Antique Cupboard

BEECHWOOD CANTERBURY, George III style, ANTIQUE PEDESTAL DESK, ANTIQUE LINEN PRESS, AN ANTIQUE PEDESTAL TABLE

A BEECHWOOD CANTERBURY, George III style, modern, with three divisions, on turned feet, wide.   —

A WALNUT AND PINE CHEST OF DRAWERS, early 18th Century, now in two parts with two short and three long drawers, faults, wide.

A WALNUT AND INLAID MIRROR BACK SIDEBOARD, Victorian, with a marble top above mirror and solid panel doors, high by wide.

A CARVED HUANG HUALI
WRITING DESK, Chinese, late th
Century, the asymmetrical raised open shelf
back above and arrangement of drawers and
cabriole supports. wide.—

AN ANTIQUE LINEN PRESS, William IV, with a pair of panelled doors enclosing sliding traxs. formerly with a lower section, icide—

AN OAK PARTNER’S WRITING TABLE, Victorian, the leather inset top above six opposing frieze drawers, on reeded turned legs lacking castors, high by wide.,-.

AN ANTIQUE PEDESTAL DESK,
modern, the leather inset top with bowed
wings above an arrangement of drawers and
doors, on splaved bracket feet. wide.

A WALNUT PEDESTAL DESK, modern, the leather inset top above an arrangement of drawers and cupboard doors, on bracket feet. u>ide

AN ANTIQUE D’-END DINING TABLE, George III style, modern, with ebonised stringing and twin turned pedestals, on splaved tripod bases ending in brass paw castors. long extended

including three leaf insertions”

A TEAK TWO TIER SIDE TABLE, modern, with a slightly dished top and square legs, wide.; together with AN ANTIQUE Side Cabinet, modern, with a pair of drawers above fielded panel

doors, wide.

A SMALL YEW-WOOD CHEST OF DRAWERS, modern, with a serpentine top above four drawers and bracket feet, wide.; together with a small mahogany drum Table, modern, with a leather

inset top above drawers, open shelves and a pedestal base,  diam.

AN ANTIQUE SIDEBOARD, George III style, modern, including a bowed frieze drawer and a fluted apron, on tapered legs with spade feet, wide.

AN ANTIQUE DAVENPORT, late
Victorian, by Maple if Co.. with a real and
dummv drawers, turned pilasters and bun
feet, one drawer bearing the maker’s name G.
Bradley and date , another drawer stamped
Maple is Co. Ltd., wide.

AN ANTIQUE PEDESTAL TABLE, George III style, with an oval top and quadruple splayed legs ending in brass castors, wide.   ”

AN ANTIQUE CABINET, the cupboard door incorporating two late 18th Century Japanese ivory mounted panels, wide.

AN ASH RUSH SEAT ARMCHAIR, 18th Century, with a spindle back and turned supports

A FIGURED WALNUT
AND EBONISED SECRETAIRE CABINET,
Victorian, with a raised mirror back above a
fall-front and a drawer, on tapered square
legs with stretchers and spade feet, faults,
wide.

AN ANTIQUE WASHSTAND, Victorian, the moulded top above two drawers, supported on twin turned end-supports , faults, wide.

AN ANTIQUE PEDESTAL TABLE, Victorian, with a circular top on a hexagonal column, on a triform base with later castors, faults, diam.

AN EBONISED GESSO POLESCREEN, early Victorian, with a needlework panel and a triform base, distressed.

CARVED BEECHWOOD CONSOLE TABLE, ANTIQUE BERGERE SUITE, AN EBONISED BOOK TABLE, ANTIQUE AND BUTTON UPHOLSTERED TUB SHAPED ARMCHAIR

A CARVED BEECHWOOD CONSOLE TABLE, Louis XVI style, with a semicircular simulated marble top, on spiral fluted supports, teide; together with AN ANTIQUE Wine Table, modern, on

tripod supports, diam. and a set of four ebonised and carved mirror back panels, each by

A CARVED MAHOGANY STOOL, George II style, with a floral tapestry seat, on cabriole legs with claw and ball feet, wide; together with a smaller Stool, with tapestry seat and

cabriole legs
wide

A WALNUT KERB STOOL, Queen
Anne style, with floral tapestry seat and shell
carved cabriole legs, wide.; together with

AN ANTIQUE Stool, William and Mary style,
with a tapestry seat and turned legs joined by
•X’-shaped stretchers, -wide

A PAIR OF MAHOGANY TWO TIER
BUFFETS by Holland and Sons, Victorian,
with turned supports, on brass castors, rear
supports stamped. ‘Holland and Son’. wide.

