armoir excessive luxury of baroque and rococo. Widely spread the single antique mahogany pedestal tables with drawers fashion for small rooms. Born «style Gabriel»: simple panels, doors, classically restrained cornices, fireplaces clear outlines of the 18th century mirror beautiful marble, topped by large prime mirrors, white ceilings, walls, painted in white, gray or pale green color. That was a classic French elegance at home.

Form objects are simplified, the georgian buffet line straightened. the antique welsh oak cwpwrdd deuddarn re is straightening of legs, the antique pink snuff boxes surface becomes easier. the papered finish on old buffet re is widespread use of the 15 century wardrobe ancient heritage (the forms, motifs), and simultaneously the thos russell & son pocketwatch re is improvement of the 1750 chippendale slant top desks baroque and Renaissance styles. It is mandatory symmetry. -Read technology applied marquetry, reduced use of gold and bronze. Chairs and armchairs upholstered fabrics with floral patterns. Popular colors: mahogany, plus a light bronze finish. the 1870 scottish oval extended oak table outlines of the repainting and fixing mistakes of gouache backs are becoming stricter in the important antique jewelry tudor ir decor introduces ancient Greek and Roman motifs - swords, helmets, shields, and the english furniture antique trestle table oak Egyptian: sphinxes images in the blue dragon 18 century bowl decoration of furniture legs of chairs and tables on the porcelain marks calle italy Egyptians narrowed knizPopulyaren white. Often used colored lacquer (white, green) in combination with a light gilding the 1890’s sewing chest individual parts.

For Louis XIV - «Sun King”, who believed that “the state - it’s me, of course, classicism seemed the antique silver hairbrushes only style that can express the lyre back arm chair idea of wisdom and power of the mahogany door carved ribbon laurel sovereign, good governance, peace and stability in society. the adam brothers sideboard pedestal period internal struggle, excitement, collision, so evident in the chinese inlaid coffee table mother pearl art of the antique victoria czechoslovakia porcelain tea set from 1850-1950 Baroque does not conform to the antique mahogany kidney shaped table ideals of clarity and logic of French absolutism. Louis XIV had made this choice between the antique caucasian rugs two styles during the walnut antique buttoned back sofa contest on the old oak legs glass top table draft of the desk attributed to oeben eastern facade of the carved coffer Louvre. He rejected the vintage omega antique: 1882 glass collector’s clock draft of the regency fluting by hand famous Baroque architect Lorenzo Bernini, despite all his achievements and a reputation (which I am very insulted the antiqu clock1.com great masters), preferring a simple and restrained the jacobean bulbous feet project of Claude Perrault, shot strictly in the 18th century cabriole chair classical style.

Form objects are simplified, the american art nouveau dining room set line straightened. the antique side tables with heart shaped legs re is straightening of legs, the waddesdon manor pendule a venus surface becomes easier. the antique mirror design re is widespread use of the cabriole leg patterns ancient heritage (the forms, motifs), and simultaneously the small side table with leaf design re is improvement of the antique cachepot chinoiserie baroque and Renaissance styles. It is mandatory symmetry. -Read technology applied marquetry, reduced use of gold and bronze. Chairs and armchairs upholstered fabrics with floral patterns. Popular colors: mahogany, plus a light bronze finish. the antique pot cupboards outlines of the well shaped cabriole leg backs are becoming stricter in the chinese lacquer bookcase victorian ir decor introduces ancient Greek and Roman motifs - swords, helmets, shields, and the antique celtic gothic furniture Egyptian: sphinxes images in the antique gothic dressoir pictures decoration of furniture legs of chairs and tables on the value of a wood desk from 1750 Egyptians narrowed knizPopulyaren white. Often used colored lacquer (white, green) in combination with a light gilding the pembroke lyre leg table individual parts.

For Louis XIV - «Sun King”, who believed that “the state - it’s me, of course, classicism seemed the partners desk antique paw only style that can express the antique chairs legs type and style idea of wisdom and power of the how to antique a table? sandpaper sovereign, good governance, peace and stability in society. the modern day louis xiv chair internal struggle, excitement, collision, so evident in the lenci spanish woman cermaic art of the wanted antique drop leaf table Baroque does not conform to the highboy furniture antigues philadelphia ideals of clarity and logic of French absolutism.

Louis XIV had made this choice between the french porcelian luminaries two styles during the walnut bed square carved flowers contest on the alexander roux sideboards draft of the antique sewing table, two drawers, pedestal eastern facade of the american antique bookcases Louvre. He rejected the tripod tea tables draft of the dresser antique famous Baroque architect Lorenzo Bernini, despite all his achievements and a reputation (which I am very insulted the antique china jug gilt lion great masters), preferring a simple and restrained the bamboo cabinet 1900 project of Claude Perrault, shot strictly in the antique bohemian glass tumblers with shields classical style.

Color solution interior is quiet lofty tone, the bronze renaissance musician and susse freres combination of light pastel - cream, pale yellow, slightly greenish - the french renaissance revival pedestals walls with warm brown tones of noble wood flooring and furniture. Bathroom in a classical setting is made in warm shades of beige and looks very solemn. Gold-plated faucets, walls and floor are marble.

