Antique Cupboard

AN OAK CYLINDER BUREAU, AN ANTIQUE KNEEHOLE DRESSING TABLE, AN ANTIQUE AND INLAID KIDNEY SHAPED TABLE, A CARVED OAK LIBRARY TABLE

AN OAK CYLINDER BUREAU, Victorian, with a raised gallery incorporating three drawers, above a cylinder fall enclosing pigeon holes and drawers above two frieze drawers, on

square legs, wide.

A CARVED OAK CABINET BOOKCASE, Flemish, 18th Century, with a pair of glazed doors above corresponding frieze drawers and cupboard doors, on turned feet, high by wide.

AN ANTIQUE AND INLAID
WARDROBE, late Victorian, of canted form
inlaid throughout with Art Nouveau
marquetry, the moulded cornice above a
single door, on stile feet, high by
wide

A YEW-WOOD AND ASH LIBRARY TABLE, William IV, the moulded rectangular crossbanded top with a pair of real and opposing dummy frieze drawers, on solid trestle shaped end supports

with scroll feet. wide.,

AN ANTIQUE KNEEHOLE DRESSING TABLE, George II, with a slide above an arrangement of drawers and a recessed cupboard door, on bracket feet, faults to top, wide.,

AN UNUSUAL PAINTED OAK BAR,
probably English, circa , the bow front
bordered and hung with rope and painted
with galleons, signed L B Wignet; with a Stool
en suite, wide.

AN ANTIQUE CARD TABLE, George II, the fold-over top revealing counter wells, the frieze drawer above lappet carved tapered legs with pad feet, faults to top, wide., For colour

illustration see page
AN ANTIQUE CHEST
OF DRAWERS, Regency, in the manner of
Gillow, with three long drawers, on turned
feet, base lacking some reeded mouldings,
wide

AN ANTIQUE PEDESTAL TABLE, Victorian, bearing the trade label of George Spademan, Stamford, the circular tilt-top above a lobed baluster pillar and scrolled tripod supports,

faults, diam.—

A SET OF SIX MAHOGANY RAIL BACK DINING CHAIRS, William IV, with drop-in seats, on reeded turned legs headed by paterae

AN ANTIQUE TRAY
TOP COMMODE, George III, with a pair of
doors above a drawer, on square legs,
alterations to base, wide.—

A YEW-WOOD MARQUETRY OCCASIONAL TABLE, Killarney, mid-18th Century, the shaped tilt-top inlaid with a roundel of a reclining stag within a clover leaf and harp border, on a

chamfered pillar and circular base with triple splayed feet, diam.

AN OAK AND MAHOGANY LIBRARY BOOKCASE, Victorian, with triple glazed doors above corresponding drawers and cupboard doors, on a plinth base, high by wide. For colour illustration

see page

AN ANTIQUE AND INLAID KIDNEY SHAPED TABLE, Edwardian, with a floral decorated top above cabriole legs and an undertier, wide.

AN ANTIQUE AND INLAID
BIJOUTERIE CABINET, with a hinged
glazed top above a glazed door enclosing
lined shelves, on bracket feet, wide.

A CARVED WALNUT
AND BUTTON UPHOLSTERED
CONVERSATION SEAT, Victorian, with
triple adjoining backs above a trefoil shaped
seat, on cabriole legs and a central turned leg
with castors, wide.

AN ANTIQUE LIBRARY TABLE,
early Victorian, with a rectangular top. the
octagonal end-supports with platform .
on bun feet and castors, wide.

A WALNUT AND INLAID DAVENPORT, Victorian, the top with a rear slightly domed stationery compartment, the sides with real and dummy drawers, wide. For colour illustration see

page

A CARVED OAK LIBRARY TABLE, French or Flemish, 18th Century, with an arrangement of real and dummy frieze drawers, on spiral twist supports joined by stretchers, the top by

AN ANTIQUE AND INLAID
DISPLAY CABINET, Edwardian, with a pair
of astragal doors above corresponding apron
drawers, on tapered square legs ending in
spade feet, high by wide.

AN ANTIQUE AND INLAID
DISPLAY CABINET, Edwardian, with a pair
of astragal doors, on tapered square legs with
spade feet, high by 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.

FRENCH MAHOGANY CYLINDER BUREAU, CHARLES X LOOKING-GLASS, RESTAURATION MAHOGANY SECRETAIRE, RESTAURATION MAHOGANY SOFA, BIEDERMEIER FRUITWOOD  SECRETAIRE

A    RESTAUTRATION    PARCEL-GILT
MAHOGANY BERGERE, circa 1820,
with curved stuffed back, dolphin arm supports and loose-cushioned bow-fronted seat.

A FRENCH MAHOGANY CYLINDER BUREAU, late 18th/early 19th century,
with galleried white marble top, the paneled cylinder front enclosing drawers and with three drawers below, with pull-out leather-lined writing-surface, a drawer in the paneled

frieze and fluted tapering legs,
95cm high, 68cm wide, 40cm.

A CONSULAT MAHOGANY SOFA, circa 1800,
the shaped back with lion terminals, on fluted tapering legs with paw feet,
167cm wide .

AN EMPIRE GILTWOOD PIER-GLASS, circa 1810,
the rectangular plate contained within a leaf-carved frame; now inset with a late 18th century allegorical English engraving.
A MAHOGANY COMMODE, circa 1900,
in Louis XVI manner, the breakfront grey marble
top above three drawers on fluted tapering legs,
81cm high, 120cm wide, 45cm deep.