A ROSEWOOD STOOL, Victorian, the two supports each with four scrolls joined by a turned and carved stretcher, with a moire fabric seat,

AN ANTIQUE BERGERE SUITE, 18th Century, comprising: a three seat settee and two chairs,

AN ANTIQUE DROP LEAF TABLE, George II, with an oval moulded top, on turned tapered legs with pad feet, wide.

AN ANTIQUE DISPLAY CABINET, Edwardian, incoporating a display case with hinged lid above a pair of glazes doors enclosing two shelves, on tapered square legs, wide.

AN ANTIQUE ‘D-END DINING TABLE, George III style, the crossbanded top with reeded edge with a leaf insertion, on turned pedestals and tripod legs, ivide extended For colour

illustration see page

A SET OF SIX MAHOGANY DINING
CHAIRS, George III style, with shield backs
incorporating urn and wheat sheaf motif,
with tapestry seat, on tapered square legs,

AN ANTIQUE LINEN PRESS, George III, the dentil cornice above panel doors, interior now lacking, on chest comprising of two short and two long drawers, faults, high by wide.

AN EBONISED BOOK TABLE, Victorian, with a circular top and two galleried three-armed shelves revolving on a pillar and a tricorn base, high

A PAIR OF MAHOGANY ARMCHAIRS, English, circa , and Another very similar, George III, circa , each with pierced serpentined toprail and three matching crossbars, with stuffed

seats and square legs

A PAINTED CHEVAL MIRROR, George IV, circa  the frame now grained as maplewood, high  —

A CIRCULAR MAHOGANY THREE-TIER DUMB WAITER, George II, on a triple baluster stem, plain cabriole legs with pointed pad feet, high by diam.

AN ANTIQUE SIDEBOARD, George III and later, with a serpentine top above an arrangement of drawers, on tapered legs with spade fee, uncle

AN ANTIQUE AND INLAID SHAVING STAND, Edwardian, with a mirror back and compartments above a drawer and a door, on tapered legs with an undertier, wide.

TWO SIMILAR CARVED AND GOLD PAINTED FOOTSTOOLS, Louis XV style, with tapestry seats and cabriole legs; together with another tapestry footstool,

AN ANTIQUE AND BUTTON UPHOLSTERED TUB SHAPED ARMCHAIR, William IV, covered in floral patterned fabric, on reeded turned legs with brass castors

PARCEL-GILT CONSOLE TABLE, French, CIRCULAR OCCASIONAL TABLE, Louis XVI style, ANTIQUE SMALL BUREAU

AN ANTIQUE PEDESTAL TABLE,
Regency, the rectangular tilt-top above a
quadruple base with reeded cappings and
castors, cm. -wide.

A CARVED GILTWOOD CHEVAL
FIRESCREEN, Louis XV style,
the scroll cresting above an Aubusson tapestry panel after Boucher, depicting a pair of lovers in a garden, on scrolled cabriole supports, cm. high by cm. wide. —

A GREEN VELVET UPHOLSTERED ARMCHAIR, WIIIiam and Mary style, on scrolled front legs joined by a carved stretcher,

AN ANTIQUE AND CANED LIBRARY ARMCHAIR, George III style, with loose velvet-covered cushions, on tapered square legs ending in brass cappings and castors,

A WALNUT AND PARCEL-GILT WALL MIRROR, George II, the bevelled plate within a fretwork frame, faults, cm, high

A PAINTED AND PARCEL-GILT CONSOLE TABLE, French, late 19th Century and 18th Century style, with a serpentine green marble top above a pierced frieze centred by swags, on

cabriole supports joined by a shell stretcher, faults to marble top, cm. high by cm. wide.