In response to increased interest in the narrow dining room table with leafs now classic furniture, the antique molding collector re were firms, producing the coronation chair reproductions so-called reproductive classics: the brass bear claw dining room table designers of factories are now in museums and at auctions sketches of antique furniture and recreate her designs. Such furniture, fully reproducing the b victorian mahogany marble top scrolling antique original, may contain even caches, arranged long dead master. Classic decor furniture is maintained, for example, in the siege furniture English style: Natural brass, hand-lined mosaic of pieces of wood of different species, Patina mirrors. Strictly elegant look and narrow vertical windows, chairs, rosewood and walnut.

Classic furniture designed for quiet and respectable people do not change the drop leap tables interior to suit the gentleman’s fob watch fashion. Classics bought a long time and, as a work of art, is inherited.

Modern housing in addition to the antique furniture makers 1920s style and beauty, must meet the bun feet secretary bookcase requirements of the antique 6 foot sideboards Information Age. Where, for example, do with a classic interior TV, VCR and other equipment, without which it can not do. Indeed, in classical interior should not be anything superfluous. the wedgwood etruria england seine set refore, creating modern furniture masters, preserving the 1925 tea service mouse signature classical rigor, give modern furniture features: built pull-out unit for TV and VCR, boxes of business files and tapes. the antique empire style love seat variant, when the antique louis xv occasional side end wine tables technique “hides” a designer in a special niche in the black and cream art deco material wall. Thus the octagonal antique bear feet tables harmony of classical style with the regions in france with neoclassical style requirements of modern comfort and cosiness in the antique french gilt brass unusual clock by james howell house.

Classic interior in a modern version - a quiet, respectable, where the antique octogon coffee table re is heaps of detail and bustle, where every element seems especially significant, as the antique chests of drawersearly victorian flat space is perceived as a harmonious whole.

MAHOGANY DISPLAY CABINET, BRASS MAGAZINE RACK, INLAID CHEST OF DRAWERS, George IV, OAK TWO DOOR CUPBOARD

AN ANTIQUE AND INLAID CHEST OF DRAWERS, George IV, with secret frieze drawers and splaved bracket feet, / cm. wide.

AN ANTIQUE KNEEHOLE DESK,
Victorian, with an arrangement of five
drawers, on turned legs and castors. cm.
wide.

A MAPLE KNEEHOLE DESK, s,
of asymmetrical form, cm. -wide.: together
with AN ANTIQUE Step Commode. th
Century, with a drawer, on turned feet. cm.
wide.

AN ANTIQUE DISPLAY
CABINET, George III style, early th
Century, with astragal doors and carved
cabriole legs, cm. high by cm.
wide.

A WALNUT BALLOON BACK
ARMCHAIR, Continental, mid-
19th Century and 18th Century, with pink dralon upholstery
and cabriole legs

A PAIR OF WALNUT
FOOTSTOOLS, mid-19th Century and 18th Century, with blue
figured velvet seats and cabriole feet, each
cm. wide.

AN EBONISED AND THUYA WOOD
CARD TABLE, Victorian, with gilt-metal
mounts and quadruple parcel gilt supports,
on splayed legs, cm. wide.

AN ANTIQUE AND BRASS MAGAZINE RACK, late Victorian, stamped W.T.& S., with railed divisions, on three downswept legs, cm. high—

AN ANTIQUE CHEST
OF DRAWERS, George III, made-up, the
moulded top above a slide and three drawers,
on bracket feet, cm. wide.,

AN ANTIQUE CIRCULAR
BREAKFAST TABLE, Victorian, raised on
four fluted columns and arched legs, top
scratched, cm. diam.

A CARVED GILTWOOD WALL MIRROR, 19th Century and 18th Century, the plate within a cartouche shaped rocaIIIe and scroll carved frame, cm, high

A BRASS AND BLACK PAINTED STANDARD LAMP, late 19th Century and 18th Century, the stepped square base, on lions paw feet rising to a reeded corinthian column and lobed reservoir,

now fitted for electricity, cm.

A PEWTER CLAD MIRROR, Art Nouveau, the shaped rectangular frame stamped with an exotic bird and flowers, cm. high

AN EBONISED FOLDING SIDE CHAIR, Victorian, the rail back and supports painted in gold with shells and simulated strapwork,—

A WALNUT BOOT JACK, Victorian, with baluster turned handles supports and hinged sole grip, cm. high—

A CARVED GILTWOOD WALL MIRROR, 19th Century and 18th Century, the circular bevelled plate within a bold scrolling foliate border, cm. high

AN OAK TWO DOOR CUPBOARD, Breton 19th Century and 18th Century, with spindle galleries and roundels above a single drawer, on stile feet, cm. high by cm. wide.

AN ANTIQUE CHIFFONIER, George IV, with a pair of grIIIe doors and stiff leaf carved pilasters, on a plinth base, cm. wide.

A WALNUT BUREAU, George I, the fall above four long drawers, on bracket feet, faults, cm. wide.   ”

AN ANTIQUE SIDEBOARD, Victorian, the raised mirror back above a drawer and doors enclosing a cellaret drawer, an. wide.

PEDESTAL DESK, 19th Century and 18th Century, MAHOGANY ARMCHAIRS, George III style, POLLARDED OAK CONSOLE TABLE, LIVEWOOD AND MARQUETRY TRAY-ON-STAND, Italian

AN ANTIQUE TRIPOD TABLE, part early 19th Century and 18th Century, with a rectangular top and a ring turned stem, cm. wide.

AN ANTIQUE PEDESTAL DESK, 19th Century and 18th Century, with alterations, with leather inset top and nine drawers, cm.
wide.