A PAIR OF GILT-BRONZE CHENETS, late 18th/early 19th century,
the base faced by a balustrade and surmounted by an urn with satyr mask handles,
40cm high, 37cm wide.
A somewhat similar pair of chants is depicted in the portrait by Danloux of the Baron de Besenval, illustrated, La Folie dArtois, Paris 1988.

A CHARLES X LOOKING-GLASS, circa 1825,
the later rectangular plate contained within a frame painted behind glass with leaves and scrollwork, 81cm high, 65cm wide.

A LOUIS XVI BEECHWOOD DESK ARMCHAIR INDISTINCTLY STAMPED BY THE MAKER, circa 1780,
with petal-carved frame, arched upholstered back, caned loose-cushioned serpentine seat and spirally fluted tapering legs.

A PIEDMONTESE PARCEL-GILT FRUITWOOD BED,
late 18th century,
each corner carved with a stylized garland, on fluted tapering legs,
191cm long, 148cm wide, 89cm deep.

A   LOUIS   XVI   MAHOGANY   BOUILLOTTE
TABLE,
circa 1785,
with circular white marble top, the frieze with two slides and two drawers, raised on fluted tapering legs,
70 cm high, 64cm diameter.

A RESTAURATION MAHOGANY SECRETAIRE, circa 1820,
with a Belgian fossil marble top, a drawer in the frieze above a fall-front enclosing a fitted interior and with three drawers below,
143cm high, 96cm wide, 42cm deep .

A PAIR OF SMALL COMMODES, Paris, circa 1900,
in Louis XVI manner, the ‘D’ shaped white marble tops with a gallery above two drawers on fluted tapering legs, veneered in mahogany with brass fillets,
82cm high, 73cm wide, 41cm deep

A LOUIS XVI MAHOGANY SMALL CONSOLE
DESSERTE,
circa 1785,
with galleried white marble top, a drawer in the
paneled canted frieze, the fluted supports joined
by a shelf and raised on tapering feet,
82cm high, 81cm wide, 32cm deep.

A PAIR OF GILT-BRASS WALL-LIGHTS IN DIRECTOIRE STYLE,
the  back-plates  formed  of ribbon-tied  arrows centered by a mask and supporting two candle-branches, 57cm high.
A RESTAURATION MAHOGANY SOFA, circa 1820,
with molded frame, slightly arched stuffed back, scroll arms, stuffed seat and scroll feet, 196cm wide.

A     RESTAURATION     PROVINCIAL     SIDE
CABINET,
circa 1820,
with rectangular white marble top, two drawers in the frieze above two arched cupboards flanked by corbel supports,
102cm high, 141cm wide, 57cm deep.

A   PAIR   OF   BRONZE  AND   GILT-BRONZE
CANDELABRA,
circa 1840,
each with a central nozzle and six scroll branches raised on receded and leaf-cast stem and tripod base, 73cm high.

A BIEDERMEIER MAHOGANY SECRETAIRE, circa 1830,
with a fall-front, fitted interior and drawers, flanked by free-standing columns,
158cm high, 108cm wide, 53cm deep.

A BIEDERMEIER FRUITWOOD  SECRETAIRE
CHEST,
circa 1820,
with fitted drawer above three recessed drawers flanked by ebonized pilasters,
104.5cm high, 108cm wide, 56cm deep.

A GILT-BRONZE BOUILLOTTE LAMP IN DIRECTOIRE STYLE,
with three adjustable candle-branches, fluted stem and basket base, 65.5cm

A SET OF FOUR GLASS AND METAL HANGING LIGHTS,
large and thistle-shaped, engraved with flowers and leaves on a ruby red ground and with pressed metal borders.

A   RESTAURATION   BIRCHWOOD   TEMPLE
CLOCK,
circa 1820,
the  circular dial  signed  Buscarlet d Paris and supported within  the  four  columns,  the  case banded in ebony, 43cm high, 24cm wide (17in, 9in).

FLEMISH EBONY AND TORTOISESHELL CASKET, ITALIAN RED-JAPANNED CHAIRS, REGENCE CORNER CUPBOARD, LOUIS XV PROVINCIAL GILT-BRONZE CANDLESTICKS, ITALIAN RED LACQUER CUPBOARD

AN UNUSUAL HISPANO-FLEMISH EBONY AND TORTOISESHELL CASKET, mid 17th century
the sloping lid opening to reveal an interior fitted with drawers, and with an architectural back, 16cm high, 27.5cm wide, 22cm deep (64in, 103Ain, 83Ain).
Footnote: The interior with a label The Lady Gwendolyn Herbert with Mr. Gaur’s kindest love, November 1856

A   SPANISH   GILTWOOD   AND   ALABASTER
MIRROR,
18th century,
the rectangular plate with pilasters to either side; with associated scrollwork cresting, 91cm high, 52cm wide.

A PAIR OF VENETIAN GILTWOOD GIRANDOLE
GLASSES,
early 18th century,
the arched tapering plates engraved with allegorical figures, the frames carved with flowers, scrollwork and leaves; some slight differences in carved decoration,
80cm high, 40cm wide .

A ROMAN PARCEL-GILT EBONISED FRAME, circa 1680,
of ribbed molded form with large associated pierced scrollwork clasps at the corners, 81cm high, 78cm wide (2ft 8in, 2ft in).