AN ANTIQUE PEDESTAL TABLE, George IV, with a rectangular tilt-top and a quadruple splayed base, top split, cm.
wide.

AN ANTIQUE TWO-PIIIAR DINING TABLE, George III style, with a reeded edge, raised on turned columns and downswept legs with brass cappings and castors, with one extra leaf, cm.

long by cm. wide.

AN ANTIQUE DINING CHAIR, George III, with a pierced splat and tapered square legs; together with AN ANTIQUE semi¬circular Side Table, George II style, with a drawer, on cabriole

legs ending in claw and ball feet, cm. wide.

AN OVAL PAPIER-MACHE CELLARET, Victorian, late 19th Century and 18th Century, painted as burr yew and with two gilt-painted bands, with loop handles and metal liner, cm. wide.

A CARVED AND GILT GESSO WING ARMCHAIR, Louis XVI-style, late 19th Century and 18th Century, upholstered in cream fabric, on cabriole legs, faults,

A ROSEWOOD AND INLAID CENTRE TABLE, late Victorian, of octagonal form, with an undertier, cm. wide.

A CARVED ROSEWOOD CHEVAL FIRESCREEN, Victorian, with a floral needlework panel and spiral supports, on cabriole legs, faults, cm.

A MARQUETRY CIRCULAR OCCASIONAL TABLE, Louis XVI style, with gilt metal-mounts and a drawer, on tapered square legs, cm. diam.

A CARVED GILTWOOD LANTERN,
Venetian,  of pentagonal form
with pierced panels, now raised on a velvet
pole set into a painted base, cm.
high

A CARVED OAK CABINET, Victorian, with a raised open-tier back above an arrangement of drawers and doors. cm. wide.

AN ANTIQUE WARDROBE, late Victorian, including mirror doors and drawers, cm. high by cm. -wide.

A CARVED OAK PRESS CUPBOARD, 19th Century and 18th Century style, modern,
including a pair of tracery panel doors.
cm. wide.

AN ANTIQUE SMALL BUREAU, George III style, with four drawers, on bracket feet, cm. wide.

AN ANTIQUE TRIPOD TABLE, late th /early 19th Century and 18th Century, the tilt top now with foliate carving, cm. diam.

CHERRYWOOD AND INLAID WALL MIRROR, Scandinavian, WALNUT AND PARCEL-GILT WALL MIRROR, TURKISH SILVER INLAID OCCASIONAL TABLE, early 19th Century and 18th Century

AN OAK HALL TABLE, Victorian, the raised back above a frieze drawer, on panelled tapering square legs, cm.
wide.

A SET OF FOUR WALNUT
BALLOON BACK DINING CHAIRS,
Victorian, with leaf-carved back rails and
turned legs with cabochon carving

A ROSEWOOD AND MAHOGANY WORK TABLE, Victorian, the octagonal top enclosing a fitted interior, on foliate carved supports, cm.

AN ANTIQUE CROWN-BACK ARMCHAIR, early Victorian, with scroll arms and drop-in seat, on tapering legs, An oak Armchair; early 19th Century and 18th Century, with pierced rail

back and solid seat, on tapering square legs and A parcel-gilt walnut Armchair, Louis XV style, with padded back, arms and seat, on cabriole legs

AN ANTIQUE AND INLAID SIDEBOARD, George III, of breakfront form, with bowed sides, on tapered legs and spad feet, cm. wide.    AN ANTIQUE SIDE TABLE, George
III style, with a fluted two drawer frieze
centred by an urn motif, on tapered legs,
cm. wide.

AN ANTIQUE AND BRASS BOUND BUCKET, George III, with alterations, of circular tapering form with a later metal liner, cm. high

A WALNUT AND PARCEL-GILT WALL MIRROR, George III style, the broken swan neck pediment centred by Prince of Wales feathers, cm. high

AN ANTIQUE AND INLAID PEMBROKE TABLE, George III, of rectangular form, with a drawer, on tapering legs with spade feet, now bearing the label of Druce & Co., Baker st London,

cm. wide. extended

AN ANTIQUE CARD TABLE, George III, with alterations, the serpentine moulded top, on moulded square legs, cm. wide.—

AN ANTIQUE BUTLERS TRAY ON STAND, part late 19th Century and 18th Century, with a waved gallery and pierce brackets (one lacking), cm. wide.—

A TURKISH SILVER INLAID OCCASIONAL TABLE, early 19th Century and 18th Century, the octagonal top centred by a Tourgha, the stem on splayed tripod supports, cm.
wide.