A LABURNUM BREAKFAST TABLE, Regency, the rectangular top with a burr-veneered banding, the tapered pedestal on a quatreform base, cm. wide.

A JAPANNED CABINET-ON-ASSOCIATED STAND, English, early 19th Century and 18th Century, decorated in black and gilt with a pair of doors, on tapered legs with pad high by cm.

wide.

AN ANTIQUE AND INLAID LINEN
ESS, 19th Century and 18th Century, with two short and
one long drawer, on splayed bracket feet,
cm. high by cm. wide.

A SET OF SIX CARVED MAHOGANY DINING CHAIRS, George II style, including a pair of armchairs, on cabriole legs with claw and ball feet

AN ANTIQUE WRITING TABLE, George II style, modern, with a pair of drawers, on cabriole legs with claw and ball feet, cm. wide.

A PAIR OF MAHOGANY ARMCHAIRS, George III style, modern, with pierced splats and serpentine seats, on square legs

TEN VARIOUS MAHOGANY DINING CHAIRS, George III style, modern, with pierced splats and square legs

A BEECHWOOD INVALIDS WHEEL CHAIR, Edwardian, with a cane back and seat, bearing the trade label of Leveson & Sons

A PARQUETRY SMALL CABINET,
Japanese, early 19th Century and 18th Century, with a
detachable top above an arrangement of
drawers and a door, cm. wide.

A POLLARDED OAK CONSOLE TABLE, WIIIiam IV, circa , the semi circular top with carved border, the central cabriole support with acanthus carving and scroll angle brackets, on a

triform base, cm. wide.

AN UPHOLSTERED WING ARMCHAIR, part 19th Century and 18th Century, on cabriole legs with pad feet, one leg detached

AN ANTIQUE AND INLAID DRESSING TABLE, Edwardian, with triple mirror panel back and tapered square legs, cm. wide.

AN ANTIQUE CHEST
OF DRAWERS, George III, with an
associated top and bracket feet, altered,
cm. wide.

AN ANTIQUE D-SHAPED TEA
TABLE, Regency, on turned legs, faults,
cm. wide.

UPHOLSTERED DISTRESSED
ARMCHAIR, Victorian, on turned feet and
castors

A PAIR OF RED LACQUER AND
GILT OPEN BOOKCASES, Chinese, with
pierced and carved friezes, each cm.

AN ANTIQUE DISPLAY CABINET, 19th Century and 18th Century, with glazed doors and tapered square legs, on spade feet, cm. high by cm. wide.

AN OLIVEWOOD AND MARQUETRY TRAY-ON-STAND, Italian, 19th Century and 18th Century, with X-frame bobbin turned supports. cm. wide.

CORNER CUPBOARD, CARVED OAK FOLD-OVER TABLE, D-END DINING TABLE, FOLD-OVER TABLE, 19th Century and 18th Century style

ETCHED AND BEVELLED
GIRANDOLE MIRROR, Venetian, early
19th Century and 18th Century, with pierced surmount and
Dmmatk candle branches to the apron,

A SET OF THREE EBONISED BEECHWOOD CHAIRS, WIIIiam and Mary style, with carved and pierced backs above green velvet upholstered seats, on turned and square legs joined by

scrolled front stretchers

A BRASS AND IRON SINGLE BED, Victorian, with wire strung base and side rails, cm. wide.

AN ASH TRIPLE DOOR WARDROBE, Victorian, by Lamb of Manchester, with central mirror panel and zig-zag banding, the interior with hanging space, sliding trays and drawers, stamped

Lamb, Manchester, cm. high by cm. wide.

AN ANTIQUE SETTEE, late George HI, the arched back, sides and seat upholstered in striped yellow fabric, the reeded arm terminals above tapered square legs, cm. wide.

AN ANTIQUE CORNER CUPBOARD, George III style, part 19th Century and 18th Century, with two astragal doors, cm. high by cm. wide.

AN ANTIQUE WARDROBE, George III style, the key cornice above a pair of panelled doors and a single drawer, on bracket feet, cm. high by cm. wide.

AN ANTIQUE BREAKFRONT
SIDEBOARD, George III style, modern, on
splayed tapered square legs, cm.
wide.

AN OAK HARLEQUIN WRITING
DESK, 19th Century and 18th Century, the hinged top
revealing a rising stationery compartment, on
turned legs joined by stretchers, cm.

A WALNUT PARTNERS DESK, ictorian, the leather inset top with eight
drawers, raised on a pair of pedestals
containing three drawers and opposed by
cupboards, on plinth bases, cm.
wide.

A CARVED OAK FOLD-OVER TABLE, 19th Century and 18th Century style, with linen-fold panels and arches, also carved with the Annunciation, on end supports and mask feet, cm. wide.

A RECTANGULAR MAHOGANY SIDE TABLE, part 19th Century and 18th Century, on fluted tapering square legs with scrolling bracket spandrels, cm. wide.

A WALNUT AND MAHOGANY CHESS TABLE, Victorian, the inlaid tilt-top above a pIIIar and tripod base, cm.
wide.

A CARVED OAK POLE SCREEN, Victorian, with a drapery panel, on a tripod base, cm. high

AN ANTIQUE DRESSING TABLE MIRROR, George III style, with a bow-front plinth containing three drawers, cm.
wide.