A PAIR OF ITALIAN RED-JAPANNED CHAIRS, circa 1730,
each with vase splat, drop-in seat and cabriole front legs with turned stretchers, decorated with gilt scrollwork on dark red

AN UNUSUAL PARQUETRY BUREAU, mid 18th century, probably Swiss,
the sloping front enclosing a fitted interior, the bombe lower part with two short and two long drawers,

A TUSCAN WALNUT ARMCHAIR, circa 1680,
with gilt scroll finials, molded arms, stuffed seat and turned legs and stretchers.

A NEAPOLITAN ENGRAVED BONE AND EBONY
CABINET,
mid 17th century,
with a pair of doors enclosing a cupboard and drawers, all decorated with figures within elaborate borders,

A BOHEMIAN LACQUER CABINET, mid 17th century,
of domed form with two doors, the interior fitted with drawers and painted with figures and landscapes; on an 18th century English stand similarly decorated,
118cm high, 44cm wide, 26cm deep.

A PAIR OF TUSCAN ARMCHAIRS, circa 1880,
in Renaissance style and of Manteca form, inlaid with geometric designs partly in bone and pewter.

A PAIR OF MARBLE COLUMNS, mid 19th century,
in mottled pink and beige stone and with molded bases and black marble plinths, 124cm high.

AN UNUSUAL REGENCE CORNER CUPBOARD, circa 1730,
veneered in kingwood and of bow-front form, the upper part with a molded breccias’ marble top above a pair of glazed doors with rounded corners and a pair of doors with diamond

trellis veneer, 198cm high, 78cm wide (6ft 6in, 2ft 7in).

A LOUIS XV OAK GAMING TABLE, circa 1740,
the associated rectangular top with chamfered corners and inset with a panel of contemporary floral needlework, the frieze with a drawer and raised on cabriole legs,
71cm high, 92cm wide, 69cm deep (2ft 4in, 3ft, 2ft 3in).

A SET OF FOUR PORTUGUESE PARCEL-GILT WALNUT CHAIRS, circa 1740,
with pierced scrollwork splats, drop-in seats and cabriole legs with claw and ball feet, joined by stretchers

A DUTCH GILTWOOD LOOKING-GLASS, mid 18th century,
the divided mirror plate with an asymmetric acanthus cresting flanked by Ho-ho birds above a rococo frame.

A PAIR OF LOUIS XV PROVINCIAL GILT-BRONZE CANDLESTICKS, mid 18th century,
the swirling baluster stems and bases engraved with flowers, leaves and scrollwork, 25 cm high

AN UNUSUAL LACQUER BUREAU-CABINET, mid 18th century, Italian or Spanish,
the upper part with a pair of glazed doors, the lower part with a sloping front, a drawer in the frieze and cabriole legs, decorated with black and red lacquer,
219cm high, 99cm wide, 69cm deep (7ft 2in, 3ft 3in, 2ft 32in).

A SET OF LOUIS XV GILT-BRONZE COMMODE
MOUNTS,
mid 18th century,
comprising four corner mounts surmounted by cherub masks, four pierced foliate foot mounts, and a large apron mount formed of pierced flower-cast leafy scrollwork

AN ITALIAN RED LACQUER CUPBOARD, part 18th century,
the pair of paneled doors and paneled sides
decorated with figures, animals and birds,
199cm high, 79cm wide, 38cm .

A PAIR OF ROMAN MARBLE COLUMNS, perhaps 17th century,
with later white marble capitals and bases, 118cm high

SET OF FOUR ‘GEORGE II’ MAHOGANY ARMCHAIRS, PAINTED DISPLAY CABINET, WILLIAM IV MAHOGANY CARD TABLE, LACQUER SOFA TABLE, WALNUT GATE-LEG TABLE

А SET OF FOUR ‘GEORGE Ii’ MAHOGANY
ARMCHAIRS each with a rectangular
back with a serpentine top-rail and
pierced splat, the outcurve arms above
a stuffed drop-in seat on cabriole legs,
stamped 4587, possibly Portuguese, late
I9th century

A GOOD SATINWOOD AND PAINTED DIS-
PLAY CABINET with a pair of interlaced elliptically glazed doors above a projecting brushing slide with two short drawers above two cupboards, on bracket feet, painted

throughout with husks, flowers and dancing figures, 70 by 34in; 178 by 86.5cm, with alterations, late 19th century

А SET OF TEN ‘GEORGE III’ MAHOGANY
DINING CHAIRS, including two arm-
chairs, each with an arched top-rail
and pierced splat carved with husks
above a stuffed drop-in seat on molded
square tapering legs, c. 1880

A WILLIAM IV MAHOGANY CARD TABLE,
the ‘D’-shaped top enclosing a playing surface on a square stem with chamfered corners and a concave-sided base with paw feet, 29l by 36in; 75 by 92cm, c. 1835

A BURR-WALNUT OCCASIONAL TABLE with
a circular cross-banded top above а lower tier with a triple balustrade for magazines, on a fluted baluster stem and tripod base, 30 by 18lin; 76 by 47cm, c. 1870