AN ANTIQUE AND INLAID
DRESSING TABLE MIRROR, George IV,
with a three drawer plinth base, restored,
cm. wide.

A WALNUT AND FEATHERBANDED CHEST, part early 19th Century and 18th Century, the moulded top above three long drawers, on bracket feet, cm. wide.

AN ANTIQUE EXTENDING DINING TABLE, French, nd quarter 19th Century and 18th Century, the drop-leaf top on fluted turned legs, lacking spare leaves, cm. diam. closed/ IVf

AMAHOGANY EXTENDING

DINING TABLE, Victorian, with a moulded
top and bulbous turned and fluted legs,
mechanical action detached, cm. by cm.
fully extended including three spare leaves and a
winder

A CARVED AND GILT GESSO WALL
MIRROR, 19th Century and 18th Century, the divided
bevelled plate within an arched and
gadrooned frame, regilded, cm. high

A CHERRYWOOD AND INLAID WALL MIRROR, Scandinavian, early 19th Century and 18th Century, with a shaped cresting, cm. high

A FIGURED WALNUT AND INLAID SIDE CABINET, Victorian, with a marble top above triple mirror panel doors, cm. wide.

A WALNUT CENTRE TABLE,
Victorian, of serpentine form, on pierced
fretwork end supports, cm. wide.

AN ANTIQUE PEMBROKE TABLE, late George III, of rectangular form, with a drawer and turned legs, top loose, cm. wide.

BRASS-BOUND MAHOGANY SECRETAIRE MILITARY CHEST, EBONISED CARD TABLE, CROSSBANDED ROSEWOOD CARD TABLE, BONE INLAID OCTAGONAL OCCASIONAL TABLE

A DISTRESSED MAHOGANY PEDESTAL TABLE, Victorian, the circular tilt-top above a tapering pIIIar and triform base, 125cm. diam.

AN EBONISED CARD TABLE, late Victorian, on turned legs joined by balustrade stretchers, 93cm. wide.

A MAHOGANY HANGING CORNER CUPBOARD, George III, with a fluted cornice and chamfered corners flanking an inlaid door, faults, 78cm. wide.

AN OAK HANGING CORNER CUPBOARD, George III, with a panel door enclosing shelves and a drawer, flanked by fluteygF corners, 83cm. wide.

A BRASS-BOUND MAHOGANY
SECRETAIRE MILITARY CHEST, 2nd
quarter 19th Century, in two parts with three
short and three long drawers, on turned feet,
faults, 99cm. wide.

A MAHOGANY DINING TABLE,
George IV, the rectangular top on spiral
reeded legs, part of a larger table, 123cm.
wide.

A MAHOGANY PEDESTAL TABLE,
early 19th Century, with alterations, the
rectangular top on a turned pIIIar and
splayed supports, 134cm. wide.

A MAHOGANY SOFA TABLE,
George IV, with burr veneered crossbanding
and reeded turned legs, restored, 147cm. wide
extended.

AN OAK BUREAU BOOKCASE, George II, now with glazed doors above a fall and five drawers, on bracket feet, distressed, stationery compartments missing, 219cm. high by 102cm, wide.

AN OAK CHEST, early eighteenth century with alterations, the two short and two long drawers above later bracket feet, 78cm, wide.

AN OAK AND WALNUT GATELEG
TABLE, late 17th Century with restoration,
the oval top above a single drawer, on turned legs joined by stretchers, 118cm. wide extended.

A BOULLE AND EBONISED
DRESSING TABLE, 19th Century, the
hinged top set with a mirror and enclosing a
sliding fitted interior, on gilt-metal mounted
cabripre legs, faults, 60cm. wide.

A MAHOGANY AND
INLAID WORK TABLE, George III, with a chamfered rectangular top, on conjoined splayed supports, faults, 51cm. wide.