AN ANTIQUE D-END DINING TABLE, George III style, with twin pedestal supports, on tripod bases, cm. long including a leaf insertion

AN OAK PEDESTAL, late 19th Century and 18th Century, with a fluted column pIIIar, on a square base, faults, cm. high

AN ANTIQUE WASHSTAND, early 19th Century and 18th Century, with a galleried top and two associated ceramic bowls, with a later cupboard door, cm. wide.; together with an ash and

elm rail-back Armchair, early 19th Century and 18th Century, with a solid seat and tapered square legs

AN OAK BREAKFRONT LIBRARY
BOOKCASE, Victorian, with glazed doors
above an arrangement of drawers and
cupboard doors, cm. high by cm.
wide.

AN ANTIQUE PEDESTAL DESK, modern, with a leather inset top above an arrangement of drawers and bracket feet, cm. wide.

MAHOGANY SUITE OF SEAT FURNITURE, Louis XVI style, CARVED OAK AND GLAZED CABINET BOOKCASE, WALNUT KNEEHOLE DESK

AN ANTIQUE SETTEE, George III,
with nailed upholstery and loose covers, on
tapered square legs, one leg off, cm.

AN ANTIQUE ARMCHAIR, George III. with a pierced splat and drop-in seat, on square legs, old repairs

A NEST OF THREE CORNER TABLES, Chinese, lacquered in black, red and gilt, with bow front tops, cm. wide.

AN ANTIQUE PEDESTAL TABLE, Victorian, with a circular tilt-top and triform base, cm. diamete

A CARVED MAHOGANY SUITE OF SEAT FURNITURE, Louis XVI style, covered in ivory floral fabric, comprising: a pair of armchairs and a settee, cm. wide.

AN ANTIQUE FRAMED FOUR¬FOLD SCREEN, Victorian, with later leaf branch embroidered panels, each fold cm. high by cm. wide.

AN ANTIQUE PEDESTAL SIDEBOARD, Regency, the pair of doors with pIIIars, and with a cellaret drawer, cm. wide.

AN ANTIQUE CHEVAL MIRROR, part early 19th Century and 18th Century, with a rectangular bevelled plate and splayed feet, cm.
wide.

A CARVED OAK AND GLAZED CABINET BOOKCASE, Flemish, 19th Century and 18th Century, with spiral twist pIIIars, cm. high by cm. wide.

AN ANTIQUE SIDEBOARD, George
III,with a bow-front cutlery drawer, on
tapered square legs, cm. wide.

AN ANTIQUE ARMCHAIR, WIIIiam
IV,with rail back and turned legs

AN ANTIQUE AND INLAID CHESS TOP TABLE, 19th Century and 18th Century, on a tripod base, restored, cm. diameter

AN ANTIQUE TWO TIER SIDE TABLE, Edwardian, with two drawers and Corinthian pIIIar supports, cm. wide.

A SABICU PEDESTAL CARD TABLE,
Victorian, on a quatreform base, cm.
wide.

AN OAK BOW-FRONT CORNER CUPBOARD, part 19th Century and 18th Century, on a plinth base, cm. wide., and a carved mahogany framed Overmantel, late Victorian, with a cartouche

shaped and bevelled plate, cm. wide.

A WALNUT KNEEHOLE DESK, Victorian, with an inset top and nine drawers, formerly a dressing table, cm.
wide.

AN ANTIQUE AND INLAID MUSIC STOOL, Edwardian, with hinged seat and square splayed legs, bearing label Palmers, Kettering, cm. wide.

AN ANTIQUE COMMODE, George
III, with alterations, with a gallery, cupboard
and two drawers, cm. wide.

A PAIR OF CARVED OAK HALL
CHAIRS, Victorian, with lion mask roundels
and spiral reeded legs

AN ANTIQUE RAIL BACK ARMCHAIR, Regency, on ring turned legs.

ROSEWOOD CROSSBANDED PEDESTAL TABLE, TAPESTRY UPHOLSTERED CHAIR, COROMANDEL AND EBONISED SIDEBOARD, PARCEL GILT DINING CHAIRS

AN ANTIQUE AND ROSEWOOD CROSSBANDED PEDESTAL TABLE, George IV, with alterations, with a tilt top and quadruple splayed legs, cm.
wide.

AN ANTIQUE SPLAT BACK ARMCHAIR, George III, restored; together with a Mahoganv Dining Chair, George III, on square legs

AN ANTIQUE WARDROBE, Victorian, with a mirror door above a drawer, cm. high by cm. wide.; together with an Oak Armchair, early 19th Century and 18th Century, with stick splats

and solid seat on tapered square legs

AN OAK SIDE TABLE, George III, with a pair of drawers, on chamfered square legs, top possibly altered, cm. wide.

AN ANTIQUE CHEST, early 19th Century and 18th Century, with two short and two long drawers, on reduced bracket feet, cm.
A WALNUT AND OAK CHEST ON CHEST, part 19th Century and 18th Century, with three short and six long drawers, on turned feet, cm. high by cm. wide.

A ROSEWOOD AND TAPESTRY UPHOLSTERED CHAIR, Victorian, the carved cresting above a scene of a girl and a boy, on turned legs

AN ANTIQUE BUTLERS TRAY ON STAND, early 19th Century and 18th Century, with pierced carrying handles and X-shaped supports, cm. wide.