А PAPIER-МАСНE OCCASIONAL TABLE, the
lobed gilt top inlaid with flowers on а baluster column and lobed base, 23in; 58.5cm wide, 1840′j
И
A WALNUT WING ARMCHAIR in late 11th
century style, the tall padded back and sides above scroll padded arms and stuffed cushion, on baluster and octagonal tapering legs joined by а molded curved stretcher centered

by an urn, c. 1870

AN  EBONIZED WOOD  AND  MOTHER-OF-
PEARL SIDE CHAIR with a serpentine top-rail inlaid with mother-of-pearl above a triple splat centered by a panel painted and inlaid with flowers, the caned seat on turned out

swept legs joined by stretchers, c. 1850

AN S. HILLE & SON ‘CHINESE CHIPPENDALE’ SATINWOOD  LACQUER  DRAWING-ROOM
SUITE comprising A Breakfront Display Cabinet on Stand with a cornice hung with bells, 85 by 50in; 216 by 127cm; A Fire Surround with corbel supports, 52 by 66in; 132 by 168cm;

A Rectangular Centre Table with a plate glass top, the scrolled corners hung with bells, 40in; 102cm wide; A Mirror with a Pagoda cresting with inset beveled corners, 30 by

46in; 76 by 117cm; А Pair of Elaborate Tri-Form Standard Lamps, each surmounted by a Japanese porcelain figure, 82in; 208cm; A Set of Six Wall Lights, each with canted sides

above a gallery with two candle-arms, 16lin; 42cm; A Twelve-Arm Chandelier, 26in; 66cm wide; A Pair of Armchairs with pierced beaks and stuffed drop-in seats; A Pair of Side

Chairs with painted lacquer splats; A Duet Stool with a stuffed rectangular lid, 32lin; 82cm wide; A Berger Suite comprising a triple-chair-back Settee and two deep Armchairs

with numerous loose cushions, the whole Suite lacquered with chino series, the lights fitted for electricity, 1920’s
Similar furniture is illustrated in Halle, 75 Years of British Furniture, by Sutherland Lyell. Hillel was making this style of furniture between 1918 and 1939.

AN  EBONY-VENEERED  AND  AMBOYNA
DISPLAY CABINET, the cornice an incised Vitruvius scroll, above a pair of glazed doors enclosing shelves, the canted sides with outset columns, with gilt-brass egg and dart

moldings, 43 by 48in; 109 by 122cm, c. 1860

A MAHOGANY BREAKFAST TABLE, the
rectangular tip-top above a fluted column and down swept legs with paw feet and brass castors, 281 by 49in; 72.5 by 126cm, 1890/1900

A MAHOGANY WRITING DESK, the Super-
structure with a central balustrade flanked by two sections of four short drawers, the front with a sloping writing surface flanked by two flat writing surfaces, the frieze with

three drawers above three further drawers in each pedestal, 46 by 54in; 117 by 137cm, c. 1860

A MAHOGANY ARMCHAIR, the molded frame with scrolled arms, button-upholstered back, sprung seat on cabriole legs with white ceramic castors, third quarter of the 19th century

А WALNUT GATE-LEG TABLE in Well-
figured wood, the oval cross-banded top on turned trestle supports and white ceramic casters, 40in; 101.5cm wide open, English, c. 1880

А ROSEWOOD CENTRE TABLE of serpentine outline with a drawer at either end on а ‘jeweled’ and gadrooned trestle support, 58in; 147.5cm long, 1840′.

A LACQUER SOFA TABLE, the top and flaps painted within a gilt stylized foliate border, the frieze with two drawers on a trestle base joined by a stretcher on out swept legs, 30

by 62in; 76 by 159cm, c. 1920

A MAHOGANY STAND with three rails and a divided umbrella stand with removable drip tray below, 75 by 51in; 190.5 by 129.5cm, c. 1880

AN EBONIZED WOOD FIRE-SCREEN, the
molded frame carved with ‘C’-scrolls and shells enclosing a petit point panel worked with a young man in 18th century dress watching a lady at her embroidery, on scroll feet,

431 by 28in; 110 by 71cm, c. 1850

A WALNUT PEDESTAL DESK with three frieze drawers and three drawers in each pedestal, with a green leather top, 49in; 124.5cm wide, c. 1880, cleaned

А GOOD GILT SUITE IN LOUIS XVI STYLE,
comprising six Chairs and two Arm-
chairs, each with a padded back and
sprung seat on fluted legs; A Settee,
68in; 173cm wide; Two Mirrors with
triple plates surmounted by a ribbon-
carved oval panel, 90in; 228.5cm high,
62in; 157.5cm wide; An Oval Side
Table with a fawn marble top, 32in;
8lem wide; A Pier Table with a fawn
marble top, 57in; 145cm wide; А
Torch ere with a circular marble top,
50in; 127cm wide; A Virtue with а
glazed door and sides below a ribbon-
tied cresting, 72in; 183cm high, 32in;
8lem wide; and A Pelmet with а
ribbon-carved cresting, 79in; 20lem
wide, c. 1900, re-gilded

A  MAHOGANY  NARROW  BOOKCASE,  the
molded cornice above a pair of glazed doors enclosing shelves with recessed ebonized roundels above a pair of panelled cupboard doors, 951 by 541 by 14in; 243 by 138.5 by

35.5cm, c. 1850
The narrow proportions of this bookcase suggest that it was made for a recess and has not been altered from a large bookcase

A  WILLIAM  IV  SET  OF  MAHOGANY
SHELVES, the superstructure with two pierced sides with carrying handles above a scroll cresting centred by а rectangular panel above three shelves, 18 by 36in; 46 by 91cm, c.