A MAHOGANY TRIPOD TABLE, George III, the associated circular tilt-top raised on a turned column and cabriole legs, 53cm. diam.

A DISTRESSED MAHOGANY TEA TABLE, George IV, with a ‘D’-shaped top and an inlaid frieze, on turned legs, 92cm. wide.

A CROSSBANDED ROSEWOOD CARD TABLE, WIIIiam IV, the rounded rectangular top raised on a column carved with stiff leaves, the shaped base with lions paw feet, faults, 94cm. wide.

AN INLAID MAHOGANY TRAY TOP TABLE, Edwardian, with a brass galleried oval top, on tapered square legs with spade feet, 69cm. wide.

A MAHOGANY URN TABLE, George III style, the serpentine galleried top on satinwood inlaid tapered square legs, 30cm. wide.

A TEAK TRAVELLING SECRETAIRE CHEST, 19th century made up, the hinged top and fall enclosing a fitted interior above two drawers, on bun feet; 116cm. wide.

A HARDWOOD AND BONE INLAID OCTAGONAL OCCASIONAL TABLE, Indian, the top with scrolling foliate decoration on a similarly inlaid folding stand, 51cm. wide; toghether with an

inlaid hardwood octagonal table, Indian, decorated with a chequer board and foliage, on a collapsible stand, 46cm.

BOWFRONT CHEST OF DRAWERS, ROSEWOOD AND INLAID SETTEE, BREAKFRONT SIDEBOARD, DRAWLEAF DINING TABLE

A ROSEWOOD AND INLAID SETTEE, Victorian, with upholstered and pierced back above a sprung seat, on turned legs.

A MAHOGANY CAMPAIGN CHEST, Victorian, stamped PEIRCE, NORTH, in two parts, with brass inset corners, on later bun feet, 98cm. wide.

A MAHOGANY BOWFRONT CHEST, Regency, the six drawers inlaid throughout with ebonised stringing, on bracket feet, 122cm. wide.

A SET OF EIGHT OAK DINING CHAIRS, 18th Century style, including two armchairs, with arcaded spindle backs, solid seats and on turned legs.

A PINE BREAKFRONT LIBRARY BOOKCASE, 20th Century, the moulded cornice above glazed doors, the lower part with panelled doors, on a plinth base, 224cm. high by 214cm. wide.

A MAHOGANY INVERTED BREAKFRONT SIDEBOARD, George III style, the central drawer flanked by a deep drawer and a cupboard, on fluted tapering square legs, 169cm. wide.

A CARVED OAK PEDESTAL DESK, Late Victorian, the inset top above three frieze drawers, raised on a pair of pedestals each containing three drawers, and on a plinth base, mask

handles, 122cm.

A MAHOGANY CABINET CHEST,
eorge III, with an arrangein freight
drawers above panelled cupSaardyrmte,
99cm. wide.

A MAHOGANY PEDESTAL TEA
TABLE, George IV, the rounded rectangular
top on a reeded column and leaf carved
downswept legs, ending in brass cappings
and castors, one castor detatched, 106cm.
wide.

A MAHOGANY DROPLEAF WRITING TABLE, George III, the rectangular top with hinged leaves, above a drawer fitted with a writing slope and side drawer, on a tapering column and

downcurved legs, top split, 103cm. wide extended.

A MAHOGANY TEA TABLE, George III, the rounded rectangular top raised on tapering square legs headed by inlaid oval paterae, 92cm. wide.

A MAHOGANY BOWFRONT CHEST OF DRAWERS, 1st half 19th Century, with two short and three long graduated drawers, on bracket feet, faults, 110cm. wide.

A MAHOGANY TOILET MIRROR, George III style, the oval plate above atwo drawer box base, 59cm. wide, together with a brass bedhead, Victorian, with turned uprights, 143cm. wide.

A MAHOGANY BREAKFRONT SIDEBOARD, George III style, with two central drawers flanked by curved cupboard doors, on tapering square legs, 183cm.
wide.

A MAHOGANY INVERTED
BREAKFRONT SIDEBOARD, Regency, the
raised back above three drawers and four
panelled doors, flanked by twist pIIIasters and
on turned tapering legs. 192cm. wide.