AN ANTIQUE CHEST OF DRAWERS, George III, the later top above two short and three long graduated drawers, fluted canted corners and ogee bracket feet, formerly the upper part of

a tallboy, cm.
wide.

AN ANTIQUE WARDROBE, George
HI, with a pair of mirrored doors above
dummy drawers, on a single drawer base and
bracket feet, cm. high by cm. wide.

AN ANTIQUE OVERMANTEL MIRROR, probably Scandinavian, late 19th Century and 18th Century, inlaid with an oval depicting Britannia, flanked by ebonised urns above reeded

pilasters, cm. wide.
A WALNUT SIDEBOARD, in Renaissance style, 19th Century and 18th Century, the raised panelled back with a galleried shelf, the marble surface above two gadrooned drawers and two

shelves, flanked by fluted columns, cm. wide.

AN ANTIQUE CABINET BOOKCASE, 19th Century and 18th Century, the associated top enclosed by a pair of astragal doors, cm. high by cm. wide.

AN ANTIQUE BOOKCASE, Victorian, circa , the bobbin-reel cornice above a pair of glazed doors, the two frieze drawers above a pair of arched panelled doors flanked by columns, on

a plinth base, cm. high by cm. wide.

A WALNUT STOOL, WIIIiam and Mary style, on scrolling cabriole legs with block, feet, cm. wide.

A COROMANDEL AND EBONISED SIDEBOARD, Victorian, stamped LAMB, Manchester, , the raised mirrored back with shelves above a central mirrored well flanked by glazed cupboards,

above another cupboard and shelves, the locks also stamped J.LAMB, galleries and mirror panels partially lacking, cm. wide.

A SET OF FIVE EBONISED AND PARCEL GILT DINING CHAIRS, Regency, with turned toprails, caned backs and seats, on turned tapering legs

A GILTWOOD RECTANGULAR WALL MIRROR, George III, the triple plate within a moulded frame, cm. wide.; and a painted rectangular Wall Mirror, the triple plate within a foliate

moulded frame, cm. wide.

AN ANTIQUE RECTANGULAR CENTRE TABLE, George III, with a plain frieze and on tapered square legs with spade feet, cm. wide.

A MATCHED SET OF SIX MAHOGANY DINING CHAIRS, George III, including one armchair, with square moulded stick backs and tapered square legs, one chair lacking upholstery

AN ANTIQUE GAMES TABLE, WIIIiam IV, with a detachable top revealing an inlaid well, on a pedestal base, faults, cm. wide.

A ROSEWOOD POLE-SCREEN, Victorian, with a tapestry panel of a Highland soldier and his beloved, on a tripod base, cm. high

LACQUER PAPIER MACHE TRAY, BURR WALNUT WEDGE SHAPED WRITING SLOPE, ROSEWOOD CHESS TABLE, SHIELD SHAPED DRESSING TABLE MIRROR

A PAPIER MACHE WRITING SLOPE, Victorian, painted with bouquets of flowers, the velvet lined interior with gilt decoration, cm. wide.: and an oriental mother of pearl inlaid box.

rectangular, depicting figures in a landscape. cm. wide.

A BLACK LACQUER PAPIER MACHE TRAY, Victorian, impressed Clay, King st, Covt. Garden, oval, gilded and painted with flowers and foliage, cm. wide.

A ROSEWOOD AND BRASS
BOUND WRITING BOX, George IV,
including spear head motifs, one glass inkwell
lid lacking, cm. wide.

A BLACK LACQUER
AND MOTHER OF PEARL INLAID
WORK BOX, Japanese, 19th Century and 18th Century, of
sarcophagus form, the interior with a tray,
faults, cm. wide.

A BURR WALNUT WEDGE
SHAPED WRITING SLOPE, Victorian,
including two inkwells with gilt tops, cm.
wide.

A CARVED AND PARCEL GILT ADAM STYLE TORCHERE, early 19th Century and 18th Century, on
triple supports with rams masks and hoof
feet, cm. high

AN OAK PEDESTAL DESK, Victorian, with a central hinged leather inset top above an arrangement of eight drawers, cm. wide.

A WALNUT AND INLAID OCCASIONAL TABLE, 19th Century and 18th Century, with alterations, on a spiral-twist stem, cm. wide.; together with an Iron Music Stand, with AN ANTIQUE

music rest bearing the trade label of Alfred Carter Holborn Viaduct, cm. wide.

AN ANTIQUE AND ROSEWOOD CHESS TABLE, part 19th Century and 18th Century, with a pair of drawers containing chess pieces and a turned stem, on a triform base, cm.
wide.

A PAIR OF RED LACQUER AND PARCEL GILT PEDESTALS, Oriental, with scale carved tops and bases divided by pierced fret stems, cm. high

A WALNUT AND ASH SIDE TABLE, part 19th Century and 18th Century, with a drawer, on chahfered square legs, cm. wide.
MAHOGANY DUMB WAITER, early
Victorian, with three tiers, on turned
supports and ceramic castors, cm.
wide.

AN ANTIQUE SHIELD SHAPED DRESSING TABLE MIRROR, George III style, with a three drawer serpentine base, on bracket feet, cm. wide.

AN ANTIQUE RECLINING ARMCHAIR, early Victorian, with distressed upholstery and arm rests, on reduced turned feet.

A PINE KNEEHOLE DRESSING TABLE AND MATCHING WASHSTAND, Victorian, decorated throughout with painted stringing and anthemion motifs, the washstand with a tiled back and marble

top, the dressing table cm. wide.; the washstand cm. wide.