1835

A SET OF MAHOGANY WALL SHELVES with
an arched back above three graduated shelves, 22 by 39in; 56 by 99cm, c. 1840

AN ELIZABETHAN REVIVAL ROSEWOOD
PRIE-DIEU with a padded top-rail with a padded oval back and twist-turned supports, the button-upholstered seat on cabriole legs, c. 1840

AN UNUSUAL SATINWOOD AND MAR-QUETRY LIBRARY BOOK CABINET, the
outset top with a leather writing surface, the central frieze drawer indistinctly stamped Hunter, above a kneehole, flanked by shelved sections and a frieze drawer, on square

tapering supports, inlaid throughout with masks, stylised foliage and chequer bandings, 36 by 84in; 92 by 214cm, third quarter of the 19th century

‘LOUIS XV’ GILTWOOD PIER TABLE, OAK METAMORPHIC LIBRARY CHAIR, ‘GEORGE III’ MAHOGANY TOILET MIRROR, OAK BEDROOM SUITE, MAHOGANY PEDESTAL DESK

А ‘LOUIS XV’ GILTWOOD PIER TABLE, the
molded serpentine brown and white veined marble top raised on four ‘C-scroll legs joined by stretchers, the frieze and central stretcher profusely carved with ‘C’-scrolls and

acanthus, 381 by 84 by 30in; 98 by 213.5 by 76cm, possibly English, c. 1870

A MAHOGANY PEDESTAL DESK, the top
inset with a tooled writing surface, the frieze with three drawers above two pedestals each with two further drawers, one drawer with a retailers’ label From L. Solomon’s, 30 by

54in; 76 by 137cm, third quarter of the 19th century

AN OAK DAVENPORT, the superstructure with a three-quarter balustrade en-closing a fitted interior, the slope with a writing surface enclosing short drawers, the frieze with four

graduated drawers, the front with fluted turned columns, 40 by 22in; 102 by 56cm, c. 1870

AN OAK METAMORPHIC LIBRARY CHAIR
with a double crossbar pierced with quatrefoils above a hinged seat forming a set of library steps, c. 1870

A MAHOGANY WHATNOT with four tiers, one with a frieze drawer, supported by four molded pillars on turned feet, 50 by 23in; 127 by 58cm, c. 1840

AN EBONIZED MAHOGANY SIDE CABINET,
the superstructure with a glass panel flanked by leather panels above two shelves with tooled leather galleries, flanked by a pair of cupboard doors, each painted with a figure,

one a young man reading a book, the other a jester, above an open shelf on turned legs, the sides with rectangular panels inset with pressed paper panels, 631 by 54in; 161.3 by

137cm, c. 1870

A  PARCEL-GILT  EBONIZED   WOOD   ARM-
CHAIR, the padded over scrolled back with leaf-carved sides above padded arms, each with three turned fluted supports above a sprung seat on turned fluted legs, c. 1870

A MAHOGANY WHATNOT with four shelves joined by fluted columns surmounted by acorn finials, 451 by 21in; 115 by 53cm, second quarter of the 19th century

A   WALNUT   AND   MARQUETRY   CENTRE
TABLE by James Winter, the top inlaid with trails of flowers and leaves, the frieze with a single long drawer, stamped James Winter, 101 Ward our St, on four turned columns with

gadrooned collars above a trestle base joined by а lotus-carved pole stretcher, 70 by 92cm, c. 1870

A GILT PLASTER AND WOOD OVERMANTEL,
in the style of Robert Adam, with а molded dentil pediment above a frieze panel with ribbon-tied laurel swags and paternal above a large rectangular beveled mirror plate flanked

by two further smaller plates, in turn flanked by columns, 88 by 170cm, c. 1880

A WALNUT CENTRE TABLE, the rectangular molded top with an ogee apron, above molded square legs joined by а stretcher, 76in; 193cm long, 24fin; 63cm wide, early 20th century

А   ‘CHINESE   CHIPPENDALE’   MAHOGANY
DISPLAY CABINET, the pagoda cresting above glazed door and sides on square chamfered legs, carved throughout with blind fret, 156 by 66cm, 1880’s

A ‘GEORGE III’ MAHOGANY TOILET MIRROR with a shield top above a serpentine base with three drawers, on ogee bracket feet, 65cm, late 19th century

A PAIR OF ‘GEORGE III’ PEDESTALS, each with an octagonal top cross banded in satinwood above a conforming frieze, on slender square tapering legs with out curved bases joined by

an ‘X’ stretcher centered by a turned finial, 76 by 32cm, c. 1880

A   MAHOGANY   DISPLAY   CABINET,   the
superstructure with beveled mirrored plates and three elaborate pierced and carved foliate cresting’s, the lower part with three glazed display cupboards, on cabriole legs with

claw-and-ball feet, 261.5 by 141cm, c. 1890

A CHINESE EXPORT LACQUERED ВОХ ON
STAND, the top painted with a garden scene, the interior baize-lined, with а molded frieze above a wood stand similarly painted with chamfered square tapering legs, 26in; 62 by

66cm, mid 19th century

А SET OF SIX EARLY ‘GEORGE III’ MAHO-
GANV DINING CHAIRS, each with а
serpentine top-rail, pierced vase splat,
drop-in seat on square tapering legs,
joined by ‘H’ stretcher, late 19th
century

А MAHOGANY CYLINDER BUREAU, the superstructure with three frieze drawers above a solid cylinder front enclosing pigeon-holes and two short drawers above a pull-out writing

surface and two further frieze drawers, one stamped F. Collins on & Со., on square tapering legs with brass castors, cross banded throughout and inlaid with a diamond trellis,