AN OAK BUREAU, George I, with
restoration, the fall enclosing a fitted interior
of drawers and pigeon holes, above a well
and two short and two long graduated
drawers on bracket feet, faults. 89cm.
wide.

A CHESTERFIELD SOFA, late
Victorian, with buttoned trellis upholsterv.
and on ring turned legs ending in brass
cappings and castors.

AN OAK DRAWLEAF DINING
TABLE, 16th Century style, with a foliate
carved frieze above lobed cup-and-cover
supports joined by stretchers, 266cm. long
extended.

A MAHOGANY UPRIGHT PIANO,
Bechstein, circa 1924, numbered 124644 on
the metal frame, with a plain panelled case,
150cm. wide, together with a mahogany piano
stool, the lifting seat raised on cabriole legs,
58cm. wide.

AN EBONISED GRAND PIANO, Bluthner, circa 1920, numbered 100542, on tapered square legs, 173cm. long.

WALNUT CARD TABLE, MAHOGANY DINING TABLE, ROSEWOOD VENEERED BREAKFAST TABLE, MAHOGANY DINING CHAIRS

A WALNUT CARD TABLE, the ‘D’ top enclosing a baize-lined interior on an octagonal stem and concave-sided base, 271 by 36in; 70 by 91cm, c. 1840

A MAHOGANY PEDESTAL SIDEBOARD, the
rectangular top with three cushion drawers above two pedestal cupboards, 33 by 60in; 84 by 152.5cm, c. 1840

A WALNUT SIDE CABINET, the mirrored superstructure applied with carved ‘C’-scrolls and acanthus, the molded multiple serpentine white marble top above a central mirrored door

flanked by canted mirrored cupboards, 73 by 47in; 185.5 by 119.5cm, mid 19th century

A PAIR OF ‘GEORGE III’ PAINTED URNS ON
STANDS in the style of Angelica Kauffman, the ovoid bodies applied with anthemion and painted with cherubs in the heavens, the cylindrical bases sup-ported by a rams’ head ,

painted with classical muses and flowers, 64in; 162.5cm, c. 1880

A MAHOGANY DINING TABLE,  the  top
with rounded corners on four gadrooned turned tapering legs with brass castors, 28 by 56 by 65in; 71 by 142 by 165cm, formerly smith an extra leaf, c. 1840

A WALNUT TRIPOD TABLE, the circular top with a galleried tray set on a platform base with ‘S’-scroll feet, 28 by 16in; 71 by 40.7cm, c. 1860-1880

A PORCELAIN-MOUNTED BONHEUR-DU-
JOUR, the stepped superstructure with a mirror flanked by two cupboards applied with oval porcelain plaques, the lower part with a writing drawer flanked by two short drawers,

on fluted supports joined by a shelf and a platform stretcher inlaid with they wood on an ebonized ground, 591 by 53in; 150.5 by 134.5cm, 1860′.

A SET OF EIGHT ROSEWOOD DINING
CHAIRS, the dipped top-rails with
wasted splats and caned seats on
turned legs, c. 1840

A  PIETRA  DURA  EBONIZED  WRITING
CABINET, the three-quarter gallery with outset fluted composite columns flank-ing a pair of panels applied with hard stone vases of flowers, the lower part with a writing slide

above а drawer, on square tapering legs joined by a cross-stretcher, 1870’s

AN UNUSUAL WALNUT DAVENPORT in
well-figured and burr-wood, the superstructure enclosing fitted compartments above a cylinder front inlaid with a motif enclosing two short drawers, а pull-out writing surface

and а реп scoop, the base with a single cupboard door inlaid with a conforming motif and flanked by turned leaf-carved columns, 36 by 22in; 91 by 57cm, c. 1870

A ROSEWOOD VENEERED BREAKFAST TABLE,
the circular tip-top on a lotus-carved support and triangular concave platform and scroll feet, 46lin; 118cm.c. 1840

A ROSEWOOD AND MARQUETRY BREAKFAST
TABLE, the circular tip-top inlaid with a satinwood border with flower heads and leaves on a baluster stem and tripod base with claw-and-ball feet, 29 by 48in; 74 by 112cm, c.