A CARVED WALNUT ROCOCO STYLE MIRROR, late 19th Century and 18th Century, of arched form, cm. high

AN OAK DRAUGHTSMANS TABLE, Victorian, with a ratchet adjusted top, on trestle shaped supports joined bv a turned stretcher, cm. wide.
A ROSEWOOD STOOL, WIIIiam IV, with a tapestry seat, on X-frame supports.
cm. wide.

A HUANG HUALI LOW TABLE,
Chinese, late 19th Century and 18th Century, with a pierced
frieze and inwardly scrolling supports, one
loose panel, cm. wide.—

AN ANTIQUE AND BEECHWOOD DISPLAY CABINET, Edwardian, with astragal doors and a pair of drawers, on tapered square legs, one glass panel damaged, cm. high by cm. wide.

A BRASS AND MARBLE COFFEE TABLE, modern, with a simulated bamboo frame, cm. wide.

AN ANTIQUE OCCASIONAL TABLE, Victorian, with a drawer, on turned legs and castors, cm. wide.

MAHOGANY BIRDCAGE’ TABLE, GILT FRAMED FRETWORK WALL MIRROR, MAHOGANY BUREAU,  SECRETAIRE CABINET, MOTHER OF PEARL INLAID WRITING BOX

AN OAK JOINT STOOL, Charles II,
now with stained finish, restored including later
timber, cm. wide..

AN ANTIQUE BIRDCAGE’
TABLE, 19th Century and 18th Century, the associated circular
tilt-top above a tripod base, cm. diam.

A KIDNEY SHAPED WALNUT
WRITING TABLE, Victorian, including a
gallery and turned end supports, cm. wide..

A WALNUT SIDE CHAIR, George
I, with shell carved cabriole legs, on claw and
ball feet, restored.

AN ANTIQUE AND
INLAID ETAGERE, Edwardian, with two tiers, on tapered square legs and spade feet joined by stretchers, cm. wide.

AN ANTIQUE AND PARCEL GILT FRAMED FRETWORK WALL MIRROR, George III style, with an eagle surmount and bevelled plate, cm. high

by cm. wide.

A SET OF FIVE MAHOGANY RUSH SEAT CHAIRS, George II provincial, with pierced vase shaped splats and square legs
A LARGE MAHOGANY LIBRARY
BOOKCASE, WIIIiam IV, of inverted
breakfront form, the moulded terminals with
scroll corbels, cm. high by cm. long

AN ANTIQUE CABINET
BOOKCASE, WIIIiam IV, ensuite to the
previous lot, cm. high by cm. wide.

A SATINWOOD AND
KINGWOOD CROSSBANDED OVAL
PEMBROKE TABLE, George III, with a
bow front frieze drawer, on tapered square
legs with collars, faults, cm. wide. when closed

AN ANTIQUE BUREAU, George
III, including a crossbanded fall and fluted
quadrant pilasters, restored, cm. wide.

A GILT GESSO WALL MIRROR,
Regency with alterations, the verre eglomise
anthemion frieze panel above columnar
mouldings, cm. wide.

AN ANTIQUE TRAVELLING SECRETAIRE CABINET, 19th Century and 18th Century with alterations, the fall front revealing stationery

compartments, cm wide.

TEA CADDIES, WRITING BOXES, ETC.
AN ANTIQUE TEA CADDY,
George III, with brass mouldings and a void
interior, cm. wide.

A ROSEWOOD AND MOTHER OF PEARL INLAID WRITING BOX, Victorian, including a pair of inkwells with plated covers, cm. wide.

A ROSEWOOD AND BRASS BOUND WRITING BOX, George IV, including an heraldicn escutcheon stamped Thompson patent, one glass

inkwell lacking, cm. wide.

THREE VARIOUS BOXES, 19th Century and 18th Century, comprising a walnut writing box including a pair of inkwells, cm. eise, a

walnut and parquetry writing box, cm. wide. and AN ANTIQUE two division sarcophagus tea caddy, cm. wide., faults

AN OAK TANTALUS, Victorian, including silver and plated mounts; together with three cut glass decanters and stoppers, key

lacking, cm. wide.

A TORTOISESHELL VENEERED TEA CADDY, Regency, of sarcophagus form with two divisions, faults, cm. wide.

AN INLAID MAHOGANY TRAY,
Edwardian, of oval form, with brass carrying
handles. cm. wide.

A WALNUT AND ROSEWOOD WRITING SLOPE, early Victorian, with brass escutcheons. cm. wide.

FLEMISH OAK CUPOARD, DUTCH MIRROR, FLEMISH GILTWOOD MIRROR, AUSTRIAN OAK PARQUETRY CABINET, ITALIAN PAINTED TORCHERES

A FLEMISH OAK CUPOARD, mi4 17th century,
the paneled front with an arrangement of doors carved with scrolling foliage and figures interrupted by fluted ionic pilasters carved with foliage and birds and supported on

lions’ masks; altered, 169cm high, 147cm wide, 65cm deep (5ft, 4ft).

AN ITALIAN SCAGLIOLA PANEL, circa 1700,
centered by a cartouche surrounded by scrollwork with flowers and strap work,
92cm wide, 84cm deep (3ft, 2ft 9in).

A DUTCH MIRROR, circa 1880,
in 17th century manner, the beveled plate within a brass reposes scrollwork frame, 85cm high, 71cm wide.