47 by 48in; 119.5 by 122cm, 1880-1900

A ROSEWOOD DESK, the superstructure with drawers and a cupboard above а fitted frieze drawer on turned legs joined by stretchers, inlaid with satin-wood fan medallions and

stringing, 42 by 27in; 107 by 68.5cm, 1890’s

A MAHOGANY ARMCHAIR, the molded frame with a padded back and arms, with sprung serpentine seat, on cabriole legs, c. 1860

A ‘GEORGE III’ CELLARETTE, the octagonal brass coopered body on molded outset legs with castors, 28in; 7lem, third quarter of the 20th century

A SET OF EIGHT MAHOGANY AND SATIN-WOOD  DINING  CHAIRS,   including  two
Armchairs, each with a solid splat and
four crossbars, the sprung seats on
rounded legs, 1934

AN OAK DINING TABLE, the circular top with an inlaid column support and convex base, 56in;

AN OAK BEDROOM SUITE, comprising а
wardrobe, 72lin; 183cm, a bedside
cabinet 16in; 4lem wide, a low cup-
board enclosing fitted sliding shelves
36in; 91.5cm wide, and a trestle mirror,
20in; 51cm, 1934

A GREEN LACQUER CABINET ON STAND,
the rectangular form with a cupboard enclosing small drawers, gilded overall with 32 by 18in; 81 by 47cm, c. 1930

A   MAHOGANY   PEDESTAL   DESK   with   а
tooled green leather writing surface, above three short drawers in the frieze, each pedestal with three graduated drawers, 301 by 54in; 77 by 137cm, mid 20th century

ANTIQUE ENGLISH SETTLES
There was a revival of the settle by the Gothic reformers. After all, it was sufficiently medieval-bucolic in origin, ‘honest’ in construction and laudably uncomfortable to sit on; no one idles for long on a settle. What is more, no man in a cold, sober condition would sit on a settle unless he expected shortly to get either very warm or very drunk. Its sentimental association with insanitary hovels, inns and farmhouses characterises
British attitudes fostered by Victorian art and literature and made it a surefire winner with Morris and similar designers initially intent on a reaction to bourgeois Victorian comfort.
To be fair, some settles were designed to go into the inglenooks revived by Norman Shaw and other domestic architects but by the 1920s the settle seems to have become a piece of hall furniture with a seat that lifted as a lid to give access to a coffer-like compartment under it  to house boots slippers bottles  and no one was expected to sit waiting in the hall for long.
The full treatment  a William Morris settle with profuse painted decoration. Note the detail of the coved top shown below. 1885-1895
An oak and beaten copper settle in the ‘art nouveau’ manner, using the copper plaques with tulip forms associated with Arts and Crafts furniture of what is now thought of as English art nouveau. The hinged seat lifts to give access to the coffer-like interior. 1900-1910
The classic reproducer’s version of the oak settle, not very much removed from the original 17th century piece except that the panelling is symmetrical, modern in construction and rather austere. The seat lid lifts up to give access to the storage space in the lower half. The price is affected by the now very high price of the original period version.
An oak settle or ‘monk’s bench’ which is, in fact a chair-table, since the back of the seat tilts over to form a table top at an inconvenient height. There is a hinged lid in the seat, giving access to the storage space. The
front is panelled with a shaped apron. Not now very desirable the storage space was intended for rugs, presumably used when travelling.
An oak seat or settle from Percy Wells, 1920. An object which seems to have taken a long time dying and which was used as a ‘hall seat’, although Wells claimed it could be used just as well in a living room, with the
addition of cushions to make it comfortable. Not a cheap piece and an interesting example of the survival of older forms of furniture, modified slightly in design, well into the 20th century. Wells pointed out the lack of
meretricious ornament’ which dignified the piece and the simple strap carving.

Antique English Corner Cupboards - walnut cross banded glazed-door corner cupboard - walnut bow-fronted corner cupboard - oak corner cupboard of 18th Century with panelled doors - 18th century mahogany bow-fronted corner cupboard with fluted pilasters - 18th century mahogany corner cupboard - country corner cupboard -  corner cupboard with with three drawers

Although antique corner cupboards were made throughout the 17th century they do not seem to have come into more general use until the end of it. From then until about 1750 corner cupboards were made in the prevailing taste for town use, but subsequently they seem to have retired to the country as far as manufacture is concerned. For this reason perhaps, the majority of hanging corner cupboards found in shops nowadays are of later 18th century date and often made of oak, with mahogany cross banding or decoration. Inlaid shells and paterae are also frequently found in these later pieces.
It is almost certain that bow-fronted corner cupboards fetch more in price than flat ones; generally due to their greater elegance; as a general form however the corner cupboard is not over-popular and has not
appreciated in value as much as more utilitarian pieces in the everyday sense such as chairs, chests, dining tables and bureaux. The pine open corner cupboards of Essex type have had something of a vogue and can
generally be put to more decorative use than the closed hanging type.