1840
A WALNUT LOO TABLE, the well-figured burr-walnut top on a leaf-carved oak column with four walnut carved down-swept legs, 52in; 132cm wide, possibly Dutch, c. 1870

А SATINWOOD AND MARQUETRY CENTRE
TABLE, the circular top segmental veneered with a central fan medallion, the frieze with two short drawers, on six fluted tapering legs joined by an interlaced stretcher, the

frieze inlaid with husks, 45in; 114cm, c. 1910

A MAHOGANY ASYMMETRICAL THREE-FOLD
SCREEN, the molded rococo frame with upper glazed beveled panels and the lower part with upholstered panels, the largest panel 72 by 18in; 183 by 46cm, damaged, c. 1900

A SET OF SIX MAHOGANY DINING CHAIRS,
each with a wasted back and curved crossbar above a stuffed seat on molded square tapering legs, c. 1850

A FOUR-FOLD LEATHER SCREEN, each fold
painted with Chinese boating scenes and panels of flowers and leaves, each panel 711 by 21in; 182 by 53cm, c. 1920

А ‘GEORGE III’ MAHOGANY BOOKCASE with a swan-neck cresting above two seven-panel glazed cupboard doors enclosing shelves, the lower part with two short drawers above two

cupboard doors, cross banded throughout with satinwood and inlaid with stringing, 86 by 33in; 209 by 85cm, c. 1910

A SATINWOOD WRITING TABLE, the superstructure surmounted by a ribbon-tied urn, the leather-lined writing surface with a central frieze drawer flanked by bow-fronted drawers on

two sets of four square tapering legs, each set joined by a platform stretcher, 431 by 53in; 110.5 by 136cm, c. 1910

A WALNUT LEPIDOPTERA FIRE-SCREEN,
the double-glazed screen with a tri-angular pediment containing numerous specimen butterflies, on a twist-turned ‘Jacobean’ trestle support, 461 by 26in; 117 by 66cm, the stand