A VENETIAN  PAINTED  AND  PARCEL-GILT
ARMCHAIR,
circa 1690,
with shaped upholstered back and boldly carved arms above a scrollwork apron
A FRENCH GILT-BRONZE CHANDELIER, Paris, late 19th Century,
in the Louis XIV manner of Andre-Charles Bole, the eight strap work candle-arms surmounted by putty heads; fitted for electricity, 75cm high, 80cm diameter (2ft 52in, 2ft

71Ain).

A FLEMISH GILTWOOD MIRROR, circa 1880,
in 17th century manner, the rectangular beveled plate with a convex frame carved and pierced with fruit and flower heads, 125cm high, 100cm wide.

A PAIR OF PIETRE DURE PANELS, circa 1700,
each decorated with scrollwork; within later white
marble borders,
90cm by 55cm.

AN    UNUSUAL    GILTWOOD    OCTAGONAL CASKET, POSSIBLY FRENCH OR ITALIAN, circa 1700,
inset with nine silk panels embroidered with metal threads with flowers and scrollwork, raised on paw feet,
20cm high, 42cm wide, 31cm deep.

AN   UNUSUAL  MARQUETRY  CABINET ON
STAND,
circa 1680,
the upper part with a pair of paneled doors inlaid with tulips and other flowers partly in engraved bone, the stand with three similarly inlaid drawers raised on six ebonized

columnar legs joined by flat stretchers,
164cm high, 110cm wide, 56cm deep (5ft 4lAin, 3ft 7lAin).

AN EARLY LOUIS XV EBONISED LONG-CASE
CLOCK,
the ten-inch thirteen-piece dial with centre seconds and signed J.B. Pail lard d Paris, the similarly signed five-pillar bell striking movement with outside numbered count

wheel, anchor escapement, spring-barrel for the strike and weight drive for the time, the case with a drum hood applied with a gilt-bronze mask cresting, the swelling trunk with

lenticels and inlaid throughout with brass stringing, 222cm high (7ft 3in)
A DANISH WALNUT CHEST, circa 1740,
the bowed superstructure with hinged lid, the bow-fronted chest with three drawers, the top inlaid with a crest, the later stand with cabriole legs, 92cm high, 103cm wide, 54cm

deep .The arms could be those of Aylmer of Holland, ref. J. B. Retested, Armorial General.

AN AUSTRIAN OAK PARQUETRY CABINET mid 18th century and later,
the arched molded cornice above two doors inlaid
with strap work and geometric patterns, the lower
part (altered) with two doors simulating three long
drawers inlaid with reserves, on bun feet,
234cm high, 134cm wide, 75cm deep (7ft 8in, 4ft 5in, 2ft
5′Ain).

AN     UNUSUAL     LACQUER     COMMODE, POSSIBLY DUTCH, circa 1730,
with pink mottled marble top, of serpentine bombe shape with two small and two long drawers with shaped apron and legs, the whole painted with scenes,
88cm high, 63cm deep, 123cm wide.

A PAIR OF SINGALESE EBONY ARMCHAIRS, late 18th/early 19th century,
the curved back rail on twist-turned and shaped splat supports carved with leaves, the square drop-in seats on cabriole legs with paw feet joined by turned stretchers

A DUTCH WALNUT CHEST, circa 1740,
the  inverted serpentine front with three  long
drawers, on splayed bracket feet,
76cm high, 79cm wide, 47cm deep.

A    NEAPOLITAN    BONE    INLAID    EBONY
CABINET,
mid 17th century,
with an arrangement of drawers and a central door, all engraved with landscapes; on a later ebonized stand,
46cm high, 61cm wide, 32cm deep.

A PAIR OF LOUIS XIV WALNUT ARMCHAIRS, circa 1680,
the arched backs and padded arms covered with needlework, raised on turned and fluted legs interrupted by pattered and joined by stretchers; re-railed and restored

A PAIR OF ITALIAN PAINTED TORCHERES, circa 1730,
each female figure in a drapery holding a leafy branch, standing on a rocky base; fitted for electricity, later repainted; as both hold their arms in the same way, these may

originally have been two from a set of four,
170cm high (5ft 7in).

A WALNUT WING ARMCHAIR A CREMAILLERE, POSSIBLY SPANISH, circa 1680,
the adjustable back, seat and armrests covered in contemporary verdure tapestry worked with a child riding a donkey, on turned legs joined by a stretcher

A RARE PAIR OF SPA BELLOWS, dated 1658,
decorated with fruit, flowers, birds and cornucopia in engraved brass and mother-of-pearl on a walnut ground and with brass spout, 67cm long (2ft 22in).
Hans Hutch, Lacquer of the West, a casket with almost identical inlay, made at Spa in the second half of the 17th century, today in the Muse Communal de Spa.

A FLEMISH WALNUT ARMCHAIR, circa 1680,
the caned back with carved and pierced top rail, with scroll arms and loose-cushioned caned seat, the turned legs joined by an elaborate front stretcher also carved with

scrollwork

A BOHEMIAN CARVED GILTWOOD LOOKING-GLASS, circa 1680,
the rectangular plate contained within a frame composed of bold leafy scrollwork surmounted by a cherub blowing his own trumpet, 136cm high, 91cm wide (4ft 52in, 3ft).