A walnut cross banded glazed-door corner cupboard of c. 1725 with broken pediment. It has been suggested that such cupboards became popular at the time to store and display the expensive tea sets then in vogue.
The figure of the walnut veneers is elegantly matched and the moulding on the cornice is cross-grained.
Value points: Quality of decoration and veneers
Quality and colour of cross-grained mouldings  Quality of glazing

A walnut bow-fronted corner cupboard with cross banding c. 1720. Possibly designed to stand on a larger bow-fronted corner cupboard.
Value points: Small Size
Quality, figure and patination of veneer

Solid walnut bow-fronted corner cupboard of c. 1730 of country origin. The construction and mouldings are very simple.
Value points: Colour and patination .. Size - small
Quality of mouldings

An oak corner cupboard of c. 1740 with panelled doors banded in mahogany. Cupboards of this style, often as a low stand were made from the beginning of the century onwards but the dentillated top cornice and mahogany decoration indicate the date mentioned. Rather a large form of corner cupboard generally.
Value points: Colour and patination  Quality of mouldings

A mid 18th century oak bow-fronted corner cupboard with fluted pilasters. The ‘H’ hinges are typical of the type used by country makers, although the pilasters add quality to the piece.
Value points: Colour and patination
Small size

Mid 18th century mahogany corner cupboard with broken pediment and panelled doors. The moulding to the cornice is finely executed and the dark figured mahogany in the shaped door panels is rich in colour.
Value points: Size - slender width
Colour and patination
Figure of wood and decoration  Moulded cornice

A small mid 18th century oak corner cupboard with the door having a fielded panel inlaid with a star decoration in boxwood and ebony. This latter decoration is found on other furniture of the second quarter of the 18th century and continued in country use until later. Beware however of ‘improvers’ who inlaid the pattern at a later date.
Value points: Colour and patination  Inlaid decoration

Oak bow-fronted country corner cupboard with mahogany banding on the doors. Probably of late 18th century date. The top moulding is dentillated and there is an inlaid medallion in boxwood and ebony at the top of the flat side surfaces,
Value points: Colour and patination  Size - Slender in width  Decoration and inlays

Late 18th century mahogany corner cupboard with fluted sides and decorated with satinwood inlays. The oval central panel to the door is decorated with a beautifully figured piece of mahogany veneer. The top cornice is dentillated with satinwood inlay and the frieze is also decorated with an inlaid satinwood classical motif.
Value points: Colour and patination
Figure of wood and decoration  Size - Slender width

A late 18th century oak corner cupboard with a panelled door with three drawers below. Beneath the bold top cornice moulding there is a band of mahogany veneer. The three small drawers suggest that the piece may have been designed for kitchen use although the quality of construction and door panel moulding are of fairly refined craftsmanship.
Value points: Colour and patination  Decoration and inlays  Quality of mouldings  Drawers below

ANTIQUE COURT CUPBOARDS WITH OPEN SHELVES (BUFFETS)

About 1570-1680
Apiece of furniture derived from medieval prototypes, comprising a set of three open shelves, which in grand houses was draped with fabric or carpet and used to display plate, but in lesser homes could be used as a side-table. The names buffet, court cupboard, sideboard and dresser were seemingly inter-changeable.
STYLE AND APPEARANCE
Three shelves of equal size, each with a deep frieze; the top and middle shelf frieze are generally deeper than the lowest and often contain a drawer. Turned front supports, either continuous from top to bottom, form the corner framing, or are dowelled into separate framed shelves. Continuous rectangular stiles at the back, sometimes with simple carved mouldings. Feet formed as the square base of the continuous uprights or as the stiles of the lowest shelf framing; can be concealed by mitred base moulding. Sometimes panelled cupboard with central door and angled sides in the upper half
Decoration of the shelf friezes seldom matches; the turnings of the supports may or may not be identical on the different layers.
MATERIALS
Principally oak; sometimes walnut, elm, beech etc. (though survivals rare). Holly, bog oak, boxwood, bone and imported ebony and ivory used for inlay.
CONSTRUCTION
Framed, with pegged mortise-and-tenon joints. Drawers (where present) rebated and nailed; grain running mostly back to front; run on side bearers. Supports may dowel into

shelves above and below. Mouldings are usually carved out of solid wood, though on late examples may be glued on. Many buffets were originally made without a cornice moulding, with a planked top merely nailed to the frieze; cornice mouldings are often therefore a later ‘improvement’.
DECORATION
Principally carving; often elaborate, with guilloche, strapwork, gadrooning, S-scrolls and other repetitive motifs. Occasionally grotesque figures and heraldic emblems. Heavy bulbous cup-and-cover turnings on supports, sometimes fantastic animals.
Some have additional inlay, particularly on cupboard doors, of floral designs (sometimes with birds) and black and white chequer patterns. The latter are common on bottom-shelf friezes.
FINISH
Originally varnish and/or wax polish. Should now have good patination (see p. 8).
RELATIVE VALUES
Early examples in original condition rare; fine, extensive carving and presence of inlay may push price into five figures; certainly in four.
VICTORIAN ALTERATIONS
Watch for Victorian carve-ups, which are quite common. Look for dark all-over stain (particularly seepage around joints), regular saw marks (made by machine saw), regularly shaped machine-cut pegs (or no pegs at all), the presence of round-headed nails or screws, and discrepancies in quality and execution of carving between the various parts.
Court cupboard with canoed cupand-cover  supports.
MATERIALS
Rosewood, satinwood, mahogany, oak, walnut, and other decorative veneers. Various woods; ebony, ivory, and so on, used for inlay. Sometimes marble for tops (usually grey/ white for cheaper pekes; other colours for better quality). Pine or cheap Honduras mahogany for carcases.
CONSTRUCTION
Standard methods were employed. Many veneered; after about 1830 finer (about 1/16th inch/1.5 mm) machine-cut veneers were used. They are relatively easy to detect.
Many simple Victorian cabinets converted to Regency by removal of their superstructure, addition of a marble top, and replacement of their wooden door panels with brass grilles and pleated silk. Check construction of the grilles; Victorian and later grilles have soldered and studded joints; earlier ones were simply notched together.
DECORATION
Brass inlay during Regency. Some carving and turning. Gilt metal mounts (and sometimes porcelain plaques) on some pieces from about 1860. Painted and gilded panels (often of Japanese design) and embossed ‘leather’ paper used for decorative effect on aesthetic pieces after 1870.
FINISH
Wax polish. French polish after about 1820. Ebonised (i.e. black-stained) finish especially popular after 1870.
RELATIVE VALUES
Straightforward side cabinets (and chiffoniers) are often expensive because of their small and useful size as well as their simple and usually elegant appearance. Rosewood rather than mahogany, brass inlay and lattice grille doors (if originally intended) are all indicators that a higher price may have to be paid. All but the cheapest quality Victorian pieces are priced in three figures, even if they are ‘converted’ Regency.
Music and other small Victorian cabinets may fetch least; so also elaborate ebonised  aesthetic’ cabinets – despite high quality –because ebonised furniture has never been popular.