1840’s

Antique American Cupboard

CUPBOARDS: PRESS AND COURT CUPBOARDS
About 1670-1700
Oak court cupboard, 1670-1680.
0riginally, a cupboard was literally a Cup Board - an open, three•tiered side table for displaying silver cups. The earliest American examples date from after 1670 and are partly enclosed with panels and doors - cupboards in the modern sense - but clearly meant as status symbols. Known variously as ‘press’ or ‘court’ cupboards Late Renaissance style. Heavy turnings support tiers. Arrangement of doors and drawers between tiers varies. In some examples, the whole of the lower stage is enclosed and closely resembles the front of a chest (see CHESTS, 1620-1740 p. 305).
Oak, pine, curly maple.
Panelled, mortise-and-tenon joints. Drawers,if any, crudely dovetailed. Built in two stages, upper and lower. Each support, however bulky, turned from one piece of wood - not built up - with a dowel at each end for socketing into hole in cornice above and ledge below.
Carving: Strapwork in the manner of T. Dennis, Ipswich, Massachusetts; tulips, sunflowers.
Applied: Geometric mouldings, split banister turnings.
Handles: Wooden knobs, round or turtleback (see CHESTS p. 306).
Oiled and waxed. Applied decoration often stained black.
Prices very high for authentic American examples. English and Welsh types offer a cheaper alternative if patriotism permits.
Turned and dowelled support for cornice. ice.
FAKES
Fakers of American types have been known to re-carve the four legs of a Victorian dining-table and set them around cupboards made up of old panelling decorated with split banister turnings, new but camouflaged with black stain.
DUTCH KAS CUPBOARDS
About 1770-1850
The kas, a Dutch-American version of the Netherlands kast: Full-length cupboard made in New York and New Jersey for more than 100 years.
Painted pine schrank, about 1780.
Baroque, with heavily moulded cornice and turned ball feet.
Door of kas, arched and felded panels.
Fruitwood, gumwood, walnut, pine.
Panelled, the panels often arched and fielded. Usually two or three drawers in base.
Mouldings around panels.
Many painted with still life subjects of fruit and flowers en grisaille (tones of grey), within trompe Poed panels.
Examples with good, original grisaille decoration expensive. Plain, late-18th or early-I 9thC examples are buyable. Old but plain pine cupboards, often imported from Europe, are given the grisaille treatment by skilled decorators who tend to copy the fruit painted on the doors of a well-known museum example.
CUPBOARDS: FRENCH ARMOIRE
About 1680-1800
Mainly French Canadian, but influence felt along Mississippi to New Orleans.
CUPBOARDS: CORNER CUPBOARDS AND CABINETS
About 1720-1850
Above, carved panel, typical of mid-18MC French rococo armoires and boiseries.
Louis XIII-XV. See p. 210.
Canadian examples usually pine. As in France.
Plainer types with shaped panels but no carving can be very good value.
Above, painted and grained federal corner cupboard, Pennsylvania, about 1810.
Unglazed types known as cupboards, glazed ones as cabinets, but the terms tend to be interchangeable.
Rural versions made with little change over long period. Sophisticated types adapted slowly to changing fashions.
Oak, pine, walnut, maple, mahogany.
Some single door width, some double. Both types include the following variations:
I Full-length, standing: Wooden door(s) above and below. Doors panelled.
2 Glazed door(s) above, wood door(s) below. Wood doors panelled, glazed doors before 1800 always composed of separate panes puttied into a framework of glazing bars (astragals).
3 Wood or glazed doors above, or open shelves often framed with cyma scrolls; wood doors below. Arched, architectural types built in.
4 Wood doors.
S Glazed door(s), glazing bars as in 2 above.
6 Open shelves, often cyma-scrolled as in 3 above.
7 Bow-fronted wood doors.
Full-length types sometimes made in two stages, sometimes in one piece. Backs; boards (tongued-and-grooved from early 19thC), nailed on.
A ‘blind’ door is often converted to a glazed one by replacing it with glass – a time-consuming process if done correctly with small panes. A short cut is taken by glueing strips of moulding to a single sheet of glass – easy to see if a careful examination is made. Large sheets of glass were not used for cases until about 1800, and only complex, curved astragals were glued on.
Painted and grained corner cabinet, about 1810.
Geometric mouldings on doors of early oak cupboards. Later rural types usually plain. Architectural, arched type usually has a rounded back and ‘umbrella’ top that is either ribbed or, in exceptionally fine examples, carved with a large shell; this type is flanked by a pair of fluted pilasters crowned with classical capitals. Some mahogany Chippendale types carved with rococo scrolls. In Federal period, more often decorated with neo-classical motifs in marquetry.
Architectural types in pine often painted to match woodwork of room. Pennsylvania, 1820-50, grained effects and swirling patterns in sponged and spattered paint.
It has been said that, if you furnish the corners of a room, the centre will look after itself. It is worth paying a fairly high price fora good cupboard that will bring an awkward corner to I ife.
MARRIAGES
A full-length corner cupboard in two parts may be a marriage of two hanging ones – a glass-fronted one above and a wood (’blind’) door below. Check that the grain of the wood follows through, i.e. that there is consistency in the materials top and bottom.
Above, front uiew of glazed door, glazing bars mitred into frame. Right, rear view of glazed door, bars tenoned into flame and separate panes fitted into bars.
CUPBOARDS: DISH DRESSERS
Right, simple painted dresser, Pennsylvania, early-19thC
Country sideboards: Regional variations of a cupboard base with a rack of open shelves above.
Oak, pine, any suitable local wood.
Oak: Usually panelled.
Pine: Carcase often boarded (planks nailed to frame).
Base of dresser, boarded construction,
Shaping of rack-ends and sometimes of frieze below cornice.
Painted, waxed or left raw.
Surprisingly expensive when compared with average quality of the sophisticated equivalent, e.g. a good but not important mahogany sideboard of the late Empire period.
REPLACEMENT RACKS
The rack of a dresser may not belong originally to the base. If it does not, it will probably have been reduced in width to achieve a good fit. Examine the shelves where they join the ends for signs of recent cutting – slightly open joints with raw edges that may be camouflaged with vacuum cleaner dust mixed with glue, forming a kind of cement. Even the oldest encrusted dust is not as hard as that.