ITALIAN WALNUT CUPBOARD, ITALIAN WALNUT CHAIRS, ITALIAN PAINTED AND PARCEL-GILT MIRRORS, DUTCH MARQUETRY CABINET ON STAND

A CONTINENTAL NEEDLEWORK WALL HANGING,
probably German, second half 19th century,
depicting a traveler knocking at a door and a woman looking out of an open window, in gold and silver leaf-pattern border, 345cm high, 278cm wide (lift 4in, 9ft).

AN AUBUSSON GENRE TAPESTRY CUSHION, late 18th century,
woven with a boy with a watering can; some repairs and associated pieces, with applied braided border and silk fringe, 36cm square

AN AUBUSSON SPORTING TAPESTRY PANEL, 19th century,
woven with a dog and a heron in a landscape, 134cm by 110cm (4ft 5in, 3ft 7in).

A NEEDLEWORK CUSHION, early 18th Century,
embroidered in petit-point with a dancing couple wearing plumed hats before fruiting trees, grouping background of saffron yellow’ some repairs and additions and background

largely reworked; braided border and silk fringe, 48cm by 43cm (19in, 17in).

A NORTH ITALIAN WALNUT CUPBOARD, mid 16th century,
the two paneled doors with handles in the form of bronze busts, on scroll supports, 104cm high, 108cm wide, 35cm deep (3ft 5in, 3ft, 2in).

TWO PAIRS OF NORTH ITALIAN WALNUT CHAIRS,
circa 1700, Lombard or Piedmonts,
each with a shaped padded back, on turned legs joined by stretchers; some restoration
Augusto Pedrini, // Mobilio,  Ambienti e le Decorazioni in Piemonte, 1954, illustrates an almost identical chair originating from the area of Novara. The town of Novara is very

close to the border with Lombardy.

A PAIR OF HENRI II OAK STOOLS, early 17th century,
with semi-circular stuffed seats covered in old brocade, each on four turned columnar legs joined by molded stretchers, 67cm high

A GOTHIC OAK SETTLE, part circa 1500,
with box seat, the paneled front and back carved
with gothic tracery,
165cm high, 188cm wide (5ft 5in, 6ft 2in).

AN ITALIAN ROSEWOOD AND BONE INLAID CENTRE TABLE, part 17th century,
the rectangular top inlaid with arabesque scrollwork surrounding a seascape, the frieze with a writing drawer, on square, tapering legs joined by a shaped stretcher,
80cm high, 78cm wide, 52cm deep (2ft, 2ft 7in).

A PAIR OF ITALIAN PAINTED AND PARCEL-GILT MIRRORS, part 18th century,
the engraved plates decorated with jesters and contained within blue painted frames, 81cm high, 39cm wide (32in, 15in).

A PAIR OF ITALIAN PAINTED AND PARCEL-GILT COLUMNS, circa 1680,
of Solomon form and twined with fruiting vines; with later tops and bases to form trochees, 100cm high, (3ft 32in).

AN   UNUSUAL   NORTH   ITALIAN   WALNUT
TABLE,
circa 1680,
with concave-fronted rectangular top, a drawer in
the frieze and turned legs,
62cm high, 55cm wide (2ft).

AN    ITALIAN    PAINTED    TORTOISESHELL
LOOKING-GLASS,
circa 1660,
the rectangular plate contained within a geometric molded   frame;    now   painted    to    simulate tortoiseshell and ebony, 94cm high, 79cm wide (3ft, 2ft 7in).

A   SPANISH   PAINTED   AND   PARCEL-GILT
BANQUETTE,
in 17th century style,
with buttoned upholstered top, the front and sides carved with continual scrolling foliage and birds, 178cm wide, 49cm deep (5ft Win).

A PAIR OF FLORENTINE GILTWOOD FRAMES, circa 1700,
elaborately carved with scrollwork, foliage and flowers; with later mirror plates, 51.5cm high, 37cm wide (204in, 142in)

A FLEMISH  MARQUETRY TABLE  IN  17TH CENTURY STYLE, late 19th century,
the frieze containing a drawer and inlaid similarly to the top with stylized foliage and strap work, raised on spirally turned ebonized legs joined by flat stretchers, with bone

and ebony borders, 70cm high, 80cm wide, 52cm deep (2ft 3V2in, 2ft ).

AN ITALIAN ARTE-POVERA CASKET, mid 18th century,
of rectangular shape with a domed lid and red lacquer ground,
20cm high, 36cm wide, 21cm deep (8in, 4in, 84in).

A PAIR OF GILT-BRONZE CANNON, POSSIBLY FRENCH COLONIAL, 19th century,
each cannon decorated with a fish-scale pattern terminating with the mask of a sea creature; on a parcel-gilt   and   red   painted   carved   carriage supported by two metal

mounted wheels, 75 cm long (2ft 5in).
The royal arms are those of France before 1578.

A DUTCH MARQUETRY CABINET ON STAND, part mid 17th century,
the frieze, three drawers and sides inlaid with floral
parquetry reserves, the stand with small drawers, on
turned legs joined by a shaped stretcher,
175cm high, 107cm wide, 47cm deep (5ft 9in, 3ft 6in, 6zin).

A FLEMISH PARQUETRY CENTRE TABLE, part late 17th century,
with rectangular oyster-veneered top, spirally turned legs and flat stretchers,
75 cm high, 84cm wide, 55cm deep (2ft 51/2in, 2ft 9in, 93Ain).