ENGLISH CORNER CUPBOARDS
About 1690-1800
Mahogany corner cabinet with swan- neck cresting, chamfered sides and typical brass H-hinges
Thought to have been introduced from Holland, coinciding with the fashion for painted pine-panelled rooms, corner cupboards were used to store and display fine china, silver or other valuables in the drawing-room, Some could be hanging, above dado level, others are of double height. They generally disappeared from main reception rooms around 1750 (when the fashion for wallpaper replaced panelling) but were still made for other rooms and for country parlours until the end of the century, and have been popular reproduction pieces ever since.
STYLE AND APPEARANCE
Considerable variation throughout the century. Can be:
Simple mahogany bow-fronted corner (cupboard.
Hanging, with bow front: Mostly in japanned pine or walnut veneer. A pair of doors, their curve continuing on the side framing. Simple moulding above and below. Doors generally rebate together (to form continuous smooth curve) but sometimes narrow moulding conceals join.
Hanging, with flat front: Usually a single panelled door with chamfered framing at sides (this sometimes decorated with fluting or carved columns). Simple base, but bolder cor-
MATERIALS
Walnut and mahogany veneer on a pine (occasionally oak) base. Pine if painted or japanned. Country versions mostly in solid oak.
CONSTRUCTION
Right 18thC pine corner cupboard; left, reproduction Georgian-style mahogany corner cupboard.
nice; moulding, sometimes with frieze below. Occasionally a broken pediment. Door can have a shaped, and on country versions, fielded, panel, sometimes glazed, with or without glazing bars. Earliest versions evidently had a panel of mirror glass, seldom still in place.
Double-height: Mainly straight-fronted; occasionally bow-fronted. Initially made to match (and sometimes actually fitted into) wall panelling, with a join at dado level. Many therefore made of pine (once painted, now often stripped and waxed) with two panelled doors below, and two glazed or even open shelves above. The most desirable have a rounded barrel back, the half-domed top occasionally carved as a shell. The grandest have architectural mouldings (often with doors forming an arch bordered by broad carved pilasters).
Continuous plinth or bracket feet; the plainest (oak) country versions have plinth or stile feet.
Later veneered versions have bracket or, after 1780, ’swept’ feet, below plain, panelled base door(s). Upper door(s) panelled or glazed, the latter with decorative arrangements of glazing bars. Bolder, deeper moulded cornice than hanging types, sometimes frieze too. (If seen on a single hanging cupboard, this probably indicates there was once a base.)
On all types, interior shelves are nearly always curved and shaped. Both they and the backboards were fashionably painted, mostly blue or green, sometimes red or yellow.
LATER REPRODUCTIONS
This type of corner cabinet was popularly reproduced by the Edwardians, often with a dentil frieze (a feature of only some 18thC examples) on top of a glazed cabinet, and rather bright, yellow inlay or green-stained stringing, fans and conch shells. Also widely reproduced today –often veneered in yew or cheap mahogany – but frequently too narrow overall, with a tall, lower cupboard.
Framed construction with glued mortise-andtenon joints. Mitred joints and veneer on better quality. Many veneered all over. Tops rough, but under-side of hanging cabinets finished. Always locks, but generally no (or very simple wooden) catches. Invariably backed with unfinished planking.
Curved doors on bow fronts coopered (i.e. large number of verticals cut at slight angle and glued (or grooved and glued) together before being planed to a smooth surface.
Cornice and base mouldings similarly constructed.
Watch for marriages on double-height pieces; check for matching colour and grain of timber (both back and front); also for shape of interior shelves and matching lockplates and escutcheons. Blind doors may now be glued.
DECORATION
Principally figuring of timber. Occasionally simple inlay and stringing in late 18thC (and on Edwardian reproductions). Mahogany cross-banding and occasionally inlay (often star shapes) on country-made oak pieces.
japanning popular for early pieces, with chinoiserie decoration on a mainly black ground.
Hinges: Exterior H- or butterfly hinges until about 1760 (later on country versions). Decorative lock escutcheons.
FINISH
Varnish, followed by wax polish. japanning, paint (many now stripped and waxed).
RELATIVE VALUES
Popular, but seldom immensely valuable, items. Many hanging cupboards (especially country versions) priced in three figures. Good walnut veneer, a broken pediment or fine inlay will increase value considerably.
japanned examples –even when early – may seem surprisingly cheap unless in red, blue or yellow (cream) rather than the normal black. These are rare and may fetch five-figures.
Double-height cupboards are approximately double the value, but much more if early and architectural with a barrel back.